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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).
Homage to Mark Hollis
Mark David Hollis (4 January 1955 – 25 February 2019)[a] was an English musician and singer-songwriter. He achieved commercial success and critical acclaim in the 1980s and 1990s as the co-founder, lead singer and principal songwriter of the band Talk Talk. Hollis wrote or co-wrote most of Talk Talk's music—including hits like "It's My Life" and "Life's What You Make It"—and in later works developed an experimental, contemplative style.
Talk Talk disbanded in 1991. In 1998, Hollis released an eponymous solo debut album, Mark Hollis. In an interview at the time, he said: "To me the ultimate ambition is to make music that doesn't have a use by date, that goes beyond your own time." He also said: "Technique has never been an important thing to me. Feeling always has been, and always will be, above technique."
As of 1998, Hollis lived in Wimbledon, London with his wife Flick (a teacher) and their two sons. Hollis' desire to spend more time with his family was a major reason that Talk Talk stopped touring after 1986, and his reason for retiring from the music industry in 1998.
From Wikipedia
We had a wonderful September and now we are approaching the longest season of the year.
Yes, because there are now two seasons; long autumn with sporadic devastating winter accents and a shorter summer with sporadic devastating spring accents ....
A warm greeting, Flickr friends!!
I hope you're fine. : )
The photo is of my sister! I created the scenography : )
Explore#100 26 settembre 2021
Shot in Chartres - Eure & Loir - France -
Chartres is universally known for its cathedral listed as World Heritage by UNESCO. For several years "Chartres en Lumières" reveals the cultural and architectural wealth of a city that brightly shines every night from dusk until 1 am.
Comprised of 26 original lighting and video scenographies, this patrimonial path of light will be presented from April 11 till October 10, 2015.
"Lights of Chartres" has become one of the major events in the city, through its spectacular 183 consecutive evenings of light shows... Entirely free !
www.chartresenlumieres.com/en/
Please see this video full screen :
Son édification a débuté en septembre 2009, et s'achève en 2015 sur le parc de la Villette à Paris.
Le maître d’ouvrage, la « Philharmonie de Paris », a confié le projet du nouveau bâtiment aux Ateliers Jean Nouvel en avril 2007 à l’issue du concours de maîtrise d’œuvre.
Jean Nouvel s'est entouré de Brigitte Métra comme architecte associée pour la salle de concert, des acousticiens Marshall Day Acoustics (conception acoustique de la salle), Nagata Acoustics (conseil de l'architecte et essais sur maquette)11 et Studio DAP pour l'acoustique du bâtiment. Les Ateliers Jean Nouvel se sont entourés de Jacques Le Marquet et ducks scéno pour la scénographie de la salle.
Le projet s'inscrit dans le Parc de la Villette, œuvre de l’architecte Bernard Tschumi,
Le projet s'inscrit dans le Parc de la Villette, œuvre de l’architecte Bernard Tschumi, cf Wikipedia
Its construction began in September 2009, and is completed in 2015 on the Parc de la Villette in Paris. The client, the "Philharmonie de Paris", entrusted the project of the new building to the Ateliers Jean Nouvel in April 2007 at the end of the project management competition. Jean Nouvel surrounded himself with Brigitte Métra as associate architect for the concert hall, acousticians Marshall Day Acoustics (acoustic design of the room), Nagata Acoustics (architect's advice and tests on model)11 and Studio DAP for the acoustics of the building. The Ateliers Jean Nouvel surrounded themselves with Jacques Le Marquet and ducks scéno for the scenography of the room. The project is part of the Parc de la Villette, the work of the architect Bernard Tschumi,
I am no longer an impersonal pronoun. “I” no longer fit in pigeon holes. “I” am no longer part of what “we” have built and seemed good to us. For us. For me. Locked in a cage, the quest is a quest for freedom. Emancipation.
Committed to a movement of revolt, we say no. Our bodies say no. No to impersonal pronouns, no to “we”. “I” is at the heart of a chaotic situation: me versus the others, me versus the world.
