{"id":2342,"date":"2020-09-16T13:24:02","date_gmt":"2020-09-16T11:24:02","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=2342"},"modified":"2021-01-21T13:00:48","modified_gmt":"2021-01-21T12:00:48","slug":"remains","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/remains\/","title":{"rendered":"Remains"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\">remains<\/h1>\n\n\n\n<h2 class=\"caps wp-block-heading\">QUAYOLA<\/h2>\n\n\n\n<div class=\"wp-block-columns singleOeuvreTopRow is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Photography<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p><strong><em>Remains<\/em> is an ongoing project focusing on nature and the art historical tradition of landscape painting.<\/strong><\/p>\n\n\n\n<p>High-precision laser scanners are used to capture natural landscapes at extremely high resolutions, resulting in complex digital renderings printed on large-format archival paper. The combination of highly detailed geometric reconstructions and the imperfections of the 3D-scanning process create hybrid formations that lie somewhere in between the real and the artificial.<\/p>\n\n\n\n<p>While recreating similar conditions to those favoured by the \u2018en plein air\u2019 painters of the late 19th century, the natural landscapes are actually observed and analysed through extensive technological apparatuses and re-purposed through new modes of visual synthesis.<\/p>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed-vimeo wp-block-embed is-type-video is-provider-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Teaser \u2605 Remains \u2605 Quayola\" src=\"https:\/\/player.vimeo.com\/video\/503003022?dnt=1&amp;app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe>\n<\/div><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreInfosRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column infosPratiquesBlock is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/01_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-1024x576.png\" alt=\"\" class=\"wp-image-3842\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/01_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-1024x576.png 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/01_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-300x169.png 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/01_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-768x432.png 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/01_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD.png 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Gregoire EDOUARD<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/08_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-1024x576.png\" alt=\"\" class=\"wp-image-3844\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/08_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-1024x576.png 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/08_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-300x169.png 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/08_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-768x432.png 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/08_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD.png 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Gregoire EDOUARD<\/figcaption><\/figure>\n\n\n\n<p class=\"noMarginBottom\">Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/remains\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/remains\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Remains&amp;url=https:\/\/chroniques-biennale.org\/en\/remains\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreArtistsRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Quayola <sup>(ITA)<\/sup><\/h2><div class=\"artistContactLine\"><a href=\"https:\/\/quayola.com\/\" target=\"_blank\">quayola.com<\/a><\/div><div class=\"artisteContent\"><p>Quayola employs technology as a lens to explore the tensions and equilibriums between seemingly opposing forces: real and artificial, figurative and abstract, old and new.<\/p>\n<p>Constructing immersive installations, often at historically significant architectural sites, he engages with and re-imagines canonical imagery through contemporary technology. Hellenistic sculpture, Old Master painting, and Baroque architecture are some of the historical aesthetics that serve as a point of departure for Quayola\u2019s abstract compositions. His varied practice, all deriving from custom computer software, also includes audiovisual performance, video, sculpture, and works on paper.<\/p>\n<p>Past exhibitions of his work include V&amp;A Museum, London; Park Avenue Armory, New York; Bozar, Brussels; National Art Center, Tokyo; UCCA, Beijing; How Art Museum, Shanghai; SeMA, Seoul; Bienal, S\u00e3o Paulo; Triennale, Milan; Palais de Tokyo, Paris; Museu Nacional d\u2019Art de Catalunya, Barcelona; British Film Institute, London; Cit\u00e9 de la Musique, Paris; Grand Theatre, Bordeaux; Ars Electronica, Linz; Elektra Festival, Montreal; Sonar Festival, Barcelona and Sundance Film Festival.<\/p>\n<p><span style=\"font-weight: 400;\">Also a frequent collaborator on musical projects, Quayola has worked with composers, orchestras and musicians including London Contemporary Orchestra, National Orchestra of Bordeaux, Ensemble Intercontemporain, Vanessa Wagner, Jamie XX, Mira Calix, Plaid and Tale Of Us. <\/span><span style=\"font-weight: 400;\">In 2013, Quayola was awarded the Golden Nica at Ars Electronica.<\/span><\/p>\n<\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreCreditsRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>\u00a9 Quayola<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n","protected":false},"featured_media":3847,"menu_order":0,"template":"","edition":[20],"type_oeuvre":[28],"class_list":["post-2342","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/2342","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/3847"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=2342"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=2342"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=2342"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}