{"id":2267,"date":"2014-02-25T19:01:11","date_gmt":"2014-02-25T17:01:11","guid":{"rendered":"http:\/\/www.fireboox.fr\/?p=2267"},"modified":"2014-02-25T19:01:45","modified_gmt":"2014-02-25T17:01:45","slug":"miguel-chevalier","status":"publish","type":"post","link":"https:\/\/www.fireboox.fr\/?p=2267","title":{"rendered":"Miguel Chevalier"},"content":{"rendered":"

\"miguelchevalier\"<\/a><\/p>\n

\n

MIGUEL CHEVALIER <\/strong><\/p>\n

Depuis 1978, Miguel Chevalier utilise exclusivement pour langage plastique les nouveaux moyens que la machine informatique lui autorise. Il s’inscrit d\u00e8s lors dans une avant-garde internationale, comme un pionnier de l’art virtuel et du num\u00e9rique\u00a0: d\u00e9fricheur de territoires nouveaux, il s’est peu \u00e0 peu impos\u00e9 comme l’un des artistes les plus marquants de la sc\u00e8ne artistique contemporaine. L’\u0153uvre de Miguel Chevalier se r\u00e9v\u00e8le exp\u00e9rimentale et pluridisciplinaire, prenant ses sources dans l’histoire de l’art et s’articulant autour de th\u00e9matiques r\u00e9currentes comme la nature et l’artifice,\u00a0les flux et les r\u00e9seaux, les villes virtuelles et les arabesques. Dans les ann\u00e9es 80, Miguel Chevalier aborde les probl\u00e9matiques de l’image hybride, g\u00e9n\u00e9rative\u00a0et interactive.<\/p>\n

FORMATION<\/strong><\/p>\n\n\n\n\n\n\n
1983<\/td>\n– Licenci\u00e9 en art plastique, Universit\u00e9 de Paris Saint-Charles, Paris (FRA)<\/td>\n<\/tr>\n
1983<\/td>\n– Dipl\u00f4m\u00e9 de l’Ecole Nationale Sup\u00e9rieure des Arts D\u00e9coratifs, Paris (FRA)<\/td>\n<\/tr>\n
1983<\/td>\n– Licenci\u00e9 en art et arch\u00e9ologie, Universit\u00e9 de Paris La Sorbonne, Paris (FRA)<\/td>\n<\/tr>\n
1981<\/td>\n– Dipl\u00f4m\u00e9 de l’Ecole Nationale Sup\u00e9rieure des Beaux-Arts, Paris (FRA)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

BOURSES ET DISTINCTIONS<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n
2004<\/td>\n– Pensionnaire au Riad Denise Masson, Marrakech (MAR)<\/td>\n<\/tr>\n
1993\/94<\/td>\n– Pensionnaire \u00e0 la Villa Kujoyama, Kyoto (JPN)<\/td>\n<\/tr>\n
1991<\/td>\n– Pensionnaire \u00e0 la Casa Velazquez, Madrid (SPA)<\/td>\n<\/tr>\n
<\/td>\n– Atelier au Museo Internacional de Electrografia, Cuenca (SPA)<\/td>\n<\/tr>\n
1989<\/td>\n– Laur\u00e9at de l’Universit\u00e9 de Musashino, Toyko (JPN)<\/td>\n<\/tr>\n
1988<\/td>\n– Laur\u00e9at de l’Institut des Hautes Etudes en Arts Plastiques de Paris<\/td>\n<\/tr>\n
<\/td>\ncr\u00e9\u00e9 par Pontus Hulten, Paris (FRA)<\/td>\n<\/tr>\n
1984<\/td>\n– Bourse Lavoisier, School of Visual Arts of New York (USA)<\/td>\n<\/tr>\n
1983<\/td>\n– Bourse Lavoisier, Pratt Institute, New York (USA)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

EXPOSITIONS PERSONNELLES (SELECTION)<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2013<\/td>\n<\/tr>\n
<\/td>\n– Power Pixels, Pile Pont Expo, Saint-Gervais les Bains (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Power Pixels, Mus\u00e9e en Herbe, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers, Ch\u00e2teau de la Cit\u00e9 de Carcassonne\u00a0(FRA)<\/td>\n<\/tr>\n
<\/td>\n– Power Pixels,Wood Street Galleries, Pittsburgh (USA)<\/td>\n<\/tr>\n
2012<\/td>\n<\/tr>\n
