{"id":8528,"date":"2022-01-13T17:06:08","date_gmt":"2022-01-13T16:06:08","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=8528"},"modified":"2022-10-03T17:31:08","modified_gmt":"2022-10-03T15:31:08","slug":"energeia","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/energeia\/","title":{"rendered":"Energeia"},"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\"><strong><strong>Energeia<\/strong><\/strong><\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\">UGO ARSAC<\/h2>\n<\/div>\n\n\n\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:25%\">\n<h4 class=\"wp-block-heading\">Immersive documentary<\/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 class=\"is-style-noMarginBottom\"><strong>E N E RG E I A <strong>is an invitation to meditate on the world\u2019s energy transitions \u2013 those currently underway and those to come. Within a digital environment, visitors are plunged inside nuclear power station architecture.<\/strong><\/strong><\/p>\n\n\n\n<p class=\"is-style-noMarginBottom\">The audience are invited into a small space or to don a virtual reality headset. Here, they have access to an experience that simultaneously evokes a scattergram aesthetic and is akin to a documentary, owing to its audio features. The idea is not to sway the audience\u2019s opinions; rather to maintain an open dialogue regarding energy-related issues.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/Capture-de\u0301cran-2022-04-14-120747.png\" alt=\"\"\/><figcaption>\u00a9 Ugo Arsac<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/05\/Capture-de\u0301cran-2022-05-10-a\u0300-22.21.27.png\" alt=\"\"\/><figcaption> \u00a9 Ugo Arsac<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default\">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\/energeia\/&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\/energeia\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Energeia&amp;url=https:\/\/chroniques-biennale.org\/en\/energeia\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><meta charset=\"utf-8\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Ugo Arsac <sup>(FR)<\/sup><\/h2><div class=\"artisteContent\"><p class=\"p1\">Ugo Arsac is a French artist and documentarian. He studied at the Beaux-Arts de Paris and the \u00c9cole des Arts D\u00e9coratifs de Paris, where he displayed his videographic approach by producing his first films: Neuf Cordes (Nine Strings), filmed between Italy and Ukraine, a mix of performance and spoken poetry; and Jouons \u00e0 la Guerre (Let\u2019s Play War), filmed in the ranks of a re-enactment society in Taiwan, a documentary imbued with derision towards the global and local conflicts the island has faced. He later won the La Scam Emerging Artist Prize before joining the Le Fresnoy National Studio of the Contemporary Arts. There, he produced En Contrebas (Underneath), a documentary portrayal of and a Dantean journey through the entrails of Paris, and In Urbe, an interactive installation allowing the audience to conduct their own subterranean journey.<\/p>\n<p class=\"p1\">He has completed several residencies, at Centquatre, Arden\u00f4me and the Fruiti\u00e8re Num\u00e9rique, and has featured in numerous exhibitions (100% l\u2019Expo, Orpheo, Panorama22, Mulhouse021, Tout s\u2019\u00e9claire, the Institut Fran\u00e7ais in Ukraine\u2019s Digital November). He is conducting new XR projects thanks to support from CHRONIQUES and C2L3play, an Interreg programme promoting artistic innovation. He also works with the Galerie Robert Dantec, where his drawings and serigraphs have been shown at exhibitions such as Points of View and DDessin.<\/p>\n<\/div><\/div><\/div>\n\n\n\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 class=\"is-style-default\"><meta charset=\"utf-8\"><meta charset=\"utf-8\">Delegated production: <strong>SECONDE NATURE<\/strong> et <strong>ZINC<\/strong><\/p>\n\n\n\n<p><meta charset=\"utf-8\">Creation realized in coproduction with the platform <strong>CHRONIQUES CREATIONS<\/strong>, supported by the DRAC Provence-Alpes-C\u00f4te d&#8217;Azur, the R\u00e9gion Sud Provence-Alpes-C\u00f4te d&#8217;Azur, the City of Marseille and the French Institute in Paris. <\/p>\n\n\n\n<p>Coproduction: La Fruiti\u00e8re Num\u00e9rique. <\/p>\n\n\n\n<p>With the support of Perspective[s], CITS and Next Sound Lab.<\/p>\n\n\n\n<p>In partnership with EDF and ITER.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/06\/logo-edf-de\u0301toure\u0301.png\" alt=\"\" class=\"wp-image-11568\" width=\"211\" height=\"102\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/06\/logo-edf-de\u0301toure\u0301.png 700w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/06\/logo-edf-de\u0301toure\u0301-300x146.png 300w\" sizes=\"auto, (max-width: 211px) 100vw, 211px\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/ITER_logo_NoonYellow_VectorGraphic_-1024x488.png\" alt=\"\" class=\"wp-image-22894\" width=\"115\" height=\"55\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/ITER_logo_NoonYellow_VectorGraphic_-1024x488.png 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/ITER_logo_NoonYellow_VectorGraphic_-300x143.png 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/ITER_logo_NoonYellow_VectorGraphic_-768x366.png 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/ITER_logo_NoonYellow_VectorGraphic_-1536x732.png 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/ITER_logo_NoonYellow_VectorGraphic_-2048x976.png 2048w\" sizes=\"auto, (max-width: 115px) 100vw, 115px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom\"><\/p>\n\n\n\n<p class=\"is-style-noMarginBottom\"><\/p>\n","protected":false},"featured_media":11296,"menu_order":0,"template":"","edition":[66],"type_oeuvre":[25,71,95],"class_list":["post-8528","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/8528","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\/11296"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=8528"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=8528"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=8528"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}