#frac centre

[marcelogardinetti]

Les Turbulences

El Frac Centre-Val de Loire, Les Turbulences es un edificio de Jakob y MacFarlane que exhibe y promueve la arquitectura experimental.

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[mybeingthere]

Andrea Branzi, architect and designer was born in 1938 in Florence where he graduated in 1966. He has been living and working in Milan since 1973. From 1964 to 1974 he was a member of the group Archizoom Associati, the first avant-garde group to be internationally recognized, whose projects are preserved at CSAC of Parma University; his graduation thesis and other projects are preserved at Centre Pompidou in Paris and at FRAC in Orleans. He was the editor of MODO magazine and co-founder and director of Domus Academy (Milan).

Branzi became a Full Professor and President of the Study Course in Interior Design at the Faculty of Design of the Politecnico di Milano. During his career, he has written several books and essays including Learning from Milan, The Hot House and Introduction to Italian Design. Branzi has collaborated with many Italian architecture magazines, such as Interni, Domus, Casabella, and MODO. In 1994 he received the ADI Compasso d’Oro Career Award.

https://www.designboom.com/.../exhibition-review-andrea.../

[realismoutopico]

Gianni Pettena / Clay House / 1972 / via CCA / Frac Centre / Image © Gianni Pettena

[philippe-soussan-artiste]

16 chaises 2010

CV

Philippe SOUSSAN

photographe plasticien, autoéditeur

Né le 26 Juillet 1961 à Bayonne

EXPOSITIONS PERSONNELLES

2018 Dyslexie, Galerie Lebenson, Paris

2015 Chaises, Galerie Intuiti Bruxelles,

2015 Facing reality, Galerie Intuiti, Paris

2013 et 2014 Solo shows, St Jakobshalle, Basel,

2014 Prolongement, Galerie Intuiti, Paris

2013 Une Chemise, Galerie Intuiti Paris

2013 Storia de sicha, Galerie JP Lambert, Punta del Este, Uruguay

2011 Chaise Mentale, Nofound photo-fair

2011 Inventaire, Galerie Intuiti 2011

2010 galerie Intuiti, Paris

1998 Galerie Jean-Pierre Lambert, Paris

1994 Galerie municipale de L’Agora, Evry

1990 Botanique, Galerie Zabriskie, Paris

1985 Scripltolux, Galerie Zabriskie, Paris

EXPOSITIONS COLLECTIVES

2021 Galerie Lebenson, Londres,

2015 16 chaises, Collection Galila Brazilaï Hollander, Carrousel du Louvre, Paris

2014 Meta-illusioni, Naples, Italie

2013 Screen/Scape, Samara Art Center Gallery, Russie

2011 Nourritures Terrestres, Clichy sous Bois

2010 Fondation Atchugarry, Punta del Este, Uruguay

2008 Département des herbes, Le cabinet d’amateur, Paris 11e

2006 La nuit, Musée d’Art et d’Artchéologie d’Aurillac

2003 Non-conforme, Espace Dominique Bagouet, Ville de Montpellier

1994 FIAC, Galerie Jean-Pierre Lambert

1993 Feuilles et feuillages, Centre d’Art Contemporain, Vassivière

1989 Regards très particuliers sur la carte postale, Centre Georges Pompidou, Atelier des Enfants

1989 Shadows of a dream, Cambridge Darkroom, Edimbourg, UK

1988 Biennale Internationale de la Photographie de Rotterdam, (catalogue)

1988 Inventer 89, Grande Halle de La Villette, Paris

1988 Paris, Musée national d’art moderne, Centre G. Pompidou/ CCI

1992 Botanica, Centre National de la Photographie, Palais de Tokyo, Paris

1988 Musée Isétan Tokyo, Japon

1987 Institut Français de Prague, (catalogue)

1987 Sans Titre, Houston, USA

1987 Les révélateurs, Centre d’Art Contemporain d’Herblay

1987 Feuilles et feuillages, Centre Georges Pompidou, Atelier des Enfants

1986 . 12 artistes français et l’image photographique, Biennale de Venise

1986 Théâtre des réalités, Centre National de la Photographie, Palais de

Tokyo, Paris, (catalogue)