<\/td>\n– Power Pixels, Festival a-part, Carri\u00e8res de Lumi\u00e8res, Baux-de-Provence (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Power Pixels, Espace d\u2019art contemporain Andr\u00e9 Malraux, Colmar (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Power Pixels, Entrep\u00f4t 9 \/ Galerie Barnoud, Qu\u00e9tigny (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Nuage Fractal, Ch\u00e2teau de Dravert, La Guiche (FRA)<\/td>\n<\/tr>\n
<\/td>\n– La Vague des Pixels, Festival Mai Num\u00e9rique, cour du Ch\u00e2teau Comtal de la cit\u00e9 de Carcassonne (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Rosaces Digitales, Festival Chemins d’art en Armagnac, Eglise d’Aurens, Castelnau-sur-Auvignon (FRA)<\/td>\n<\/tr>\n
2011<\/td>\n<\/tr>\n
<\/td>\n– Digital Arabesques, Corniche d’Abou Dabi, avec l’Alliance Fran\u00e7aise d’Abou Dabi (AED)<\/td>\n<\/tr>\n
<\/td>\n– Pixels Snow, Forum des Halles, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Power Pixels, Fondation Oi Futuro, Rio de Janeiro (BRA)<\/td>\n<\/tr>\n
<\/td>\n– Power Pixels, Galerie Priveekollektie, Heusden aan de Maas (NLD)<\/td>\n<\/tr>\n
<\/td>\n– Sur-Natures, Institut fran\u00e7ais de Cologne (GER)<\/td>\n<\/tr>\n
2010<\/td>\n– De la nature symbolique aux jardins virtuels, Mus\u00e9e Maurice Denis (cat.),<\/td>\n<\/tr>\n
<\/td>\nSaint-Germain-en-Laye (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers in vitro, Sanat Limani, Istanbul (TUR)<\/td>\n<\/tr>\n
<\/td>\n– Pixels Power (cat.), Galerie Antonio Prates, Lisbonne (POR)<\/td>\n<\/tr>\n
<\/td>\n– Terra Incognita (cat.), Mis (Museu da Imagem e do Som), Sao Paulo (BRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers Cave (cat.), carri\u00e8re du Mas de la Pyramide,<\/td>\n<\/tr>\n
<\/td>\nSaint-R\u00e9my-de-Provence (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers, Tri Postal, Lille (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Pixels Snow, La grenette, Grand Bornand (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2009<\/td>\n– Pixels Snow (cat.), Piste des Gettiers, Grand Bornand (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Power Pixels, Galerie Georges Verney Carron, Lyon (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Pixels Liquides, “Nuit blanche”, Fnac \/ Forum des Halles, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers in vitro, Mus\u00e9e de la Chasse et de la Nature, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers, station de m\u00e9tro Galeria, Brasilia (BRA)<\/td>\n<\/tr>\n
<\/td>\n– Segunda Natureza (cat.), Espa\u00e7o Marcant\u00f4nio Vila\u00e7a, Brasilia (BRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers (cat.), iMAL (Center for Digital Cultures and Technology),<\/td>\n<\/tr>\n
<\/td>\nBruxelles (BEL)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2008<\/td>\n– Fractal Flowers in vitro, Parvis de la Mairie du 4e, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers, Galerie Suzanne Tarasi\u00e8ve, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers, “Designer’s day”, Boffi, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2007<\/td>\n– Ultra-Nature, “Techfest Mumbai”, Mumbai (IND)<\/td>\n<\/tr>\n
<\/td>\n– Sur-Natures, b\u00e2timent LCL, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Paradis Artificiel, Galerie des Galeries Lafayette, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Crossborders (cat.), Metz (FRA),<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2006<\/td>\n– Arabesques num\u00e9riques 2, Palais Ksar Char Bagh, Marrakech (MAR)<\/td>\n<\/tr>\n
