WANAFOTO: 11/2024

29/11/24

Joana Vasconcelos @ BRAFA 2025, Brussels - Guest of Honour

Joana Vasconcelos: Guest of Honour

BRAFA 2025, Brussels

January 26 – February 2, 2025

Joana Vasconcelos

Courtesy Atelier Joana Vasconcelos

Joana Vasconcelos

Dream Curtain, 2023

Courtesy Museu Oscar Niemeyer

Joana Vasconcelos is a Portuguese visual artist, born in 1971. Over the course of her 30-year career, she has made use of a wide variety of media. Although she has a preference for textiles, Joana Vasconcelos also works with cement, metal, ceramics, glass, and found objects. She is renowned for her monumental sculptures and immersive installations. Her ambition is to decontextualise everyday objects and revisit the concept of craft in the twenty-first century. Her humorous, ironic work examines the status of women, consumer society and collective identity.

Her international reputation was consolidated in 2005, at the first Venice Biennale curated by women, where she presented her piece The Bride, a classically shaped chandelier whose crystal pendants had been replaced by approximately 14,000 tampons.

Joana Vasconcelos was the youngest artist and the first woman to exhibit at the Château de Versailles in 2012. In 2018, she became the first Portuguese artist to have a solo show at the Guggenheim Museum in Bilbao. In 2023, she had the honour of exhibiting at the Uffizi Galleries and the Palazzo Pitti in Florence, alongside great masters such as Leonardo da Vinci, Michelangelo and Caravaggio.

At BRAFA 2025, she will be exhibiting two Valkyries, sculptures inspired by the female figures from Norse mythology who flew over the battlefields, bringing the bravest warriors back to life to join the deities in Valhalla. Made from textiles, they give full expression to the artist’s creativity, involving a variety of fabrics and trimmings. The result is a surprising combination of volumes, textures and colours. Made up of a central body, a head, a tail and several arms, many of the Valkyries combine traditional craftsmanship with more technological methods, such as the insertion of light to simulate vibration and breathing, which gives movement to the work.

BRAFA Art Fair

Brussels Expo – Halls 3 & 4 – Place de Belgique 1, 1020 Brussels

www.brafa.art

KIK- IRPA – Royal Institute for Cultural Heritage @ BRAFA 2025, Brussels

KIK- IRPA – Royal Institute for Cultural Heritage

BRAFA 2025, Brussels

January 26 – February 2, 2025

Since its founding in 1948, the Royal Institute for Cultural Heritage (KIK-IRPA) has played a pioneering role in the preservation of a wide variety of heritage objects, including paintings, wood and stone sculptures, tapestries, precious metals, glass and elements of architectural heritage. The building in Brussels that has housed KIK-IRPA since 1962 was the first in the world to be specially designed to encourage an interdisciplinary approach to conserving works of art, in which restorers, chemists, engineers, imaging specialists, photographers and art historians work together. Approximately 100 of its scientists are working on ambitious projects at both national and international levels.

KIK-IRPA is best known for its prestigious restorations, such as that of the Adoration of the Mystic Lamb by the Van Eyck brothers in the former baptistery of Ghent's Saint Bavo Cathedral. In its state-of-the-art laboratories, advanced tools such as 3D microscopy, macro-XRF, and radiocarbon dating provide crucial insights into the materials and techniques used by artists and craftsmen, helping to ensure the proper preservation of cultural treasures for future generations. Great importance is attached to rigorous documentation and art history research. For example, the Institute preserves Belgium’s collective visual memory in the BALaT online database, which contains over a million photographs of cultural objects, hundreds of thousands of which can be downloaded free of charge.

At BRAFA 2025, the Royal Institute for Cultural Heritage will be showcasing the many facets of its work, from art conservation and restoration to heritage management and scientific analysis, in a space next to the King Baudouin Foundation. Visitors are invited to discover how specialists analyse and document works of art, providing fascinating insights into their history and their crafting techniques.

Workshops will be held every day at 2 p.m. and 5 p.m. for members of the public to learn about methods of conserving works of art and to explore the technologies that are currently in use. Experts will also share fascinating discoveries from their research, illustrating how scientific methods and modern technology are unlocking new dimensions for the understanding of historical works of art.

Workshops can only be booked via the

BRAFA website: www.brafa.art

From Sunday, January 26th to Sunday, February 2nd, 2025, from 11 a.m. to 7 p.m.

Brussels Expo – Halls 3 & 4 – Place de Belgique 1, 1020 Brussels

Royal Institute for Cultural Heritage – KIK- IRPA

www.kikirpa.be

BALaT online database

balat.kikirpa.be

28/11/24

Objectif vidéo stéréo Canon RF-S 7.8mm F4 STM DUAL

Objectif vidéo stéréo Canon RF-S 7.8mm F4 STM DUAL

Canon RF-S 7.8mm F4 STM DUAL

monté sur le Canon EOS R7

Le Canon RF-S 7.8mm F4 STM DUAL est un objectif innovant conçu pour rendre la réalisation de photos et de vidéos 3D (stéréo) plus accessible. Associé à un boîtier EOS hybride APS-C, cet objectif constitue un équipement compact et performant pour un investissement modéré. Il est idéal pour aborder le monde de la vidéo en relief. Ce RF-S 7.8mm F4 STM DUAL bénéficie de la haute performance optique qui caractérise les objectifs du Système Canon EOS R.

Avec un champ de 63° proche de celui de la vision humaine, l'objectif Canon RF-S 7.8mm F4 STM DUAL permet de générer des images immersives : l’effet de relief produit est d’un réalisme remarquable. Actuellement compatible avec un EOS R71 et à termes avec d’autres boitiers, le RF-S 7.8mm F4 STM DUAL est également idéal pour l’enregistrement de vidéos 3D. Ces dernières peuvent être visualisées non seulement sur des périphériques de haut de gamme comme des casques de réalité virtuelle, mais aussi sur un smartphone via des lunettes 3D ou une simple visionneuse VR en carton (cardboard VR). Il est même possible d’imprimer des vues pour les regarder avec des visionneuses pour tirages stéréo.

Doté d’un autofocus STM très fluide, cet objectif léger (130 g seulement) ouvre de nouveaux horizons de prises de vues photo et vidéo pour une grande diversité de photographes et vidéastes amateurs. Grâce à l’effet de réalité virtuelle, il permet de créer des photos et des séquences vidéo documentaires spectaculaires ou des présentations dynamiques de produits ou de services.

Afin de permettre l’intégration des images réalisées dans un flux de production souple et performant, l’application EOS VR Utility va être mise à jour. Elle proposera la création de vidéos 3D pour les casques de réalité virtuelle Apple Vision Pro, les contenus enregistrés avec des équipements du système Canon EOS VR pouvant être exportés en codec MV-HEVC pour une utilisation sur ordinateur Apple.