1985 Biennale de l’art contemporain, Centre de Création Contemporaine

AUTO-EDITEUR / ATOME CROCHU

2023 New Uruk , Roman graphique

2022 Livre Blanc, Philippe Soussan

2022 Scriptolux 1 – 2, Philippe Soussan

2021 Poèmes relaxants, A. Ben Sadoun

2020 La Bas, Anita Ben Sadoun et Philippe Soussan

2018 Jaune, Photographies de Bernard Chevalier,

2018 Le Champ Démocratique, 5 nouvelles, Philippe Soussan

COLLECTIONS PUBLIQUES

Fond National d’Art Contemporain

FRAC Rhône-Alpes

FRAC Contemporain Normandie

Musée d’Art et d’Artchéologie d’Aurillac

Musée de La-Roche-sur-Yon

[objecteiespai]

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[kopystiansky]

Igor and Svetlana Kopystiansky: Incidents (1996/7)

Igor and Svetlana Kopystiansky: Projects

Igor and Svetlana Kopystiansky: The Day Before Tomorrow (1999)

Svetlana Kopystiansky: Works and Projects

Igor Kopystiansky: Works and Projects

Igor and Svetlana Kopystiansky: Archive Documents

Video Works. Vimeo

Video Works. YouTube

Bibliography

Books by Igor and Svetlana Kopystiansky

Works by Igor and Svetlana Kopystiansky are represented in permanent collections of the Museum of Modern Art, Metropolitan Museum and Whitney Museum of American Art  in New York, Art Institute of Chicago, Museum of Fine Arts, Houston, Smithsonian American Art Museum, Washington D.C.; Henry Art Gallery in Seattle; Zimmerli Art Museum, Rutgers University, New Jersey; Musée National d'Art Moderne Center Pompidou, Paris; Musée d'Art Moderne de Saint-Etienne Métropole, France; Tate Modern, London; Art Gallery of New South Wales, Sydney; Museo Nacional Reina Sofia; Folkwang Museum in Essen; Ludwig Forum for International Art, Aachen; Berlinische Galerie; Museum für Moderne Kunst, Frankfurt am Main; MUMOK Vienna, Austria; Centre for Contemporary Art Luigi Pecci, Prato, Italy; Frac Corsica, France; MOCAK, Museum of Contemporary Art Krakow, Poland;  Muzeum Sztuki Lodz, Poland (Svetlana); Muzeum Sztuki Lodz (Igor); The Lithuanian National Museum of Art. Vilnius, Lithuania.

Archives by Igor and Svetlana Kopystiansky are located at the Centre Pompidou, Kandinsky Library.

Works by Igor and Svetlana Kopystiansky were exhibited at venues including: Henry Art Gallery, Seattle (2017-2018); MFAH Texas (2017); MoMA, New York (2012); Center Pompidou, Paris (2015, 2011, 2010, 2009); Tate Modern London (2010, 2011-2012), Metropolitan Museum, New York (2013-2014, 2010-11, 2001,1997); Center Pompidou Metz (2011-2012); Smithsonian American Art Museum (2015, 2010-11); Art Institute of Chicago, (1996, 1997-1998, 2008); The Museum of Contemporary Art, Chicago (1999); Scottsdale Museum of Contemporary Art, Arizona (2005); Fine Arts Center UMass, Amherst, Massachusetts (2005); Musée d’Art Moderne de Saint-Etienne, France (2010); Tate Liverpool (1999); Whitechapel Art Gallery, London (1999); MMK Frankfurt/Main (2011, 2010,  1999); Kunsthalle Düsseldorf (1992, 1994, 1995); Kunstmuseum Düsseldorf (2000); Folkwang Museum, Essen (2000); Sprengel Museum Hannover(2002); Kunsthalle Fridericianum, Kassel (2005-2006, 1999); Deichtorhallen Hamburg ( 2011-2012), Kunsthalle zu Kiel (2011-12); Kunst-Werke Berlin (1999); Reina Sofia, Madrid (1994-1995); S.M.A.K. Gent (2009); GAMeC, Bergamo (2011);  Museum of Modern Art EMMA, Finland (2007);  AGNSW, Sydney (1992, 2003, 2005, 2008, 2009); Kunsthalle Krems, Austria (2012); MARCO, Vigo, Spain (2007); MUMOK, Vienna, (1989) and others. Igor and Svetlana participated in international exhibitions including Sculpture Projects Münster 1997 (Svetlana), Documenta 11 (2002) and biennials in Venice 1988 (Aperto curated by Dan Cameron), Sydney 1992 (curated by Anthony Bond), Sao Paulo1994, (curated by Nelson Aguilar), Istanbul  1995 (curated by René Block), Johannesburg 1997 (curated by Okwui Enwezor), Lyon 1997 (curated by Harald Szeemann), Liverpool  1999, Triennial of Small Sculpture” Fellbach, Germany 2004 (curated by Jean-Christophe Ammann), Triennial of Small Sculpture Stuttgart 1998 and others.