<\/td>\n– Ultra-Nature, Gallery Sejul, S\u00e9oul (KOR)<\/td>\n<\/tr>\n
<\/td>\n– Supra-Natura, “Festival Luzboa”, Lisbonne (POR)<\/td>\n<\/tr>\n
<\/td>\n– RGB Land, Wood Street Galleries, Pittsburgh (USA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2005<\/td>\n– Supra-Natura, “Festival International de Buenos Aires”,<\/td>\n<\/tr>\n
<\/td>\nAlliance Fran\u00e7aise, Buenos Aires (ARG)<\/td>\n<\/tr>\n
<\/td>\n– Habiter les r\u00e9seaux (Levende Nettverk), Kunstverket Galleri, Oslo (NOR)<\/td>\n<\/tr>\n
<\/td>\n– Sur-Natures in vitro, Centre Georges Pompidou, Paris<\/td>\n<\/tr>\n
<\/td>\n– Livre de la vie de Rafik Hariri, “Biel expo”, Beyrouth (LBN)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2004<\/td>\n– M\u00e9tacit\u00e9s (cat.), galerie Suzanne Tarasi\u00e8ve, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Ultra-Nature, m\u00e9tro Central Station, Mus\u00e9e d’art Moderne Astrup Fearnley, Oslo (NOR)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2003<\/td>\n– La Crois\u00e9e des R\u00e9seaux, “Nuit blanche”, Bourse de Commerce,<\/td>\n<\/tr>\n
<\/td>\nParis (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Tisser les r\u00e9seaux, “F\u00eate des lumi\u00e8res”, Cit\u00e9 Internationale, Lyon (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2002<\/td>\n– M\u00e9tapolis, MARCO, Museo de arte contemporaneo, Monterrey (MEX)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2000<\/td>\n– P\u00e9riph\u00e9rie, MAMCO, Gen\u00e8ve (CHE)<\/td>\n<\/tr>\n
<\/td>\n– Digital World, Espace Paul Ricard, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1999<\/td>\n– Croissances & Mutations, Espace Landowski, Boulogne-Billancourt (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1998<\/td>\n– P\u00e9riph\u00e9rie, Espace Pierre Cardin, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1996<\/td>\n– Oro negro (cat.), Museo de arte Alvar y Carmen T. de Carrillo Gil,<\/td>\n<\/tr>\n
<\/td>\nMexico (MEX)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1994<\/td>\n– Oro negro (cat.), Museo de arte universidad nacional de Colombia,<\/td>\n<\/tr>\n
<\/td>\nBogota (COL)<\/td>\n<\/tr>\n
<\/td>\n– Contre nature, Villa Kujoyama, Kyoto (JPN)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1992<\/td>\n– Performances, “Jeux olympiques d’hiver,” Albertville (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Performances, “Jeux olympiques d’\u00e9t\u00e9”, Barcelone (ESP)<\/td>\n<\/tr>\n
<\/td>\n– La rencontre des deux mondes, Casa de Velazquez, Madrid (ESP)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1987<\/td>\n– Baroque & classique, Granit Centre d’art contemporain, Belfort (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

EXPOSITIONS DE GROUPE<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2013<\/td>\n<\/tr>\n
<\/td>\n– Les M\u00e9tamorphoses du Virtuel, 100 ans d\u2019art et de libert\u00e9, Officina delle Zattere, Venise (ITA)<\/td>\n<\/tr>\n
<\/td>\n– Lib\u00e9rons la fleur ! Galerie Martine et Thibault de la Ch\u00e2tre, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Retrospective Auguste Herbin, Mus\u00e9e d’art Moderne, C\u00e9ret (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Bijoux d’Hommes, Galerie MiniMasterpiece, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Turbulences II, Fondation Boghossian \u2013 Villa Empain, Bruxelles (BEL)<\/td>\n<\/tr>\n
2012<\/td>\n<\/tr>\n