The fence seems insurmountable. How do you break away from this whole to which we all belong? In which we now feel out of place. We are at war. At war against ourselves. Commitment is stronger. Resistance is painful. The gesture is violent and liberating and draws its strength from the roots of hip-hop.
ARTIST’S NOTE
« Popular and interactive, D-construction questions the profound nature of social links in the public space. What unites us? Separates us? Federates us? To what extent are we able to question the territories, borders and institutions?
By physically placing the spectators at the heart of the play and urban scenography, we invite them to get involved. To live the experience of commitment and revolt.
Immersed in the mass, the dancers create confusion in interpersonal relationships. They seek a connection with the audience, they aim to surprise. They jostle and prod into reaction. This is why I wanted to leave an important place to improvisation. Exposed to the audience at all times, even when recuperating, the dancers must be able to adjust their acting at any moment. Supported by the music, their only language is the language of the body. I wanted everyone to have their own. Free gestures. A danced identity. »
This painting of a dramatic storm and its pendant originally belonged to the celebrated Englishman Clive of India,who purchased them directly from the artist in 1773.Sophisticated viewers would have recognized that its turbulent composition of boats caught in power waves breaking against the rocky coasts contrasts sharply with the calm of its companion painting.Such charged compositions were inspired in part by the landscapes of Salvator Rosa,a Neapolitan painter of the seventeenth century,whose paintings were especially appreciated by British collectors.Landscapes such as this had a strong influence on contemporary scenography and theatrical stage effects,and they also reflect science's interest in studying such awe-inspiring natural occurrences as thunder and lightning.The experiments of the American Benjamin Franklin,who made the identification of lightning with electricity in the early 1750s,were well known in Britain at the time.
The Artist's House (Kyiv) is a building with exhibition halls that originally belonged to the Union of Soviet Artists of Ukraine . Part of the modest ensemble of the modern Lviv Square of the capital. The seven bronze allegorical figures that decorate the building are symbols of art history, scenography, sculpture, architecture, painting, graphics, and decorative and applied arts.
I am no longer an impersonal pronoun. “I” no longer fit in pigeon holes. “I” am no longer part of what “we” have built and seemed good to us. For us. For me. Locked in a cage, the quest is a quest for freedom. Emancipation.
Committed to a movement of revolt, we say no. Our bodies say no. No to impersonal pronouns, no to “we”. “I” is at the heart of a chaotic situation: me versus the others, me versus the world.
The fence seems insurmountable. How do you break away from this whole to which we all belong? In which we now feel out of place. We are at war. At war against ourselves. Commitment is stronger. Resistance is painful. The gesture is violent and liberating and draws its strength from the roots of hip-hop.
ARTIST’S NOTE
« Popular and interactive, D-construction questions the profound nature of social links in the public space. What unites us? Separates us? Federates us? To what extent are we able to question the territories, borders and institutions?
By physically placing the spectators at the heart of the play and urban scenography, we invite them to get involved. To live the experience of commitment and revolt.
Immersed in the mass, the dancers create confusion in interpersonal relationships. They seek a connection with the audience, they aim to surprise. They jostle and prod into reaction. This is why I wanted to leave an important place to improvisation. Exposed to the audience at all times, even when recuperating, the dancers must be able to adjust their acting at any moment. Supported by the music, their only language is the language of the body. I wanted everyone to have their own. Free gestures. A danced identity. »
Mehdi Meghari, choreographer
Julian Charrière
Controlled Burn
The exhibition stages visions of world(s) near and far that oscillate between Traum and trauma ...
An immersive scenography, centered around an igneous dream-machine (Vertigo, 2021).
Set amid an ensemble of curtains (Night club associations), haze, and a fountain, Charrière remixes the tripped-out spirit of Beat Artist Brion Gysin’s original device (1962) for our twenty-first-century crisis anew.
The first historical object was a rotating metal cylinder out of which beams of light were shot through various apertures.
The visual stimuli given out by its stroboscopic flickering (meant to be viewed through closed eyelids) was supposed to produce an alpha wave mental state in the user.