[wildesignblog]

Michael Anastassiades

Michael Anastassiades è un designer cipriota, nato nel 1967. Ha conseguito la laurea in ingegneria civile presso l'Imperial College of Science Technology and Medicine di Londra, seguito da un corso di design industriale al Royal College of Art.

Nel 1994, ha aperto il proprio studio a Londra, dove attualmente ha sede. Nel 2007, ha lanciato il suo marchio.

Premi e Riconoscimenti:

2021: IF Design Award per la sedia Sugiloo (Gebrüder Thonet Vienna GmbH). 2020: Compasso d’Oro ADI per la collezione Arrangements, progettata per Flos. 2019: Archiproducts Design Award per la poltrona Lounge N.200 (Gebrüder Thonet Vienna GmbH). 2016: Interior Design HiP Awards per gli sgabelli Spot. Lighting Design Awards per le lampade String Light di FLOS. 2015: Royal Designer for Industry. Home & Gardens Designer Awards per il design dell’illuminazione. 2014: Elle Deco International Awards per le lampade String Light di FLOS. 2013: Elle Deco China Awards come designer dell’anno. Mostre e Opere nei Musei:

Molte mostre personali e opere esposte in musei come MoMa di New York, Art Institute di Chicago, FRAC Centre di Orleans, MAK di Vienna e Victoria & Albert Museum di Londra. Curiosità sulle Opere:

Nel Victoria & Albert Museum sono esposte le Message Cups, tazze in grado di registrare messaggi, argomento della sua tesi di laurea.

Nel MoMa, la collezione permanente include Priscilla Huggable Atomic Mushroom, un peluche a forma di fungo atomico parte del progetto Design for Fragile Personalities in Anxious Times (2004).

Michael Anastassiades e Cipro:

Nato a Cipro, ha lavorato con il designer e architetto cipriota Neoptolemos Michailides, influenzato dai principi del Movimento Moderno.

Stile:

Lo stile di Anastassiades è definito timeless, senza tempo, mirando a conciliare estetica e funzionalità. Il principio guida è "togliere tutto ciò che si può togliere, finché non si può più togliere nulla". Spesso parte da un'idea poetica, ad esempio, ispirandosi ai giocolieri per la lampada IC Light (Flos).

Committenti:

Ha collaborato con aziende famose come Svenska, Cassina e Olivari. In conclusione, Michael Anastassiades si distingue per il suo design senza tempo, la fusione di estetica e funzionalità, e la sua presenza in importanti musei, collezioni permanenti e mostre (anche a Cipro).