<\/td>\n– Retrospective Auguste Herbin, Mus\u00e9e d\u00e9partemental Matisse, Cateau Cambr\u00e9sis (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Mouvement et lumi\u00e8re, Villa Datris, L’Isle-sur-la-Sorgue (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Turbulences, Espace culturel Louis Vuitton, Paris<\/td>\n<\/tr>\n
<\/td>\n– La peur de la couleur, Galerie Perimeter, Paris<\/td>\n<\/tr>\n
<\/td>\n– PAD Paris, avec la Galerie Perimeter et la Galerie Priveekollektie, Jardin des Tuileries, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Picasso to Koons: Artist as Jeweler (cat.), Benaki Museum, Ath\u00e8nes (GRE)<\/td>\n<\/tr>\n
<\/td>\n– Salon du livre, avec les Editions Arichi, Paris (FRA)<\/td>\n<\/tr>\n
2011<\/td>\n<\/tr>\n
<\/td>\n– Art Miami, avec la galerie Priveekollektie (NLD), Miami (USA)<\/td>\n<\/tr>\n
<\/td>\n– Festival La Novela, Mus\u00e9e des Abattoirs, Toulouse (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Picasso to Koons: The Artist as Jeweler, Museum of Art and Design, New-York (USA)<\/td>\n<\/tr>\n
<\/td>\n– Festival AP’art, Domaine de Pierredon, Saint-R\u00e9my-de-Provence (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Drawing Now Paris l Suite…, Paris (FRA)<\/td>\n<\/tr>\n
2010<\/td>\n– More Light! Miguel Chevalier and Dieter Lutsch, Association for Culture<\/td>\n<\/tr>\n
<\/td>\nand Education \tKIBLA, Maribor (SNV)<\/td>\n<\/tr>\n
<\/td>\n– Living Codes (cat.), PaciArte contemporary, Brescia (ITA)<\/td>\n<\/tr>\n
<\/td>\n– A Light Odyssey, Galerie Messine, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Le grand Pari(s) de l’art contemporain (cat.), Abbaye de Maubuisson,<\/td>\n<\/tr>\n
<\/td>\nSaint-Ouen-l’Aum\u00f4ne (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Digital Nights, Singapore Art Museum, Singapore (SGP)<\/td>\n<\/tr>\n
<\/td>\n– Manimal, Mus\u00e9e d’art contemporain d’Herzliya, Herzliya (ISR)<\/td>\n<\/tr>\n
<\/td>\n– Hold the line, Galerie Seine 51, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– G\u00e9om\u00e9trie hors limites. Collection Jean et Colette Cherqui (cat.),<\/td>\n<\/tr>\n
<\/td>\nMaison de l’Am\u00e9rique Latine, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2009<\/td>\n– Dialogue avec les collections #2 – paysage\/vid\u00e9o (cat.),<\/td>\n<\/tr>\n
<\/td>\nMus\u00e9e d’Art de Toulon (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Inside, art and science (cat.), Cordoaria, Lisbonne (POR)<\/td>\n<\/tr>\n
<\/td>\n– Herbarius 2059 (cat.), Salon international du livre Ancien, Grand Palais,<\/td>\n<\/tr>\n
<\/td>\nParis (FRA)<\/td>\n<\/tr>\n
<\/td>\n– On a march\u00e9 sur la terre, Centre d’art de l’Yonne,<\/td>\n<\/tr>\n
<\/td>\nCommun du ch\u00e2teau de Tanlay (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Flower Power, Centre d’art Villa Giulia \/ CRAA<\/td>\n<\/tr>\n
<\/td>\nCentre Recherche Art Actuelle, Verbania (ITA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2008<\/td>\n– \tUltra-Natures, Emo\u00e7\u00e3o Art.ficial 4.0, Centro Cultural Ita\u00fa, S\u00e3o Paulo (BRA)<\/td>\n<\/tr>\n
<\/td>\n– Pixels Liquides, installation interactive Festival des Bains Num\u00e9riques #3,<\/td>\n<\/tr>\n
<\/td>\nCentre des arts d’Enghien-les-Bains (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2007<\/td>\n– Ultra Nature, Glow Festival\u00a0: forum of light in art and architecture,<\/td>\n<\/tr>\n