Commercialisation : Novembre 2024

Prix de vente conseillé : 550 € TTC

CANON FRANCE

www.canon.fr

26/11/24

Art Basel launches new App. The AI-powered digital companion to Art Basel shows

Art Basel launches new App, the AI-powered digital companion to Art Basel shows

Art Basel announces the release of the new Art Basel App, a comprehensive digital companion designed to enhance visitors’ experience at Art Basel shows and create new and interactive opportunities for art discovery. Launching ahead of the 2024 edition of Art Basel Miami Beach, the new mobile app leverages digital innovation to provide a highly personalized and intuitive experience for first-time and returning visitors, bringing them closer to the artists and artworks on display and allowing them to uncover more of the unparalleled programming in and around the show. For the first time, Art Basel is partnering with Microsoft to offer an advanced suite of AI-powered app features – including the interactive Art Basel Companion and the Art Basel Lens, which marks the first application of Microsoft’s AI computer vision technology in a global art fair context.

Powered by Microsoft Copilot, the Art Basel Companion offers personalized recommendations about where to go and what to see at the show based on user preferences. Visitors will be able to interact with the Companion and obtain information about artists and gallery presentations at the show, cultural events and highlights around the city, as well as hotels and restaurants. The Art Basel Lens uses AI computer vision to allow visitors to scan artworks on view, learn more about the exhibiting gallery and artist in real time, and reshare the artworks with their social networks. The Art Basel Lens feature will launch as a pilot in Art Basel Miami Beach’s Nova and Survey sectors, dedicated to ultra-contemporary and historical presentations, respectively. Other enhanced app functionalities include personalized itinerary-planning and Calendar Synch, enabling visitors to RSVP to Art Basel events within the app and sync them directly to their personal calendars for a more seamless visitor experience, alongside new features for Art Basel VIP guests, who can unlock exclusive partner benefits and offers during the show all within the app environment.

Noah Horowitz, CEO, Art Basel, says: "The new Art Basel App reflects our mission to enhance and enrich the physical fair experience and create new paths for access and discovery, as well as seek out innovative ways to connect exhibitors with a new and engaged audience base. We are thrilled to partner with Microsoft to truly unlock the power of digital innovation to elevate our galleries and their artists and create expanded opportunities for meaningful interactions with art."

Steve Clayton, Vice President, Microsoft, says: "Art Basel and Microsoft share a common vision of empowering the art world through innovation. Our partnership is not just about technology; it’s about unlocking opportunities for deeper connections with artists and galleries – and providing unique insights and discoveries for attendees. We are excited to partner with Art Basel to bring cutting edge AI capabilities that help make their world-class art fairs more accessible and enjoyable for everyone.”

The new Art Basel App is now available to download in the Apple app store, supported initially on iOS. Android users can continue using the original version of the App.

23/11/24

Leica Oskar Barnack Award 2024 Winners: Davide Monteleone, Maria Gutu

Leica Oskar Barnack Award 2024 Winners

In the 44th edition of the prestigious photography award, the LOBA jury selected Italian-born, Swiss-based photographer DAVIDE MONTELEONE (link to photographs, biography, statement) with his series “Critical Minerals – Geography of Energy,” for the main prize, while Moldovan photographer MARIA GUTU won the LOBA Newcomer Award for her “Homeland” series. The two winning series were selected from a field of around 250 submissions, which had been previously presented to the LOBA jury by roughly 80 international photography experts from around 50 countries.

Jury statement Karin Rehn-Kaufmann, Art Director and Chief Representative Leica Galleries International: “On behalf of the whole LOBA 2024 jury (Dimitri Beck, Head of the Photography Department at Polka; Per Gylfe, Head of the Education Department at the International Centre of Photography (ICP); Ciril Jazbek, photographer from Slovenia and 2013 LOBA Newcomer Award-winner; Amélie Schneider, Head of the Picture Editorial Department at Die Zeit, Germany, and myself), I would like to heartily congratulate the two winners of the Leica Oskar Barnack Awards. Both series are as different as they are convincing, in their approach to the basic constant of the LOBA, which questions the relationship of people to the environment.”

Jury statement Dimitri Beck: “The LOBA is surely a milestone in the international photography scene and plays a key role in promoting good visual storytelling. Presenting a shortlist of twelve photographers and their works is important to explore the diversity of visions and stories happening nowadays.”

Jury statement Amélie Schneider: “In times of war, crises and social insecurity, photography remains the medium with which to reach and touch people’s emotions, and to make world events tangible.”

Jury statement Per Gylfe: “The LOBA plays a crucial role in the international photography scene by highlighting and celebrating exceptional photographic work from around the world, and also encourages the ongoing dialogue about the role of photography in society.”

The LOBA is amongst the most highly endowed and prestigious awards in the field of photography: the winner of the LOBA receives 40,000 euros and Leica camera equipment valued at 10,000 euros, while the winner of the Newcomer Award receives 10,000 euros and a Leica Q3.

On 10th October the two winners have been honoured during the award ceremony and as part of an exhibition showing all twelve shortlisted series, within the framework of the Celebration of Photography in Wetzlar, Germany. After the exhibition at the Ernst Leitz Museum in Wetzlar, the LOBA 2024 series will be shown in other Leica Galleries and at photo festivals around the world.

The LOBA 2024 catalogue complementing the exhibition, introduces the complete picture series and background information from the full LOBA 2024 shortlist.

The realisation of the exhibition of the winning and shortlisted series is supported by WhiteWall.

Further information about this year’s winners is available at:

www.leica-oskar-barnack-award.com

Maria Gutu: Leica Oskar Barnack Award Newcomer Winner 2024 - "Homeland" series

Maria Gutu

Homeland

Leica Oskar Barnack Award Newcomer Winner 2024

MARIA GUTU

From the series Homeland

Courtesy of Leica Oskar Barnack Award

MARIA GUTU

From the series Homeland

Courtesy of Leica Oskar Barnack Award

The Moldovan photographer’s personal story was the starting point for her touching portrait series: she grew up with her grandparents, because her own parents – like many others in her homeland – had to move abroad for economic reasons. In the last twenty years, nearly a quarter of the small country’s population have left. Guțu’s poetic and visual narrative asks about the meaning of roots and of home, which have changed significantly over the years.

The series was proposed for the LOBA Newcomer Category – directed at photographers up to 30 years in age – by Docdocdoc, School of Modern Photography, St. Petersburg

MARIA GUTU

From the series Homeland

Courtesy of Leica Oskar Barnack Award

MARIA GUTU

From the series Homeland

Courtesy of Leica Oskar Barnack Award

MARIA GUTU

From the series Homeland

Courtesy of Leica Oskar Barnack Award

Statement MARIA GUTU:

“I travel a lot to Moldova’s villages. The quiet places and people inspire me with their simple and natural way of life, connection with the land and animals. I identify with the children and teenagers I photograph: they experience the same reality of emigration of their parents, as I did. My work itself evokes a nostalgic yearning for family, the past, and simply life itself.”

MARIA GUTU was born in the Republic of Moldova in 1996. She graduated from the Docdocdoc School of Modern Photography, St. Petersburg, in 2022. Previously she had completed studies of Film at the Academy of Music, Theatres and Visual Arts in Chișinău, Moldova. In 2019 she received a grant from the CDFD (Centre of Documentary Photography), Bucharest, Romania. In 2020 she was a finalist for the People Photography Award of The Independent Photographer. She has been a member of Women Photograph since 2021. She has already received numerous international nominations and her work has appeared in a number of group exhibitions.

The winner of the main prize is Davide Monteleone.

