"Silence, on danse !" est une expérience immersive et multisensorielle à vivre dans l'œuvre numérique Machine Hallucinations. Rêves de nature de Refik Anadol en Grande Nef. Venez danser à la lumière des mouvements de l'algorithme et au rythme d'un DJ Set Électro-Rock mené par le groupe Brother & Brother. Avec leurs masques en or et leurs tenues à capuches, les deux DJs associent les hits incontournables du rock revisités en version électro, pour un mashup inédit. Cet événement musical inclusif, conçu en collaboration avec l’Institut National des Jeunes Sourds de Metz (INJS), permet aux personnes sourdes et malentendantes de ressentir les ondes émises par la musique grâce à des gilets vibrants.

This summer, Refik Anadol, born in 1985 in Turkey and based in Los Angeles, presents the immersive installation Machine Hallucinations - Nature Dreams at the Centre Pompidou-Metz. For the first time since the Centre opened, the Grand Nave of the museum is occupied by the work of a single artist, a spectacular sculpture/digital painting that befits the extravagant scale of the venue.

An artist fascinated by memory and the creative potential of machines, Refik Anadol makes data his preferred material and artificial intelligence his principal collaborator. In his artistic practice, he surrounds himself with a team of multidisciplinary artists and researchers to create proteiform installations – 3D sculptures, moving and abstract data frescoes, audiovisual performances.

Refik Anadol’s offering for the Centre Pompidou-Metz is the result of the artist’s long-term research projects at the intersection of architecture, environmental data, the aesthetics of probability, and Google’s and NASA’s experiments with artificial intelligence (Quantum Artificial Intelligence Lab and AI Quantum Supremacy programmes). This spectacular work is a data sculpture made from over two hundred million publicly available nature-related images that will be displayed on a digital canvas of 10m x 10m, forming a constantly moving 100m2 image. This set of data is processed using a personalised program developed by the Refik Anadol Studio in collaboration with Google AI’s quantum research team, which employs new methods of using data. Thus, artificial intelligence speculates on other appearances of images of nature, within one of the world’s most sophisticated computers, capable of directly using the laws of quantum physics when performing its calculations and thereby generating quantum noise.

This colossal work can be seen both as a radical visualisation of an alternative dimension of the natural world and as a representation of our digitised memories of nature for the future. The 3D visual work is accompanied by a sound experience that is also based on data generated by quantum noise. Through this multi-sensory experience, visitors are encouraged to imagine the potential of this new collaborative technology between humankind, nature and machine, and the immense possibilities it offers for the future of art, environmental studies, design and architecture.

Curator
Chiara Parisi, Head of the Centre Pompidou-Metz

With the sponsorship of the UEM group

An installation by Refik Anadol
Studio (RAS) / MABU Collection : mabu.eth

The group show, Mimesis. A living design brings together 400 works by 90 creators on the subject of the evolution of nature in design. From modern biomorphism to biomimicry, from biofabrication to the recreation of living things through digital design, this exploration is as much historical as it is forward-looking.
Nature and the living world are invited to Gallery 2 in the exhibition conceived by Marie- Ange Brayer, Senior Curator of the Design and Industrial Prospective department at the Musée national d'art moderne-CCI, Centre Pompidou and Olivier Zeitoun, Associated curator in the Design and Industrial Prospective department at the Musée national d'art moderne-CCI, Centre Pompidou.

From the iconic objects of modernism and their reinterpretation of nature to the most recent design exploring a new digital "naturalness" (Ross Lovegrove, Joris Laarman, Michael Hansmeyer…), the exhibition explores a profound shift in the very concept of nature, in terms of its links with technical and technological production, through the most innovative research in the field of design today.

At the end of the 19th century, biomorphism – the influence of nature on representation and artistic forms – accompanied the birth of modernity. The historical avant-gardes of the early 20th century emphasised the notion of organism along with the self-generation aspect in the creation of forms. This exhibition brings together the great designers of modernity to show how this new modern language draws its organic forms from nature and science, in France, the United States, Scandinavia and Japan, from Alvar Aalto to Sori Yanagi. In 1930s France, Charlotte Perriand's photographs captured the power of the material that inspired her design objects. In the United States, Charles and Ray Eames reinvented design with their organic shapes in the post-war period. At the same time, in France, Serge Mouille, whose exceptional pieces in the Centre Pompidou's collections are being exhibited for the first time, was developing a biomimetic approach to lighting design. In the 1960s, pop art drew its hedonism from nature: from Verner Panton to Pierre Paulin, designers recreated an artificial nature through their creations, and filled their environment with installations resembling landscapes, marking a change of outlook.