<\/td>\nEindhoven (NLD)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2006<\/td>\n– Art and playing – Funsters, Seoul Arts Center, Seoul (KOR)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2005<\/td>\n– Digital Paradise (cat.), Daejeon Museum of Art Gallery, Daejeon (KOR)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2003<\/td>\n– Space Art, festival d’art num\u00e9rique Outsiders 2003,<\/td>\n<\/tr>\n
<\/td>\nMaison Europ\u00e9enne de la Photographie, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2000<\/td>\n– Les 100 sourires de Monna Lisa (cat.), Metropolitan Art Museum, Tokyo (JPN)<\/td>\n<\/tr>\n
<\/td>\n– L’invention du monde, Centre Georges Pompidou, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1999<\/td>\n– Virtuel R\u00e9el, Espace Paul Ricard, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1998<\/td>\n– Zoom (fractal) (cat.), Visual arts gallery at Purchase college<\/td>\n<\/tr>\n
<\/td>\nState University, New York (USA)<\/td>\n<\/tr>\n
<\/td>\n– \t80 artistes autour du Mondial (cat.), Galerie Enrico Navarra, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– F\u00e9tiches, f\u00e9tichismes (cat.), Passage de Retz, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Festival Vid\u00e9oformes 98, Clermont-Ferrand (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1997<\/td>\n– Magie der zahl (cat.), Staatsgalerie, Stuttgart (DEU)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1996<\/td>\n– La Ville moderne en Europe 1870\/1996, Museum of contemporary art,<\/td>\n<\/tr>\n
<\/td>\nTokyo (JPN)<\/td>\n<\/tr>\n
<\/td>\n– La Ville, centre George Pompidou, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1993<\/td>\n– Excess in the techno-mediacratic society, Shoshana Wayne Gallery,<\/td>\n<\/tr>\n
<\/td>\nSanta Monica (USA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1992<\/td>\n– Variations Gitanes (cat.), Grande Halle de la Villette, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1990<\/td>\n– Art & publicit\u00e9 1890\/1990 (cat.), Centre Georges Pompidou, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1988<\/td>\n– Ateliers 88 (cat.), ARC Mus\u00e9e d’art moderne de la Ville, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1986<\/td>\n– Trans-culture, Exit art gallery, New York (USA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

REALISATIONS ARCHITECTURALES ET COMMANDES PUBLIQUES<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2010<\/td>\n– Seconde Nature, Place d’Arvieux, Marseille (FRA)<\/td>\n<\/tr>\n
<\/td>\n\u0152uvre m\u00ealant r\u00e9el et virtuel, constitu\u00e9e d’une sculpture de 18 m de haut<\/td>\n<\/tr>\n
<\/td>\net d’un jardin virtuel projet\u00e9 depuis la sculpture sur les Docks<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2008<\/td>\n– Fractal Flowers, rivi\u00e8re Cheonggyecheonno, S\u00e9oul (KOR)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2007<\/td>\n– Ribbons of life r\u00e9alisations de plusieurs sculptures monumentales<\/td>\n<\/tr>\n
<\/td>\nen corian\u00a9 m\u00e9langeant r\u00e9el et virtuel avec le designer Arik Levy,<\/td>\n<\/tr>\n
<\/td>\nEmmanuel Berriet (logiciel) et Music2eye (logiciel), pour le paquebot Liberty<\/td>\n<\/tr>\n
<\/td>\nof the Sea de RCCL (USA)<\/td>\n<\/tr>\n
<\/td>\n– La passerelle des pixels, r\u00e9alisation d’une \u0153uvre in situ en films<\/td>\n<\/tr>\n
<\/td>\nholographiques, H\u00f4pital\/maternit\u00e9 Trousseau, Paris (FRA),<\/td>\n<\/tr>\n