- Reminds me of psychedelic light that was used later in the sixties at events for psychedelic music visualizations (best under drugs). -
Building on such play of flash and darkness, Charrière’s stone version incorporates an architectural element to facilitate group sleep. Here, in the round, users must rest their heads on mineral pillows (here missing) in order to receive the vision—a hard or otherwise disciplined version of repose and revelation in tune with our times.
Soothsayers circles around dream states and world pictures enabled by the strange light of extractive modernity.
Throughout, Charrière’s exhibition stages a confrontation between the hardness of stone and the porosity of our imagination.
Deutsch:
Die Ausstellung inszeniert Visionen naher und ferner Welt(en), die zwischen Traum und Trauma oszillieren ...
Eine immersive Szenografie, in deren Mittelpunkt eine eisige Traummaschine (Vertigo, 2021) steht.
Inmitten eines Ensembles aus Vorhängen, Dunst und einem Springbrunnen (Nachtclub-Assoziationen) mischt Charrière den verrückten Geist des Beatkünstlers Brion Gysins ursprünglichem Gerät (1962) für unsere Krise im einundzwanzigsten Jahrhundert, neu.
Das erste historische Objekt war ein rotierender Metallzylinder, aus dem Lichtstrahlen durch verschiedene Öffnungen geschossen wurden.
Die visuellen Reize des stroboskopischen Flackerns (das durch geschlossene Augenlider betrachtet werden sollte) sollten beim Benutzer einen Alphawellen-Zustand hervorrufen.
- Erinnert mich an psychodelisches Licht, dass später in den Sechzigern bei Events zur psychedelischen Musikvisualisierungen (am besten unter Drogen) eingesetzt wurde. -
Charrières Steinversion baut auf diesem Spiel von Licht und Dunkelheit auf und enthält ein architektonisches Element, das den Gruppenschlaf erleichtern soll. Hier müssen die Benutzer ihre Köpfe auf mineralischen Kissen (die hier fehlen) ruhen lassen, um die Vision zu empfangen - eine harte oder anderweitig disziplinierte Version von Ruhe und Offenbarung im Einklang mit unserer Zeit.
Der Wahrsager umkreist Traumzustände und Weltbilder, die durch das seltsame Licht der extraktiven Moderne ermöglicht werden.
Charrière inszeniert in seiner Ausstellung eine Konfrontation zwischen der Härte des Steins und der Porosität unserer Vorstellungskraft.
_V0A6214_pt3
The Umbria Studios are located in Papigno abandoned calcium carbide factory. Popular with Roberto Benigni, who used it for three of his movies: La vita è bella, Pinocchio and La tigre e la neve.
Ainda que nada percebas dos efeitos da tua irradiação,
algures, é certo, brotam flores, cantam passarinhos,
brilham olhos, sorriem lábios infantis,
rejubilam corações humanos
-porque tu, herói anônimo, existes,
Vives...
Oras...
Amas...
Sofres...
[Huberto Rohden]
The film is the symbol of the German expressionist movement that uses its poetics, the difficult distinction between reality and hallucination whose scenography tends to psychedelia. It is a silent film from 1920 directed by Robert Wiene
Excerpt from art.parkhyatttoronto.com/art/mixer:
Mixer envisions its installation as a stage inhabited by a pair of cast bronze figures engaged in dialogue with passersby, hotel visitors, and each other. Bold and distinctive in silhouette and richly finished in a lustrous deep gold patina, the sculptural ensemble forms a vivid and iconic tableau establishing the Park Hyatt as a singular destination. As a public artwork, Mixer is monumental in scale – visible from afar and instantly recognizable. Open and intimate, the work invites visitors to experience the artwork fully and in the round. People become a critical part of the scenography, which unfolds within the architectural proscenium and extends out into the city. Mixer finds shape and expression in the rich history of Park Hyatt Toronto, merging classical figurative allusions with industrial, artisanal, and organic forms culled from glassware, vessels, and couture. The forms also stem from a reinterpretation of the artistic legacy of Henry Moore, a seminal figure in the history of the modern era in Toronto. Mixer captures the allure of social encounters and celebrates imbibing in all the senses. They form a continuity between the illustrious past of Park Hyatt Toronto and its present renaissance as an exemplar of elegance and luxury. The hotel’s rooftop lounge and its 50 years storied past was the inspiration of the Mixer. An Te Liu drew inspiration from his lasting moments in the bar while studying Art History (and Duchamp) at Victoria College, U of T.
