Miguel Chevalier

from Wikipedia, the free encyclopedia

Miguel Chevalier (born April 22, 1959 in Mexico City ) is a Franco-Mexican artist who is recognized worldwide as a pioneer of digital and virtual art.

biography

Miguel Chevalier was born in Mexico City on April 22, 1959, and grew up in Mexico , where his father was working on a study of the history of South America . The lively cultural and artistic environment of the time with which the family was in contact aroused a lively interest in art in Miguel Chevalier from an early age. The frequent guests of the house in Tepoztlán included the muralist David Alfaro Siqueiros , the director Luis Buñuel and the architect Luis Barragàn , whose buildings with their intense colors exerted a lasting influence on the artist.

education

In 1978 Miguel Chevalier moved to Paris , where he completed his art studies at the École Nationale Supérieure des Beaux-Arts in 1981 . In 1983 he received a License in Art and Archeology from the Sorbonne , a Diploma in Design from the École Nationale Supérieure des Arts Décoratifs in Paris and a License in Art Plastique from the University of Paris Saint-Charles. His education was followed by several stays abroad, including those at the Pratt Institute and the School of Visual Arts in New York thanks to a Lavoisier grant from the French Foreign Ministry in 1983 and a two-year stay at Villa Kujoyama in Kyoto in Japan from 1993 to 1994 were of particular importance. In the United States , the French artist got to know the first drawing programs for computers. He becomes aware of the imminent IT revolution and its significance for painting, photography and video. The stay in Japan strengthened his relationship with nature, which he had already experienced in Latin America as lush and omnipresent and which he perceived in the Zen gardens of Kyoto as a realm of artificiality in which everything is designed down to the last detail.

plant

The experimental and interdisciplinary work by Miguel Chevalier deals with the questions of the hybrid, generative and interactive image. His works of art are often indoor or outdoor large format projections that involve the viewer by immersing them in the center of a virtual and constantly evolving universe. The artist develops his central themes on the basis of an in-depth analysis of the real world and the development of virtual reality; they relate to the relationship between nature and artificiality, the consideration of the networks that underlie the organization of human societies, as well as the structure of virtual ones Cities. The topics can be traced back to two important motifs: to space - as a natural, urban space, virtual universe and material structure - and to growth, not only as the life phenomenon of the plant world, but also as technology and culture, the witness of growth of humanity are.

Early work

Baroque and Classical (1987)

The botanical greenhouses are particularly symbolic in the creative process of Miguel Chevalier. Not only were they one of his first research topics, they also clearly express the relationship between two complementary aspects of the history of forms: the baroque, embodied by trees and their foliage, and the classic, for which the metallic structure and glass architecture stand. The greenhouse from the “Baroque and Classic” series is at the same time an allusion to the modern urban landscape and the nature within it. In developing his installations, the artist has the impression of discovering different landscapes. He abducts himself and the audience from figurative reality into a virtual world that invites you to dream.

Binary state

Convinced of the importance of the computer for many areas of life - from everyday life to transmission and telecommunications systems and stock prices - Miguel Chevalier created a series with binary state (from 1989) in which the two logical symbols 0 and 1, which represent the Are responsible for the operation of electronic computers, such as flip-flop ( Flip Flop , 1987), Trennungswand ( Paravent binaire , 1989), Parabel ( Parabole binaire , 1996), Welle ( Vague binaire , DVD, 2004 e Vague binaire , Stampa , 2009). The binary code symbols will be repeated from 2011 in the interactive and generative installation of virtual reality Pixels Welle as one of the “multicolored graphic images” in alternation with other graphic images.

Oenology

For the oenology exhibition (1991) in the Pichon-Longueville Pauillac Castle ( Gironde ), the artist created sequential works on the traces of the most important stages in the production of the coveted French wine. Since the winemaking is completely computerized, Chevalier's virtual works prove to be particularly suitable for telling the story of the process, just as it made sense to project them over the high-tech steel barrels.

Performances (1992)

Selected in 1992 to carry out a project as part of the Olympic Games in Albertville and Barcelona, ​​the French artist decided to develop a work that started out from the sports images on television in order to later show them to the public at the Olympic Games in a modified form. Instead of standardized presentations of individual sports, Chevalier used the large screens at the foot of the slopes and in the stadiums to show the athletes' performance. With this operation of "image recycling", which summarizes the events of the day in a one-minute video every evening, the artist demystified - far from an apology of the body or athletic performance - the mechanism of major sporting events and their management.

