{"id":9575,"date":"2022-02-21T10:10:46","date_gmt":"2022-02-21T09:10:46","guid":{"rendered":"https:\/\/v1.chroniques.org\/?post_type=oeuvre&#038;p=9575"},"modified":"2022-03-10T09:58:03","modified_gmt":"2022-03-10T08:58:03","slug":"laser-like-water","status":"publish","type":"oeuvre","link":"https:\/\/v1.chroniques.org\/en\/oeuvre\/laser-like-water\/","title":{"rendered":"Laser like water"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"is-style-edge wp-block-heading\">Laser like water<\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\"><meta charset=\"utf-8\">Jean-S\u00e9bastien Baillat<\/h2>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreTopRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-1 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<\/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\"><strong>On the camp&#8217;s swimming pool, Canadian artist Jean-Sebastien Baillat presents the installation Laser Like Water.<\/strong><\/p>\n\n\n\n<p class=\"is-style-default\">He is one of the founders of the Montreal-based graphic design and multimedia firm Baillat Cardell &amp; fls and has notably participated in MUTEK for a scenography and visuals for the main stages of the Quebec festival.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"788\" height=\"442\" src=\"https:\/\/v1.chroniques.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40.png\" alt=\"\" class=\"wp-image-9567\" srcset=\"https:\/\/v1.chroniques.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40.png 788w, https:\/\/v1.chroniques.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40-300x168.png 300w, https:\/\/v1.chroniques.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40-768x431.png 768w\" sizes=\"(max-width: 788px) 100vw, 788px\" \/><figcaption><meta charset=\"utf-8\"><em>Laser like water<\/em>, Jean-S\u00e9bastien Baillat, Biennale of Digital Imagination 2018 \u00a9 Pierre Gondard<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default\">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:\/\/v1.chroniques.org\/en\/laser-like-water\/&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:\/\/v1.chroniques.org\/en\/laser-like-water\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Laser+like+water&amp;url=https:\/\/v1.chroniques.org\/en\/laser-like-water\/\" 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  clearfix\"><div class=\"artisteBlockLeft\"><img decoding=\"async\" src=\"https:\/\/v1.chroniques.org\/wp-content\/uploads\/2022\/02\/Capture-de\u0301cran-2022-02-21-a\u0300-10.07.40.png\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>Gwladys Bernard &#038; Cyril M\u00e9roni<\/h2><div class=\"artisteContent\"><p>Gwladys Bernard endosse la double casquette de charg\u00e9e de productions cr\u00e9atives et d\u2019artiste plasticienne. Elle d\u00e9couvre en 2007 le foisonnement des artistes num\u00e9riques et leur riche palette d\u2019expressions &#8211; set design, jeux de lumi\u00e8res, musique, vid\u00e9o, performances live, interactivit\u00e9, images g\u00e9n\u00e9ratives &#8211; et se plie volontiers aux exigences de la mus\u00e9ographie, la mode, la musique, d\u2019\u00e9v\u00e9nements priv\u00e9s ou d\u2019accompagnement de marques cherchant \u00e0 partager des exp\u00e9riences singuli\u00e8res avec les publics.<\/p>\n<p>Issu de la sc\u00e8ne musicale, Cyril Meroni exp\u00e9rimente dans sa pratique personnelle la mise en espace de l\u2019image et du son. Du live audiovisuel \u00e0 la sc\u00e9nographie de spectacles et de festivals, en passant par de nombreux mappings mais aussi par la r\u00e9alisation de deux films, ses cr\u00e9ations lui permettent d\u2019explorer diff\u00e9rents types de narration audiovisuelle. Sa d\u00e9marche artistique le conduit \u00e0 s\u2019interroger sur la relation entre la pr\u00e9cision de la technologie et l\u2019inh\u00e9rente imperfection de l\u2019action humaine.<\/p>\n<p>Il a travaill\u00e9 aux c\u00f4t\u00e9s de Rioji Ikeda, Blanca Li, Anti VJ, Hubert Colas, et pour les festivals Exit, le Fid, Le Festival d\u2019Avignon, Le Bon Air,&#8230; Co-directeur artistique et technique de l\u2019association Hexalab, il est aussi formateur ind\u00e9pendant sur des logiciels de post-production et de diffusion vid\u00e9o.<\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-2 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\"><\/p>\n<\/div><\/div>\n<\/div><\/div>\n","protected":false},"featured_media":9567,"menu_order":0,"template":"","edition":[19],"type_oeuvre":[29],"_links":{"self":[{"href":"https:\/\/v1.chroniques.org\/en\/wp-json\/wp\/v2\/oeuvre\/9575"}],"collection":[{"href":"https:\/\/v1.chroniques.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/v1.chroniques.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/v1.chroniques.org\/en\/wp-json\/wp\/v2\/media\/9567"}],"wp:attachment":[{"href":"https:\/\/v1.chroniques.org\/en\/wp-json\/wp\/v2\/media?parent=9575"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/v1.chroniques.org\/en\/wp-json\/wp\/v2\/edition?post=9575"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/v1.chroniques.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=9575"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}