Enrico Caruso (Napoli/Naples 1873-1921)
View allAll Photos Tagged Scenography
"Nel Canaletto non c'è scenografia: egli si profonda tutto nel paese, e lì tra acque, pietre e cieli, ritrova la sua pittura, fresca come le cose nate allora.
Ma troppo intorno a lui tutta Venezia gridava colore: ed egli, sopra a quella prospettiva scritta e lineata, non plasticata come negli scenografi, versa e tramezza l'atmosfera lagunare. Del colore questa fu la rivincita. Trovò in essa un ammorbidimento alle secchezze di spigoli e un addolcimento di fusioni al troppo rigido delle parallele di linee, e vi trovò il veicolo della luce, che a volte ristagna nell'aria, fatta prigioniera dei vapori umidi, come un velario tra noi e la veduta delle cose."
— Luigi Dami - da La pittura italiana del Seicento e Settecento, 1924
------------------------
"In Canaletto there is no scenography: he goes all the way into the village, and there, among the waters, stones and skies, he finds his painting, fresh like the things born then.
But too much around him all of Venice shouted color: and he, above that written and lined perspective, not plasticized as in the scenographers, pours and divides the lagoon atmosphere. This was the revenge of color. He found in it a softening of the dry edges and a softening of fusions to the too rigid of the parallels of lines, and he found in it the vehicle of light, which sometimes stagnates in the air, captured by the humid vapors, like a curtain between us and the view of things. "
- Luigi Dami - from Italian painting of the seventeenth and eighteenth centuries, 1924
f00624
The staircase was built in the early 1600s to connect the old part of the city of Caltagirone with the new part built in the highest part of the city, but was completed in the second half of the 1800s.
One hundred and forty-two steps forming a staircase about 130 meters long, each single step is decorated with ceramic tiles and a majolica covering is placed in each riser; the decorations take up typical Sicilian motifs ranging from the tenth to the twentieth century, creating a unique scenography. Every year, on 24 and 25 July, on the occasion of the feast of St. James, candles are lit on the steps that illuminate the city, each candle must be placed in the right place because all together they form a particular decoration. The city attends this moment in perfect silence, and it is still a tradition that is handed down from father to son.
---------------------------------------
La scalinata fu costruita nei primi anni del 1600 per collegare la parta antica della città di Caltagirone con la parte nuova costruita nella parte più alta della città, ma fu ultimata nella seconda metà del 1800.
Centoquarantadue scalini che formano una scala lunga circa 130 metri, ogni singolo gradino è decorato con piastrelle di ceramica ed in ogni alzata è posto un rivestimento di maiolica; le decorazioni riprendono motivi tipici siciliani che vanno dal X al XX secolo, creando una scenografia unica. Ogni anno, il 24 e 25 luglio, in occasione della festa di S. Giacomo sugli scalini vengono accesi dei lumini che illuminano la città, ogni lumino deve essere collocato al posto giusto perché tutti insieme formano una decorazione particolare. La città assiste a questo momento in perfetto silenzio, ed è tutt’oggi una tradizione che viene tramandata da padre in figlio.
It is the presence of milky fog that allows me to control the scenography here and emphasize the depth of the scene.
For a separate the foreground and theatrical backdrop as much as possible.
With a closed aperture, which is necessary here, this can be done with only a few tricks.
For example, in cinema we used pyrotechnics - the effect of smoke and spotlights.
in general, I am satisfied with the result of the picture, given that it is from a boat that rocks and floats with the current, and the stream moves along the bridge. A kaleidoscope in one word, changing rhythms every second..
- just have time to compose your composition !
.. but if you look at the bw album?
www.flickr.com/photos/zoombablog/albums/72177720297782769
Fomapan 100 film
Epson V600 scanned
The staircase was built in the early 1600s to connect the old part of the city of Caltagirone with the new part built in the highest part of the city, but was completed in the second half of the 1800s.
