“Miguel Chevalier”

Miguel Chevalier: bits & cells

He’s one of the pioneers in virtual and digital art. He tackles the question of intangibility and computer-led logic. Hybridity, generativeness and networking are at the heart of his research… An hour in the company of Miguel Chevalier, an observer of the flows dear to our contemporary society.   It’s at La Fabrika, his big studio in Ivry-sur-Seine (and so named in homage to another famous studio), that Miguel Chevalier designs his works. All around, you’ll see prototypes, 3D prints, projectors and projections…  This spring, his studio is a hive of activity as he gets set for several solo shows (at the submarine base in Bordeaux and a double event in London, at the Mayor and Wilmotte Galleries). Miguel Chevalier is also taking part in major group exhibitions, namely “Artistes & Robots” at the Grand Palais, and “AI Musiqa” at the Philharmonie de Paris.   The exhibition “Digital Abysses”, recently launched at the submarine base in Bordeaux, with ten installations and a hundred or so works spread out over 3500 square metres, is one of your largest to date… That’s right, this is my biggest exhibition to date. The submarine base is an unusual site, constructed at the end of World War II. I didn’t want to illustrate the memories of the place, but rather, work on the relationship with water and the great depths and abysses in which U-boats plunged. The large printed fabric Atlantide (25 x 9 metres) opens the exhibition, emerging as the floor of the base’s first pool. Then, we arrive at the bunker’s entrance – a spot that’s all the more interesting as it immerses visitors in darkness and comprises numerous spaces on different scales. I drew inspiration from plankton and all sorts of aquatic microorganisms, such as radiolarians and protozoa that are observable...

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A pioneer of digital art: Miguel Chevalier signing

Paris, 26 March 2014, Art Media Agency (AMA). Paris’s Art Books is to welcome Miguel Chevalier for a book signing, to take place on 29 March, from 4 – 6pm. Miguel Chevalier is to present Herabrius 2059, published by Bernard Chauveau. This work comprises 12 imagined creations, each of which are extracts from the series Fractal Flowers. The piece represents an ongoing investigation into movement and Generative art. The artist was born in Mexico in 1959, and lives and works in Paris. He has produced digital works since 1978 and is recognised internationally as a pioneer in the genre. Also present for book signings are director and photographer Ziad Antar, South-Korean artist Lee Ufan, and photographer André Morain....

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Art Paris Art Fair 2014: Interview with Miguel Chevalier, digital artist

Paris, 26 March 2014, Art Media Agency (AMA). From 26 March, those passing Art Paris Art Fair will have the opportunity to view a significant work, without even entering the Grand Palais.  Every evening between 8pm and midnight, Miguel Chevalier – represented by the Louise Alexander Gallery  (stand E5) – is to transform the façade of the Grand Palais with a luminous installation project entitled L’Origine du Monde (“The Origin of the World”). AMA met the artist, who discussed his pioneering project in more detail. Why L’Origine du Monde? L’Origine du Monde is an interactive, virtual reality installation projected onto the façade of the Grand Palais. It is inspired by the world of biology and micro-organisms, comprised of individual cells which develop like bacteria, multiplying, dividing and fusing. This universe in perpetual mutation is halfway between the organic and the pixelated. That is why I have chosen L’Origine du Monde as a title: everything comes from there, it is the foundation of life itself. The projection is quite psychedelic… The colours can become very intense and vibrant. Playing with moving curves and cellular fusion definitely has a psychodelic 70s feel about it. We are in a new age: that of Digital Baroque. Digital has become omnipresent – it’s what I call the new digital drugs. The installation itself is a true example of technical prowess. How does it work? It was most difficult to construct the two towers to support the projectors, as we didn’t have much space. The installation belongs to the Art generation; that is to say I control one part of it but the rest is uncertain and unpredicatable. It is not a video installation on repeat with a definite start, a series of pre-determined images and an end. Digital is at the very heart of the installation: works...

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