In the mid-1980s, Andrea Branzi inaugurated a new form of "neo-primitivism" by directly incorporating natural elements, such as tree branches, into his work (Animali domestici, 1985). Nature itself, not just its representation, is now an integral part of the design object. Between nature and artifice are the Rêveries urbaines (2016) by Ronan and Erwan Bouroullec, which recreate an atmospheric "wonderland" and re-enchant the urban space.

Today, in the digital era, nature has made way for the notion of the living world, which presents itself in a new form of artificiality, between inert and animate, organic and machinic. Design is making use of "biofabrication": biomaterials, made from biological organisms, now allow the creation of new sustainable and biodegradable objects.

Curators::
Marie-Ange Brayer and Olivier Zeitoun

With the support of Caisse d'Épargne Grand Est Europe

In media partnership with

Rêver la ville idéale [Dreaming the Ideal City] is a workshop conceived by the architects of the Centre Pompidou-Metz, which offers in the PTS, the museum’s architectural laboratory at the time of its creation, a space open to all, where everyone can take part in the elaboration of a common work: an ideal city made of recyclable cardboard.

Inside the newly refurbished structure with a long honeycomb table, lights and seats that echo the codes of the Centre Pompidou-Metz’s emblematic architecture, visitors are invited to take hold of and divert the material at their disposal to build a large city that will gradually occupy the entire space.

In the evening, the PTS lives on. Once the public has left, a red light gradually invades the space. To the rhythm of a heartbeat, a coloured movement is then perceptible from the outside, through the portholes.

Intégrez le protocole de recherche et création de Samuel Tomatis ! Le designer transforme la Capsule en petit laboratoire rempli d’échantillons de différentes espèces d’algues. Vous pourrez les manipuler et observer les propriétés qui font de ce végétal l’un des matériaux du futur pour le design.

S’inscrivant dans une nouvelle mouvance centrée sur le bio-mimétisme, Samuel Tomatis s’inspire du vivant comme modèle de création, pas seulement d’un point de vue esthétique mais surtout comme procédé de fabrication.

La Capsule est un lieu de rencontres, d’échanges et de pratique artistique ouvert à tous.
#LaCapsuleCPM

Der britische Künstler Thomas Houseago produziert zwei Installationen für das Forum des Centre Pompidou-Metz. In einer ersten Phase bespielt er das Kunstzentrum mit drei monumentalen brutistischen Gemälden. Aus der Hängung der ungespannten Bilder in der Dachstruktur des Museums entspinnt sich ein Dialog mit der Architektur von Shigeru Ban und Jean de Gastines, und sie lädt dazu ein, die Werke aus verschiedenen Perspektiven zu betrachten. Im Herbst werden die drei Bilder durch ein Ensemble aus drei Skulpturen ersetzt.

Die Arbeiten sind im Außenbereich von Houseagos kalifornischem Atelier in Malibu entstanden, wo sie Wind und Wetter ausgesetzt waren, und markieren einen neuen Abschnitt in seiner künstlerischen Praxis. Während die Natur Thomas Houseago in früheren Arbeiten als Ausgangspunkt diente, wird sie hier als Quell einer kosmischen Energie zum zentralen Thema, das er auf der Leinwand zu bannen versucht. Sonnenstrahlen, der abnehmende Mond, das Meer und der Wind treten in Einklang mit den Rhythmen der Zeit und des Lebens, Rhythmen, die sich in unserem innersten Denken und Fühlen spiegeln.

Die drei Gemälde beschwören die heilende Kraft der Kunst herauf, ihren fundamentalen Bezug zum Leben. Durch die Darstellung der transzendentalen Kraft der Natur beschwört der Künstler traumhafte und alptraumhafte Landschaften herauf, die zwischen objektiver Realität und subjektiver Interpretation angesiedelt sind. Die Besucher können sich ganz ungezwungen zwischen den überdimensionalen Gemälden bewegen, um sie wie Skulpturen von allen Seiten zu betrachten. Die mittlere Malerei, Bucha, wurde als Reaktion auf die Schrecken des Krieges in der Ukraine gemalt. Die dargestellte Gewalt und Brutalität lehnt sich an Quellen aus der Kunstgeschichte an. Houseago schließt Trauma und Leiden bewusst in seine Werke ein und macht sie zu essenziellen Bestandteilen. In seinen Bildern nimmt ein kollektives Gefühl des Schmerzes und der Hoffnung Gestalt an.

Thomas Houseago wurde 1972 in Leeds in Großbritannien geboren und gehört heute zu den bedeutendsten Akteuren der internationalen Kunstlandschaft. Er lebt und arbeitet seit 2003 in Los Angeles. Seine Werke sind regelmäßig in Institution wie dem Musée d’art moderne de Paris, dem Museum of Contemporary Art, Los Angeles, der Galleria Borghese, Rom; der Royal Academy in London, den Royal Museums of Fine Arts of Belgium in Brüssel und dem Palazzo Grassi – Punta della Dogana, Venedig zu sehen.