One hundred and forty-two steps forming a staircase about 130 meters long, each single step is decorated with ceramic tiles and a majolica covering is placed in each riser; the decorations take up typical Sicilian motifs ranging from the tenth to the twentieth century, creating a unique scenography. Every year, on 24 and 25 July, on the occasion of the feast of St. James, candles are lit on the steps that illuminate the city, each candle must be placed in the right place because all together they form a particular decoration. The city attends this moment in perfect silence, and it is still a tradition that is handed down from father to son.
---------------------------------------
La scalinata fu costruita nei primi anni del 1600 per collegare la parta antica della città di Caltagirone con la parte nuova costruita nella parte più alta della città, ma fu ultimata nella seconda metà del 1800.
Centoquarantadue scalini che formano una scala lunga circa 130 metri, ogni singolo gradino è decorato con piastrelle di ceramica ed in ogni alzata è posto un rivestimento di maiolica; le decorazioni riprendono motivi tipici siciliani che vanno dal X al XX secolo, creando una scenografia unica. Ogni anno, il 24 e 25 luglio, in occasione della festa di S. Giacomo sugli scalini vengono accesi dei lumini che illuminano la città, ogni lumino deve essere collocato al posto giusto perché tutti insieme formano una decorazione particolare. La città assiste a questo momento in perfetto silenzio, ed è tutt’oggi una tradizione che viene tramandata da padre in figlio.
Daily life now seems like the scene of a film where the direction is entrusted to statistics and where viewing is limited.
20h10 - Delacruz & Maria (artists)
Rock in Rio announced the attractions of the festival's Espaço Favela. According to the production, the stage will have "very colorful and playful scenography". There will be more than 30 performances of music, dance and other cultural manifestations.
The program has rappers, singers and funk singers, rock bands, jazz, heavy metal and samba.
The venue will also feature SLAM, poetry battles, and three daily performances by the theater group Nós do Morro (We from the Slum/Hill), with 40 company components, always starting at 2:50 pm.
The staircase was built in the early 1600s to connect the old part of the city of Caltagirone with the new part built in the highest part of the city, but was completed in the second half of the 1800s.
One hundred and forty-two steps forming a staircase about 130 meters long, each single step is decorated with ceramic tiles and a majolica covering is placed in each riser; the decorations take up typical Sicilian motifs ranging from the tenth to the twentieth century, creating a unique scenography. Every year, on 24 and 25 July, on the occasion of the feast of St. James, candles are lit on the steps that illuminate the city, each candle must be placed in the right place because all together they form a particular decoration. The city attends this moment in perfect silence, and it is still a tradition that is handed down from father to son.
---------------------------------------
La scalinata fu costruita nei primi anni del 1600 per collegare la parta antica della città di Caltagirone con la parte nuova costruita nella parte più alta della città, ma fu ultimata nella seconda metà del 1800.
Centoquarantadue scalini che formano una scala lunga circa 130 metri, ogni singolo gradino è decorato con piastrelle di ceramica ed in ogni alzata è posto un rivestimento di maiolica; le decorazioni riprendono motivi tipici siciliani che vanno dal X al XX secolo, creando una scenografia unica. Ogni anno, il 24 e 25 luglio, in occasione della festa di S. Giacomo sugli scalini vengono accesi dei lumini che illuminano la città, ogni lumino deve essere collocato al posto giusto perché tutti insieme formano una decorazione particolare. La città assiste a questo momento in perfetto silenzio, ed è tutt’oggi una tradizione che viene tramandata da padre in figlio.
www.youtube.com/watch?v=V8U3zIpyLQQ
forgive my translation:
Happiness
sudden dizziness
optical illusion
opportunity to take
park it
with no arrows or triangle
everyone is asleep already
and the lights is switched off
Yesterday to you
today I am the next
how long will
I ask others but
you see that
there was an invisible thread
it's gone away
the scenography remains
Happiness,
recall is a danger.