Autres natures (1996)

Characterized by his two-year stay in Japan in 1993/94, the Autres natures (other natures) - in the logical sequence of the baroque and classic greenhouses - form a series of works on nature and artificiality; they play an important role in the artistic development of Miguel Chevalier, since they are his first interactive and exclusively digital works. In these works, too, Chevalier did not use images as unchangeable units - as he had done with “Performances” (1992) and before that with “Le combat des images” (1988). In the case of Le grand verre / nature liquide , an interactive installation in 2D, the algorithms generate images that do not develop in a linear form and are in a constant flow and can be changed by the viewer with the help of a mouse .

Black gold (since 1992)

Black Gold is a series of works and installations that address the importance of oil to the Latin American economy. The project was conceived for five large museums in Venezuela, Colombia and Mexico. In the works, the artist staged the entire complexity of the imaginary that is associated with petroleum. His main focus was on networks - the question of networks is a constant in his creative research - and the technologies needed to bring oil to the surface. The artist is interested in the methods used by the oil companies to analyze the various types of soil before drilling. As a result of the drilling he sees the emergence of a new cartography of synthetic landscapes (which here are a subform of seismic cartographies), which he later takes up again in Paysages artificiels (1998) and further developed in Méta-Cités (1993–2004).

In the Visions urbaines (1993), which usually consist of four backlights, Chevalier presented maps that were recorded by satellites and photo clichés, which were assumed to have several radiations and which showed the urban space, among other things, through transit traffic and pollution or redefined the urban lighting system.

Different natures

The digital works of Miguel Chevalier do not pursue a break with the art of the 19th and 20th centuries, but develop consistently from it. The series Sur-Natures (2004), Fractal Flowers (2008) and Trans-Natures (2012) - generative and largely interactive large-format installations - not only virtually reproduce one of the leitmotifs of the history of art and painting, but also establish connections with artists of the past, such as Paul Cézanne , the initiator of the process of fragmentation that can be found in the Fractal Flowers . The influence of Claude Monet , who heralds a form of digital impressionism with his variations on the cycle of the seasons and the light, is evident in the virtual gardens of the sur-natures .

In the Sur-Natures series , imaginary and magical plants emerge, grow, mature and finally die according to their morphogenetic code. Their growth continues daily in real time for an indefinite period of time. Presence sensors enable each plant to react to the passage of visitors. The “Sur-Natures” were followed by the “Fractal Flowers”, a third generation of flowers and virtual gardens. It differs from the earlier ones by conquering the third dimension and by a more pronounced shape of the flowers, which are strongly stylized and on the verge of geometrization. These crystal flowers with a thread-like structure look majestic on one side and at the same time surprise when they dissolve. With the “Fractal Flowers” ​​the artist, once a “digital gardener”, becomes the “botanist of the 21st century”. Since 2008, the generative software “Fractal Flowers” ​​has also enabled Chevalier to produce his first three-dimensional sculptures with the help of 3D printers that are able to materialize the visual. With the use of 3D printers in art, Chevalier is proving to be a pioneer in this area too. The works follow the principle of the variability of the work of art if an image can be materialized virtually or on any type of wear. The “trans-natures” represent a type of digital nature that is reminiscent of that of the undergrowth. Various types of trees, shrubs, foliage and branches exist here, the development of which is inspired by tree diagrams that use the principle of roots, trunks and branches. The work «Seconde nature» (2010), developed in situ between the real and the virtual world and presented in the port area of ​​Marseille, consisted of a slightly bent steel sculpture 18 m high, framed in fluorescent orange. With its spiral shape, the work is reminiscent of images associated with the sea: of sails, of the rust color of boats and shells. When it gets dark, the sculpture is projected into a monumental virtual generative garden onto part of the docks, which develops continuously and endlessly and changes depending on the seasons. The interactivity of this installation is activated not only by the movement of passers-by, but also by the wind that is created when a tram drives past. The wind causes the leaves and petals to fall, and a new garden is created. “L'origine du Monde” (The Origin of the World - from 2012) is a virtual reality installation brought to life by biology and microorganisms. The work depicts cells that multiply, divide and connect with one another at high speed. This creates a bizarre universe in constant motion. Bright colors and sinuous curves help to enhance the impact of a previously unknown visual experience. The work was shown for the first time in the Carrières de Lumière (light quarries) in Baux-de-Provence and then - with the necessary changes that allow adaptation to the different projection surfaces - in Mexico City and Pittsburgh (2013), in Paris, where it was blasted onto the facade of the Grand Palais, in Shanghai and in Berlin (all 2014), in Germany as a previously unknown sculpture under the name “Origin of the Curve”. Dear World… yours Cambridge (2015) was the artist's contribution to a Cambridge University fundraising drive. It is a series of immersive projections in King's College Chapel designed to capture the speeches of professors and alumni To accompany students. A corresponding graphic image is shown for each topic, including a. for scientific excellence, biology, neurology and biotechnology. To illustrate the research on the black holes by physicist Stephen Hawking, who gave the keynote address at the end of the evening, Chevalier created an immersive environment made up of thousands of constellations, confronting viewers with the mystery of the universe.

