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Archives janvier, 2013

South Bank Centre, Hayward Gallery. Light Show

Article publié le : mardi 29 janvier 2013. Rédigé par : Liliane

Leo Villareal « Cylinder, » 2011. © the artist. Image courtesy the artist and Gering & Lopez Gallery, New York. Collection of The Amore Pacific Museum of Art, Korea. Photo: James Ewing Photography.

Light Show surveys the use of artificial light as a medium for sculpture. Focusing on works created by major international artists over the last fifty years, the exhibition brings together sculptures and installations that use light to transform space and to influence and alter perception. While exploring how we experience and psychologically respond to illumination and colour, Light Show also encompasses conceptual, social and political concerns. Besides including new and recent works, the exhibition features works not seen for decades which have been re-created especially for Hayward Gallery.

Since the 1960s, an increasing number of artists from around the world have incorporated artificial light in their work, exhibiting light itself or exploiting its perceptual effects. These artists approach light as a spatial and environmental experience, a factor of psychological influence, and an intangible material which can be manipulated and sculpted. Individual artworks examine different aspects of light such as colour, duration, shadows, natural and artificial illumination, and projection, demonstrating light’s crucial role in the transition of sculpture from object to environment.

Light Show includes two of Dan Flavin’s pioneering fluorescent sculptures; Jenny Holzer’s column of LED signs, MONUMENT; James Turrell’s phenomenal Wedgework V; David Batchelor’s back-to-front stack of intense urban colour, Magic Hour; and Olafur Eliasson’s stroboscopic Model for a timeless garden. It also features immersive environmental installations by Carlos Cruz-Diez, Anthony McCall, and Ann Veronica Janssens, among others. Historic works re-created especially for the Hayward Gallery include early installations by Doug Wheeler, Nancy Holt, and Brigitte Kowanz. A new large-scale commission in neon by Iván Navarro fills the front windows of the Hayward Gallery foyer.

Surveying works using a wide range of illumination sources, Light Show presents cutting-edge lighting technologies, such as custom-made computer-controlled LED lightning, alongside ‘found’ objects, such as illuminated advertising lightboxes rescued from city streets. Works using the most modest means – an electric torch, or a single theatrical spotlight – feature together with highly complex installations. Individually and collectively, these works stimulate many different – and often surprising – visual experiences. The exhibition invites us to wonder at, contemplate, investigate and, in some cases, to interact with illumination as a phenomenon and as an artistic medium.

Light Show includes work by David Batchelor, Jim Campell, Bill Culbert, Carlos-Cruz-Diez, Olafur Eliasson, Fischli and Weiss, Dan Flavin, Ceal Floyer, Nancy Holt, Jenny Holzer, Ann Veronica Janssens, Brigitte Kowanz, Anthony McCall, François Morellet, Iván Navarro, Philippe Parreno, Katie Paterson, Conrad Shawcross, James Turrell, Doug Wheeler, Cerith Wyn Evans, and Leo Villareal.

Light Show is curated by Dr Cliff Lauson, Curator, Hayward Gallery.

The exhibition is accompanied by a public programme of talks, tours, poetry readings, live music and other events; visit southbankcentre.co.uk/lightshow.

A hardback catalogue, featuring extensive illustrations and including essays by Anne Wagner, Philip Ball and Cliff Lauson, together with articles on each of the artists, is available to Hayward Gallery visitors at a special exhibition price.

Shezad Dawood: ‘New Dream Machine Project’

Article publié le : lundi 28 janvier 2013. Rédigé par : Liliane

Shezad Dawood, Parasol unit installation view 2012, Courtesy the artist and Abraaj Capital Art Prize. Photo Stephen White

«As part of the ongoing Parasolstice – Winter Light series, British artist Shezad Dawood exhibits his immersive, sculptural light piece the ‘New Dream Machine Project’, and will create a new film, ‘New Dream Machine Project II’, commissioned to accompany this sensory work > http://www.parasol-unit.org/shezad-dawood-the-new-dream-machine-project

Light and Dark : The Projections of Robert Barry, 1967–2012

Article publié le : mardi 15 janvier 2013. Rédigé par : Liliane

Á la galerie Yvon Lambert, Paris
14 décembre 2012 – 26 janvier 2013

«In 1967, a young Robert Barry spent six weeks on a former racehorse farm in Belmont, New York, as part of an artists-in-residence program sponsored by the Whitney Museum. The documentary photographs he shot during his summer on the farm—a medley of picket-fenced country roads, grazing horses, and artists convening in the converted barns that served as their temporary lodgings and studios—would become the foundation for two formative works: Scenes (1967), a 16mm film (notably included in the Museum of Modern Art’s landmark conceptual art exhibition « Information » in 1970) and Belmont 1967 (1977), a slide-projection combining text and images. Shown together for the first time—along with the seminal film, Red Seconds (1966–1967), and three word-only slide projections (from 1969–1971)—these works form a historic anchor for Barry’s current survey at Yvon Lambert. From an artist known for his conceptual explorations of time—how it is measured, received, visualized, and manipulated—this gathering of Barry’s earliest cinematic experiments combined with his more recent digital videos from the 2000s constitutes a meta-artwork of sorts. Like a time capsule, old and new works intermingle in the gallery evoking thematic and aesthetic connections.