How to eliminate it,
a quintal of phosphorus
And indeed, in fact I do not forget
my photography
and the love if I do not have it
I would repeat everything that passed
including your lies
becouse I would find out them much earlier and with no help
Precipitates
from space a toy
high robotics
it's the fantastic future
I would repeat everything you gave me
including your lies
becouse I would find out them much earlier and with no help
Happiness
declared facsimile
by the judgment that
a goldsmith released,
the real one will be
without a scratch of rust.
Eye Film Institute, Amsterdam
Delugan Meissl Associated Architects
"Both the Eye Film Institute’s concept and urban implementation are based on an overlay of two creative disciplines which have at their core reality and fiction, illusion and real experience. The building concept becomes the story board, the architecture the scenography. By delivering a dynamic interplay, the building’s assigned role oscillates between acting as the urban scenery’s protagonist and as a dramaturgical element placed in front of a heterogeneous landscape setting." archdaily.com
In the rooms of Villa Pallavicino the reproductions of the original scenographies of the operas of Giuseppe Verdi are exhibited
Fondato nel 1932, il Museo Nazionale dell’Automobile è uno dei musei di carattere tecnico-scientifico più famosi al mondo. Contemporaneo e avveniristico, conserva una collezione tra le più rare e interessanti nel suo genere, con quasi 200 automobili originali di 80 diverse marche, ciascuna supportata da un sistema interattivo di approfondimento e contestualizzata da spettacolari scenografie.
________________________________________________
Founded in 1932, the National Automobile Museum is one of the most famous technical-scientific museums in the world. Contemporary and futuristic, it preserves a collection among the rarest and most interesting of its kind, with almost 200 original cars from 80 different brands, each supported by an interactive system of in-depth analysis and contextualized by spectacular scenographies.
The Staircase of the Royal Palace of Caserta is such a masterpiece of architecture and scenography, which became the role model of all the main following world staircases.
Please don't post on your comments your images or photostreams page or links to blogs, websites or flickriver: it will be deleted
Per favore non aggiungete vostre foto ai commenti, grazie: saranno cancellati
Installazione multimediale al Castello Sforzesco dal titolo “Leonardo a Milano”
Nella foto un grande Portale quattrocentesco del Banco Mediceo (stabilmente presente nelle collezioni del museo) fa da “finestra” a una scenografia di palazzi e case.
The Cathedral of San Giorgio di Ragusa (1740) is one of the most beautiful late-Baroque monuments among those in the city.
Designed by the architect Rosario Gagliardi, it dominates the panorama of Ibla with its neoclassical dome.
Its baroque façade and its imposing scenic staircase were the backdrop to several scenes of the TV series Inspector Montalbano.
Since 2002 it has been part of the Unesco serial site: Late Baroque cities of the Val di Noto.
One of the most impressive architectural elements of the church is its neoclassical dome.
Built in 1820, it is 43 meters high and supported by sixteen columns. When designing the Cathedral of San Giorgio, Rosario Gagliardi oriented the church a little further to the left of the square in front so that the dome was clearly visible.
To enhance the scenography of the Ragusa Cathedral is a majestic staircase also designed by Gagliardi. The imposing cast iron gate dates back to 1890 and was created by Angelo Paradiso of Acireale. It is made up of twenty-eight pillars with a quadrangular base decorated on both sides with circular medallions. Here the symbols of Saint George are depicted in high relief: the shield with the cross, the armour, the spear and the drum.
---------------------------
Il Duomo di San Giorgio di Ragusa (1740) è uno dei monumenti tardo-barocchi più belli tra quelli presenti in città.
Progettato dall’architetto Rosario Gagliardi domina, con la sua cupola neoclassica, il panorama di Ibla.
Il suo prospetto barocco e la sua imponente scalinata scenografica hanno fatto da sfondo a diverse scene della serie tv Il Commissario Montalbano.
Dal 2002 fa parte del sito seriale Unesco: Città tardo barocche del Val di Noto.
Uno degli elementi architettonici più imponenti della chiesa è la sua cupola neoclassica.
Realizzata nel 1820 è alta 43 metri ed è sostenuta da sedici colonne. Nel progettare il Duomo di San Giorgio, Rosario Gagliardi orientò la chiesa un po’ più a sinistra della piazza antistante in modo che la cupola fosse ben visibile.