Further information about this year’s winners is available at:

www.leica-oskar-barnack-award.com

Davide Monteleone: Leica Oskar Barnack Award Winner 2024 - "Critical Minerals – Geography of Energy" Series

DAVIDE MONTELEONE

Critical Minerals – Geography of Energy

Leica Oskar Barnack Award Winner 2024

DAVIDE MONTELEONE

From the series Critical Minerals – Geography of Energy

Courtesy of Leica Oskar Barnack Award

DAVIDE MONTELEONE

From the series Critical Minerals – Geography of Energy

Courtesy of Leica Oskar Barnack Award

In the photographer’s on-going, long-term study, he questions the current reorientation of the energy industry towards renewable sources, and problematises the resulting and complicated geopolitical, social and ecological effects, using the examples of copper, lithium and cobalt mining in Chile, the Democratic Republic of the Congo and Indonesia. In his multi-layered series he shows the landscapes and industrial complexes, while making the people working there the central focus of his work.

The winning series was proposed by Italian LOBA nominator Antonia Benedetta Donato.

DAVIDE MONTELEONE

From the series Critical Minerals – Geography of Energy

Courtesy of Leica Oskar Barnack Award

DAVIDE MONTELEONE

From the series Critical Minerals – Geography of Energy

Courtesy of Leica Oskar Barnack Award

DAVIDE MONTELEONE

From the series Critical Minerals – Geography of Energy

Courtesy of Leica Oskar Barnack Award

Statement DAVIDE MONTELEONE:

“The prestige of the award is undisputable, and I am -happy my name will be listed among the incredible Masters of Photography who won it before me. I’m also excited about the visibility opportunities the prize will give the project and the story. It’s an important topic; I’m glad it’s receiving attention. The transition to green energy and the fair distribution of resources are critical issues. Any publicity for my project is welcome in this regard.”

DAVIDE MONTELEONE was born in Potenza, Region Basilicata, Italy, in 1974, and lives today in Switzerland. He has a Masters in Art and Politics from Goldsmith University London, and is a curator and teacher for many public and private institutions. In 2001 he began to live and work in Moscow. His work as a visual artist and researcher encompasses the fields of image design, visual journalism and writing. For several years now he has been focussing on climate issues, at the intersection between economics and geopolitics. Monteleone has published numerous books, writes regularly for magazines such as National Geographic, Time and The New Yorker, and his work has been exhibited widely. He has been honoured with the National Geographic Storyteller’s Fund, the National Geographic Society Fellowship, the Asia Society Fellowship, the Carmignac Photojournalism Award, the EPEA Award, the European Publishers Award and several World Press Photo Awards, among others. He was already on the LOBA 2020 shortlist, with his “Sinomocene” series.

Further information about this year’s winners is available at:

www.leica-oskar-barnack-award.com

22/11/24

Hannu Väisänen @ Galerie Forsblom, Helsinki - "Rose Window" Exhibition

Hannu Väisänen: Rose Window

Galerie Forsblom, Helsinki

November 29, 2024 – January 12, 2025

A compositional scheme structured around an off-center circle is the uniting feature of the paintings in Hannu Väisänen’s latest exhibition. The artist describes his new works using the term tondo, which refers to a circular painting or relief. Tondi was popular, especially in high Renaissance painting, but Hannu Väisänen draws his inspiration from a very different source. Circular compositions have grown familiar to him through his many years of painting and decorating plates and bowls. He finds the round form inspiring, especially as plates are not intended to be viewed from any specific direction: they are always viewed in the round. In this new series of paintings, Hannu Väisänen rotated each piece several times during the painting process to decide which would be top and bottom. Although each tondo is sketched many times on paper before being transferred to canvas, Hannu Väisänen consciously avoids creating perfect circles drawn with a compass.

Hannu Väisänen’s paintings refer indirectly to nature, their shapes and colors drawing inspiration from coral reefs, mossy surfaces, the belly skin of a stingray, or the tail a peacock spider performing a courtship dance. Although his compositions are rooted in nature and its wondrous details, his paintings are never purely representational. Instead, they consciously blur the line between the abstract and the figurative. With circular compositions constituting a leitmotif in his new series of paintings, it seemed only natural for Hannu Väisänen to also include paintings of rose windows found in cathedral façades. Hannu Väisänen originally sketched the rose windows at Rouen Cathedral, which is famous for its flamboyant Gothic façade, a subject also interpreted by many Impressionists.

Hannu Väisänen (b.1951) is a multi-talented artist who moves fluently between working as a visual artist, writer, stage designer, costume designer, director and illustrator. His work is found in numerous Finnish public collections, and he has created public artworks on commission for clients, including the Finnish National Opera, Kontula Church, and Oulu Cathedral. The multi-award-winning artist is the recipient of the State Prize for Visual Arts, the Finlandia Prize for Literature in 2007, and the State Prize for Literature in 2015. Hannu Väisänen lives and works in the southwest of France.

GALERIE FORSBLOM

Yrjönkatu 22, 00120 Helsinki

www.galerieforsblom.com

Olafur Eliasson @ MOCA, Los Angeles - "OPEN" Exhibition

Olafur Eliasson: OPEN

MOCA, Los Angeles

September 15, 2024 – July 6, 2025

OLAFUR ELIASSON

Kaleidoscope for plural perspectives, 2024

Installation view: Studio Olafur Eliasson, Berlin

Photo: Henri Lacoste | Studio Olafur Eliasson

Courtesy of the artist, Tanya Bonakdar Gallery,

New York/Los Angeles; neugerriemschneider, Berlin

The Museum of Contemporary Art (MOCA) presents Olafur Eliasson: OPEN at The Geffen Contemporary at MOCA. The first major solo exhibition of the Icelandic-Danish artist Olafur Eliasson (b. 1967, Copenhagen; lives and works in Berlin) in Los Angeles. Continuing Eliasson’s career-long exploration of light and color, geometry, and environmental awareness, Olafur Eliasson: OPEN presents a series of site-specific installations responding to MOCA Geffen’s building and the atmospheric conditions of Los Angeles.

Olafur Eliasson: OPEN features over a dozen works commissioned for MOCA, along with a selection of recent works organized around the artist’sresearch on perception, optical devices, physics and natural phenomena, navigational instruments, and color experimentation. Olafur Eliasson draws attention to the relativity of our perception and challenges habitual ways of seeing and experiencing the world. The exhibition is informed by the artist’s belief in the potential of inconclusiveness—the idea that every artwork contains an aspect that is radically open.

“Olafur Eliasson’s work is an invitation to explore, reconsider, and co-produce our relationship with the world around us,” said Johanna Burton, The Maurice Marciano Director. “His innovative use of light, color, and space transforms the familiar into the ephemerally extraordinary, encouraging a deeper engagement with the environment and our perceptions of it. This exhibition is a natural extension of MOCA’s commitment to environmental programming, as seen in our ongoing presentations and initiatives focused on climate change and sustainability.”

“In this ambitious project, Eliasson taps into the legacies of artists intimately tied to Los Angeles and MOCA’s rich history of experimentation and innovation," said José Luis Blondet. "From Michael Asher’s site-specific interventions, to Maria Nordman’s exploration of space and time, to Robert Irwin’s perceptual experiments with light and space and James Turrell’s pioneering work in the use of light as a medium.”

