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Clouds and Sun on Dentelle n°5

 

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Inauguration of “Dentelles de lumière” this Thursday in Rome!

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Views of the stained glass series from the Egyptian Academy

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INVITATION

 
Monsieur Wouter Bracke, Directeur de l’Academia Belgica de Roma, et Madame Patricia Emsens, Mécène vous prient de leur faire le plaisir d’assister à l’inauguration de l’installation permanente d’art contemporain 
Dentelle de Lumière – allégorie de la recherche 
le jeudi 20 septembre 2018 à partir de 17h00
 
 

“Dentelle de Lumière – allégorie de la recherche” est la dernière commande publique d’Adrien Lucca. Il s’agit d’une intervention in situ permanente, géométrique et non-figurative déployée sur 5 grandes fenêtres situées à l’extérieur de la bibliothèque de l’Academia Belgica, en face du mur ouest de l’Academie d’Egypte à Rome.

“Dentelle de Lumière – allégorie de la recherche” est le résultat de recherches sur la lumière naturelle, le verre et les mathématiques mené pendant 5 mois de résidence à L’Academia Belgica.

 
Afin de vous permettre de comprendre le long processus de création, cette inauguration sera précédée d’une présentation par l’artiste lui-même.
 

Programme: 

17h00 – presentation 
18-21h00 – reception

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Il Direttore dell’Academia Belgica, Wouter Bracke, insieme a Patricia Emsens, mecenate, hanno il piacere di invitare la S.V. all’inaugurazione dell’installazione permanente d’arte contemporanea

Dentelles de Lumière – allégorie de la recherche
20/09/2018, a partire dalle ore 17
 


“Dentelles de Lumière – allégorie de la recherche” è l’ultima opera pubblica commissionata di Adrien Lucca. Si tratta di un’installazione in situ permanente, geometrica e non figurativa, dispiegata su cinque grandi finestre situate all’esterno della biblioteca dell’Academia Belgica, di fronte alla parete ovest dell’Accademia d’Egitto a Roma.

“Dentelles de Lumière – allégorie de la recherche” è il risultato di una ricerca sulla luce naturale, il vetro e la matematica condotta durante cinque mesi di residenza presso l’Academia Belgica.

Per consentire una miglior comprensione del lungo processo creativo, questa inaugurazione sarà preceduta da una presentazione dall’artista stesso.

L’inaugurazione dell’installazione conclude il mandato del Prof. Bracke come direttore dell’Academia Belgica.

Programma: 

ore 17 – presentazione 
ore 18-21 – ricevimento

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Wouter Bracke, Director of the Academia Belgica in Rome, together with Madame Patricia Emsens, patron, have the pleasure of inviting you to the inauguration of the work

Dentelle de Lumière – allégorie de la recherche
Thursday, September 20, start from 5 PM
 
 

“Dentelle de Lumière – allégorie de la recherche” is the latest public commission by Adrien Lucca. It stands for a permanent site-specific intervention, geometric and non-figurative deployed on 5 big windows located outside the library of Academia Belgica, against the wall of the Accademia d’Egitto a Roma. 


“Dentelle de Lumière – allégorie de la recherche” is a result of the research on natural light, glass and mathematics during 5 months of residency at the Academia Belgica. 
 

In order to allow visitors comprehend the long-term creation process, this inauguration will be preceded by a presentation by the artist himself. 
 
Programme: 
5 PM – presentation 
6-9 PM – reception

Art & science relationships examples #1

First of a series of posts about art & science relationships.

Recently I have been studying a bit more than before the work and the writings of Olafur Eliasson. I just discovered this fantastic short documentary film about his collaboration with the icelandic architect Einar Thorsteinn:

The Model Room, 2009

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Two portraits of Einar Thorsteinn

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Thorstein declares “I have never had such a close relationship with anybody I met before that with Olafur Eliasson”, then explains about what they did together in collaboration. Eliasson then defines himself as “not really good at anything but i’m ok in everything” before explaining a bit about the organization of his studio. Beautiful.

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I cannot resist to also quote some of the things that Eliasson wrote in Some Ideas About Color (2006), that are making a lot of sense to me:

“the idea that things are not as they appear to be is a very healthy argument.”

