{"id":750,"date":"2020-07-29T12:48:48","date_gmt":"2020-07-29T10:48:48","guid":{"rendered":"\/?post_type=oeuvre&#038;p=750"},"modified":"2022-03-22T10:47:38","modified_gmt":"2022-03-22T09:47:38","slug":"tropics","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/tropics\/","title":{"rendered":"Tropics"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\">TROPICS<\/h1>\n\n\n\n<h2 class=\"caps wp-block-heading\">MATHILDE LAVENNE<\/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\">Video installation<\/h4>\n\n\n\n<p><strong>CHRONIQUES <strong>Production<\/strong> 2018<\/strong><\/p>\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 class=\"is-style-default\"><strong>These Mexican farmers\u2019 story is revealed thanks to a 3D-scanner, a technical device often used by architects. <\/strong><\/p>\n\n\n\n<p class=\"is-style-default\">All that is shown is represented homogeneously, forming an inextricably connected whole. Introducing an important poetical aspect, this process offers different ways to see and apprehend the world.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreInfosRow 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%\">\n<h4 class=\"wp-block-heading\">Practical information<\/h4>\n\n\n\n<p class=\"noMarginBottom\"><strong>DATE<\/strong><\/p>\n\n\n\n<p>08 nov. 2018 &#8211; 06 janv. 2019<\/p>\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<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"563\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/939aab43562cee9eead53752b3f83c4f.jpg\" alt=\"\" class=\"wp-image-410\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/939aab43562cee9eead53752b3f83c4f.jpg 1000w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/939aab43562cee9eead53752b3f83c4f-300x169.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/939aab43562cee9eead53752b3f83c4f-768x432.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"7680\" height=\"4320\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/Mathilde-Lavenne-TROPICS.png\" alt=\"\" class=\"wp-image-412\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/Mathilde-Lavenne-TROPICS.png 7680w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/Mathilde-Lavenne-TROPICS-300x169.png 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/Mathilde-Lavenne-TROPICS-1024x576.png 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/Mathilde-Lavenne-TROPICS-768x432.png 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/Mathilde-Lavenne-TROPICS-1536x864.png 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/Mathilde-Lavenne-TROPICS-2048x1152.png 2048w\" sizes=\"auto, (max-width: 7680px) 100vw, 7680px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"617\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/b2e5e828703e22cdf2041d022cc27f68.jpg\" alt=\"\" class=\"wp-image-414\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/b2e5e828703e22cdf2041d022cc27f68.jpg 1000w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/b2e5e828703e22cdf2041d022cc27f68-300x185.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/b2e5e828703e22cdf2041d022cc27f68-768x474.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><\/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\/07\/TROPICS-3-300dpi-RVB-1024x576.jpg\" alt=\"\" class=\"wp-image-440\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/TROPICS-3-300dpi-RVB-1024x576.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/TROPICS-3-300dpi-RVB-300x169.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/TROPICS-3-300dpi-RVB-768x432.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/TROPICS-3-300dpi-RVB-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption><meta charset=\"utf-8\"><em>Tropics<\/em>, Mathilde Lavenne, Biennale of Digital Imagination 2018<\/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\/tropics\/&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\/tropics\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Tropics&amp;url=https:\/\/chroniques-biennale.org\/en\/tropics\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreArtistsRow is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Artiste<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/07\/Mathilde-Lavenne-1000x1000.png\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>Mathilde Lavenne <sup>(FRA)<\/sup><\/h2><div class=\"artisteContent\"><p class=\"p1\"><span class=\"s1\">Mathilde Lavenne was born in France in 1982. After, in 2011, focusing her approach on emerging technologies and digital tools by developing a visual language, she received the 2015 Fran\u00e7ois Schneider Foundation Contemporary Talents Prize. Following archaeology, which borrows as much from earth sciences as from natural and human sciences, Mathilde Lavenne examines journeys through the lens of excavation, matter, and peregrination.<\/span><\/p>\n<\/div><\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreCreditsRow 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\">MENTIONS AND CREDITS<\/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 class=\"is-style-default\">Direction, Edition and VFX Mathilde Lavenne<br>Production Elsa Klughertz\/Jonas Films<br>Production executive Fundacion Casa Proal, VFX Coordination FabLab of Mexico team\/Anahuac Norte University<\/p>\n\n\n\n<p class=\"is-style-default\">With the support of Scam, Brouillon d&#8217;un r\u00eave, Le Fresnoy &#8211; Studio national des arts contemporains, The Atelier 105, Lightcone,CNC &#8211; Dicr\u00e9am<\/p>\n\n\n\n<p class=\"is-style-default\">Coproduction Chroniques, Edis &#8211; Fonds de Dotation, FRAC Provence-Alpes-C\u00f4te d&#8217;Azur, realised in the framework of the production platform, supported by the R\u00e9gion Sud, coordinated by Seconde Nature and ZINC.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"featured_media":1813,"menu_order":0,"template":"","edition":[19],"type_oeuvre":[25,26],"class_list":["post-750","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/750","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\/1813"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=750"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=750"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=750"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}