{"id":9575,"date":"2022-02-21T10:10:46","date_gmt":"2022-02-21T09:10:46","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=9575"},"modified":"2022-03-10T09:58:03","modified_gmt":"2022-03-10T08:58:03","slug":"laser-like-water","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/laser-like-water\/","title":{"rendered":"Laser like water"},"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\">Laser like water<\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\"><meta charset=\"utf-8\">Jean-S\u00e9bastien Baillat<\/h2>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-002ffff5 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 wp-block-paragraph\"><strong>On the camp&#8217;s swimming pool, Canadian artist Jean-Sebastien Baillat presents the installation Laser Like Water.<\/strong><\/p>\n\n\n\n<p class=\"is-style-default wp-block-paragraph\">He is one of the founders of the Montreal-based graphic design and multimedia firm Baillat Cardell &amp; fls and has notably participated in MUTEK for a scenography and visuals for the main stages of the Quebec festival.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"788\" height=\"442\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40.png\" alt=\"\" class=\"wp-image-9567\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40.png 788w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40-300x168.png 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40-768x431.png 768w\" sizes=\"auto, (max-width: 788px) 100vw, 788px\" \/><figcaption><meta charset=\"utf-8\"><em>Laser like water<\/em>, Jean-S\u00e9bastien Baillat, Biennale of Digital Imagination 2018 \u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default wp-block-paragraph\">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\/laser-like-water\/&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\/laser-like-water\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Laser+like+water&amp;url=https:\/\/chroniques-biennale.org\/en\/laser-like-water\/\" 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\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40.png\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>L\u00e1szl\u00f3 Zsolt Bordos <sup>(HU)<\/sup><\/h2><div class=\"artistContactLine\"><a href=\"https:\/\/bordos.eu\" target=\"_blank\">bordos.eu<\/a><\/div><div class=\"artisteContent\"><p><b><span dir=\"auto\">L\u00e1szl\u00f3 Zsolt Bordos<\/span><\/b><span dir=\"auto\">\u00a0est un artiste hongrois n\u00e9 \u00e0 Bra\u0219ov, en Transylvanie (Roumanie), en 1977. Il s&#8217;installe en Hongrie en 1997, o\u00f9 il \u00e9tudie \u00e0 l&#8217;Acad\u00e9mie hongroise des beaux-arts de Budapest, puis, gr\u00e2ce \u00e0 une bourse, au MediaLab de l&#8217;UIAH (Universit\u00e9 d&#8217;art et de design) d&#8217;Helsinki. Il travaille avec des vid\u00e9oprojecteurs depuis l&#8217;an 2000. Reconnu comme l&#8217;un des pionniers du genre, il s&#8217;est illustr\u00e9 par ses premi\u00e8res performances de VJing 3D (2000-2004), ses projections novatrices (2005-2006) et ses \u0153uvres de mapping 3D r\u00e9alis\u00e9es depuis 2007. Participant \u00e0 de nombreuses expositions et festivals d&#8217;art, il a pr\u00e9sent\u00e9 son travail dans plus de 40 pays, notamment au Mapping Festival de Gen\u00e8ve, \u00e0 Glow Eindhoven, \u00e0 Signal Prague, \u00e0 Lux Helsinki, \u00e0 Filux Mexico, \u00e0 Ars Electronica Linz, au ZKM Karlsruhe et au Festival des arts d&#8217;Ad\u00e9la\u00efde. Les domaines d&#8217;int\u00e9r\u00eat de Bordos sont la cartographie d&#8217;objets, les projections architecturales, les projections de d\u00e9cors pour le th\u00e9\u00e2tre et l&#8217;op\u00e9ra, et il est impliqu\u00e9 dans des projets avec le M\u0170PA (Palais des Arts de Hongrie), le Semperoper de Dresde, l&#8217;Op\u00e9ra de Dijon et le Barbican Centre de Londres.<\/span><\/p>\n<p><span dir=\"auto\">Bordos a lanc\u00e9 plusieurs projets tels que : le premier\u00a0<\/span><b><span dir=\"auto\">concours de vid\u00e9o mapping<\/span><\/b><span dir=\"auto\">\u00a0au monde (organis\u00e9 \u00e0 Budapest en 2010),\u00a0<\/span><b><span dir=\"auto\">ALO \u2013 Art of Light Organization<\/span><\/b><span dir=\"auto\">\u00a0(2020),\u00a0\u00a0<\/span><span dir=\"auto\">le\u00a0<\/span><span dir=\"auto\"><b>Manifeste de l&#8217;art lumineux<\/b>\u00a0(2021),\u00a0\u00a0<b>le cours d&#8217;art lumineux \u00e0 MOME<\/b>\u00a0\u2013 l&#8217;Universit\u00e9 d&#8217;art et de design Moholy-Nagy de Budapest (depuis 2021), cofondateur et pr\u00e9sident de\u00a0<b>LIGHTHOUSE<\/b>\u00a0\u2013 l&#8217;association des artistes lumineux hongrois\u00a0\u00a0(entre 2021 et 2023)\u00a0, initiateur et cofondateur de\u00a0<b>LAM \u2013 le\u00a0<\/b><b>Mus\u00e9e d&#8217;art lumineux<\/b>\u00a0de Budapest\u00a0(2022),\u00a0\u00a0co-organisateur des\u00a0<b>symposiums bisannuels sur la lumi\u00e8re<\/b>\u00a0en Hongrie (depuis 2023),\u00a0\u00a0membre de la\u00a0\u00a0<b>John von Neumann Computer Society\u00a0<\/b>\u00a0(depuis 2024)\u00a0,\u00a0\u00a0copr\u00e9sident de la\u00a0<b>Soci\u00e9t\u00e9 internationale Kepes<\/b>\u00a0(depuis 2024)\u00a0.<\/span>\u00a0<b><\/b>\u00a0<b><\/b><b><\/b><b><\/b><b><\/b><b><\/b><b><\/b><b><\/b><\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-002ffff5 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%\"><\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom wp-block-paragraph\"><\/p>\n<\/div>\n<\/div>\n","protected":false},"featured_media":9567,"menu_order":0,"template":"","edition":[19],"type_oeuvre":[29],"class_list":["post-9575","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/9575","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\/9567"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=9575"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=9575"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=9575"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}