Digital arabesques

With an approach that is reminiscent of the work of representatives of the land art such as Christo and Michael Heizer, the artist experiments with the works of the series of "Digital Arabesques" with various possibilities of presenting virtual and digital works on a surface that is not a screen is. “Digital Flocons” (2009) is a generative and interactive installation that was projected overnight on the snow of the slopes of the Gettiers on the Grand Bornand at the start of the ski season. The work of art and snow became a whole. With “Digital Arabesques” (2006) a double installation was created for the famous Jamaâ el Fna square in Marrakech. The place, which embodies a dynamic crossroads and an authentic agorà, was declared a UNESCO World Heritage Site in 2011. Chevalier, who was a guest at the riad Denise Masson in autumn 2004, returned to Morocco with an artistic intervention that he integrated into the urban landscape, taking into account its peculiarities. In order not to interfere with daily life on Jamaa el Fna, the artist decided to show his installation in the air: during the day with the help of helium balls that were placed over the square, and during the night with carpets that - real flying carpets - in the Heaven floated. The creative dialogue between the French artist and the Orient continued. On the banks of Abu Dhabi, Chevalier presented the interactive and generative installation of virtual reality “Digital Arabesques” (2011). With this work he wanted to illuminate Islamic art with the help of new technologies. Huge fractal arabesques were blasted onto inflatable spheres that hit the ground. Thanks to hitherto unknown software, they are generated randomly, then grow and then finally dissolve again. With the “Magical Carpets” (2014) the artist also pursued the intention of digitally redefining a specific expression of Islamic art with the mosaics. In the mosaic, whose structure resembles that of a pixel, Chevalier found a strategic point; that connects Islamic and algorithmic art. This world of colors and moving shapes takes the viewer on an imaginary journey into the magical universe of a thousand and one nights and flying carpets. The Islamic architecture provided the inspiration for the monumental installation "Digital Arabesques" (2014), which was blasted on the floor of the square on the banks of Al Majz in Sharjah. In this work, different graphic images from ornamental motifs follow one another, reminiscent of the zellige, the arabesques and the mosaics. They arise randomly, creating an infinite wave that dissolves again and begins anew. In the geometrical-architectural elements of Islamic architecture, Chevalier finds a grammar that corresponds to his aesthetic language.

2015 marked Chevalier's return to Morocco. “Digital Arabesques” (2015) is an interactive and generative installation that was presented in Fes, Agadir, Tétouan and Essaouira in collaboration with the four institutes français. The work of art spread out like a large carpet on the floor and consisted of various graphic images that were endlessly transformed by the movement of the audience using sensors. The impression was of a movable floor. The “Digital Window Roses” (2012) were a previously unknown generative work of virtual reality that was designed for the Cathedral of Aurens in Castelnau-sur-l'Auvignon. Large virtual rose windows were projected onto the surface of inflatable balls floating in the air. These motifs emerged in a steady sequence and developed endlessly. Its geometric shape was reminiscent of the rose windows and stained glass of Gothic art and gave the church a magical atmosphere.

Streams and Networks

In the case of Liquid Pixels (from 2009), a kind of skin of colored pixels develops on an LED wall. The movements of the audience create a colored trail that mixes with the “light painting” of the background before it disappears when new visitors arrive. With this homage to the painting of the 50s by Jackson Pollock and Pierre Soulages, Miguel Chevalier perfected the technique of “electronic dripping , a light painting in constant movement in which the viewer's body serves as a“ digital brush ”.

La Vague des Pixels is a wave consisting of different colorful graphic, randomly changing images. The subjects of these pictures are inspired by the digital world: pixels, symbols of binary code , computer keyboards and the mathematical world. This fluid universe also reacts to the movement of the audience by means of sensors, which help to amplify the deformation of the giant pixels. In 2012 the work was projected onto the wall of the inner courtyard of the Castle of Carcassonne, in the Musée Département Matisse by Le Cateau Cambrésis it was shown during the festival a-part of Baux-de-Provence as part of the retrospective of the painter Auguste Herbin, in 2013 at the Céret City Museum of Modern Art (also in this case as a tribute to Herbin) and in 2015 in Valletta on the island of Malta and in Singapore. At every opportunity the work adapted to the needs of the location, the exhibition space and the history of the guest location.