<\/td>\narchitecte Israel et Grimaud<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2006<\/td>\n– Mosa\u00efque Unicef, r\u00e9alisation d’une installation de r\u00e9alit\u00e9 virtuelle interactive<\/td>\n<\/tr>\n
<\/td>\ndans le hall d’entr\u00e9e du si\u00e8ge de l’UNICEF \u00e0 New York (USA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2004<\/td>\n– R\u00e9alisation de deux panneaux en verre et film holographique de 10 x 3 m<\/td>\n<\/tr>\n
<\/td>\nsur la fa\u00e7ade de la biblioth\u00e8que des sciences et techniques de Talence (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2003<\/td>\n– Sculptures laser sur verre, troph\u00e9e pour le Prix du Forum des Sciences<\/td>\n<\/tr>\n
<\/td>\net Techniques du Conseil G\u00e9n\u00e9ral du Val de Marne (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2001<\/td>\n– Laur\u00e9at avec le cabinet Stoa du concours pour l’am\u00e9nagement<\/td>\n<\/tr>\n
<\/td>\nde la place Arvieux \u00e0 Marseille (FRA), Nuage Fractal, projet de sculpure<\/td>\n<\/tr>\n
<\/td>\nmonumentale en tensegrit\u00e9<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
2000<\/td>\n– Habiter les r\u00e9seaux, \u0153uvre monumentale interactive de 112 m2 en films<\/td>\n<\/tr>\n
<\/td>\nholographiques, incrust\u00e9 de 24 000 leds lumineuses et de journaux<\/td>\n<\/tr>\n
<\/td>\n\u00e9lectroniques, hall d’entr\u00e9e du Palais des Congr\u00e8s de la Porte Maillot,<\/td>\n<\/tr>\n
<\/td>\narchitecte Christian de Portzamparc, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1999<\/td>\n– La baie des anges, projection permanente la nuit dans le jardin<\/td>\n<\/tr>\n
<\/td>\nde l’H\u00f4tel \tWindsor, Nice (FRA)<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1998<\/td>\n– Pi\u00e8ce de 10 m2 en films holographiques pour le Commissariat de Nemours<\/td>\n<\/tr>\n
<\/td>\n(FRA), Cabinet Argile architectes, architecte H\u00e9l\u00e8ne Sanyas<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1995<\/td>\n– Deux pi\u00e8ces de 10 m2 chacune, en cuivre pour le Fort de Bayonne (FRA),<\/td>\n<\/tr>\n
<\/td>\narchitectes Camborde et Lamaison<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1992<\/td>\n– Massivement parall\u00e8le, Pi\u00e8ce de 20 m2 en Duratrans\u00a9 et Plexiglas\u00a9<\/td>\n<\/tr>\n
<\/td>\npour le nouveau Centre des imp\u00f4ts, Marseille (FRA), architecte Claude Vasconi<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1989<\/td>\n– Pi\u00e8ce de 144 m2 en Duratrans\u00a9 et Plexiglas\u00a9 pour le Mus\u00e9e de la mer,<\/td>\n<\/tr>\n
<\/td>\nBoulogne (FRA), architectes Rougerie et Leconte<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
1987<\/td>\nPi\u00e8ce de 36 m2 en t\u00f4le \u00e9maill\u00e9e pour le gymnase de la Z.A.C., Paris XIIe<\/td>\n<\/tr>\n
<\/td>\narrondissement (FRA), architecte Pierre Menninger<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

COLLECTIONS <\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
<\/td>\n– Mus\u00e9e d’art moderne de la Ville, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Biblioth\u00e8que nationale, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Mus\u00e9e-galerie de la Seita, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Mus\u00e9e d’art et d’histoire, Belfort (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Mus\u00e9e des ann\u00e9es 30, Boulogne-Billancourt (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Centre d’art contemporain, Br\u00e9tigny-sur-Orge (FRA)<\/td>\n<\/tr>\n