Ad esaltare la scenografia del Duomo di Ragusa è una maestosa scalinata disegnata sempre da Gagliardi, L’imponente cancellata in ghisa è invece del 1890 e realizzata da Angelo Paradiso di Acireale. È formata da ventotto pilastri a base quadrangolare decorati su entrambi i lati da medaglioni circolari. Qui sono raffigurati in altorilievo i simboli di San Giorgio: lo scudo con la croce, la corazza, la lancia e il tamburo.
Questo "gigante" fa parte di un gruppo di 4 statue chiamate "Presenze", enormi figure umane, in polistirene e poliuretano espanso, rivestite in fibra di cemento.
Create dall'azienda Naturaliter nel 2011, queste sculture umane rappresentano dei giganti intenti a riemergere dai rifiuti, e sono sparse per il Comune di Peccioli.
Nel 2013, furono scelte, come scenografia, per lo spettacolo evento di quell'anno, al Teatro del Silenzio.
L'anno seguente fecero ritorno a Peccioli, in volo, trasportate da un elicottero, (una scena "felliniana" che a qualche amante del cinema potrebbe aver ricordato l’inizio del film "La Dolce Vita").
________________________________________________
This "giant" is part of a group of 4 statues called "Presenze", huge human figures, made of polystyrene and polyurethane foam, covered with cement fiber.
Created by the Naturaliter company in 2011, these human sculptures represent giants intent on re-emerging from waste, and are scattered around the Municipality of Peccioli.
In 2013, they were chosen as the scenography for the show event of that year, at the Teatro del Silenzio.
The following year they flew back to Peccioli, transported by helicopter, (a "Fellini-like" scene that some cinema lover might have reminded of the beginning of the film "La Dolce Vita").
The Palazzo dello Spagnolo is a Rococo or late-Baroque-style palace in Rione Sanità in central Naples. It is best known for its elaborate staircase.
The Palace was erected during 1738, commissioned by the Marchese di Poppano, Nicola Moscati, and is attributed to the architect Ferdinando Sanfelice. Through an indistinct façade one enters to an interior octagonal courtyard leads to a double ramp stairwell. The interior was richly stuccoed by Aniello Prezioso, using designs by Francesco Attanasio in 1742. The top floor was added at the end of the 18th century. In the following century, the family sold apartments in the lower floors to Tommaso Atienza, nicknamed lo Spagnolo (the Spaniard), whence the name of the palace.
The staircases with arches in shifting planes still grants an aura of complex scenography, despite its present cramped and dilapidated state: a grandiose entrance leading only to a decrepit palace. The nearby Palazzo San Felice is attributed to the same architect and has similar staircases.
The Eagles Nest above a beautiful beach. You can not hide from his look.
Scenography by Phoenix DaVinci
Musée des Transports en commun de Wallonie (MTCW), Liège.
Reproduction et scénographie du Rendez-vous d'Éphèse de Paul Delvaux dans le cadre de l'exposition "Chemins croisés, les tramways dans l’univers de Paul Delvaux"
Derrière la peinture, un tram MAN SE et Général Electric (celui représenté par l'artiste) utilisé à Liège par la société Tramways Est-Ouest de Liège et Extensions (E.O.) puis par la société Tramways Unifiés de Liège et extensions (T.U.L.E.) entre 1908 et 1954.
----------------------------------------------------------------------------------------------
Museum of Public Transport of Wallonia (MTCW), Liège.
Reproduction and scenography of Paul Delvaux's Rendez-vous d'Éphèse as part of the exhibition "Chemins croisés, les tramways dans l'univers de Paul Delvaux" (Crossing Paths: Tramways in the World of Paul Delvaux)
Behind the painting, a MAN SE and General Electric tram (the one depicted by the artist) used in Liège by the company Tramways Est-Ouest de Liège et Extensions (E.O.) and then by the company Tramways Unifiés de Liège et Extensions (T.U.L.E.) between 1908 and 1954.