Complex Meshes (2015) was a monumental projection on the ceiling of Durham Cathedral in England, a ceiling marked by architectural boldness and a forerunner of Gothic art. A mesh is a three-dimensional object made up of vertices, edges and sides that form polygons and is typically used in modeling or in architecture. During the Chevaliers installation, various colorful entanglements consisting of triangles, squares and other polygons overlap, develop and change in real time. The thread-like structure of the mesh helps to emphasize the architectural shape of the arches and support the lightness of the ship.

Virtual cities

Chevalier has been interested in urban development since the 1990s. Since then, he has been dealing with this area of ​​our society and contemporary architecture both in digital videos such as E.g. in Aller-retour Tokyo-Kyoto from 1996 as well as in analog works like Méta-cités 1993> 2004 and installations of virtual reality like Métapolis 2002 .

Méta-cités (2013) is a generative and interactive installation of virtual reality that allows a virtual city consisting of rows of buildings to dissolve before our eyes. This city develops like a matrix and is constantly changing, it generates itself out of chaos of dynamics and non-programmable currents. In the end, the work transports us into a utopia in which nature disappears at the expense of unrestrained urbanism. Méta-cités shows a large network that is impossible to recognize in its entirety, it is a generator of urban utopias.

Scholarships and recognitions

  • 2004 visiting scholar at Riad Denise Masson, Marrakech (MAR)
  • 1993–94 visiting scholar at the "Villa Kujoyama", Kyoto (JAP)
  • 1991 visiting scholar at Casa Velasquez, Madrid (ESP)
  • 1991 Workshop at the "Museo Internacional de Electrografica", Cuenca (ESP)
  • 1989 Prize of the Musashino Art School , Tokyo (JAP)
  • 1988 Prize of the "Institut des Hautes Etudes en Arts Plastiques" created by Pontus Hultén , Paris (FRA)
  • 1984 Lavoisier scholarship, School of Visual Arts of New York, NY (USA)
  • 1983 Lavoisier Scholarship, Pratt Institute, New York, NY (USA)

Solo exhibitions (selection)

  • 2019 Orbites 2019 , Beaugrenelle Paris, Atrium Magnetic, (F)
  • 2019 Digital Supernova 2019 , Rodez Cathedral , (F)
  • 2019 Pixels Noir Lumière 2019, Musée Soulages, Rodez , (F)
  • 2019 Machine Vision , Galerie Lélia Mordoch, Paris (F)
  • 2018 D'un rêve à l'autre , Domaine de Trévarez, Saint-Goazec (Finistère), (F)
  • 2018 Power Pixels 2018 , Galerie par GRAF Notaires, Paris (F)
  • 2018 Ubiquity 1 & 2 , The Mayor Gallery and Wilmotte Gallery at Lichfield Studios, London (UK)
  • 2018 Origin of the World Bubble , Oxford Circus , Festival Lumiere, London (UK)
  • 2018 Digital Abysses , Underwater Base , Bordeaux (FRA)
  • 2017 Complex Meshes , Jacksonville (USA)
  • 2017 Flower Power , Festival Aarhus, Bispetorv, Aarhus (DNK)
  • 2017 In-Out / Paradis Artificiels , Domaine de Chaumont-sur-Loire (FRA)
  • 2017 Flower Power , Jing An Kerry Center, Shanghai (CHN)
  • 2016 Power Pixels , Lelia Mordoch Gallery, Miami (USA)
  • 2016 Voûtes Célestes , "Nuit blanche", Saint-Eustache , Paris (FRA)
  • 2016 Onde Pixel , UniCredit Pavilion, Milan (ITA)
  • 2016 Magic Carpets , Milton Keynes International Festival, Milton Keynes (UK)
  • 2016 Complex Meshes , Origin of World et Pixels Wave , Lumiere London 2016, Piccadilly Circus , London (UK)
  • 2015 Complex Meshes , Festival Lumiere, Durham Cathedral, Durham (UK)

Dear World… Yours , Cambridge, King's College Chapel, Cambridge (UK) Méta-Territoires , Galerie Fernand Léger, Ivry-sur-Seine (FRA) Vortex , Galerie Lélia Mordoch, Paris (FRA) Pixels Wave , National Design Center, Singapore Night Festival, Singapore Digital Arabesques , seasonal cultural program France-Morocco 2015, 4 installations in collaboration with 4 French institutes in Morocco: Derb Lâalouj in Essaouira ; Dar Benjelloun in Tétouan ; Garden of the Institut français in Agadir ; Dar Batha in Fez (MAR)