“Eliasson is an artist of singular vision who combines scientific levels of precision with a poetic sensibility about the metaphysics of perception,” says co-curator Rebecca Lowery. “His deep engagement with the specific architectural setting of The Geffen Contemporary will animate this beloved building in new ways for first-time and long-time visitors alike.”

OPEN is conceived as a number of fluid experiences staged in the vast industrial spaces of The Geffen Contemporary. The exhibition’s central gallery becomes a point of departure and return, welcoming visitors to meander throughout the museum as they interact with various optical devices that refract and reframe the building and its environments. OPEN offers unique explorations of light, perception, and interaction with the environment.

OLAFUR ELIASSON

The works of artist Olafur Eliasson (Icelandic-Danish, b. 1967) explore the relevance of art in the world at large. Since 1997, his wide-ranging solo shows—featuring installations, paintings, sculptures, photography, and film—have appeared in major museums around the globe. In 2003, he represented Denmark at the 50th Venice Biennale and later that year installed The weather project in Tate Modern’s Turbine Hall, London. Take your time: Olafur Eliasson, a survey exhibition organized by SFMOMA, traveled from 2007 until 2010 to various venues, including the Museum of Modern Art, New York. In 2018, the site-specific installation Reality projector transformed the Marciano Foundation in Los Angeles. Exhibitions in 2024 include Senin beklenmeidk karşılaman (Your unexpected encounter) at Istanbul Modern and Your curious journey, at Singapore Art Museum (SAM) and travel to Auckland Art Gallery Toi o Tāmaki, New Zealand; Taipei Fine Arts Museum, Taiwan; Museum MACAN, Jakarta, Indonesia; and conclude at the Museum of Contemporary Art and Design, Manila, the Philippines.

Eliasson’s projects in public spaces include The New York City Waterfalls, 2008; Fjordenhus, Vejle, Denmark, 2018; Ice Watch, 2014; Seeing spheres, 2019, in San Francisco; and Atmospheric wave wall, 2020, in Chicago. Harpa Reykjavik Concert Hall and Conference Centre, 2011, for which Olafur Eliasson created the facades in collaboration with Henning Larsen Architects, won the Mies van der Rohe Award in 2013.

In 2012, Olafur Eliasson started the social business Little Sun, and in 2014, he and Sebastian Behmann founded Studio Other Spaces, an office for art and architecture. In 2019, Eliasson was named UNDP Goodwill Ambassador for climate action. In 2023, he received the Praemium Imperiale from the Japanese imperial family for outstanding contributions to the development, promotion, and progress of the arts.

Located in Berlin, Studio Olafur Eliasson comprises a large team of crafts people, architects, archivists, researchers, administrators, cooks, art historians, and specialized technicians.

www.olafureliasson.net

Olafur Eliasson: OPEN is part of the landmark Getty initiative PST ART: Art & Science Collide and is organized by José Luis Blondet, Senior Curator, and Rebecca Lowery, Associate Curator, with Emilia Nicholson-Fajardo, Curatorial Assistant, and Anastasia Kahn, former Curatorial Assistant.

Museum of Contemporary Art - MOCA

The Geffen Contemporary at MOCA

152 North Central Avenue, Los Angeles, CA 90012

www.moca.org

Kristina Riska @ Galerie Forsblom, Helsinki - "Uncertainties" Exhibition

Kristina Riska: Uncertainties

Galerie Forsblom, Helsinki

November 29, 2024 – January 12, 2025

Kristina Riska’s artistic process harnesses both the delicate malleability and the willful nature of clay. The artist describes herself as battling her material, attempting to achieve the impossible, which is why she was unsure until the last minute before the show’s opening how many of her sculptures would survive intact. When working with clay, one must humble oneself before the material – clay insists upon writing its own narrative. Its size and shape are transformed during firing in the kiln, as are the textures and colors imparted by glazes, thus conferring a key role to chance in the birthing process of ceramic art.

As an entirely new feature in Riska’s art, many of her recent sculptures are propped on struts, some resembling Japanese wooden geta sandals, others rounder like wheels or pompoms. By resting her sculptures on inbuilt pedestals, Kristina Riska has freed up wholly new avenues of expression in her construction of form. Each sculpture tells its own mini-story, and the titles hint at the underlying meanings in subtle, oblique ways. Instead of having a clear uniting theme, the sculptures in this exhibition were created intuitively, in states of mind ranging from joy to sorrow. They are richly diverse in style, yet each one has a counterpart or companion piece with which it engages in dialogue, creating cohesion within the exhibition.

Working with clay is just as inspiring to Kristina Riska today as it was forty years ago. She describes it as a huge privilege and gift. At the heart of her process is her desire to distill her craft to its purest essence – to strip everything down to the essentials and achieve total integrity of expression. While immersed in a project, she avoids looking at the work of other artists and strives to concentrate purely on her own creative process.

Kristina Riska (b. 1960) is one of Finland’s most internationally renowned ceramic artists. Her studio is based on the premises of the Arabia Art Department Society in Helsinki. She has won international awards and has exhibited her work everywhere, from the United States to Denmark and Japan. Her sculptures are held in numerous international private collections, as well as the collections of the Saastamoinen Foundation and the Finnish and Swedish governments.

GALERIE FORSBLOM

Yrjönkatu 22, 00120 Helsinki

www.galerieforsblom.com

21/11/24

Daniel Turner / Compresseur @ MACS, Grand Hornu, Hornu, Belgique/Belgium - Exposition/Exhibition - En Français/In English

Daniel Turner / Compresseur

MACS, Grand Hornu, Hornu, Belgique

15 décembre 2024 - 6 avril 2025

Scroll down for English Version

« Le fondement de mon travail est archéologique. C’est l’idée de localiser un lieu, d’aller dans ce lieu puis de le creuser. Quand je parle de ce processus de travail, j’utilise le mot « creuser » car, d’une certaine manière, je travaille comme un mineur amateur : localiser les matériaux, creuser pour chercher ces matériaux, extraire ces matériaux. » -- Daniel Turner en conversation avec Denis Gielen, New York, mai 2024

DANIEL TURNER

Compresseur, 2024

Extract from the film, 34’08’’

DANIEL TURNER

Three Sites, Kunsthalle Basel, 2022

Installation view: (Holdenweid) Burnish 1, 2022

Photo © Philipp Hänger / Kunsthalle Basel

Daniel Turner, né en 1983 et installé à New York, a consacré les dix dernières années de sa carrière à la récupération et réappropriation d’infrastructures diverses. Il prélève sur des sites spécifiques des matériaux, des équipements et des résidus laissés par les personnes qui les ont occupés, qu’il transforme pour invoquer « l’esprit du lieu ». Pour sa première exposition muséale en Belgique, Daniel Turner s’est intéressé à un site particulièrement symbolique : l’ancienne prison de la commune bruxelloise de Forest.

DANIEL TURNER

(de Forest) Radiator Bar, 2024.

Iron sourced from Prison de Forest, 7 x 144 x 4 in.