<\/td>\n– MAC\/VAL, mus\u00e9e d’art contemporain du Val-de-Marne, Vitry-sur-Seine (FRA)<\/td>\n<\/tr>\n
<\/td>\n– FDAC Val-de-Marne, Cr\u00e9teil (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fondation Hewlett Packard, Lyon (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fondation d’art General Motors, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fondation BSN, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fondation Nina Ricci, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Ch\u00e2teau Pichon Longueville Comtesse Lalande, Pauillac (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Deloitte & Touche, Neuilly-sur-Seine (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Michelin, Collection Bibendum, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fundaci\u00f3n arte y tecnologia Telefonica de Espa\u00f1a, Madrid (ESP)<\/td>\n<\/tr>\n
<\/td>\n– Visa Foundation, London (GBR)<\/td>\n<\/tr>\n
<\/td>\n– Museo de arte Alvar y Carmen T. de Carrillo Gil, Mexico (MEX)<\/td>\n<\/tr>\n
<\/td>\n– Museo de artes visuales Alejandro Otero, Caracas (VEN)<\/td>\n<\/tr>\n
<\/td>\n– Museo de bellas artes, Maracaibo (VEN)<\/td>\n<\/tr>\n
<\/td>\n– Royal Caribbean Cruce line, Miami (USA)<\/td>\n<\/tr>\n
<\/td>\n– Centre Culturel Itau, S\u00e3o Paulo (BRE)<\/td>\n<\/tr>\n
<\/td>\n– Mus\u00e9e de la poste, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Digital Art International (FRA)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

CATALOGUES MONOGRAPHIQUES<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
2010<\/td>\n– Pixels Power 2009, \u00e0 l’occasion de l’exposition Pixels Power<\/td>\n<\/tr>\n
<\/td>\n\u00e0 la galerie Antonio Prates, Lisbonne (POR). Texte de Miguel Matos<\/td>\n<\/tr>\n
2009<\/td>\n– Segunda Natureza 2009, \u00e0 l’occasion de l’exposition Segunda Natureza<\/td>\n<\/tr>\n
<\/td>\n\u00e0 l’Espa\u00e7o Marcant\u00f4nio Vila\u00e7a, Brasilia (BRE). Entretien de Suzete Venturelli<\/td>\n<\/tr>\n
<\/td>\n– Herbarius 2059, \u00e0 l’occasion du Salon du livre ancien, Grand Palais,<\/td>\n<\/tr>\n
<\/td>\njuin 2009, Ed. Rhinoc\u00e9ros, Paris (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Fractal Flowers 2009, \u00e0 l’occasion de l’exposition au Centre d’art iMALl,<\/td>\n<\/tr>\n
<\/td>\nBruxelles (BE). Textes de Pierre Yves Desaive et Cemren Altan<\/td>\n<\/tr>\n
2008<\/td>\n– Miguel Chevalier, 2000\/2008, essais de Mario Costa, Edmond Couchot,<\/td>\n<\/tr>\n
<\/td>\nGunnar B. Kvaran, Ariella Masboungi, Mohamed Rachdi, Ed. Monografik<\/td>\n<\/tr>\n
<\/td>\nEditions, Blou (FRA)<\/td>\n<\/tr>\n
2007<\/td>\n– Seconde nature, interview de Henri-Fran\u00e7ois Debailleux,<\/td>\n<\/tr>\n
<\/td>\nEd. Mairie de Trelaz\u00e9 (FRA)<\/td>\n<\/tr>\n
2005<\/td>\n– Arabesques Num\u00e9riques, texte de Manuela de Barros, Ed. Institut Fran\u00e7ais<\/td>\n<\/tr>\n
<\/td>\nde Marrakech, Marrakech (MAR)<\/td>\n<\/tr>\n
2004<\/td>\n– Paradis artificiels, texte de Fran\u00e7oise Gaillard, Ed. Galerie Municipale<\/td>\n<\/tr>\n
<\/td>\nde Vitry-sur-Seine (FRA)<\/td>\n<\/tr>\n
2001<\/td>\n– Autres Natures, Norbert Hillaire, Ed. Centre d’Art Modene<\/td>\n<\/tr>\n
<\/td>\nEspace Mira Phalaina, Maison Populaire, Montreui-sous-Boisl (FRA)<\/td>\n<\/tr>\n
2000<\/td>\n– Miguel Chevalier, pr\u00e9face de Pierre Restany, texte de<\/td>\n<\/tr>\n
<\/td>\nLaurence Bertrand Dorl\u00e9ac, interview avec Patrick Imbard, Ed. Flammarion,<\/td>\n<\/tr>\n