Barry’s characteristic non-narrative text and image juxtapositions are established in the first room with Belmont 1967, a slideshow featuring scenes of daily life at the artist colony bracketed by evocative, if enigmatic, words. Color photos—grassy fields, shirtless men gathered near a Volkswagen Beetle, and an un-made bed in a sunny room—are intercut with typewritten words placed center screen such as « hesitate, » « aspire, » « summon, » and « realm. » The customized circular format of the projection and the duration of darkness between each successive slide promote a twofold appreciation of time. On the one hand, time is shown to pass in finite, measurable increments—ranging from the pause following each word and image, to the elapsed decade between when the photos were taken and creation of the artwork, to the forty-five years that separate the viewer from the now-vintage snapshots. Simultaneously, however, the symbolic round cropping of the images and the perpetual rotation of the slide carousel represent time as ultimately interminable and elusive.

The installation in the adjacent room considers a more recent autobiographical art world experience. The imagery Barry uses in Art and War (2007) comes from a digital video he shot during one of his own openings. Though the basic ingredients (image and text) remain unchanged since Belmont 1967, the artist’s media and conceptual framework, some four decades later, have become more complex. Here, instead of alternating back and forth between pictures and text, Barry digitally superimposes the two, so that the words comprise the image and vice versa. The black-and-white movie of mingling gallery-goers can be seen only through the frame of thin sans-serif letters spelling out « indefinite, » « questions, » « suddenly, » and so on. « War, » the second half of this work’s title, emerges via the audio track recording of people recounting the precise moment they learned that a loved one had been killed in the Iraq War. These tragic accounts belie the otherwise benign movie, implicating the viewer—whose own activity is mirrored on-screen—in the hereby-trivialized act of art appreciation. By synchronizing two seemingly unrelated episodes, Barry reveals an inevitable concurrence (and indirect correlation) between atrocity and amusement.

Barry’s « Comings » (2003–2004), a series of un-edited videos, explore time in relation to travel and linear progression. Coming to an end (2003) shows the final twenty minutes of Barry’s train ride from Brussels to Paris, as seen from his TGV window. To make Coming over (2004), Barry set a video camera on his dashboard for the duration of the thirty-minute drive from the Museum of Modern Art in New York back to his New Jersey home. Though Barry has gotten fancy with the text display—here, the words appear in a rainbow of colors fading in and out on top of the imagery—the representation of real-time is not all that far removed from the experience established in his primitive 16mm films. Projected on the opposite wall, Scenes (1967) is nearly seven minutes of entirely blank leader punctuated with an occasional image from Belmont. The lack of imagery and the soft whir of the spinning reel draw attention to the film itself as it cycles through the projector on its own real-time (reel time) journey.

Perhaps the most poetic temporal musing is Storm (2004), which Barry filmed through his upstairs window during a heavy downpour. From the implied cozy vantage of a suburban house, we watch as rain rustles the leaves and douses the streets below. Every so often cars pass through the two-way intersection and lightning flashes. Over the course of the twenty-minute video, daylight slowly changes, the intensity of the storm fluctuates, and Barry’s oblique blue words fade in and out across the center of the screen at a steady pace: « Because, » « Here, » « Anything… » Meanwhile, the unwavering tree trunk bisecting the frame is a surrogate reminder that though we may stand still, time marches on—long after the storm has passed and the camera has been turned off.» iMara Hoberman is a freelance writer based in Paris.
> http://www.art-agenda.com/reviews/%E2%80%9Clight-and-dark-the-projections-of-robert-barry-1967%E2%80%932012%E2%80%9D/


Light art.fr

Article publié le : lundi 14 janvier 2013. Rédigé par : Liliane



Un site sur le light art, http://www.light-art.fr, daté de 2009, sans nom d’auteur,  et dont le texte de présentation titré La Lumière est un extrait du livre Les Voies de la lumière, physique et métaphysique du clair-obscur de Trinh Xuan Thuan. Le corpus documentaire est restreint mais intéressant avec par exemple Bill Culbert, dont nous reprenons une image d’œuvre extraite du diaporama qui lui est consacré.