  • 2014 Digital Paradise , Puerta Roja Gallery, Hong Kong

Magic Carpets , “Festival Internazionale di Andria Castel dei Mondi”, Castel del Monte , Andria (ITA) Autres Natures , Domain of Chaumont-sur-Loire (FRA) Tapis Magiques , Heritage Day, Sacre Cœur Cathedral, Casablanca (MAR) Paradis Artificiels , "Musée d'art moderne", Céret (FRA)

  • 2013 El Origen del mundo , Festival Filux, Palacio de Bellas Artes, Mexico City (MEX)

Power Pixels , Center des arts, Enghien-les-Bains (FRA) Pixels Power , Galerie MiniMasterpiece, Paris (FRA) Power Pixels , Pile Pont Expo, Saint Gervais les Bains (FRA) Fractal Flowers , Castle of Carcassonne (FRA) Power Pixels , Wood Street Galleries, Pittsburgh , PA (USA)

  • 2012 Power Pixels , Festival a-part, Carrières de Lumières, Baux-de-Provence (FRA)

Power Pixels , Entrepôt 9 / Galerie Barnoud, Quetigny (FRA) La Vague des Pixels , Festival Mai Numérique, courtyard of the Castle of Carcassonne (FRA)

Power Pixels , Oi Futuro Foundation, Rio de Janeiro (BRA)

Terra Incognita , MIS ( Museu da Imagem e do Som de São Paulo / Museum for Image and Sound), São Paulo (BRA)

  • 2009 Pixels Snow , Gettiers ski slope, Grand Bornand (FRA)

Fractal Flowers in vitro , Musée de la Chasse et de la Nature, Paris (FRA) Fractal Flowers , iMAL, Center for Digital Cultures and Technology, Brussels (BEL)

  • 2008 Fractal Flowers , Gallery Suzanne Tarasiève, Paris (FRA)
  • 2007 Ultra-Nature , Techfest Mumbai, Mumbai (IND)

Paradis Artificiel , "Galeries Lafayette" gallery, Paris (FRA)

  • 2006 Arabesques numériques 2006 , Ksar Char Bagh Palace, Marrakech (MAR)
  • 2006 Supra-Natura , Festival Luzboa, Lisbon (POR)
  • 2005 Sur-Natures in vitro , Galerie des enfants, Center Georges-Pompidou , Paris (FRA)
  • 2004 Ultra-Nature , Gallery of the Central Underground Station, Astrup Fearnley Museum of Modern Art, Oslo (NOR)
  • 2003 La Croisée des Réseaux , nocturnal, Paris Stock Exchange (FRA)
  • 2002 Métapolis , Marco, Monterrey (MEX)
  • 2000 Périphérie , MAMCO, Geneva (CH)
  • 1999 Mémoires & Mutations , Center for Contemporary Art La Fabrika, Beirut (LBN)
  • 1998 Périphérie , Espace Pierre Cardin, Paris (FRA)
  • 1996 Oro negro , Museo de arte Àlvar y Carmen T. de Carrillo Gil, Mexico City (MEX)
  • 1994 Contre-Nature , Villa Kujoyama, Kyoto (JPN)
  • 1992 Performances , 1992 Winter Olympics , Albertville (FRA) and 1992 Summer Olympics , Barcelona (SPN)

La rencontre des deux mondes , Casa de Velàzquez, Madrid (SPN)

  • 1987 Baroque & Classique , Granit, Center national des arts plastiques, Belfort (FRA)

Group exhibitions (selection)