Teatro Comunale Bologna
Aprile 2017
La Voix Humaine
Regia Emma Dante
Una donna Anna Caterina Antonacci
Son édification a débuté en septembre 2009, et s'achève en 2015 sur le parc de la Villette à Paris.
Le maître d’ouvrage, la « Philharmonie de Paris », a confié le projet du nouveau bâtiment aux Ateliers Jean Nouvel en avril 2007 à l’issue du concours de maîtrise d’œuvre.
Jean Nouvel s'est entouré de Brigitte Métra comme architecte associée pour la salle de concert, des acousticiens Marshall Day Acoustics (conception acoustique de la salle), Nagata Acoustics (conseil de l'architecte et essais sur maquette)11 et Studio DAP pour l'acoustique du bâtiment. Les Ateliers Jean Nouvel se sont entourés de Jacques Le Marquet et ducks scéno pour la scénographie de la salle.
Le projet s'inscrit dans le Parc de la Villette, œuvre de l’architecte Bernard Tschumi,
Jean Nouvel s'est entouré de Brigitte Métra comme architecte associée pour la salle de concert, des acousticiens Marshall Day Acoustics (conception acoustique de la salle), Nagata Acoustics (conseil de l'architecte et essais sur maquette)11 et Studio DAP pour l'acoustique du bâtiment. Les Ateliers Jean Nouvel se sont entourés de Jacques Le Marquet et ducks scéno pour la scénographie de la salle.
Le projet s'inscrit dans le Parc de la Villette, œuvre de l’architecte Bernard Tschumi, cf Wikipedia
Its construction began in September 2009, and is completed in 2015 on the Parc de la Villette in Paris. The client, the "Philharmonie de Paris", entrusted the project of the new building to the Ateliers Jean Nouvel in April 2007 at the end of the project management competition. Jean Nouvel surrounded himself with Brigitte Métra as associate architect for the concert hall, acousticians Marshall Day Acoustics (acoustic design of the room), Nagata Acoustics (architect's advice and tests on model)11 and Studio DAP for the acoustics of the building. The Ateliers Jean Nouvel surrounded themselves with Jacques Le Marquet and ducks scéno for the scenography of the room. The project is part of the Parc de la Villette, the work of the architect Bernard Tschumi,
I am endlessly grateful to my king for my new home. Only a King can make me feel like a princess.
Scenography by Phoenix DaVinci
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.
Last Building ''FROGMORE by Terry Fotherington
Land : maps.secondlife.com/secondlife/Frogmore/6/62/23
Landscaping-decoration-scenography-complete sim-private land-
He decorate your place according to your tastes and your desires
the price may vary according to demand
only the field or the field and the complete decoration
Facebook : www.facebook.com/Terry-Fotherington-Scenographer-10589602...
Flickr : www.flickr.com/photos/109934317@N08/?fbclid=IwAR2GsxBgggx...
Flickr Group Frogmore : www.flickr.com/groups/14677915@N21/
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KL Production
Casa da Música (English: House of Music) is a major concert hall space in Porto, Portugal, which houses the cultural institution of the same name with its three orchestras Orquestra Nacional do Porto, Orquestra Barroca and Remix Ensemble. It was designed by the Dutch architect Rem Koolhaas with Office for Metropolitan Architecture in association with the agency of scenography dUCKS scéno, the acoustician Renz Van Luxemburg and Arup-AFA. Intended as part of Porto's designation as the European Culture Capital in 2001, it was only finished in 2005. It immediately became an icon in the city. Featuring a 1,300-seat auditorium suffused with daylight, it is the only concert hall in the world with two walls made entirely of glass. (source : wikipedia)
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Teatro Comunale Bologna
Aprile 2017
La Voix Humaine
Regia Emma Dante
Una donna Anna Caterina Antonacci
Teatro Comunale Bologna
Aprile 2017
La Voix Humaine
Regia Emma Dante
Una donna Anna Caterina Antonacci
This time at bohemian Blue Orange
maps.secondlife.com/secondlife/Empire%20State%20Island/21...