[kopystianskybooks]

Igor and Svetlana Kopystiansky: Projects

Igor and Svetlana Kopystiansky: Incidents (1996/7)

Igor and Svetlana Kopystiansky: The Day Before Tomorrow (1999)

Svetlana Kopystiansky: Works and Projects

Igor Kopystiansky: Works and Projects

Igor and Svetlana Kopystiansky: Archive Documents

Video Works. Vimeo

Video Works. YouTube

Bibliography

Books by Igor and Svetlana Kopystiansky

Works by Igor and Svetlana Kopystiansky are represented in permanent collections of the Museum of Modern Art, Metropolitan Museum and Whitney Museum of American Art  in New York, Art Institute of Chicago, Museum of Fine Arts, Houston, Smithsonian American Art Museum, Washington D.C.; Henry Art Gallery in Seattle; Zimmerli Art Museum, Rutgers University, New Jersey; Musée National d'Art Moderne Center Pompidou, Paris; Musée d'Art Moderne de Saint-Etienne Métropole, France; Tate Modern, London; Art Gallery of New South Wales, Sydney; Museo Nacional Reina Sofia; Folkwang Museum in Essen; Ludwig Forum for International Art, Aachen; Berlinische Galerie; Museum für Moderne Kunst, Frankfurt am Main; MUMOK Vienna, Austria; Centre for Contemporary Art Luigi Pecci, Prato, Italy; Frac Corsica, France; MOCAK, Museum of Contemporary Art Krakow, Poland;  Muzeum Sztuki Lodz, Poland.

Archives by Igor and Svetlana Kopystiansky are located at the Centre Pompidou, Kandinsky Library.

Works by Igor and Svetlana Kopystiansky were exhibited at venues including: Henry Art Gallery, Seattle (2017-2018); MFAH Texas (2017); MoMA, New York (2012); Center Pompidou, Paris (2015, 2011, 2010, 2009); Tate Modern London (2010, 2011-2012), Metropolitan Museum, New York (2013-2014, 2010-11, 2001,1997); Center Pompidou Metz (2011-2012); Smithsonian American Art Museum (2015, 2010-11); Art Institute of Chicago, (1996, 1997-1998, 2008); The Museum of Contemporary Art, Chicago (1999); Scottsdale Museum of Contemporary Art, Arizona (2005); Fine Arts Center UMass, Amherst, Massachusetts (2005); Musée d’Art Moderne de Saint-Etienne, France (2010); Tate Liverpool (1999); Whitechapel Art Gallery, London (1999); MMK Frankfurt/Main (2011, 2010,  1999); Kunsthalle Düsseldorf (1992, 1994, 1995); Kunstmuseum Düsseldorf (2000); Folkwang Museum, Essen (2000); Sprengel Museum Hannover(2002); Kunsthalle Fridericianum, Kassel (2005-2006, 1999); Deichtorhallen Hamburg ( 2011-2012), Kunsthalle zu Kiel (2011-12); Kunst-Werke Berlin (1999); Reina Sofia, Madrid (1994-1995); S.M.A.K. Gent (2009); GAMeC, Bergamo (2011);  Museum of Modern Art EMMA, Finland (2007);  AGNSW, Sydney (1992, 2003, 2005, 2008, 2009); Kunsthalle Krems, Austria (2012); MARCO, Vigo, Spain (2007); MUMOK, Vienna, (1989) and others.

Igor and Svetlana participated in international exhibitions including Sculpture Projects Münster 1997 (Svetlana), Documenta 11 (2002) and biennials in Venice 1988 (Aperto curated by Dan Cameron), Sydney 1992 (curated by Anthony Bond), Sao Paulo1994, (curated by Nelson Aguilar), Istanbul  1995 (curated by René Block), Johannesburg 1997 (curated by Okwui Enwezor), Lyon 1997 (curated by Harald Szeemann), Liverpool  1999, Triennial of Small Sculpture” Fellbach, Germany 2004 (curated by Jean-Christophe Ammann), Triennial of Small Sculpture Stuttgart 1998 and others.