  • 2019 Illusion Nature, Digital Worlds, Museum Sinclair-Haus, Bad Homburg vd Höhe (D)
  • 2019 Cinétisme, Abstraction, Figuration , Galerie Lélia Mordoch, Paris (F)
  • 2019 Shadows , Galerie Italienne, Paris (F)
  • 2018 Art in Motion. 100 Masterpieces With and Through Media, ZKM , Center for Art and Media Technology, Karlsruhe, (D)
  • 2018 Artistes & Robots , Grand Palais, Paris (FRA)
  • 2018 Al Musica , Philharmonie, Paris (FRA)
  • 2018 TEFAF Maastricht , The Mayor Gallery (London), Maastricht (NLD)
  • 2018 De Calder à Koons, bijoux d'artistes. La collection idéale de Diane Venet , Musée des Arts décoratifs of Paris (FRA)
  • 2018 Art Paris Art Fair , avec la Galerie Mordoch (Paris / Miami), Grand Palais, Paris (FRA)
  • 2017 Artists & Robots , Contemporary Art Center, Astana (KAZ)
  • 2017 Hortus 2.0 , Musée Louis Vouland, Avignon (FRA)
  • 2017 De Nature en Sculpture , Fondation Villa Datris, L'Isle-sur-la-Sorgue (FRA)
  • 2017 Data City , Center des arts, Enghien-les-Bains (FRA)
  • 2017 Gainsbourg still alive , Cornette de Saint Cyr auction house, Paris (FRA)
  • 2016 Scope Miami Beach , Galerie Lélia Mordoch, Miami (USA)
  • 2016 Intangible Space - Miguel Chevalier et Laurent Martin “Lo” , Puerta Roja Gallery, Hong Kong , (HKG)
  • 2016 Les Lumières de la Ville , Galerie Lélia Mordoch, Paris (FRA)
  • 2015 2050 - Une brève histoire de l'avenir , Royal Museums of Fine Arts Brussels (BEL)
  • 2015 Bonjour la France , Seongnam Arts Center, Seongnam (KOR)
  • 2014 Digital Arabesques , Al Majaz promenade, Islamic Art Festival, Sharjah (EAU)

Metamorphosis of the Virtual , K11 Art Foundation, Shanghai (CHN) L'Origine du Monde , projection onto the facade of the Grand Palais on the occasion of the Art Paris Art Fair, Paris (FRA). with the kind support of: Louise Alexander Gallery.

  • 2013 Le metamorfosi del virtuale, 100 anni di arte e libertà , Officina delle Zattere, Venice (ITA)
  • 2013 Retrospective Auguste Herbin , Musée d'art moderne, Céret (FRA)

Turbulences II , Fondation Boghossian - Villa Empain, Brussels (BEL)

  • 2012 Retrospective Auguste Herbin , Musée départemental Matisse, Le Cateau Cambrésis (FRA)

Mouvement et lumière , Villa Datris, L'Isle-sur-la-Sorgue (FRA) Turbulences , Espace culturel Louis Vuitton, Paris (FRA) Picasso to Koons: Artist as Jeweler (cat.) , Museo Benaki, Athens (GRC)

  • 2011 Festival La Novela , Museo Les Abattoirs, Toulouse (FRA)
  • 2010 Manimal , Herzliya Museum of Contemporary Art, Herzliya (IL)
  • 2009 Inside, art and science , Cordoaria, Lisbon (POR)
  • 2009 Dialogue avec les collections # 2 - paysage / vidéo , Musée d'art, Toulon (FRA)
  • 2008 Emoção Art.ficial 4.0 , Paraiso subway station, Centro Cultural Itaú, São Paulo (BRA)
  • 2007 Ultra-Nature , Glow Festival: forum of light in art and architecture, Eindhoven (NLD)
  • 2006 Art and playing , Funsters (cat.), Seoul Arts Center, Seoul (KOR)
  • 2005 Digital Paradise (cat.) , Daejeon Museum of Art Gallery, Daejeon (KOR)
  • 2003 Space Art , Festival Art Outsiders, Maison Européenne de la Photographie, Paris (FRA)
  • 2000 Gwangju International Biennale (KOR)
  • 1999 Virtuel Réel , Espace Paul Ricard, Paris (FRA)
  • 1997 Magic of Numbers , State Gallery, Stuttgart (DEU)
  • 1996 La Ville Moderne en Europe , Museum of contemporary art, Tokyo (JPN)
  • 1996 La Ville , Center Georges-Pompidou , Paris (FRA)
  • 1993 Excess in the techno-mediacratic society , Shoshana Wayne Gallery, Santa Monica , CA (USA)
  • 1992 Variaciones en Gris (cat.) , Centro Cultural de la Villa, Madrid (SPA)
  • 1990 Art & publicité 1890-1990 , Center Georges-Pompidou, Paris (FRA)
  • 1988 Ateliers 88 , ARC Musée d'art moderne de la Ville, Paris (FRA)
  • 1986 Trans-culture , Exit art gallery, New York City, NY (USA)