Interpretation Of Music Inspired By German Expressionist Old Fantasy Movies And Futurist Scenography.
Music - Dj Lucas
(industrial, electronic, avant garde, art-noise)
Stage by Willem Koba and In Inaka
Teatro Comunale Bologna
Aprile 2017
La Voix Humaine
Regia Emma Dante
Una donna Anna Caterina Antonacci
Back to the past. This is my first entry for the second round of the #ironForge. Unfortunately I was sick and the deadline is tomorrow, but I don't hold back. I thought the TAP was good for trying to build a velocipede. In fact, both the front and rear forks were made using that piece combined with others. So I thought of recreating a small scenography, so I set up a lamppost with four lamps and put everything in front of the wall of a building. At that point, I inserted a beautiful window complete with a grate, obviously leaning on the precious tribute of the TAP piece.
I saw this light art installation online and couldn't work out how big it was from the photos, so I thought it needed a sense of scale; waiting for these people in the shot to stand still during the 0.3 seconds' exposure with the colour changing lights hitting the right combination was tricky!
The blurb:
"This large light installation comes to the UK for the first time for Winter Lights at Canary Wharf. On entering OVO, visitors are surrounded by light and soundscapes. Its dynamic form is a combination of 24 crossed spiral pairs based on the Golden Proportion that is present everywhere in the universe, from infinitely small in the DNA helix to infinitely large in the cyclical movement of planets and galaxies. Four artists created OVO: Mostafa Hadi and Pol Marchandise (Odeaubois) designed the sculpture; Koert Vermeulen (ACT Lighting Design) conceived the lighting design and Marcos Viñals Bassols (Art Director) shaped the global scenography."
The Opera Turandot performed in the limestone quarry Dalhalla.
Scenography and directions: Bengt Gomér.
dalhalla.se (website also in English)
Shot in Chartres - Eure & Loir - France -
Chartres is universally known for its cathedral listed as World Heritage by UNESCO. For several years "Chartres en Lumières" reveals the cultural and architectural wealth of a city that brightly shines every night from dusk until 1 am.
Comprised of 26 original lighting and video scenographies, this patrimonial path of light will be presented from April 11 till October 10, 2015.
"Lights of Chartres" has become one of the major events in the city, through its spectacular 183 consecutive evenings of light shows... Entirely free !
www.chartresenlumieres.com/en/
Please see this video full screen :
Saggio di danza della scuola "Petite Etoile" diretta da Martina Segato (mia nipote) - Scenografia di Joannis Antoniadis (mio marito).
"Quando non puoi danzare tu, fai danzare la tua anima."
(Delbrel)
beautiful ballet and engaging performance.
‘Pagan Fantasy Two"
beautiful ballet and engaging performance.
Direction and scenography by Virginia Stella
Noir'Wen CITY, Noir Wen (78, 25, 2000) - Adult
#feel&focus #VirginiaStella
Teatro Comunale Bologna
Aprile 2017
La Voix Humaine
Regia Emma Dante
Una donna Anna Caterina Antonacci
Romeo e Giulietta
Balletto in tre atti di Sergej Prokof’ev
Compagnia Čajkovskij Opera di Perm
Coreografia Sir Kenneth MacMillan
Scene Mauro Carosi
Costumi Odette Nicoletti
Allestimento e Compagnia Čajkovskij Opera di Perm
Orchestra e Tecnici del Teatro Comunale di Bologna
Teatro Comunale Bologna
Aprile 2017
La Voix Humaine
Regia Emma Dante
Una donna Anna Caterina Antonacci
O caminho é o que importa, não o seu fim. Se viajar depressa demais, vai perder aquilo que o fez viajar.
