{"id":9353,"date":"2022-02-16T11:06:08","date_gmt":"2022-02-16T10:06:08","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=9353"},"modified":"2022-03-18T10:38:10","modified_gmt":"2022-03-18T09:38:10","slug":"airborne","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/airborne\/","title":{"rendered":"Airborne"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"is-style-edge wp-block-heading\">Airborne<\/h1>\n\n\n\n<h2 class=\"wp-block-heading\"><meta charset=\"utf-8\">\u017dILVINAS KEMPINAS<\/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\">Installation<\/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-default\"><strong>In her work, the artist regularly uses magnetic tape fort its inherent material qualities : lightness, mobility, and transparency. <\/strong><\/p>\n\n\n\n<p class=\"is-style-default\">She plays with the effects of the light on the tape, which often takes on geometrical shapes. An artwork appearing as the tangible expression of what we call levitation.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"660\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Kempinas_2-1024x660.jpg\" alt=\"\" class=\"wp-image-9350\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Kempinas_2-1024x660.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Kempinas_2-300x193.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Kempinas_2-768x495.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Kempinas_2-1536x990.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Kempinas_2-2048x1320.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption><meta charset=\"utf-8\"><em>Airborne<\/em>, \u017dilvinas Kempinas, Biennale of Digital Imagination 2018 \u00a9 Marc Domage<\/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\/airborne\/&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\/airborne\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Airborne&amp;url=https:\/\/chroniques-biennale.org\/en\/airborne\/\" 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\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>\u017dilvinas Kempinas <sup>(LIT)<\/sup><\/h2><div class=\"artisteContent\"><p class=\"p1\"><span class=\"s1\">Zilvinas Kempinas was born in Lithuania in 1969 and is an artist living and working in New York. He is interested in kinetic arts and explores what can be made of movements within works of art.<\/span><\/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\">Collection Frac Normandie Caen<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom\"><\/p>\n\n\n<p><!-- \/wp:post-content --><\/p>","protected":false},"featured_media":9350,"menu_order":0,"template":"","edition":[19],"type_oeuvre":[29],"class_list":["post-9353","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/9353","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\/9350"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=9353"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=9353"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=9353"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}