[marcelogardinetti]

Les Turbulences

[imprimerielafraternelle]

PÔLE POSITION Exposition collective du 08 septembre au 29 octobre

Julie Annezo, Simon Bart, Myrtille Chevallier, Théo Debut, Mallaury Genet, Émilie Soumba Entrepôt de la Maison du Peuple, Saint-Claude

Cette exposition présente le travail de six jeunes artistes sortis d’une des trois écoles d’art de la Région (EMA Fructidor de Châlon-sur-Saône, ENSA de Dijon, ISBA de Besançon) depuis moins de trois ans. Les artistes choisis pour cette session à La fraternelle, proposent des travaux plastiques et graphiques explorant différents processus de création d’images et de formes : artisanal, industriel ou vernaculaire.

Pôle Position est un dispositif de soutien de la jeune création issu des réfexions menées avec des artistes et des acteurs de l’art contemporain en région Bourgogne Franche-Comté (SODAVI). Seize Mille, réseau art contemporain de Bourgogne-Franche-Comté, fédère 36 structures de difusion, production et de formation (FRAC, centres d’art, associations culturelles, lieux de résidence, écoles d’art…) en région. Depuis 2021, le réseau, avec le soutien de la Direction Régionale des Afaires Culturelles et en collaboration avec ses membres, propose aux jeunes diplômé.e.s de moins de 3 ans, des écoles d’art de la région (ENSA de Dijon, École Média Art Fructidor de Chalon-sur-Saône, ISBA de Besançon) de présenter leurs œuvres dans diférents lieux d’art contemporain en région. Les artistes sont sélectionné.e.s par un jury composé de représentants du réseau, des conseillers arts plastiques de la DRAC Bourgogne – Franche-Comté et des représentants des structures de difusion partenaires. Chaque structure de difusion partenaire sélectionne un à six artistes pour une exposition monographique ou collective intégrée à sa programmation dans l’année qui suit l’appel à participation. C’est l’occasion pour ces jeunes artistes de rencontrer les directeur.rice.s des lieux et associations difusant l’art contemporain en Bourgogne Franche-Comté (et inversement !), mais aussi de rencontrer leurs collègues venant des autres écoles, dans un cadre professionnel.

[pinkpong-art-contemporain]

Frac Occitanie Toulouse du 1er mars au 25 août 2024 Artistes et paysans. Battre la campagne

L’exposition Artistes et paysans. Battre la campagne propose une exploration des liens multiples et riches entre les artistes et les paysans à l’aune des enjeux auxquels fait face l’agriculture aujourd’hui. À travers un ensemble de près de 150 œuvres, le parcours proposé entend contextualiser et mettre en évidence les points de rencontre entre art et agriculture, tout en explorant la manière dont ce dialogue a évolué dans un contexte de redéfinition des relations entre l’humain et son environnement. 

Les expositions L’Odyssée, une étape d’Horizons d’eaux et E.R.O.S. (1959) Histoire d’une exposition surréaliste à travers la collection Daniel Cordier sont aussi ouvertes jusqu'au 25 août 2024.

mercredi-dimanche 12h-18h | nocturne les jeudis soirs jusqu’à 20h 76 Allées Charles-de-Fitte 31300 Toulouse

les rendez-vous

jeudi 6 juin, 18h30-20h

performance

de Damien Rouxel dans le cadre de l'exposition Artistes et paysans. Battre la campagneLa programmation culturelle qui accompagne cette exposition est le centre de discussions renouant avec la parole des agriculteurs et des artistes, étrangers et français, ainsi que de personnalités issues d’autres disciplines. Dans le cadre des Jeudis des Abattoirs, Damien Rouxel, artiste exposé, performera dans les salles des Abattoirs.

[32j]

François Dallegret

A Home Is Not a House, 1965

[tartyfart]

Consortium of modern and contemporary public art collections

Videomuseum is a consortium of museums and other public structures managing modern and contemporary art collections (national museums, town, county or regional authority museums, Centre national des arts plastiques (Cnap), which manages the national collection named Fonds national d’art contemporain (Fnac), Frac, foundations). They join in to develop methods and tools using the new information technologies, with a view to increase the knowledge and dissemination of their heritage. These methods and tools allow : the computerization of ressources and of collections management through the software Gcoll and knowledge dissemination regarding these collections through the Internet with the software Navigart.

