Exhibition

LAb[au] | Framework f5X5X5

Fondation Vasarely, Aix-en-Provence

Installation, Belgium, 2007-2009

framework by LAb[au] framework by LAb[au] framework by LAb[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Lab[au] Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Framework f5X5X5 by Lab[au] (Fondation Vasarely) ©Clémentine Crochet
*****

Framework, a luminous and kinetic sculpture, is made up of five 2x2m modules divided up into 5x5 squared elements that make up the final 5x5x5 matrix. The 375 ‘frames’, some of which are static, others kinetic, are all fitted with LEDs to illuminate their areas. They constitute programmed elements that suggest different, kinetic and luminous, operating modes. The base of the installation contains 50 infra-red sensors that enable the sculpture to react to the presence and position of the viewers. The installation is a surface of communication that transcribes environmental data into a game of light, movement and reflections. (translation : Caroline Newman).

www.lab-au.com

LAb[au] | Framework notations

Fondation Vasarely, Aix-en-Provence

Illustrations, Belgium, 2008

Framework notations are a series of computer-generated, printed illustrations. The frame of a luminous, kinetic sculpture, bearing the title of ’f5x5x5’ is revealed. Each position corresponds to a step, a route within the series of calculations that make up the programme, an algorithm. Each print has been produced by a specially developed programme, it reveals the process inherent to it in the form of a visual representation.

www.lab-au.com

LAb[au] | Pixflow / SwarmDots

Fondation Vasarely, Aix-en-Provence

Installation, Belgium, 2006-2007 / 2009

Pixflow / SwarmDots by LAb[au] Pixflow / SwarmDots by LAb[au] Pixflow / SwarmDots by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Pixflow / SwarmDots by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Pixflow / SwarmDots by Lab[au] (Fondation Vasarely) ©Lab[au] Pixflow / SwarmDots by Lab[au] (Fondation Vasarely) ©Lab[au] Pixflow / SwarmDots by Lab[au] (Fondation Vasarely) ©Lab[au]
*****

Based on a hive-shaped form of computerized simulation and the study of the social behaviour of a group, PixFlow and Swarmdot are generative works that reveal such rules and an abstract, endless game of lines and dots that cross the screens. Transparent T-shaped columns, showing the right and wrong sides, their results and their methods of fabrication (electronic cards and cables are visible), they constitute a symbol of modern times, proclaiming the value of digital art where poetry really does exist.

www.lab-au.com

LAb[au] | Chrono.prints

Fondation Vasarely, Aix-en-Provence

Installation, Belgium, 2009

chrono.prints by LAb[au] chrono.prints by LAb[au] Chrono.prints by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Chrono.prints by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Chrono.prints by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Chrono.prints by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Chrono.prints by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Chrono.prints by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Chrono.prints by Lab[au] (Fondation Vasarely) ©Lab[au] Chrono.prints by Lab[au] (Fondation Vasarely) ©Lab[au] Chrono.prints by Lab[au] (Fondation Vasarely) ©Lab[au] Chrono.prints by Lab[au] (Fondation Vasarely) ©Lab[au] Chrono.prints by Lab[au] (Fondation Vasarely) ©Lab[au] Chrono.prints by Lab[au] (Fondation Vasarely) ©Lab[au] Chrono.prints by Lab[au] (Fondation Vasarely) ©Lab[au] Chrono.prints by Lab[au] (Fondation Vasarely) ©Lab[au]
*****

The chrono.prints are a series of 24 computer-generated images, based on the 24 hours of a day, attributing the units of time to the primary colours of light. The hours become red, the minutes are green and the seconds are blue, thus creating chromatic textures. The chrono.prints are part of the “chrono” series which also includes “Chrono.tower”, a luminous artwork based on the Dexia tower in Brussels and created using the same concept.

www.lab-au.com

LAb[au] | Particle Synthesis_06/10

Fondation Vasarely, Aix-en-Provence

Installation, Belgium, 2006-2010

Particle Synthesis_06/10 by LAb[au] Particle Synthesis by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Particle Synthesis by Lab[au] (Fondation Vasarely) ©Clémentine Crochet Particle Synthesis by Lab[au] (Fondation Vasarely) ©Lab[au] Particle Synthesis by Lab[au] (Fondation Vasarely) ©Lab[au] Particle Synthesis by Lab[au] (Fondation Vasarely) ©Lab[au]
*****

”All sound is an amalgam of seeds, elementary particles of sound, sonar quanta.” Iannis Xenakis in ‘Formalized music: thought and mathematics in composition’ (1971).   The ‘particle synthesis’ project links a motor that renders visual particles visible to the the synthesis of a granular type of sound, research motivated by the possibility of converging visual, sound and spatial parameters in real time within an electronic space, particles that would otherwise be neither visible nor audible. ’Particle synthesis’ suggests a link between generative art and sound in real time through the spatial control of sound transmission, light and imagery while exploring the aesthetics of the digital world. (translation : Caroline Newman).

www.lab-au.com

Zimoun | 425 Prepared DC-Motors / Filler Wire 1.0mm

Fondation Vasarely, Aix-en-Provence

Installation, Switzerland, 2010

216 DC-Motors / Filler Wire by Zimoun (DR) 425 Prepared DC Motors / Filler Wire 1.0mm by Zimoun (Fondation Vasarely) ©Clémentine Crochet 425 Prepared DC Motors / Filler Wire 1.0mm by Zimoun (Fondation Vasarely) ©Clémentine Crochet
*****