Miguel Chevalier in the museums

  • Musée d'art Moderne de la Ville, Paris (FRA)
  • Bibliothèque nationale, Paris (FRA)
  • Fond national d'art contemporain, Puteaux (FRA)
  • Musée d'art et d'histoire, Belfort (FRA)
  • MAC / VAL, Museum of Contemporary Art of the Val de Marne, Vitry-sur-Seine (FRA)
  • Fundación arte y tecnologia Telefonica de España, Madrid (ESP)
  • Museo de arte Àlvar y Carmen T. de Carrillo Gil, Mexico City (MEX)
  • Museo de artes visuales Alejandro Otero, Caracas (VEN)
  • Museo de bellas artes, Maracaibo (VEN)
  • Center Culturel Itau, São Paulo (BRA)
  • Musée de la poste, Paris (FRA)
  • Fondation Clément, Martinique (MTQ)

public orders

  • 2012 Pixels Crossing , Forum des Halles , Paris (FRA)
  • 2011 Pixels Op'Art , Facade of a building, Colmar (FRA)
  • 2010 Seconde Nature , place d'Arvieux, Marseilles (FRA). In collaboration with the designer Charles Bové.
  • 2008 Fractal Flowers , benches on the Cheonggyecheon River, Seoul (COR)
  • 2007 Pixels Crossing , Trousseau Hospital, Paris (FRA). In collaboration with the architectural firm Grimaud & Israël.
  • Ribbon of Life , cruise ship of the Royal Caribbean Cruise Line, Liberty of the Seas (USA). In collaboration with designer Arik Levy.
  • 2006 UNICEF Mosaic , UNICEF, New York City (USA)
  • 2000 Living Networks , Palais des Congrès, Paris (FRA). In collaboration with the architect Christian de Portzamparc.
  • 1992 Massivement parallèle , Tax Office, Marseilles (FRA). In collaboration with the architect Claude Vasconi.

bibliography

  • Serge Fauchereau: Power Pixels . Center des arts, Enghien les Bains 2013, ISBN 978-2-916639-32-1 .
  • Serge Fauchereau, Vincent Huguet : Pixels Power 2008> 2011 . Aeroplano editora, Rio de Janeiro 2011, ISBN 978-85-7820-065-7 .
  • Christine Buch-Glucksmann: Seconde Nature / Marseille 2010, Miguel Chevalier et Charles Bové . apres éditions, Paris 2011, ISBN 978-2-9528897-5-9 .
  • Miguel Matos: Pixels Power . Antonio Prates, Lisboa 2010.
  • Suzete Venturelli: Segunda Natureza . Espaço Marcantônio Vilaça, Brasilia 2009.
  • Jean-Pierre Balpe, Miguel Chevalier: Herbarius 2059 - 12 graines . Bernard Esposito (Librairie de Sèvres), Serge Plantureux (Rhinoceros jr), Paris 2009, ISBN 978-2-84940-059-3 .
  • Cemren Altan, Pierre Yves Desaive: Fractal Flowers 2009 . iMAL, Brussels 2009.
  • Mario Costa, Edmond Couchot, Gunnar B. Kvaran, Ariella Masboungi and Mohamed Rachdi: Miguel Chevalier, 2000/2008 . Monograph, Blos 2008, ISBN 978-2-916545-76-9 .
  • Henri-François Debailleux: Seconde nature . Mairie de Trelazé, Trelazé 2007.
  • Manuela de Barros: Arabesques Numériques . Institut français de Marrakech, Marrakech 2005.
  • Françoise Gaillard: Paradis artificiels . Gallery Municipale de Vitry sur Seine, Vitry sur Seine 2004.
  • Norbert Hilaire: Autres Natures . Center d'Art Moderne Espace Mira Phalaina, Maison Populaire, Montreuil 2001.
  • Laurence Bertrand-Dorléac, Patrick Imbaro, Pierre Restany: Miguel Chevalier . Flammarion, Paris 2000.
  • Christine Buci-Glucksman: Miguel Chevalier . interactive CD-Rom, Paris 2000.
  • Gerardo Estrada, Jorge Juanes, Elias Levin Rojo: Miguel Chevalier: Oro negro . Museo de arte Alvar y Carmen T. de Carrillo Gil, Mexico City 1996.
  • Jorge Morales: Otra Natura . Centro Nacional de las artes - Centro multimedia, Mexico City 1996.
  • Losé Hernan Aguilar: Miguel Chevalier. Oro negro . Museo de arte universidad nacional de Colombia, Bogotà 1994.
  • Jorge Luis Gutierrez: Oro Negro . Museo de artes visuales Alejandro Otero, Caracas 1993.
  • Rosanna Albertini: De l'analogique au numérique . Musée d'art et d'histoire, Belfort 1992.
  • Miguel Chevalier: Marine . Ecole régionale des beaux-arts, Nantes 1991.
  • Eric Audinet, Ginger Danto: nology . Horizons chimériques Paris 1991.
  • Patrick Imbaro, Alain Renaud: Miguel Chevalier. Interconnexion . Center d'art contemporain La Base, Levallois-Perret 1990.
  • Vittorio Fagone: anthropometry . Galleria Vivita 2, Firenze 1990.
  • Miguel Chevalier: Mosaïques . Center d'art contemporain, Brétigny-sur-Orge 1989.
  • Laurence Bertrand Dorléac, Pierre Restant: Révolution. De la peinture au numérique . Center d'art contemporain, Hérouville St-Clair 1989.
  • Jérôme: "Miguel Chevalier". Images nouvelles, Granit Center d'art contemporain, Belfort 1987.