(Louis L'Amour)
Ruinas da antiga redução de São Miguel Arcanjo atual "São Miguel das Missões (Jesuit Missions)"
In the middle of nowhere, as was the pampa those times of the seventeenth century, the Jesuits promoted an amazing feat of erecting a church in European size.
The Ruins of São Miguel das Missões is a Unesco World Heritage site located in the municipality of São Miguel das Missões, in the northwestern region of Rio Grande do Sul state, in southern Brazil.
This time at bohemian Blue Orange
maps.secondlife.com/secondlife/Empire%20State%20Island/21...
Interpretation Of Music Inspired By German Expressionist Old Fantasy Movies And Futurist Scenography.
Music - Dj Lucas
(industrial, electronic, avant garde, art-noise)
Stage by Willem Koba and In Inaka
Wearing:
Ison Tuxedo
AZOURY Extravagance Heels
Unorthodox Smith Hair
Overview
Conceived mainly for big open spaces, CONTROL NO CONTROL is a large-scale interactive installation in a minimalistic geometric structure, true to Studio Iregular’s signature style. Created in 2011 in Montreal for Igloofest, it has since been presented over 35 times worldwide.
CONTROL NO CONTROL is a big LED cube that reacts to everything that touches it and every movement performed on its surface. Streamlined patterns and generative sound emerge as interaction occurs. Allowing 48 people to participate at the same time, the experience is extremely intuitive, leading to quick audience engagement and prolonged interactions.
About Iregular
Founded in Montreal in 2010, new media art studio Iregular creates audiovisual installations, large-scale sculptures, architectural projections and scenographies, focusing on interactive and immersive experiences. At the crossroads between art and technology, these artworks experiment with geometry, light, sound, typography, mathematics, algorithms, communication protocols and AI. Iregular also develops its proprietary technologies.
The studio works with the infinite and random combinations produced by interactive systems that the audience ultimately influences and transforms. Interaction is at the core of it all. Only the relationship between the people and the piece finalizes the artwork and gives it meaning.
Iregular’s work has shown in more than 30 countries, notably including a solo exhibition in the Van Abbemuseum in the Netherlands, five solo exhibitions in Montreal, as well as other important presentations at Mutek (Montreal and Mexico), BIAN (Montreal), Mapping Festival (Switzerland), Chroniques Biennale (France), LEV Festival (Spain), Draaimolen (The Netherlands), Elektra (Montreal), Glow (The Netherlands), Lumiere (United Kingdom), Dubai Design Week (UAE), B39 (South Korea), Arttech (Colombia), Festival du Nouveau Cinéma (Montreal), and Aurora Festival (USA). Their creations are also in the collections of the WNDR museum in Chicago (USA), the Museo de Antioquia in Medellín (Colombia) and the Collection du Mouvement Desjardins in Montreal. Source: harbourfrontcentre.com/event/control-no-control/
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This is definitely my weirdest symmetry shot. It's taken at Holborn station and feels like it has been lifted straight out of a Wes Anderson movie.
Luke Agbaimoni - Tubemapper.com
Le rituel de la mort est scénographie autour d’un arbre – abattu avant qu’il ne tombe en raison de son mauvais état phytosanitaire. Alors que le tronc déposé sur un lit de pommes de pins se décompose, déjà, un jeune chêne lâche ses premières feuilles. Eternel recommencement… Ici, faire œuvre relève d’un processus de délégation où la nature se charge du renouveau de la vie.
À différents moments de l’année, l’artiste imagine de rendre hommage au chêne par une cérémonie consistant à modifiant la nature du recouvrement du sol. Glands, noyaux, feuilles mortes, graines locales apporteront une ponctuation colorée dans le calendrier des saisons.
The ritual of death is scenography around a tree - shot down before it falls due to his poor health status. While the trunk placed on a bed of pine cones decomposes, already a young oak loose its first leaves. Eternal recommencement ... Here, to work is part of a delegation process where nature takes care of the renewal of life.
At different times of the year, the artist imagines to honor the oak with a ceremony consisting in modifying the nature of the covering of the soil. Acorns, kernels, leaves, seeds bring a colorful local punctuation in the seasonal calendar.