“Made in Neuchâtel. Deux siècles d’indiennes” 7 October 2018 – 19 May 2019. Musée d’art et d’histoire de Neuchâtel
By « Made in Neuchâtel. Deux siècles d’indiennes », the Art and History Museum of Neuchâtel offers the first large exhibition on “indiennes” (printed cotton cloths) made in Neuchâtel between the 18th and 19th century. From a rich series of more than 300 artefacts – “indiennes”, projects on paper, sample books, portraits and historical sources- the exhibition makes us discover one of the main printed canvas producer area from all over Europe. This immersive and interactive installation closes the exhibition. It let the visitor choose between three patterns, which have been designed from ancient “indiennes”. The visitor can change the colour and the scale of the pattern and project it on walls by a control interface. The public take part to the creation and commercialisation process who has been and still is set up by the textile industry, by creating a unique fictitious tapestry.
François Pinault entrusted the choice and design of the interior furnishings of the Bourse de Commerce of Paris and the creation of the furniture surrounding it to the Breton designers Ronan and Erwan (born in Quimper, respectively in 1971 and 1976) Bouroullec. A look back at two paths that meet, differ and complement each other around a very first museum project in Paris.
Ryoji Ikeda (b. in Gifu, Japan in 1966; lives and works in Paris and
Kyōto) is one of the world’s leading sound and media artists. His often
large-format light and sound installations have caused numerous
international sensations (e.g. 2018 Centre Pompidou, Paris; 2018 Eye
Filmmuseum, Amsterdam; 2015 ZKM Karlsruhe; 2014/15 Minsheng Art Museum,
Shanghai). Ikeda’s works reflect the progressive digitalization of
our society and allow viewers to visually and acoustically experience
digital universes. With the exhibition, the Kunstmuseum Wolfsburg is
presenting—for the first time together—two new large-scale projections,
which will be installed site-specifically in the museum space: data-verse 1 and data-verse 2.
With
his works, Ryoji Ikeda strives to “capture the world down to the
smallest detail” (R. I. 2008). His light and sound installations thus
have their origins in mathematics, physics, and biology, as well as in
musicology and philosophy. Ikeda succeeds in making the abstract volumes
of data and computing power we deal with every day comprehensible. He
lets viewers immerse themselves in digital universes, which oscillate
between the smallest measurable units, i.e. bits and bytes, and cosmic
dimensions—they give the impression as if, with the data streams, one
were on a journey through space.
Alongside installation works, Ikeda has been working on projects through live performances, books and CD’s such as +/- (1996), 0°C (1998), matrix (2000), dataplex (2005), test pattern (2008), supercodex (2013), and music for percussion (2018) which pioneered a new minimal world of electronic music through his razor-sharp techniques and aesthetics.
On
the one hand, the surrounding architecture is decisive for his
installations and is taken into account in the set-up of the works. On
the other hand, visitors to the exhibition are invited to move about in
the space in order to reevaluate their own perception and sound out the
relationship between space and time. The pulsating sounds underlying the
installations range in their spectrum from barely audible sine tones to
dull, physically perceptible bass sounds. The latest 4K projection
technology contributes to transforming the exhibition into a fascinating
total synesthetic experience.
The production of data-verse 1 and data-verse 2 was commissioned by Audemars Piguet. Curator: Andreas Beitin
During my studies I participated in the Museomix creative marathon, whose goal is to bring together people with different profiles to create in 3 days an exhibition concept on a topic given by the organizers. Our group had the topic “Home sweet home” and had to reinvent reading spaces for the Cantonal and University Library of Lausanne.