Photo © Philippe De Gobert

A la suite de sa fermeture en 2022, Daniel Turner a entrepris de documenter la prison, réalisant des enregistrements sur le terrain et collectant divers matériaux en résonance avec l’atmosphère carcérale. Des objets utilitaires de la prison – tels que des matelas en mousse, des poignées de porte, des rideaux et des néons – ont été soumis à des traitements chimiques ou mécaniques de diverses intensités. Les radiateurs en fonte, autrefois vecteurs d’énergie et sources de chaleur, ont été fondus et transformés en formes solides et minimalistes.

L’oeuvre de Daniel Turner nous invite à réfléchir sur l’influence des environnements sur nos expériences. À travers des distillations matérielles qui transposent à la fois le lieu et sa matérialité, Turner éveille des réactions psychologiques vives, tout en faisant preuve d’une grande économie de moyens.

Portrait of DANIEL TURNER

Photo © Aurélien Arbet

DANIEL TURNER

Daniel Turner, né en 1983 à Portsmouth, en Virginie, vit actuellement à New York (États-Unis). L’artiste a participé à de nombreuses expositions institutionnelles, notamment à la Chinati Foundation, à Marfa (Texas, États-Unis) ; à la Kunsthalle Basel, à Bâle (Suisse) ; au Kunstmuseen Krefeld, à Krefeld (Allemagne) ; au Museum Dhondt-Dhaenens, à Deurle (Belgique), au Pinchuk Art Centre, à Kiev (Ukraine) ; aux Museen Haus Esters und Haus Lange, à Krefeld (Allemagne) ; au Kunstmuseum Thun, à Thun (Suisse) ; au Palais de Tokyo, à Paris (France) ; Muzeul de Arta Cluj-Napoca, Roumanie ; Confort Moderne, Poitiers, France ; Centre for Contemporary Art Ujazdowski Castle, Varsovie, Pologne ; Galerie im Taxispalais, Innsbruck, Autriche ; Mori Art Museum, Tokyo, Japon ; Musée d’Art Moderne de Paris, Paris, France ; et The Maria Leuff Foundation à New York. Les oeuvres de Turner sont présentes dans des collections privées et publiques, parmi lesquelles le S.M.A.K. de Gand, le Kunstmuseum de Bâle, le Centre Pompidou-Paris, le FRAC Bretagne, l’ICA de Miami, le Musée des Arts Contemporains au Grand-Hornu et bien d’autres.

ENGLISH VERSION

Daniel Turner / Compresseur

MACS, Grand-Hornu, Hornu, Belgium

December 15, 2024 - April 6, 2025

‘‘The basis of my practice is archaeological. This idea of locating a site and then going into the site and mining the site. When I speak about that work in the process, I speak in terms of “mining” because in a sense, I’m working as an amateur miner: locating materials, digging for materials, extracting the materials.” --Daniel Turner in conversation with Denis Gielen, New York, May 2024.

Daniel Turner, born in 1983 and based in New York, has spent the past decade of his career focused on salvaging infrastructures. From selected sites, Turner extracts materials, fixtures, and remnants left behind by former occupants, which he then transforms to evoke the «spirit of the place.» For his first museum exhibition in Belgium, Turner has chosen an especially evocative site: the former prison in the Brussels municipality of Forest.

Following its closure in 2022, Turner extensively documented the prison, conducted field recordings, and removed various materials that resonated with the impressions evoked by the carceral environment. Objects of utility sourced from the prison—such as foam sleeping pads, door handles, curtains, and fluorescent bulbs—have been chemically or mechanically processed to varying degrees. Iron radiators, once vectors of energy and sources of heat, were melted down and milled into solid, minimal forms.

Turner’s work invites the viewer to consider how environments shape our experiences. Through material distillations that transpose both place and materiality, Turner evokes psychological responses with a stark economy of means.

DANIEL TURNER was born in 1983 in Portsmouth, Virginia and currently lives and works in New York (USA). The artist has participated in institutional exhibitions including; The Chinati Foundation, Marfa Texas; Kunsthalle Basel, Basel Switzerland; Kunstmuseen Krefeld, Krefeld Germany; Museum Dhondt-Dhaenens, Deurle Belgium; Pinchuk Art Centre, Kiev Ukraine; Museen Haus Esters und Haus Lange, Krefeld Germany; Kunstmuseum Thun, Thun Switzerland, Palais de Tokyo, Paris France; Muzeul de Arta Cluj-Napoca, Cluj România; Confort Moderne, Poitiers, France; the Centre for Contemporary Art Ujazdowski Castle, Warsaw Poland; Galerie im Taxispalais, Innsbruck Austria; the Mori Art Museum, Tokyo Japan; the Musée d’Art Moderne de Paris, Paris France; and The Maria Leuff Foundation in New York. Daniel Turner’s works are held in private and public collections including; S.M.A.K. Ghent, Kunstmuseum Basel, Centre Pompidou, le FRAC Bretagne, ICA Miami, Musée des Arts Contemporains, Grand-Hornu amongst others.

MACS

Musée des Arts Contemporains

Site du Grand-Hornu

Rue Sainte-Louise, 82, B-7301 Hornu

www.mac-s.be

19/11/24

Artist Kristo Saarikoski @ Galerie Forsblom, Helsinki - "Wishing Well" Exhibition

Kristo Saarikoski: Wishing Well

Galerie Forsblom, Helsinki

November 29, 2024 – January 12, 2025

Certain desires are so deeply personal and fragile that they are difficult to share with others. The title of Kristo Saarikoski’s exhibition, Wishing Well, meditates on this very human form of vulnerability that exists within all of us – a side we rarely reveal to outsiders. Throwing a coin into a wishing well is a beautiful metaphorical gesture symbolizing the sharing of something intimately personal, like whispering a secret into the ear of a dear friend. We all have hopes and dreams – they form our inner core, a core shaped by life experiences that are built layer upon layer over passing years, planting the seeds of desires that express both our hopes for the future and aspects of the past we wish to leave behind.

One of the themes explored by Kristo Saarikoski is the dream of parenthood. As painting is an idiom that is fundamentally untranslatable into words, how can something like a parent’s desire to protect their child be expressed in the language of brushstrokes? Kristo Saarikoski paints intuitively, without any preliminary sketching. The process might begin with a color or combination of hues from which the rest of the composition unfolds spontaneously. The artist rotates his canvas many times during the painting process, searching for clues that lead him toward the final form. All his paintings are characterized by monochromatic areas contained within the larger composition as perspective-defying spaces.

Icon painting traditions are another underlying source of inspiration in Kristo Saarikoski’s work. After taking icon painting classes, the artist noticed that his paintings had changed: they now carry deeper meanings beyond just aesthetic concerns. Some of his paintings employ the strappo (detachment) technique, which literally involves the removal of pigment-bearing layers from a wall painting and transferring them to canvas.

Kristo Saarikoski (b. 1992) graduated from the Free Art School in Helsinki in 2024. He has had several solo and group exhibitions in Finland. His work is held in the HUS Collection, the Pentti Sären Collection and the Finnish Artists' Association Collection. The artist lives and works in Helsinki.