Les Nuits Lumière sont devenues un rendez-vous attendu de tous. De juin à septembre la ville illumine le centre ville de ses lumières bleues. Des scénographies sont projetées sur les différentes façades des monuments emblématique du centre-historique.
En 1999, Bourges était l’une des premières villes à lancer son parcours lumineux gratuit, pour le passage à l’an 2000. 20 ans plus tard, c’est une toute nouvelle version des Nuits Lumière de Bourges qui met en valeur le patrimoine de la capitale du Berry. Nouvelles technologies et scénographies content l’histoire de la ville sur les façades de monuments emblématiques avec toujours comme fil rouge les éclairages bleus et une mascotte, l’ours lié à l’histoire de Jean de Berry. Les scénographies mettent en scène les différentes époques et personnages qui ont fait ce que la ville est aujourd’hui. Le parcours se termine par un tout nouveau site jusque-là jamais illuminé : la façade de l’ancien Hôtel de Ville et Palais de l’Archevêché, face à la Cathédrale classée au Patrimoine Mondial de l’Unesco.
The Nuits Lumière has become an event awaited by all. From June to September the city illuminates the city center with its blue lights. Scenographies are projected on the different facades of the emblematic monuments of the historic center.
In 1999, Bourges was one of the first cities to launch its free light trail, for the transition to the year 2000. 20 years later, it is a brand new version of the Nuits Lumière de Bourges which highlights the heritage from the capital of Berry. New technologies and scenographies tell the story of the city on the facades of emblematic monuments, always with blue lighting as a common thread and a mascot, the bear linked to the history of Jean de Berry. The scenographies showcase the different eras and characters that made the city what it is today. The route ends with a brand new site never before illuminated: the facade of the old Town Hall and Archbishop's Palace, facing the Cathedral, listed as World Heritage by Unesco.
Apologies for repeating myself, but when I updated my home page I suddenly felt that these two needed to be together. Not in the least because of how they reflect the ideas behind the design of this pavilion.
"For the Sonsbeek pavilion Van Eyck provided an elementary structure of six parallel walls made out of concrete blocks, which he manipulated into a surprisingly rich and labyrinthine interior by inserting semicircular niches and apses into the rectilinear structure. Van Eyck described the result as an urban space intentionally conceived in opposition to the natural idyll of the nineteenth-century park, which followed the formal language of the English landscape garden.
The scenography aimed to create the experience of an almost spontaneous encounter with the artworks on display. This was not only communicated through the spatial typology of streets, alleys and small piazzas, but it was also crucially achieved by a relatively high density of artworks gathered together in the narrow spaces which forced one to walk by the sculptures in close proximity."
Artist: Tomas Saraceno at The Shed, Hudson Yards
From The Shed's website:
A Thermodynamic Imaginary, which includes two projected video works that are also described here. Its mystifying, suspended geometries of fantastic angles and curvatures cast their shadows in an ever-changing lightscape, where all is floating, revealing, enlarging, and fading away. In the dispersal of light, visitors confuse their shadows with their neighbors’ as gestures overlap, mirror, and intersect in a black-and-white scenography. Bodies and sculptures merge with the other entities in the room, be they human or nonhuman, organic or constructed.
Les 9 toiles présentées sont donc conçues comme une décomposition du vocabulaire cinétique : couleurs, lumières, formes et suggestion du mouvement sont évoqués, sans toutefois parvenir aux caractéristiques de ce mouvement (jeux d'optique, sensation d'expansion dans l'espace, etc.), générant ainsi interrogations et frustrations chez le spectateur.La vidéo quant à elle, est construite comme une augmentation du vocabulaire cinétique1 : la peinture a disparu, le mouvement n'est plus suggéré, il existe concrètement à travers l'animation visuelle et la scénographie. L'exagération distillée avec humour par le duo de frères, se présente au public comme une véritable expérience, un parcours initiatique conçu pour provoquer une réaction physique chez le spectateur : les éléments plastiques sont perçus par l'œil, éprouvés par le corps et doivent générer à terme, des projections mentales.
