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Du 25 March au 10 April 2016
«ADA» uprose in nowadays spirit of biotechnology. She is a vital performance-machine, and her paterns of lines and points, get more and more complex as the number of the audience playing-in encreases. Leaving traces which neither the artist nor visitors are able to decipher, not to mention «ADA» herself either. And still, «ADA's» work is unmistakable potentially humane, because the only available decoding method for these signs and drawings , is the association which our brain corresponds at the most when it sleeps: the truculent jazziness of our dreams.
« They are a new development of my interest in active perception of the viewer. They are an extention of earlier still images and installations, dealing with the process of making images (like the series of fotograms) speed, ghosts, light, structure and construction, reality and tricks. The device is adapted from the bulb boards and their full power is 10 000 watts. More like a lamp than a screen, they provide heat and light, literally enlightening both vision and viewer.
The short films are chips burned and plugged in the base of the 9 machines. The 1024 bulbs are providing a very low definition image, yet a very precise gray scale. » Xavier Veilhan
'Memory Lane' was inspired from several locations in the districts of Ribadesella and Llanes, Asturias (Spain) which shape Félix Luque and Iñigo Bilbao's childhood and youth memories. Turned into data via 3D scanning and modelling, these locations served as mould to the sculpted pieces the final installation consists of. The installation forms in this way a coherent unit: sand rock and landscape – slowly shifting together and coming through as hyper-realist as well as clearly artificial – are two aspects of the same investigation on memory and space, on perception of reality and on the human capacity of generating fiction, either by means of a simple child's game or of a complex technological process
The Nail Polish Inferno "Born Digital"
In this Oculus Rift game, you literally step into a virtual world: The Nail Polish Inferno. Shady characters from Lillemon’s animations and art projects mess around, colourful and unpredictable. In his work, Lillemon looks at the digital media world and all extremes that daily pass through our field of vision: vain, semi-celebrities, grotesque figures, advertising glitter. In this virtual reality, everything comes together in a surreal spectacle that you can enter yourself, virtually. Originally presented at the MOTI
Kris Verdonck makes in ISOS reference to the world and characters depicted in the apocalyptic science-fiction novels by James Graham Ballard (GB, 1930-2009). Ballard portrays in his Magic Realistic stories and autobiographical works, intelligent and visionary descriptions of a future world which increasingly resembles our contemporary neoliberal society. ISOS consists of 3D videos shown in nine view-boxes where virtual sculptures perform in the strained socio-political situation that is called suburbia. The audio-visual installation acts as a short film edited in the viewer's imagination.
Is what we see really what it seems ? BOGUS I – a synonym for ‘fake’ – has a mysterious, ghostlike appearance. It is founded on an extensive study of materials and research into the dynamics of inflatable sculptures. It grows and then shrinks until it fits back into the box it came from. The birth and disappearance of a twinkling sculpture; this is the ultimate magic. The name BOGUS I is also reminiscent of the word ‘bogey’, an evil spirit, a source of fear; BOGUS I is a materialisation of the false ghosts that pursue us.
An installation that makes visible the energy of informations contained between land and space. The antenna detects and make perceptible the broad spectrum of electromagnetic waves passing near its axis: wifi, airplanes, radio, storm, satellites, morse signal, amateur radio, wandering star, undefined interference… The mass of the received signals is transformed in image and projected on the wall.
This sculpture in concrete reinforcing bar is an architectural form, like a creation in progress on a 3D software, just a sketch in space. Approaching the structure, you will discover volumes and be able to analyse objects and actions, that little by little replace this abstraction in reality.
Every year, Le Fresnoy produces over fifty works across the whole spectrum of contemporary arts – cinema, photography, visual arts, performing arts and music – always aspiring to professional quality in terms of both its resources and contributors. To this end, the school has acquired a remarkable production apparatus, embracing audiovisual production and post-production tools of all kinds from traditional media to new technologies, regularly upgrading its equipment in keeping with technical developments.
vous annuel Panorama.
It is a game with the boundaries of perception. The point where language loses its meaning and becomes abstract. Language which is pushed to its limits, where nothing is left but pure rhythmic and melodic structure. It is the organic nature of language, imitated by a machine. This reveals the proper poetics – in all its absurdity – of the digital.
"Fom1 is the first part of a diptych questioning the idea of ghosts. As a dancer and choreographer, I feel as if I appear with movement. Today, having created a double of myself in smoke (image and motion capture) movement becomes the element that makes me disappear...
Does that mean immobility would be the only alternative to give me at least an outline?"
The epidermal surface is the theatre of a sensorial, visual and aural experience. A photosensitive epidermis peels away, moves and becomes a remnant. A micro-organism and a “micro-sound” appear and begin an infinitesimal journey in the matter/object. The exposed surface retains the various traces like a body, a magnified landscape, which makes it sacred.
The machine, based on the principle of the 3D printer, attempts to sculpt a block of salt by means of methodical erosion, and is thus exposed to an environment whose evolution it cannot precisely predict. The experience offered through this installation is that of an accidental encounter between science, technology and magic.
Silence will close behind us
Combining traditional drawing and digital technologies, the project concentrates on the light that comes, between appearance and disappearance, and in which questions of the body and its presence are central The body as a translator of universal elements.
The Resurrection Plot
With her Resurrection Plot Amsterdam-based French visual artist Pauline Curnier Jardin takes the audience on an idiosyncratic journey through the Renaissance nodding toward the period’s emphasis on renewal, revival, and regeneration.
(Performance on March, 25th)
Geo Wyeth is a musician and artist, currently working with music, performance, installation, and video. He is actually Artist In Residence at the Rikjsakademie in Amsterdam.
Nous sommes les fils et les filles de l'électricité (NSFFDE)
It is a hybrid between performance, live participative theatre and digital art. Inspired by mind-control experiments financed by the CIA in the 1950s (especially the Allan Memorial Institute in our hometown of Montreal, Canada), the aim of this project is to orchestrate a disorienting spectacle that explores ideas of private and cultural identity, the politics of a collective future and the dynamics of power.
(Installation – performance, performances les 25, 26 et 27 mars 2016)
“Mortal Recordings” is a music salon concept. Functional and ideal for composition, music recording and performing purposes, between a working space and a performing stage, "mortal recordings" gathers its team of musicians, amateurs and visual artists to come and compose, play, danse, and perform for a public, while it's all being recorded on digital datas. Behind the music room is home, with its extended hosting qualities which make all possible: never ending soup, soft mattresses, warm blankets, home cinema, ganja, cocktails, poetry, singing and laud music...Mortal Kombat video game accompanies the full spirit of the days and nights.
An Other Day In Paradise
“The bases for my work are the phenomena that surround me in this world. Mass media, social structures, globalization and nature (such as advertising, trends, human behavior, rain, wind, Ikea), are used as starting points. In the way people / society address to these phenomena, lie patterns and trends, which are the core of my art practice.” Robbert Weide