GALERIE FORSBLOM

Yrjönkatu 22, 00120 Helsinki

www.galerieforsblom.com

Nancy Elizabeth Prophet @ Brooklyn Museum - "I Will Not Bend an Inch" Retrospective Exhibition

Nancy Elizabeth Prophet

I Will Not Bend an Inch

Brooklyn Museum

March 14 - July 13, 2025

NANCY ELIZABETH PROPHET

Youth (Head in Wood), ca. 1930

Wood

Brooklyn Museum,

Brooklyn Museum Fund for African American Art

in honor of Saundra Williams-Cornwell, 2014.3.

Photo: Brooklyn Museum

The retrospective exhibition Nancy Elizabeth Prophet: I Will Not Bend an Inch honors the work and legacy of Nancy Elizabeth Prophet (American, 1890–1960), an underrecognized sculptor best known for her work in Paris during the interwar years. Organized by and first shown at the RISD Museum, this concise survey features twenty works, including sculptures in wood and marble, polychrome wood reliefs, watercolors, and documentation of archival materials and lost or destroyed work. The exhibition is presented across two galleries of the Sackler Center for Feminist Art. The first gallery offers a close look at this artist’s small existing but remarkable output, while the second gallery provides insight into the artist’s life and studio practice. In addition, the exhibition features a collaborative film project titled Conspiracy (2022), made by artist Simone Leigh and artist and filmmaker Madeleine Hunt-Ehrlich. The presentation of Nancy Elizabeth Prophet: I Will Not Bend an Inch is organized by Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art, with Carla Forbes, Curatorial Assistant, Elizabeth A. Sackler Center for Feminist Art.

Born in Rhode Island in 1890 to a Narragansett father and a Black mother, Nancy Elizabeth Prophet graduated from the Rhode Island School of Design (RISD) in 1918. She was the first known woman of color to graduate from the prestigious art and design school. Despite her parents’ disapproval, she worked as a housekeeper after completing her public school education to pay for her tuition at RISD. Following a brief period in New York, she moved to Paris in 1922. The twelve years Nancy Elizabeth Prophet spent working in Paris mark the pinnacle of her career. Upon her arrival, she enrolled at the École des Beaux-Arts and showed regularly at the Salon d’Automne, Salon d’Août, and the Salon des Artistes Français. Throughout her career, despite poverty and isolation, she remained entirely dedicated to her practice.

In Paris, Nancy Elizabeth Prophet sculpted a series of portrait heads primarily carved from hardwood. These works form the core of the exhibition. Prophet’s nine extant sculptures in the round powerfully demonstrate the artist’s skill at treating distinctive features with an idealizing and remarkably nuanced hand. The Brooklyn Museum holds in its collection one of Nancy Elizabeth Prophet’s wooden portrait busts, currently on view in the newly reinstalled American Art galleries, Toward Joy: New Frameworks for American Art. The 1930 sculpture, titled Youth (Head in Wood), is one of only about a dozen known works by Nancy Elizabeth Prophet still in existence.

“The Center for Feminist Art is particularly proud to present this groundbreaking show directly after our exhibition Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies,” says Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art. “In so doing, we hope to contribute to building an expanded understanding of the transformative contributions of Black women artists to modern art and the emergence of feminism across the twentieth century.”

“We are so pleased that Nancy Elizabeth Prophet’s work and story will be shared with visitors of the Brooklyn Museum,” says Tsugumi Maki, Director of the RISD Museum. “I Will Not Bend an Inch celebrates her lasting impact on the art world, particularly inspiring a new generation of artists.”

While only a handful of Nancy Elizabeth Prophet’s works in wood are known, her marble carvings, reliefs, and works on paper are rarer—seventeen of which are included in the exhibition, along with the artist’s remarkable Paris diary and her carving tools, which she significantly modified for her own use and treated with great care. The exhibition also includes revealing historical documents, such as studio photographs of works that have been lost, and Prophet’s correspondence with W. E. B. Du Bois, a lifetime supporter of the artist’s work. These materials provide insight into how she navigated the art world and sought to position her work as an Afro-Indigenous woman artist, resisting racist and sexist expectations. The exhibition’s title, I Will Not Bend an Inch, references a diary entry from Nancy Elizabeth Prophet in 1929, embodying her fiery and tenacious spirit and commitment to her craft in the face of immense adversity.

Nancy Elizabeth Prophet returned to the United States in 1934. With the support of Du Bois, she settled in Atlanta, where she cofounded the art program at Spelman College, building on her legacy as an influential and transformative teacher. Ten years later, Prophet returned to Rhode Island, where she died in 1960. Nancy Elizabeth Prophet: I Will Not Bend an Inch offers the first museum examination of this singular artist, providing a timely discussion about women artists of color of the early modern era, which preceded the emergence of the feminist, Native American, and civil rights movements of the twentieth century.

Nancy Elizabeth Prophet: I Will Not Bend an Inch is organized by the RISD Museum. The exhibition is curated by Dominic Molon, Interim Chief Curator & Richard Brown Baker Curator of Contemporary Art; Sarah Ganz Blythe, former Deputy Director of Exhibitions, Education, and Programs; and Kajette Solomon, Social Equity and Inclusion Specialist, RISD Museum. The Brooklyn Museum presentation is organized by Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art, with Carla Forbes, Curatorial Assistant, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.

BROOKLYN MUSEUM

200 Eastern Parkway, Brooklyn, NY 11238

www.brooklynmuseum.org

Artist Raili Tang @ Galerie Forsblom, Helsinki - "Flower of Life" Exhibition

Raili Tang: Flower of Life

Galerie Forsblom, Helsinki

November 29, 2024 – January 12, 2025

Raili Tang has been painting the seasons and incorporating organic references in her compositions for many years. Although figurative expression holds secondary relevance for the artist, her paintings convincingly capture a vivid sense of nature’s flux. Her latest paintings depict a variety of flowers – often of a fanciful, fictitious variety, but some are also inspired by real flower species. Floral motifs have a long legacy in art history. Artists have been conveying rich symbolism through flowers for centuries, but for Tang, the thing of paramount importance is the act of painting itself, whether done with a paintbrush, palette knife or even a glove. Raili Tang is a physical painter whose process combines exuberant abandon and sensitive dialogue with the canvas. Sometimes her paintings are completed in one quick session, other times it takes longer for them to find their final form. Her overlapping layers of color interact in complex ways, supporting, challenging, surprising and drawing strength from each other, expressing the full spectrum of human emotions in their chorus of hues.

Raili Tang is a colorist who believes that colors say more than words ever could. A single painting might contain countless nuances expressed purely with color. The best way to enjoy Tang’s art is to give oneself time to immerse oneself deeply in its bewildering richness and to soak up the energy that flows from it. While many of Tang’s paintings express joy, they also convey other emotions; a touch of melancholy often lingers in the background, suggesting that life is best when exploring and appreciating the full richness of its colors and nuances. A new feature that has emerged alongside Tang’s signature expressive style is the appearance of delicate color accents alluding to Impressionism. Playing with combinations of warm and cool hues is an enjoyable process for Raili Tang, and the viewer can palpably sense the ease with which coloristic nuances flow from her brush.

Raili Tang (b. 1950) has exhibited her work widely in Finland and internationally. Her paintings are held in Finland’s major museum collections, including the Museum of Contemporary Art Kiasma, the Sara Hildén Art Museum, the Wihuri Foundation, the Saastamoinen Foundation, and the HAM Helsinki Art Museum. Raili Tang was awarded the Pro Finlandia Medal in 2015.