The 9 paintings presented are thus conceived as a decomposition of the kinetic vocabulary : colors, lights, forms and suggestion of the movement are evoked, without however reaching the characteristics of this movement (optical games, sensation of expansion in the space, etc.), thus generating interrogations and frustrations for the viewer. The video, for its part, is constructed as an increase in the kinetic vocabulary: the painting has disappeared, the movement is no longer suggested, it exists concretely throughout the world. visual animation and scenography. The exaggeration distilled with humor by the duo of brothers, is presented to the public as a real experience, an initiatory course designed to provoke a physical reaction in the viewer: the plastic elements are perceived by the eye, experienced by the body and must eventually generate mental projections.
Ending up in the universe
Of oblivion
If love was true
Love can never die
His traces are
Indelible as
A scar
Love can hide deep inside
Darkness of suffering
Overlay it on light scenography
And without music
But
Love will always be there
Like a rose though
Withered
Its petals seemingly lifeless
They will continue to smell like
The first day
(my)
Les Nuits Lumière sont devenues un rendez-vous attendu de tous. De juin à septembre la ville illumine le centre ville de ses lumières bleues. Des scénographies sont projetées sur les différentes façades des monuments emblématique du centre-historique.
En 1999, Bourges était l’une des premières villes à lancer son parcours lumineux gratuit, pour le passage à l’an 2000. 20 ans plus tard, c’est une toute nouvelle version des Nuits Lumière de Bourges qui met en valeur le patrimoine de la capitale du Berry. Nouvelles technologies et scénographies content l’histoire de la ville sur les façades de monuments emblématiques avec toujours comme fil rouge les éclairages bleus et une mascotte, l’ours lié à l’histoire de Jean de Berry. Les scénographies mettent en scène les différentes époques et personnages qui ont fait ce que la ville est aujourd’hui. Le parcours se termine par un tout nouveau site jusque-là jamais illuminé : la façade de l’ancien Hôtel de Ville et Palais de l’Archevêché, face à la Cathédrale classée au Patrimoine Mondial de l’Unesco.
The Nuits Lumière has become an event awaited by all. From June to September the city illuminates the city center with its blue lights. Scenographies are projected on the different facades of the emblematic monuments of the historic center.
In 1999, Bourges was one of the first cities to launch its free light trail, for the transition to the year 2000. 20 years later, it is a brand new version of the Nuits Lumière de Bourges which highlights the heritage from the capital of Berry. New technologies and scenographies tell the story of the city on the facades of emblematic monuments, always with blue lighting as a common thread and a mascot, the bear linked to the history of Jean de Berry. The scenographies showcase the different eras and characters that made the city what it is today. The route ends with a brand new site never before illuminated: the facade of the old Town Hall and Archbishop's Palace, facing the Cathedral, listed as World Heritage by Unesco.
Née en 1984 à Damas en Syrie, Maryam Samaan pratique les arts plastiques et scéniques. Diplômée des Beaux-arts de Damas en peinture, de l’Institut supérieur d’art dramatique de Damas en scénographie, elle vient en France en 2009 poursuivre ses études à l’université Sorbonne Nouvelle – Paris 3 en études théâtrales et à L’école européenne supérieure d’art de Bretagne (EESAB) à Rennes en design. Elle obtient l’asile et part travailler trois ans au Liban (2016-2019) dans les camps de réfugiés avec et pour les enfants (spectacles de marionnettes, workshops et expositions de dessins). De retour en France fin 2019, elle devient membre de l’atelier des artistes en exil, signe le spectacle de marionnettes Rupture, réalise des ateliers pour le Mac Val et dans des collèges, développe le projet participatif Tricots d’âmes
Born in 1984 in Damascus, Syria, Maryam Samaan practices plastic and scenic arts. Graduated from the Fine Arts of Damascus in painting, from the Higher Institute of Dramatic Art in Damascus in scenography, she came to France in 2009 to continue her studies at the Sorbonne Nouvelle University – Paris 3 in theatrical studies and at the European School of Art of Brittany (EESAB) in Rennes in design. She obtained asylum and went to work for three years in Lebanon (2016-2019) in refugee camps with and for children (puppet shows, workshops and drawing exhibitions). Back in France at the end of 2019, she became a member of the workshop of artists in exile, signed the puppet show Rupture, carried out workshops for Mac Val and in colleges, developed the participatory project Tricots d’âmes
On the right, behind the barriers, there are the sets for the operas that are performed in the Arena.