[sysk-ehess]

MAJD ABDEL HAMID

Jeudi 4 mai 2023 à 19h (heure de Paris)

Thursday May 4th 2023, 7pm (Paris time)

Majd Abdel Hamid est un artiste palestinien. Il est né à Damas en 1988 et vit actuellement entre Beyrouth et Paris. Il est diplômé de l'Académie d'art de Malmö (2010) et de l'Académie internationale d'art en Palestine (2007-2009). Il a produit des installations et des vidéos et, depuis une dizaine d’années, il a surtout réinvesti des artisanats dits traditionnels, comme la broderie et le point de croix, afin de figurer les conflits ultra-contemporains avec lesquels il vit. Il travaille les tensions entre le temps de l’actualité et le temps de la fabrication matérielle de ses pièces, qu’il appelle des « sculptures de longue durée », auxquelles il consacre des centaines d’heures. Majd Abdel Hamid dit vouloir fabriquer de la beauté malgré ou contre l’horreur politique. Des expositions monographiques lui ont été consacrées : Muscle Memory au Centre d'Art Contemporain de Glasgow  (2022) ; 800 meters and a corridor, gb agency, Paris (2022) ; A Stitch in Time, Fondation d'Entreprise Hermès, Bruxelles (2021). Son travail a été présenté dans de nombreuses expositions collectives, dont Memory Sews Together Events That Hadn't Previously Met, Sharjah Art Museum, Sharjah ; Splendid Isolation, SMAK, Ghent ; La Beauté du Diable, Frac Franche-Comté, Besançon (2022) ; Répare, Reprise, Cité Internationale des Arts, Paris, (2021) ; Heartbreak, Ruya Maps, Venise et Touché !, Beirut Art Center, Beyrouth, (2019) ; à Krognoshuset Lund en Suède (2016), à IVAM (Valence) et au Centre culturel Halil Saakini en Palestine (2018). Il a participé à plusieurs résidences et ateliers internationaux, notamment March Project (Sharjah Art Foundation, 2015), Former West (Berlin 2013) et Truth is Concrete (Graz, 2012). Majd Abdel Hamid est actuellement en résidence à la Cité Internationale des Arts (où il a déjà été résident, en 2009).

[EN] Majd Abdel Hamid is a Palestinian artist, born in 1988 in Damascus; he currently lives between Beirut and Paris. He studied at the Palestine Academy of Art from 2007 to 2009 and graduated from the Malmö Academy of Art in 2010.

He creates installations and videos and he has reinvested since a decade so- called traditional crafts such as embroidery, in order to represent the ultra- contemporary conflicts with which he lives and works on the tensions between the time of current events and the time of the material fabrication of his pieces, « long duration sculptures », as he says, devoting hundreds of hours to each of his embroideries, Majd Abdel Hamid says he wants to make beauty despite of— and against political horror.

Majd Abdel Hamid solo exhibitions include ‘Muscle Memory’, CCA: Centre for Contemporary Arts, Glasgow; ‘800 meters and a corridor’, gb agency, Paris (2022); ‘A Stitch in Time’, Fondation d’Entreprise Hermès, Brussels  (2021) Majd Abdel Hamid’s work has been featured in numerous group exhibitions, including ‘Memory Sews Together Events That Hadn’t Previously Met’, Sharjah Art Museum, Sharjah; ‘Splendid Isolation’, SMAK, Ghent; ‘La Beauté du Diable’, Frac Franche-Comté, Besançon (2022); ‘Répare, Reprise’, Cité Internationale des Arts, Paris, (2021); ‘Heartbreak, Ruya Maps’ ,Venice; ‘Touché! (gesture, movement, action)’ ,Beirut Art Center, Beyrouth(2019) ; at Krognoshuset Lund in Sweden (2016),at IVAM Valencia and the Halil Saakini Cultural Center in Palestine (2018).

