Fondation Vasarely

Fondation Vasarely
Jas de Bouffan
13090 Aix-en-Provence
Tel : 04 42 20 01 09
Horaires :
Tous les jours sauf le lundi de 10h à 13h et de 14h à 18h
Accès en bus du centre ville d’Aix-en-Provence : Arrêt Vasarely ligne 2
Voiture : Parking à l’entrée.

artists exhibited:

Dublin, Ireland

The Printball, interactive installation, 2005
The Printball is a graffiti robot. It works like a giant ink-jet printer, using a paintball gun as the print-head. The paintball gun is mounted on a custom made pan & tilt unit, which is controlled by software programmed with Max/Msp: printware 6.0 G.M.L compatible). The pan & tilt is controlled by an Atmel chip [programmed in Basic]. This software controls the movement of the two stepper motors and triggers the paintball gun. The software allows users to load, analyze and shoot images. The resolution of the image can be adjusted according to the number of steps between each points.

Los Angeles, USA

Salamander, variable channel video installation,2006
Variable video projections are set in an immersive environment, projecting on every possible wall space. The installation is site-specific and varies its arrangement to accommodate each space. Collaged layers of explosions taken from stock images for the Film Industry are arranged in different compositions that periodically illuminate the space with its pulsing rhythm. A soundtrack of a stretched explosion accompanies the piece.

Paris, France

Antonin Fourneau and Manuel Braun’s collaboration around game art projects date back to the days when both were art students. In 2005 more specifically, with ENIAROF, their research definitely grasped gameplay and video games as true aesthetic material. How to make an artistic object out of video games parts and interfaces? A hint of absurdity for an approach that crosses sculpture, design interactivity and sociology.

Shooting in the rain, installation interactive, 2011
Don’t you remember yourself shooting down ducks with an umbrella when you were a kid, imagining yourself with a true rifl e in your hands? Shooting in the rain reinvents the good old Nintendo Zapper pistol transformed into an interactive umbrella just to make you feel the mechanical pleasure of an umbrella shot.

Paris, France

Hold On, interactive installation, 2012
Somewhere between film and video-game, in the interactive installation Hold On, you can go your way through famous movie’s sequences like those from The Shining, Old Boy or Rocky…
Thanks to an arcade-type device, you can choose and control sequences from those video-ludic style movies. Paradoxically using both the very contemporary interactivity process and the old recording practice, the spectator can control the movements of the main actor turned into an avatar. The spectator can break the logical rhythm of the movie and lengthens the action using his joystick. He can delay the inescapable course of the sequence unit its end, both playing with and against time.
When machinimas are currently exploring video games to reproduce cinematics, Hold On, on the contrary, develops a playful and dynamic experience based on cinema.
This interactive installation was completed in the frame of M2F residency program.

Paris, France

From industrial music in the 1980s (with the band Nox) to an exploration of electronic and digital cultures in our day, Cécile Babiole’s artistic trajectory has evolved laterally, cutting across the realms of music and visual arts. Far from de rigueur interdisciplinarianism, her works move back and forth between one language and another, bleeding each code into the other in an ongoing reinterpretation of the relationship between technique and visual or sound arts. Whether staged in the public realm (streets, busses) or in private venues (galleries, concert halls), her latest installations and performances question our prevailing systems of representation – from an original and ironic angle.

Bzzz! The sound of electricity, sound sculpture, 2012
Bzzz! is a sound sculpture designed to render the sound of electricity audible and spread it over the ambient space. Six frequency generators are of a deliberately crude design, comprising just a few basic electronic components that allow the electrical current to be modulated so as to generate slightly amplified sound vibrations.This arrangement invites the viewer to move from one sound to another and experience how these sounds interact, how they scrape and buzz against one another.

By reinventing an obsolete low-tech sound wave generator in this all-digital age, Bzzz! serves as a commentary on the history of technology and a tribute to unprocessed, unsampled analog sound : in a word, the raw sound of electricity.

Paris, France

Graffiti and technology
Beyond the spray can, stencil drawings and fat marker frolics of urban communication, fresh and innovative ideas are developing with new media and hacking technologies bringing with them new aesthetics, new areas of communication and perhaps most importantly new tools open for all allowing interactions and collaborations between domains which at fi rst glance have no direct connection.

A first Graffiti Research Lab (G.R.L.)
The Graffiti Research Lab is a dedicated collective of artists and technologists re-writing the urban landscape with new and innovative artistic tools. The Graffiti Research Lab was set up in 2005 by Evan Roth & James Powderly, developed as part of a fellowship project at New York’s EyeBeam Art’s centre and from their shared interest in graffi ti and Open Source technologies. G.R.L. has grown in to a decentralized and internationally renowned group of active members & collaborators with a number of sister cells throughout the world. Some of G.R.L.’s projects include LED Throwies, L.A.S.E.R. Tag and most recently, EyeWriter, which was a collaboration with OpenFrameworks and The Ebeling Group and picked up a Golden Nica at the Prix Ars Electronica in 2010. This very first G.R.L. is now housed with the non-profit organization, F.A.T. (Free Art and Technology) which supports and promotes artists & designers working in urban hacking. At the end of 2008, the “How to start your own Graffiti Research Lab” was published on, inviting people to start their own G.R.L. Soon after, other collectives (called cells) started to grow all over the world (Brasil, Germany, Japan, Canada, Netherlands, Austria…).

G.R.L. France
Despite the fact that France has an extremely gifted and world renowned Graffiti scene on one side and an important and highly skilled technophile community on the other side, the first Graffiti Research Lab France was only founded in May 2011. The initial group was composed of a dozen of artists, designers, technicians and researchers, all out believers in the power of urban hacking and Open Source philosophy. Since then it has grown up to a group of about thirty people working in such domains as electronics, graphic design, industrial design and software development. The size of the team, the experience of its individuals and the variety of their competences is the real force of the french cell. Since their inception, they’ve opted against revisiting any of the past projects that made the glory of the fi rst G.R.L. Instead, they’ve spent their first active year setting our to realize new projects. This has made G.R.L. France one of the most active in the world, publishing and documenting no less than 12 projects and taking part in 8 events or workshops during it’s first year.