“What I look at is […] not only the experienceing of the artwork itself, or the artwork and institution as one, but also – and even more importantly – the ways in which the visitors may experience themselves experiencing the artwork. The audience should, in other words, be encouraged to see themselves both from a third-person perspective, that is, from the outside, and from a first-person perspective.”

“[…] in preserving the freedom of each visitor to experience something that may differ from the experiences of others, art can continue to have a significant impact on both the individual and society as a whole.”

Dentelle: permanent glass painting technique

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The major steps of the work in video:

videos by Marjolijn Debulpaep

“Dentelle” @ Academia Belgica Rome, starts!

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Doing my summer homework in Rome ;)

A monumental stained glass piece in Rome’s Belgian Academy just started to appear. The piece appears completely different during the different phases of daylight around the building.

DIFF s

evening

BACK_ILL s

afternoon

SUN s

morning

 

In-situ test for “Yellowless Corridor”, a future artwork in Maashaven station, Rotterdam, NL

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Somebody brought a yellow jacket…

Microkosmos at night

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Illumination by 4 custom “Special warm-white” light fixtures:

SWW

…and on the diaporama below, the difference between day and night:

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Conférence à la Galerie de l’UQAM, Montréal

Artist Talk: Adrien Lucca

Research in light and colour. On Soleil de minuit (2017), public artwork at Place-d’Armes metro station

Tuesday, September 19, 2017, 5 p.m.
Galerie de l’UQAM
In French

Organized in collaboration eith the Délégation Wallonie-Bruxelles au Québec

Le 19 septembre 2017 prochain, l’artiste belge Adrien Lucca sera de passage à Montréal pour partager avec le public son expérience de réalisation de l’œuvre d’art public Soleil de minuit. La conférence, qui aura lieu à la Galerie de l’UQAM dès 17 heures, permettra d’en apprendre plus au sujet de la conception de cette série de 14 vitraux située dans la station de métro Place-d’Armes.

Recherches sur la lumière et la couleur. À propos de Soleil de minuit

Le 21 juin 2015, premier jour de l’été et jour le plus long de l’année, le soleil se levait à Bruxelles. Au même moment, à Montréal, il était presque minuit. À l’aide d’un spectrophotomètre, l’artiste Adrien Lucca a enregistré le spectre lumineux de ces premiers rayons de l’été bruxellois.

Utilisant des verres colorés et un éclairage à diodes électroluminescentes, il a conçu Soleil de minuit, une série de vitraux reproduisant les couleurs intenses de ces lumières naturelles. Des outils informatiques et physiques lui ont permis de choisir les combinaisons de verres colorés. L’artiste marie les techniques artistiques traditionnelles (le dessin, la peinture, l’impression, le vitrail) avec des méthodes d’analyses scientifiques et des outils numériques.

Fruit d’une collaboration de l’artiste avec des maîtres verriers belges et des fabricants de verre allemands, l’éclat virtuel de Soleil de minuit, démultiplié en 14 étapes, symbolise l’amitié entre les villes de Bruxelles et de Montréal, la mobilité, ainsi que la permanence de la relation entre l’intelligence du sensible et celle du savoir à l’oeuvre dans toute création artistique. L’œuvre est un don de Bruxelles Mobilité à l’occasion des 40 ans du métro de Bruxelles, des 50 ans du métro de Montréal et des 375 ans de Montréal. En contrepartie, la Société de transport de Montréal (STM) offrira une œuvre de l’artiste montréalais Patrick Bernatchez qui sera installée à la station de métro Trône de Bruxelles.

La conférence est organisée en collaboration avec la Délégation Wallonie-Bruxelles au Québec.

À propos d’Adrien Lucca

Né à Paris en 1983, Adrien Lucca vit et travaille à Bruxelles. Depuis plusieurs années, il développe une pratique artistique multiforme (dessins, installations, éditions, conférences) autour d’une étude scientifique de l’utilisation de la lumière et de la couleur. Cette méthode combine l’utilisation d’instruments de mesure de laboratoire avec des algorithmes informatiques et des méthodes artistiques de production.

Un grand merci à Louise Déry, Anne-Marie Ninacs, Caroline Pierret, Wallonie-Bruxelles International, la STM et Bruxelles Mobilité !