The sound installations and sculptures created by Zimoun articulate mechanisms in sensitive and poetic movements whose structural simplicity creates a complex series of relationships and permanent interactivity running from the organic to the artificial. The work presented here, part of his research into art, analyses complex behavior patterns through sound and movement, using multiplicity whose elements question creation and the degeneration of motifs.

www.zimoun.ch

Carsten Nicolai | Rota

Fondation Vasarely, Aix-en-Provence

Installation, Germany, 2009

Rota by Carsten Nicolai / courtesy Galerie EIGEN + ART Leipzig/Berlin and Pace Wildenstein Rota by Carsten Nicolai (Fondation Vasarely) ©Clémentine Crochet
*****

Visual artist and musician, Carsten Nicolai is one of the most active participants on the German minimal, electronic scene today. With Rota, he shows us a piece of work hovering on the border between art and science. Playing with our perception, this luminous, sound sculpture is able to influence our cerebral activity by stimulating certain functions of the brain placing us in different states of relaxation, awareness and even meditation. (translation by Caroline Newman).
Courtesy Galerie EIGEN + ART Leipzig/Berlin und PaceWildenstein

www.carstennicolai.de

Ryoji Ikeda | data.scan

Fondation Vasarely, Aix-en-Provence

Installation, Japan, 2010

data.scan by Ryoji Ikeda (DR) data.scan by Ryoji Ikeda (Fondation Vasarely) ©Clémentine Crochet
*****

Ryoji Ikeda continues to explore and work the digital universe of her datamatics. An attempt to cement together the flux and data that surround us, this audiovisual installation data scan is made up of the analysis of recent data of the universe and the human body. A parallel between 0 and 1 and the time scales which draw us into a world where mathematical codes encounter human perception. (translation by Caroline Newman).

Commissioned by Surrey Art Gallery, produced by Forma.

Produced by Forma / Commissioned by Surrey Art Gallery, Canada
www.forma.org.uk
www.ryojiikeda.com

Marius Watz | Grid Distortion 02D 0003 & 03D 0012

Fondation Vasarely, Aix-en-Provence

Installation, Norway

Grid Distortion by Marius Watz Grid Distortion by Marius Watz Grid Distortion by Marius Watz Grid Distortion by Marius Watz
*****

The work of Marius Watz is based on the algorithmic generation of forms. It is marked by multi-coloured, organic 2D and 3D elements. The series of generative works presented here function according to vectorial lines stimulated by the movement of a laser that retraces the organic forms. Marius Waltz’s research explores the generative systems of forms animated in real time. His work has been exhibited regularly since 1996 in Rotterdam, at the Istanbul Biennial and at the Barcelona Sonar. In 2005 the artist was the initiator of the Generation.x project : a platform devoted to generative art and design. (translation : Caroline Newman).

http://mariuswatz.com

Vera Molnàr | Plotter Drawings

Fondation Vasarely, Aix-en-Provence

Installation, Hungary, 1974-1991

Vera Molnar was born in Budapest, Hungary in 1924 and has been living in France since 1947.  Her art work has made a major contribution to the birth of kinetic and generative art. And since 1968 she has become one of those pioneers using the computer in art work. « Geometric art can effectively produce a variety of mystical creations, which art history knows much about, but it can also move in completely the opposite direction to that of true science. The pictorial medium chosen can be easily manipulated, it can be encouraged to produce highly controlled experiments and thus transform the enlightened artist into a researcher into art. Not being particularly interested in the mystical side, yet curious by nature, I decided to challenge this medium and deliberately chose the second option. » Vera Molnar. (translation : Caroline Newman).

www.veramolnar.com

Nicolas Schöffer (1912-1992) | Chronos 10

Fondation Vasarely, Aix-en-Provence

Installation, France

Chronos b by Nicolas Schöffer (DR) Chronos 10 by Nicolas Schöffer (Fondation Vasarely) ©Clémentine Crochet Chronos 10 by Nicolas Schöffer (Fondation Vasarely) ©Clémentine Crochet Chronos 10 by Nicolas Schöffer (Fondation Vasarely) ©Clémentine Crochet
*****

Chronos 10 is a chrono-dynamic artwork that has developed from research into space, light and time. The mirrors grafted onto the structure, mutate at different speeds of rotation according to a random programme, projecting coloured light that introduced dynamics into the surrounding environment. Rethinking and introducing a new form of dynamics into the space in which we live, was one of the major preoccupations of the artist who wanted “To put the town in art and not a bit of art into the town”, to build an environmental future of quality. (translation by Caroline Newman).

www.olats.org/schoffer

Victor Vasarely (1906 – 1997) | Serigraphies

Fondation Vasarely, Aix-en-Provence

France

Victor Vasarely was recognised in modern art through his founding of the optical and “Op” art movements. His artwork reveals the evolution of graphic art and reveals his determination to promote social artwork, artwork accessible to all. «The future is opening onto a new geometrical, polychromatic and solar world. Visual art will be optical, multi-dimensional and communal; definitely abstract and closer to science.» (VV). (translation by Caroline Newman).