{"id":9651,"date":"2022-02-21T11:45:32","date_gmt":"2022-02-21T10:45:32","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=9651"},"modified":"2022-03-10T09:47:57","modified_gmt":"2022-03-10T08:47:57","slug":"les-voyageurs","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/les-voyageurs\/","title":{"rendered":"Les voyageurs"},"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\">Les voyageurs<\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\"><meta charset=\"utf-8\">C\u00e9dric Le Borgne<\/h2>\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 in public space<\/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\"><\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"391\" height=\"697\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-11.43.16.png\" alt=\"\" class=\"wp-image-9650\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-11.43.16.png 391w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-11.43.16-168x300.png 168w\" sizes=\"auto, (max-width: 391px) 100vw, 391px\" \/><figcaption><meta charset=\"utf-8\"><em>Les voyageurs<\/em>, C\u00e9dric le Borgne, 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\/les-voyageurs\/&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\/les-voyageurs\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Les+voyageurs&amp;url=https:\/\/chroniques-biennale.org\/en\/les-voyageurs\/\" 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\u0300-11.43.16.png\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>L\u00e1szl\u00f3 Zsolt Bordos<\/h2><div class=\"artisteContent\"><p><b><span dir=\"auto\">L\u00e1szl\u00f3 Zsolt Bordos<\/span><\/b><span dir=\"auto\">  is a Hungarian artist born in Bra\u0219ov, Transylvania (Romania), in 1977. He moved to Hungary in 1997, where he studied at the Hungarian Academy of Fine Arts in Budapest and then, thanks to a scholarship, at the MediaLab at the UIAH (University of Art and Design) in Helsinki. He has been working with video projectors since 2000. Recognized as one of the pioneers of the genre, he made a name for himself with his early 3D VJing performances (2000\u20132004), his innovative projections (2005\u20132006), and his 3D mapping works created since 2007. Having participated in numerous art exhibitions and festivals, he has presented his work in more than 40 countries, including the Mapping Festival in Geneva, Glow Eindhoven, Signal Prague, Lux Helsinki, Filux Mexico, Ars Electronica Linz, ZKM Karlsruhe, and the Adelaide Festival of the Arts. Bordos&#8217;s areas of interest include object mapping, architectural projections, and set projections for theater and opera, and he is involved in projects with M\u0170PA (Hungarian Palace of Arts), the Semperoper in Dresden, the Dijon Opera, and the Barbican Centre in London.<\/span><\/p>\n<p><span dir=\"auto\">Bordos has launched several projects, such as: the first  <\/span><b><span dir=\"auto\">video mapping contest<\/span><\/b><span dir=\"auto\">  in the world (held in Budapest in 2010),  <\/span><b><span dir=\"auto\">ALO \u2013 Art of Light Organization<\/span><\/b><span dir=\"auto\">  (2020),  <\/span><span dir=\"auto\">the  <\/span><span dir=\"auto\"><b>Manifesto of Light Art<\/b> (2021), <b>the Light Art course at MOME<\/b> \u2014the Moholy-Nagy University of Art and Design in Budapest (since 2021), co-founder and president of <b>LIGHTHOUSE<\/b> \u2013 the Association of Hungarian Light Artists (between 2021 and 2023), initiator and co-founder of <b>LAM \u2013 the <\/b> Budapest<b>Museum of Light Art<\/b> (2022), co-organizer of <b>the biennial symposia on light<\/b> in Hungary (since 2023), member of the <b>John von Neumann Computer Society  ( <\/b> since 2024) , co-chair of the <b>International Kepes Society<\/b> (since 2024).<\/span> <b><\/b> <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":9650,"menu_order":0,"template":"","edition":[19],"type_oeuvre":[29],"class_list":["post-9651","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/9651","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\/9650"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=9651"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=9651"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=9651"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}