Remerciements encore à Vitraux d’art Debongnie, Aelbrecht-Maes metaalconstructies, GVA Lighting, Dix au carré, Speculoos, Jeunesse et Arts Plastiques

 

Lecture in Toronto

Soleil de minuit – Craft, Art & Color Science

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Hopefully fun, interesting and informative:

My lecture at the Canadian Craft Biennial at OCAD University (Toronto) on September 16, 2017

Full conference program available on:

http://canadiancraftbiennial.ca/symposium/about/

Abstract:

Soleil de minuit (2015-2017) is a permanent Glass Art installation in the metro station Place-D’Armes in Montréal, Québec, Canada.

It has been crafted by the French artist Adrien Lucca in collaboration with the glass studio Debongnie (Belgium). Produced in the context of an exchange of artwork between the cities of Brussels and Montréal, Soleil de minuit is made of 14 panels of epoxy-laminated mouthblown “Lamberts” glass “pixels”. Each panel is individually framed within the 1960’s concrete “modernist” architecture of the metro station, and backlit by high-end white LEDs. Its design is based on the idea of permanently transporting the color of Brussels sunlight during the summer solstice at sunrise into the metro station, in 14 steps from dawn to day. From a technical point of view, Soleil de minuit has overcome several challenges: The epoxy-lamination technique has been created from scratch by the studio Debongnie to produce large, unique glass panels measuring 207 x 157 cm, each weighing 210 kg.  Each panel represents a circular light figure, made of 1813 colored glass “pixels”, which has been generated by an algorithm coded by the artist. This algorithm acts like a bridge between the physics of colored glass, craft and visual arts. It implies physical measurements of the glass color properties in relation to their interaction with the selected LEDs, it generates 14 full-size maps for the production in the glass studio, and it allows the artist to precisely select colors among the 5000+ references available in the Lamberts antique glass factory in Waldsassen (Germany).

 

Thank you Kathy Kranias for inviting me to the Biennial!

Thanks: Vitraux d’art Debongnie, Glasshütte Lamberts, Bruxelles Mobilité, Société de transport de Montréal, GVA lighting, Aelbrecht-Maes metaalconstructies, DIX au carré, été78, Speculoos

3rd of 3 projects at été 78

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Hommage à Edwin H. Land, 2017

Halogen lamps, special white lamp designed in collaboration with GVA lighting (model FL-100), various objects

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The space is illuminated by two different white lights that have the same whiteness and color temperature (about 3000K). Common colorful objects are displayed on two pedestals: fruits, flowers, color samples, beer bottles, etc.

The objects illuminated by the special white light dramatically change: pilsener beer look like sparkling rosé, dull blue objects appear bright turquoise, warm yellow plastic becomes bright orange, lemons become whitish, dark purple flowers appear dullish blue.

All colors except for white, grey and black are changing. People with “normal” color vision are experiencing something like color-blindness. People’s skin and blue eyes also change, they somehow appear more beautiful…

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Here’s the text written for the show (in French):

Exhibition views, été78, 1st of “3 projets”

Diaporama

Views from the 1st part of the exhibition “Mémoire d’atelier sur trois projets” at été78 in Brussels. The text draft is available here: Soleil de minuit text

Mémoire d’atelier sur trois projets @ été78, Bruxelles – vernissage 18/02/2017

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3 exhibitions in a row at ETE78, rue de l’été n°78, 1050 Brussels!

Vernissage Feb. 18th from 4PM to 8PM

 

Rosace, quasicristal dodécagonal

baie-100

Variations of the visual appearance of a stained glass window during the course of the sun in the sky.

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Sunlight / Stained-glass

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Simulation of the changing visual appearance of an East-oriented Stained-glass window depending on the daylight color and orientation:

7:30 AM: before the sun rises, the sky illuminates the window

7:45 AM: a yellow Sunlight reaches the window

8:00 AM: the Sunlight is already whiter

12:00 AM: the Sunlight is white

12:30 AM: the Sunlight disappears, only the sky illuminates the window

4:00 PM: idem

6:00 & 8:00 PM: the sky’s color changes slightly

All this has been simulated using physical data about the light of the Sun and the Sky in the south of France, and physical data acquired by scanning colored glass with a spectrophotometer.

 

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