GALERIE FORSBLOM

Yrjönkatu 22, 00120 Helsinki

www.galerieforsblom.com

Vidéoprojecteur mono DPL Panasonic RQ7

Vidéoprojecteur mono DPL Panasonic RQ7

Vidéoprojecteur mono DLP Panasonic série RQ7

Pour des expositions immersives

Présenté en début d'année lors de l'ISE 2024, le vidéoprojecteur mono DLP Panasonic série RQ7 est un ajout à la gamme 4K de Panasonic qui rend les expériences visuelles 4K immersives accessibles à tous. Positionnée entre la série FRQ60 (6 000 lm) et la série REQ12 (12 000 lm), la série RQ7 (7 500 lm) offre une plus grande flexibilité et un plus grand choix de solutions de projection vidéo pour les galeries, les musées et les attractions de divertissement géolocalisé (LBE). Il s’agit également du premier vidéoprojecteur Panasonic de moins de 8000 lm à être compatible Intel SDM pour une intégration facile dans l’infrastructure existante et l’AVoIP (en janvier 2024).

Rendre les visuels 4K immersifs accessibles + Mode Musée

Le nouveau projecteur RQ7/RQ6 offre des images 4K qui expriment fidèlement des détails nuancés tels que les coups de pinceau grâce à sa puce DLP de 0,65 pouce (16:9) et à la technologie Quad Pixel Drive de Panasonic. Il peut projeter du contenu 240 Hz/1080p avec un flou de mouvement minimal et une latence de 8 ms ou moins et fonctionne avec le système de projection en temps réel ET-SWR10, en option, pour fusionner le contenu numérique et le mouvement analogique dans les attractions interactives.

L’impact visuel est renforcé grâce à l’amélioration du contraste dynamique. Le mode Rich Colour Enhancer offre des tons rouges éclatants pour la reproduction d’œuvres d’art, avec une qualité d’image encore optimisée par un nouveau mode « Musée ». Pour le mapping, le réglage du niveau de noir basé sur les points permet une fusion transparente sur les écrans incurvés. Le format grand écran 21:9 des logiciels de visioconférence et vidéo est également pris en charge.

Conception compacte pour un flux de travail sans effort

Pour faciliter le transport, le stockage et l’installation, la conception miniaturisée et l’emballage réduit de la série RQ7 réduisent les ressources et l’empreinte carbone. Le rétroprojecteur s’intègre de manière transparente à l’infrastructure système à l’aide de l’emplacement Intel SDM pour les cartes de fonctions propriétaires ou tierces en option, y compris le prochain processeur multimédia ET-SBFMP10 de Panasonic. La série RQ7 utilise les optiques de la gamme actuelle DLE des projecteurs mono DLP Panasonic, minimisant ainsi l’investissement initial et favorisant la durabilité. La résistance de la fixation de l’optique a également été améliorée, éliminant le besoin d’un support supplémentaire lors de l’utilisation de l’objectif zoom à ultra-courte focale DLE020 ainsi que pour le décalage de l’objectif. Les kits de mise à niveau préactivés pour Geo Pro automatisent la fusion des bords via une caméra.

Projection stable, fiable et efficace

La série Panasonic RQ7 offre un fonctionnement durable et respectueux de l’environnement. Son moteur optique et son module de source lumineuse laser offrent des performances élevées en matière de protection contre la poussière, conformément à la norme IP5X Dust Protected (IEC 60529), tandis que le système de refroidissement perfectionné élimine le besoin d’un filtre, ce qui réduit les déchets et permet un fonctionnement sans entretien pendant 20 000 heures. Le moteur d’entraînement multi-laser limite la perte de luminosité dans le cas peu probable d’une défaillance de la diode, tandis que l’entrée de secours peut passer à un signal de secours sans effacement de l’écran. Un mode ECO réduit la consommation d’énergie et prolonge considérablement la durée de vie.

La série RQ7 est disponible au 3e trimestre 2024

PANASONIC CONNECT EUROPE

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Processeurs multimédia Panasonic ET-FMP50, ET-FMP20, ET-SBFMP10

Processeurs multimédia Panasonic ET-FMP50, ET-FMP20, ET-SBFMP10

Processeur multimédia Panasonic ET-FMP50

La nouvelle série de processeurs média Panasonic avait été présentée en début d'année à l'ISE 2024. Composée de trois processeurs multimédias simplifiant les installations de multi-projection dans les environnements immersifs, la série comprend deux modèles de type boîtier (ET-FMP50/FMP20) et une carte de fonction compatible SLOT standard Intel SDM (ET-SBFMP10). Exclusivement conçue pour la multi-projection, la série est dotée de fonctions de déformation et de fusion manuelles ou automatiques à l’aide d’une caméra, ainsi que de fonctions de lecture multimédia. La solution se veut simple et abordable et s’intègre parfaitement au sein d’un écosystème de vidéoprojecteurs Panasonic.

Flux de travail rationalisé pour simplifier chaque étape

Les modèles Panasonic ET-FMP50 et ET-FMP20 sont compacts pour une installation à proximité des projecteurs afin de réduire le câblage, ou pour une utilisation dans l’unité de mesure rack standard avec un kit de montage en rack en option. Ils possèdent 4x sorties HDMI avec un canevas de taille 3840 x 2160p (Résolution de sortie vidéo maximale : 3840 x 2160/60p x 1 ou 1920 x 1080/60p x 4.). Plusieurs unités peuvent être synchronisées pour connecter des parcs de toute envergure. Le modèle SBFMP10 s’insère dans l’emplacement Intel SDM du projecteur compatible pour décoder les signaux 3840 x 2160p.

Tous les produits offrent des fonctions intégrées d'ajustement manuel ou automatique de la géométrie, de fusion des bords et d'ajustement du niveau de noir sur des surfaces planes ou incurvées. Optimisés pour une compatibilité parfaite avec les projecteurs Panasonic, les opérateurs peuvent résoudre les erreurs plus facilement et bénéficier de l'assistance d'un fabricant commun. La compatibilité avec le logiciel Multi Monitoring & Control de Panasonic permet des vérifications d'état à distance, et les deux appareils de type boîtier complètent la volonté d’avoir des produits durables avec une faible consommation d'énergie. La lecture de contenu peut également être automatisée selon un programme défini.

Réglage de précision pour une qualité sans compromis

La série FMP50 propose un réglage basé sur les pixels, plutôt que sur les blocs, afin de limiter les irrégularités dans les mélanges et la perte de qualité de l'image après le réglage, avec une précision comparable au réglage intégré et logiciel du projecteur. Aucune licence n'est nécessaire pour accéder aux fonctions automatisées avec caméra.

La série comprend des fonctions avancées de masquage de formes libres et de lignes, permettant aux utilisateurs de créer des effets visuels immersifs avec une précision remarquable. Panasonic Connect prévoit de mettre à disposition de futures mises à jour du micrologiciel afin de doter les appareils de fonctionnalités supplémentaires, telles que le mapping de formes et d'objets en 3D ainsi que l'étalonnage automatique de l'équilibre et de l'uniformité des couleurs. L'ajustement est effectué pixel par pixel, ce qui permet des réglages plus précis et plus détaillés. En conséquence, la qualité de l'image après le réglage est améliorée, ce qui se traduit par une finition plus lisse reflétant avec précision les détails les plus fins.