He has taken part in several international residencies and workshops, including March Project (Sharjah Art Foundation, 2015), Former West (Berlin, Germany, 2013) and Truth is Concrete (Granz, Austria, 2012). Hamid is currently in in residence at the Cité Internationale des Arts in Paris, where he was a resident in 2009.

Programmation et prochains rendez-vous sur ce site ou par abonnement à la newsletter : somethingyoushouldknow-request@ehess.fr

Pour regarder les séminaires antérieurs : http://www.vimeo.com/sysk/

Séminaire conçu et organisé par Patricia Falguières, Elisabeth Lebovici et Natasa Petresin-Bachelez et soutenu par la Fundación Almine y Bernard Ruiz-Picasso para el Arte

[arteparanoolvidar]

Joseph Nechvatal es un post-arte conceptual y teórico del arte que crea pinturas con ayuda de computadora y Animación s, a menudo usando personalizada creada por viruses. 

Galerie Richard will present the the work of American artist Joseph Nechvatal in a mini-retrospective called Computer Virus 1.0 and the Return of Lazarus. This exhibition consists of 9 computer-robotic assisted paintings: 4 historic 1993 paintings from Nechvatal’s HyperCard Computer Virus Project (1992-93) that dealt with the AIDS virus epidemic placed in conjunction with computer viruses, 2 small 1988 paintings from his Informed Man series (1986-89), and 3 new 2017 paintings on velour entitled The Return of Lazarus. These 3 new paintings are based on recovered digital files of Nechvatal’s 1986 maquettes of un-realized computer-robotic assisted paintings from his Informed Manseries that featured an information-saturated Lazarus returning from the dead. The entirety of the show stresses a continuum of artistic acts based on recovering from loss and the resisting of oblivion.

Computer Virus 1.0 and the Return of Lazarus picks up on the themes of extinction and viral demise that Joseph Nechvatal developed in the late-80s and early-90s. His Computer Virus Project was created under the umbrella of the FRAC Franche-Comte at the Centre International de Réflexion sur l’Avenir de la Fondation Claude-Nicolas Ledoux at La Saline Royale d’Arc-et-Senans as part of Nechvatal’s artist-in-residency at Atelier Louis Pasteur in Arbois, France (1991-1993). As discussed with Thyrza Goodeve in an interview in the January 2016 issue of The Brooklyn Rail, Nechvatal explains that the Computer Virus Project’s initial goal was to produce physical paintings using algorithms that implement a virtual ‘viral’ model. This use of computer code as simulation tool allowed him to virtually introduce artificial viruses into a digitized reproduction of his earlier artwork (the host) and to transform and destroy those images in a ravishing manner. During these launched ‘attacks’ in 1993, a new still image was extracted and robotically spray painted on canvas so as to bring the virtual into the actual realm. The negative connotations of the HIV virus as a vector of disease is reflected in the principle of degradation that the host image undergoes, but the virus is also the basis of a creative process, producing newness in terms of the history of painting.

Joseph Nechvatal, whose cross platform work creates deep connections to John Cage’s chance-based art theory, is a post-conceptual artist who has worked with computer technology since 1986. His computer-assisted paintings and animations turn intimate details of the human body into pictorial units that are transformed by digital viruses. This work results in a contamination of the tradition of painting on canvas by artificial life software, thus creating an interface between the virtual and the actual that Nechvatal calls the viractual. Nechvatal has recently exhibited at La Biennale di Venezia, Eventi Collaterali, in a show based on his book Immersion Into Noise. He has published two books of art theory, Towards an Immersive Intelligence: Essay on the Work of Art in the Age of Computer Technology and Virtual Reality 1993-2006 (2009, Edgewise Press) and Immersion Into Noise (2011, University of Michigan Open Humanities Press). Nechvatal’s works are in the collections of MoMA, New York, the Museum of Contemporary Art in Los Angeles, the Jewish Museum, New York, Malmö Kunsthall, Sweden, the Israel Museum in Jerusalem and the Los Angeles County Museum of Art, among others.

Galerie Richard