MARTIN JOOS

Bigger, higher, farther. From the medial arms race of national fairs, bold recollection and sustained sujets. Protagonists impart insights on the creative processes of the past world exhibitions in Zaragoza and Shanghai, as well as present prospects of the concept of the Milano Expo 2015 and discuss new trends and innovative concepts.

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Visual Arts

the third edition of the International Scenographers Festival IN3 2010 is dedicated entirely to the topic of exhibiting. “exhibit! scenography in exhibition design” is destination and program at the same time. the four days festival will debate various aspects of designing, exhibiting and the
executing of exhibitions. due to this year’s claim we invited about sixty internationally recommended professionals to share their experiences in exhibiting and to discuss the visions of this cultural format. Further- more two in3 workshops will be presented at the festival and within
the context of the in3 challenge – announced for the first time – we will be happy to award rookies among scenographers.
Scenography – flash-in-the-pan or revolution in de- sign? The shape of exhibiting and the aura of objects. Gladiators of the cultural world – directors, architects and scientists – debate power, influence, arrogance and impotence, dynamics, creative lee- way and budgets, the future of exhibiting, the potency of design, auratics, putative stage magic and invisible communication.
Following the successful first festival «spatial arts – life in search of style» in 2006, that dealt with the trailblazers of scenography from various disciplines and the second event «staging the stage – scenography inspired by performing arts» in 2008, that was dedicated to the exponents of Scenography in performing arts, the festival 2010 will focus on examining the actual core business of scenography, i.e. “exhibiting and staging” in and around museums: «Exhibit! – scenography in exhibition design» will consequently be its title! The event will be presented from the 2nd thru 5th December 2010 in the Basel “Kaserne”. Target groups are the curators of the museum city Basel as well as locally and internationally active museum directors, curators and all those who are interested in the international museum and exhibition business. The festival however primarily addresses scenography students, their professors from partner academies of the Institute of Interior Design and Scenography, as well as the rapidly growing community of training institutions in Europe and abroad that, from their different perspectives, have dedicated themselves to formation and education regarding scenography. With the Festival 2010, the Institute of Interior Design and Scenography of the HGK | FHNW is happy to provide a platform and voice for the rapidly developing and changing discipline of scenography – as well as to offer the possibility of publicly discussing the main contents of the possible and especially the current definitional experiments in scenography. The Institute observes and accompanies the identification process of a discipline, from practical proximity and academic distance and, with the festival, offers a forum for exchange and contextual analysis to the exponents.  As a result of the festival 2008, the festival 2010 will feature an innovation: the cooperation with eight European academies who intend to participate.