Lecture 4K fluide et continue

Avec une mémoire de 512 Go ou 4 To, et un système basé sur Linux, la série FMP50 prend en charge la lecture continue de vidéos de haute qualité à un débit allant jusqu'à 300 Mbps. Tous les modèles décodent les formats H.265 et H.264. Par ailleurs, le FMP50 prend également en charge le codec HAP. La compatibilité NDI permet une transmission efficace et économique de signaux vidéo de qualité broadcast sur le réseau local.

A l'avenir, Panasonic Connect prévoit également des mises à jour permettant le fonctionnement à distance et la maintenance prédictive. La vision de l'entreprise est de continuer à simplifier les systèmes AV et les flux de travail pour l'industrie du divertissement basé sur la localisation (LBE). Cela passera par le développement de nouvelles fonctionnalités pour le système tout en s'assurant que les utilisateurs ont la flexibilité de mettre à jour uniquement les fonctionnalités dont ils ont besoin.

Les FMP50 et FMP20 sont disponibles depuis le 2e trimestre 2024 et ET-SBFMP10 au 4e trimestre de 2024.

PANASONIC CONNECT EUROPE

eu.connect.panasonic.com

Vidéoprojecteurs Panasonic 3LCD PT-MZ882

Vidéoprojecteurs Panasonic 3LCD PT-MZ882

Panasonic Connect Europe présente son projecteur le plus durable à ce jour avec l’introduction de la série PANASONIC 3LCD PT-MZ882. La nouvelle série avait été présentée en début d'année à l’ISE 2024. Avec une luminosité allant jusqu’à 8 200 lm, la série PT-MZ882 constitue une nouvelle référence en matière de qualité visuelle dans l’enseignement et les espaces de travail, tout en mettant l’accent sur la durabilité et les performances en matière de coûts.

Vidéoprojecteurs Panasonic 3LCD PT-MZ882

La série PT-MZ882 représente une étape importante dans les efforts de l’entreprise afin de réduire l’empreinte carbone de ses produits, en incluant pour la première fois des résines recyclées (10 %) dans l’unité principale du projecteur et inclus des composants recyclables partout. Réduisant les déchets grâce à une diminution de l'emballage et des accessoires connexes, ce projecteur introduit des innovations éco-énergétiques tout en offrant des images lumineuses et nettes dans des environnements bien éclairés, répondant ainsi aux attentes des clients.

Optimiser pour réduire les déchets et l’empreinte carbone

Le moteur optique de la série augmente la luminosité par rapport à la série MZ880 actuelle avec une augmentation allant jusqu’à 8,7 % de l’efficacité lm/w. Elle introduit également une fonction intelligente de mise sous tension automatique, qui démarre la projection lors de la détection du signal et minimise le fonctionnement continu du vidéoprojecteur pendant les présentations. Pour limiter les déchets, le filtre ECO peut être lavé et réutilisé deux fois, tandis que l’entretien de la source lumineuse et du filtre est recommandé après 20 000 heures.

Confort visuel lumineux et net

Avec des couleurs et une luminosité parfaitement équilibrées, la série PT-MZ882 produit des images nettes et détaillées dans des espaces bien éclairés pour une visibilité claire et plus agréable pour les yeux. Le réalisme de l’image et l’efficacité énergétique sont encore améliorés par le contraste dynamique offrant un rapport de contraste élevé de 3 000 000 :1, avec un système de modulation de la puissance lumineuse, qui est ajustée en fonction de chaque scène.

La fonction Detail Clarity Processor 4 analyse le signal vidéo à travers chaque scène pour maximiser la clarté. La technologie « Daylight View Basic » elle, mesure l’éclairage ambiant et effectue des corrections en temps réel pour améliorer la perception de la luminosité et optimiser la consommation d’énergie. Pour les applications multi-écrans, le projecteur prend en charge les fonctions de synchronisation de l’obturateur et de synchronisation du contraste et est compatible avec le logiciel « Geometry Manager Pro » de Panasonic.

Installation simplifiée et expérience utilisateur sans accroc

Le fonctionnement silencieux de 27 dB réduit les distractions et permet aux participants de rester concentrés sur la présentation. Les formats d’image 21:9 grand écran sont pris en charge pour s’adapter aux dispositions de conférences immersives ou pour afficher des documents côte à côte. Une nouvelle fonction de détection de la position du projecteur minimise le temps d’installation et réduit le personnel impliqué dans le processus d’installation, contribuant ainsi à un flux de travail plus rationalisé et plus économe en ressources. Une sélection de six objectifs en option, dont l’objectif zoom à focale ultracourte ET-ELU20, inclut le décalage motorisé de l’objectif sur une large plage pour aisément adapter la projection à n’importe quelle configuration.

La série MZ882 est disponible au 2ème trimestre de 2024

PANASONIC CONNECT EUROPE

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17/11/24

Hoor Al Qasimi, Biennale of Sydney 2026, Artistic Director

Hoor Al Qasimi appointed as Artistic Director of the 25th Biennale of Sydney, 2026

HOOR AL QASIMI

Photograph: Daniel Boud

HOOR AL QASIMI has been appointed as the Artistic Director of the Biennale of Sydney, scheduled to take place from 7 March to 8 June 2026. Hoor Al Qasimi will collaborate with local communities, artists and academics, whilst drawing on her own international network, to develop and realise the concept for the 25th edition of the Biennale.

As a curator, Hoor Al Qasimi’s focuses on the histories of each place she works in, creating multidisciplinary programming with a collaborative approach and emphasis on supporting experimentation and innovation in the arts. For more than 20 years, she has worked extensively with various mediums including film, music, performance, publications, to bring together all forms of art in conversation.

‘Sydney has a multicultural community at its core, with people from different cultures from across the world choosing and calling this vibrant city as their home,’ said Hoor Al Qasimi. ‘I’m interested in exploring the multifaceted cultures and perspectives within this city, working with local artists and communities as well as bringing new voices to the Biennale. It is an honour and privilege to be nominated and then selected to be Artistic Director of the 25th Biennale of Sydney, which I have been visiting for over a decade now. I have seen the developments over the years, including the amplification of Indigenous voices both local and global, which has made it an essential platform for rewriting art history.’

Hoor Al Qasimi is the President and Director Sharjah Art Foundation, an organisation she founded in 2009 as a catalyst and advocate for the arts around the world. She has been the Director of Sharjah Biennial since 2002, an internationally recognised platform for contemporary artists, curators and cultural producers, and curated Sharjah Biennial 15 in 2023. She was appointed as the President of the International Biennial Association (IBA) in 2017 and serves as the President of The Africa Institute, Global Studies University, Sharjah and President and Director of the Sharjah Architecture Triennial. Al Qasimi was appointed as the Artistic Director of the sixth Aichi Triennale (2025) last July, becoming the first person to be chosen for the role from outside of Japan. She has also co-curated exhibitions at leading organisations around the world, including the Serpentine Gallery in London and the Museum of Contemporary Art Chicago.

Source: Sharjah Art Foundation

www.sharjahart.org