<\/td>\nParis (FRA)<\/td>\n<\/tr>\n
<\/td>\n– \tMiguel Chevalier, CD-Rom int\u00e9ractf, 1000 ex., textes de<\/td>\n<\/tr>\n
<\/td>\nChristine Buci-Glucksman, Paris (FRA)<\/td>\n<\/tr>\n
1996<\/td>\n– Miguel Chevalier : Oro negro, Gerardo Estrada, Jorge Juanes<\/td>\n<\/tr>\n
<\/td>\net Elias Levin Rojo, Ed. Museo de arte Alvar y Carmen T. de Carrillo Gil,<\/td>\n<\/tr>\n
<\/td>\nMexico (MEX)<\/td>\n<\/tr>\n
<\/td>\n– Otra natura, Jorge Morales, Ed. Centro nacional de las artes,<\/td>\n<\/tr>\n
<\/td>\nCentro multimedia, Mexico (MEX)<\/td>\n<\/tr>\n
1994<\/td>\n– Miguel Chevalier. Oro negro, Jos\u00e9 Hernan Aguilar,<\/td>\n<\/tr>\n
<\/td>\nEd. Museo de arte universidad nacional de Colombia, Bogota (COL)<\/td>\n<\/tr>\n
1993<\/td>\n– Oro negro, Jorge Luis Guti\u00e9rrez, Ed. Museo de artes visuales Alejandro<\/td>\n<\/tr>\n
<\/td>\nOtero, Caracas (VEN)<\/td>\n<\/tr>\n
1992<\/td>\n– De l’analogique au num\u00e9rique, Rosanna Albertini, Ed. Mus\u00e9e d’art<\/td>\n<\/tr>\n
<\/td>\net d’histoire, Belfort (FRA)<\/td>\n<\/tr>\n
1991<\/td>\n– Marine, Ed. Ecole r\u00e9gionale des beaux-arts, Nantes (FRA)<\/td>\n<\/tr>\n
<\/td>\n– \u0152nologie, Eric Audinet et Ginger Danto, Ed. Horizons chim\u00e9riques,<\/td>\n<\/tr>\n
<\/td>\nParis (FRA)<\/td>\n<\/tr>\n
1990<\/td>\n– Miguel Chevalier. Interconnexion, Patrick Imbard et Alain Renaud,<\/td>\n<\/tr>\n
<\/td>\nEd. Centre d’art contemporain La Base, Levallois-Perret (FRA)<\/td>\n<\/tr>\n
<\/td>\n– Anthropom\u00e9trie, Vittorio Fagone, Ed. Galleria Vivita 2, Firenze (ITA)<\/td>\n<\/tr>\n
1989<\/td>\n– Mosa\u00efques, Ed. Centre d’art contemporain, Br\u00e9tigny-sur-Orge (FRA)<\/td>\n<\/tr>\n
<\/td>\n– R\u00e9volution. De la peinture au num\u00e9rique, Pierre Restany<\/td>\n<\/tr>\n
<\/td>\n– et Laurence Bertrand Dorl\u00e9ac, Ed. Centre d’art contemporain,<\/td>\n<\/tr>\n
<\/td>\n– H\u00e9rouville-Saint-Clair (fra)<\/td>\n<\/tr>\n
1987<\/td>\n– Miguel Chevalier. Images nouvelles, interview avec J\u00e9r\u00f4me Sans,<\/td>\n<\/tr>\n
<\/td>\nEd. Granit Centre d’art contemporain, Belfort (FRA)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

MIGUEL CHEVALIER Depuis 1978, Miguel Chevalier utilise exclusivement pour langage plastique les nouveaux moyens que la machine informatique lui autorise. Il s’inscrit d\u00e8s lors dans une avant-garde internationale, comme un pionnier de l’art virtuel et du num\u00e9rique\u00a0: d\u00e9fricheur de territoires nouveaux, il s’est peu \u00e0 peu impos\u00e9 comme l’un des artistes les plus marquants de […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-2267","post","type-post","status-publish","format-standard","hentry","category-artiste"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=\/wp\/v2\/posts\/2267"}],"collection":[{"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2267"}],"version-history":[{"count":2,"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=\/wp\/v2\/posts\/2267\/revisions"}],"predecessor-version":[{"id":2270,"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=\/wp\/v2\/posts\/2267\/revisions\/2270"}],"wp:attachment":[{"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2267"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2267"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fireboox.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2267"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}