in3 Conversation

EXPO Thevisualoverkill Introduction

ZETTE CAZALAS | FR
 
Zette Cazalas, formée à l’école d’architecte Paris-Villemin, crée en 1995 une agence consacrée à la muséographie ou scénographie muséale, le graphisme et le design, Zen+dCo. Les prémices se jouent à l’occasion de sa première réalisation muséographique: l’accrochage des dessins et peintures des architectes français du xIxe «Pompéi, les envois de Rome», à la Chapelle des Grands-Augustins de l’Ecole des Beaux-arts, en 1981. Zen+dCo est créée pour s’adapter aux nouvelles problématiques issues de l’idée même de l’exposition qui ne s’appuie plus seulement sur la chose à exposer mais sur la relation des choses à exposer entre-elles, pour qu’ensemble elles émettent un message, un concept. L’espace lui-même est un des objets de médiation et participe au concept de l’exposition que ce soit dans les expositions temporaires ou dans les espaces permanents. A la diversification des moyens de médiation Zen+dCo répond par une résolution globale, graphique, formelle, communicationnelle du lieu exposition, et élabore des environnements muséographiques qui réagissent comme des systèmes. Les 3 principaux projets en cours concernent la muséographie d’espaces permanents : La création des galeries permanentes au sein de la rénovation de musée de l’homme au Palais de Chaillot, Paris (2012): les collections des départements d’anthropologie, préhistoire et homme-nature-société du musée, deviennent les sentinelles du parcours pour le rendre intelligible. La création de «Qui sommes-nous» une des expositions de synthèse pour le musée des Confluences, Lyon (2013): cocon immersif dans lequel se confronte à une multiplicité de questionnement relatifs à son identité et à ses rapports à son environnement. Objets de collection et multimédia se répondent et offrent différentes facettes et approches sur ce vaste sujet. La nouvelle muséographie et extension du musée national de la Porcelaine, Adrien Dubouché, Limoges (2011), établissement dont la mission principale est la collecte et la conservation d’objets de l’art du feu. La muséographie mise en œuvre tend à s’affranchir des présentations encyclopédiques pour privilégier, tout en restant, chronologique, un rapport à l’œuvre intimiste. La vitrine devient conque, coquille, dans lesquelles le visiteur est invité à pénétrer pour se fondre dans la matière.  Statement Mobility. Suspension. Demonstrate. Presentation of projects based on three directions: Contribution of museography / scenography: shaping ideas in space (1) Let’s talk about architecture (2) The rapture (3)  1–Scenography is a conversion, a revolution; it transforms an idea into a sign, transmutes a point of view into an immersive environment, changes abstraction into a concrete setting, twists to reveal complementing meanings or objects, converts the visitor into a partner in crime, and proposes space-time experience.  2–To construct a scenography is to explore a semantic anatomy; it is to build, to articulate, to found, to construct, to constitute, to elaborate, to erect, to set up, to establish, to dream up. It is to create a morphology whose rules will guide the internal structure of shapes and establish the combination of shapes in spaces.  3–To place, in the space of a comma, in a lateral vision, in the transparency of a material, the construction’s intensity. Bounce back. Breathe. Mental fields are superimposed, seasons clash. Paths, trajectories, horizons - the ground remains unstable: it must be porous.

ZETTE CAZALAS

FRANK DEN OUDSTEN | NL
 
Frank den Oudsten is a media artist and a professor of scenography, attached to various universities and academies of art throughout Europe. He studied applied physics and received his degree with a research project at the studio for electronic music at the Institute for Sonology in Utrecht, which meant a paradigm shift in his orientation. The field of audiovisual design became forefront, supported by courses in photography and film, of which the workshops by the experimental filmmaker Frans Zwartjes were most impressive. His professional career emcompasses both complex multimedia installations within the context of exhibitions, as performative experiments on stage. Commissioners have been the Netherlands Architecture Institute in Rotterdam, the Municipal Museum of The Hague, the Rijksmuseum Kröller Müller in Otterlo, the Centraal Museum in Utrecht, the Walker Art Center in Minneapolis, the German Museum of Architecture in Frankfurt am Main, the Centre for Art and Media in Karlsruhe, among others.  In his presentations, Frank den Oudsten both uses classical analog as well as advanced digital media and mind-mapping tools. His projects define the place of performance as a locus with character and identity, through the crucial unity of content and form, in which cognition and intuition are considered to be equal. In recent years the emphasis of his work has almost entirely been on discourse within the context of educational projects, workshops and symposiums. His improvisations on stage however, increasingly got a performative touch. That instant, right-brain format allowed for a playful testing of his conceptual hypotheses, before they appeared in print. Reversely, text, deeply affected by the open nature of improvisation, turned into a stream of speculative theory. His publication on the theory of narrative space will be launched early 2011, by Ashgate Publishing Ltd in London. Its title: „Space.Time. Narrative, the exhibition as post-spectacular stage“.  Statement Talking about scenography... what the hell is it? what do you think it does? how does it affect me, once it’s done? 
 
http://www.frankdenoudsten.nl

Frank Den Oudsten

JEAN LOUIS VIDÌÈRE | FR  Jean-Louis Vidière – born in 1972 in France, enthusiastic athlete and art lover – studied Industrial Design between 1990 and 1995 at the Ecole Nationale des Beaux-Arts in Nancy. After a two year artistical assistance at the Stuttgart State Academy of Art and Design in 1998 he became art director at Milla und Partner. In 2003 he founded ésèpe | brand and knowledge spaces as a freelance exhibition designer and scenographer. Since April 2010 he is working as a conceptual designer for brand spaces, exhibitions and touristical attractions at Steiner Sarnen in Switzerland. 
 
www.steinersarnen.ch

MARTIN JOOS

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