Les 9 toiles présentées sont donc conçues comme une décomposition du vocabulaire cinétique : couleurs, lumières, formes et suggestion du mouvement sont évoqués, sans toutefois parvenir aux caractéristiques de ce mouvement (jeux d'optique, sensation d'expansion dans l'espace, etc.), générant ainsi interrogations et frustrations chez le spectateur.La vidéo quant à elle, est construite comme une augmentation du vocabulaire cinétique1 : la peinture a disparu, le mouvement n'est plus suggéré, il existe concrètement à travers l'animation visuelle et la scénographie. L'exagération distillée avec humour par le duo de frères, se présente au public comme une véritable expérience, un parcours initiatique conçu pour provoquer une réaction physique chez le spectateur : les éléments plastiques sont perçus par l'œil, éprouvés par le corps et doivent générer à terme, des projections mentales.
The 9 paintings presented are thus conceived as a decomposition of the kinetic vocabulary : colors, lights, forms and suggestion of the movement are evoked, without however reaching the characteristics of this movement (optical games, sensation of expansion in the space, etc.), thus generating interrogations and frustrations for the viewer. The video, for its part, is constructed as an increase in the kinetic vocabulary: the painting has disappeared, the movement is no longer suggested, it exists concretely throughout the world. visual animation and scenography. The exaggeration distilled with humor by the duo of brothers, is presented to the public as a real experience, an initiatory course designed to provoke a physical reaction in the viewer: the plastic elements are perceived by the eye, experienced by the body and must eventually generate mental projections.
Le musé des Confluence .
Le musée des Confluences est un musée d'histoire naturelle, d'anthropologie, des sociétés et des civilisations situé à Lyon en Auvergne-Rhône-Alpes. Héritier du Musée d'histoire naturelle Guimet de Lyon, il est hébergé dans un bâtiment de style déconstructiviste de l’agence d'architecture Coop Himmelb(l)au de 20142, dans le quartier de La Confluence, sur la pointe sud de la Presqu'île de Lyon, au confluent du Rhône et de la Saône (2e arrondissement de Lyon).
Il en reprend les collections et a pour vocation de compléter son fonds par des acquisitions. Il fait l'objet de dépôts et prêts de musées et institutions diverses (musées d'art et de la culture, jardins botaniques, fondations, congrégations religieuses...) pour ses espaces d'exposition temporaires et permanentes. Le musée a une activité orientée vers la scénographie (coopération avec des salles de spectacle musical et de théâtre) et a débuté celle d'éditeur de livres (romans autour de quelques objets fameux de sa collection en collaboration avec des auteurs de textes littéraires ou de dessins et de photographies).
The museum of Confluence
The Museum of Confluences is a museum of natural history, anthropology, societies and civilizations located in Lyon in the Auvergne-Rhône-Alpes. Heir to the Guimet Museum of Natural History in Lyon, it is housed in a deconstructivist style building of the architectural firm Coop Himmelb (l) in 20142, in the district of La Confluence, on the southern tip of the Presqu Lyon, at the confluence of the Rhône and Saône rivers (2nd arrondissement of Lyon).
He takes over the collections and aims to supplement his fund with acquisitions. It is the subject of deposits and loans from museums and various institutions (museums of art and culture, botanical gardens, foundations, religious congregations ...) for its temporary and permanent exhibition spaces. The museum has an activity oriented towards the scenography (cooperation with theaters and musical theater) and began that of publisher of books (novels around some famous objects of his collection in collaboration with authors of literary texts or drawings and photographs).