Web links

Footnotes

  1. ↑ Miguel Chevalier, Entretiens avec Patrick Imbard , in http://www.miguel-chevalier.com , p.1
  2. ↑ Miguel Chevalier, Entretiens avec Patrick Imbard , in http://www.miguel-chevalier.com , p.2
  3. ↑ Miguel Chevalier, Entretiens avec Patrick Imbard , in http://www.miguel-chevalier.com , p.5
  4. ↑ Edmond Couchot, Une fête des yeux à la croisée des arts, des sciences et des techniques , in Miguel Chevalier, 2000/2008 , Blou, Monografik, 2008
  5. ↑ Edouard Couchot, Une fête des yeux à la croisée des arts, des sciences et des techniques , in Miguel Chevalier 2000/2008 , Blou, Monografik, pp.16-25, p.23
  6. ↑ Jérôme Sans, in Miguel Chevalier, Images nouvelles , éditions Granit, Belfort, 1987
  7. ↑ Patrick Imbard, in Miguel Chevalier , Paris, Flammarion, 2001, p.24
  8. ↑ http://www.miguel-chevalier.com/fr/la-vague-des-pixels
  9. ↑ http://www.miguel-chevalier.com/fr/oenologie
  10. ↑ Patrick Imbard, in Miguel Chevalier , Paris, Flammarion, 2009, Chapter 09 / Performances
  11. ↑ http://www.miguel-chevalier.com/fr/autres-natures
  12. ↑ Suzete Venturelli, Segunda natureza , Brasilia, Espaço Marcantônio Vilaça, 2009
  13. ^ Elisabeth Couturier, in Miguel Chevalier. Chasseur d'images virtual , in http://www.miguel-chevalier.com , p.2
  14. ↑ http://www.miguel-chevalier.com/fr/digital-arabesques
  15. ↑ http://www.miguel-chevalier.com/fr/pixels-liquides
  16. ↑ Beaugrenelle Paris (ed.): Exposition Miguel Chevalier. Orbites 2019 . 2019, p. 12 .
  17. ↑ Miguel Chevalier: Digital Supernova 2019 . Ed .: Voxels Productions Paris. 2019, p. 48 .
  18. ↑ La passe muraille (ed.): In Situ 2019. Patrimoine et art contemporain en Occitanie . Clapiers 2019, p. 22 .
  19. ↑ Miguel Chevalier: Pixels Noir Lumière 2019 . Ed .: Voxels Productions Paris. 2019, p. 48 .
  20. ↑ Ville de Rodez / Rodez Agglomération (ed.): Rodez 2019. L'exception culturelle. Le siècle Soulages. Programs . Rodez, S. 36 .
  21. ^ Miguel Chevalier: Noël à Trévarez. Dun rêve à l'autre 2018 . Ed .: Domaine de Trévarez. Domaine du patrimoine en Finistère 2018, p. 44 .
  22. ↑ Miguel Chevalier: Power Pixels 2018 . Ed .: La Galerie par Graf Notaires Paris. 2018, p. 48 .
  23. ↑ Simona Massimi (ed.): Onde Pixel. Lo sguardo di […] Miguel Chevalier . UniCredit Pavilion, Milano 2016, p. 96 .
  24. ^ Galerie Italienne (ed.): Shadows . Paris 2019, p. 80 .
  25. ↑ RmnGP Paris (ed.): Artistes et Robots. L'essentiel de l'exposition à destination des enseignants et des relais associatifs . 2018.
  26. ↑ Laurence Bertrand Dorléac, Jérôme Neutres: Artistes et Robots . Ed .: RmnGP. Paris 2018, ISBN 978-2-7118-7109-4 , pp. 210 .
  27. ^ Artists & Robots . RmnGP, Paris 2017, ISBN 978-2-7118-7036-3 , pp. 218 .
personal data
SURNAME Chevalier, Miguel
BRIEF DESCRIPTION franco-mexican artist
DATE OF BIRTH April 22, 1959
PLACE OF BIRTH Mexico city