Bill Culbert, Abat-jour fluo

Marc Egger. Conservation et restauration du light art

Article publié le : lundi 14 janvier 2013. Rédigé par : Liliane

Le site de Marc Egger


La question de la conservation et de la restauration des œuvres de light art

«L’art lumineux nécessite une recherche préalable afin de respecter l’intention artistique de l’œuvre lors d’un éventuel remplacement des lampes (ampoules à incandescence, tubes néon, tubes fluorescents haute tension, etc…).

«En complément à la documentation, la préservation et la restauration d’une œuvre d’art lumineux, nous cherchons à obtenir des ampoules aujourd’hui hors commerce. En effet, l’Office Fédéral de l’Energie suisse (OFEN / communiqué du 24 juin 2009) autorise de façon transitoire l’achat et l’utilisation d’ampoules à incandescence dans le cas du remplacement de lampes utilisées à des fins décoratives, et non seulement pour une production de lumière. Par conséquent, cette dérogation s’applique aux œuvres d’art.
Nous insistons sur le fait que ce service s’adresse exclusivement aux musées, collections privées et publiques, dans le cadre de la restauration d’art. Les demandes destinées aux besoins domestiques ne pourront être honorées.»

Luminapolis. Light Portal

Article publié le : lundi 14 janvier 2013. Rédigé par : Liliane


«Luminapolis is a platform for everyone working with light: Designers, architects, artists, town planners, media people, the creative industry. Luminapolis reports about light events: good light architecture, festivals, exhibitions, art events in museums and public places.»

James Turrell: Projections meet Shakuhashi

Mehr Licht. Europa um 1770. Die bildende Kunst der Aufklärung.

Article publié le : lundi 14 janvier 2013. Rédigé par : Liliane

Mehr Licht. Europa um 1770. Die bildende Kunst der Aufklärung. 1999-01-01
Catalogue de l´exposition de la Liebighaus (Août 1999-Janv.2000). Vaste panorama des arts en Europe au temps des Lumières…
** Ouvrage en allemand **

Junichirô Tanizaki, Éloge de l’ombre. Max Millner, L’envers du visible. Essai sur l’ombre.

Article publié le : lundi 14 janvier 2013. Rédigé par : Liliane


Junichirô Tanizaki, Éloge de l’ombre, Verdier, 2011


« Car un laque décoré à la poudre d’or n’est pas fait pour être embrassé d’un seul coup d’œil dans un endroit illuminé, mais pour être deviné dans un lieu obscur, dans une lueur diffuse qui, par instants, en révèle l’un ou l’autre détail, de telle sorte que, la majeure partie de son décor somptueux constamment caché dans l’ombre, il suscite des résonances inexprimables.De plus, la brillance de sa surface étincelante reflète, quand il est placé dans un lieu obscur, l’agitation de la flamme du luminaire, décelant ainsi le moindre courant d’air qui traverse de temps à autre la pièce la plus calme, et discrètement incite l’homme à la rêverie. N’étaient les objets de laque dans l’espace ombreux, ce monde de rêve à l’incertaine clarté que sécrètent chandelles ou lampes à huile, ce battement du pouls de la nuit que sont les clignotements de la flamme, perdraient à coup sûr une bonne part de leur fascination. Ainsi que de minces filets d’eau courant sur les nattes pour se rassembler en nappes stagnantes, les rayons de lumière sont captés, l’un ici, l’autre là, puis se propagent ténus, incertains et scintillants, tissant sur la trame de la nuit comme un damas fait de ces dessins à la poudre d’or. » Extrait inhttp://www.editions-verdier.fr/v3/oeuvre-elogeombre.html#top
Lien >http://passouline.blog.lemonde.fr/2011/05/08/tanizaki-nous-fait-encore-de-lombre/


Max Milner. L’envers du visible. Essai sur l’ombre, Seuil, 2005.

«Que devient le regard quand la lumière s’absente ? Que voit-on dans l’ombre ? Que voit-on de l’ombre ? Dans quelle mesure l’ombre affecte-t-elle la visibilité du monde et son intelligibilité ?
Puisant aux sources de la philosophie, de la mystique, de l’histoire de l’art, de la littérature et du cinéma, Max Milner explore les rapports complexes du clair et de l’obscur. De Platon à Diderot, du Caravage à Goya, de Virgile à Blanchot…, autant d’arrêts sur image propices à une réflexion sur la fascination qu’exerce l’ombre, autant d’incitations à faire contrepoids à la « surexposition » d’un monde où règne, souvent aux dépens de la vérité et de la profondeur, une tyrannie du visible. Rendre à l’image sa part d’ombre, scruter les voies qui conduisent de l’obscur à l’illimité et au transcendant, explorer les envers d’une réalité dont la face lumineuse ne contient pas tous les secrets, tel a été le but des penseurs et des artistes dont il est question dans ce livre.» in http://www.franceculture.fr/oeuvre-l-envers-du-visible-essai-sur-l-ombre-de-max-milner.html