
On November 19th, Louma Salamé, director of Villa Empain, will host a drink and let us visit her exhibition The Lighthouse in the Villa.
On November 19th, Louma Salamé, director of Villa Empain, will host a drink and let us visit her exhibition The Lighthouse in the Villa.
Alice Hinrichs (*1993 in Hamburg, Germany) is an independent curator and cultural manager based in Berlin. Her curatorial focus lies on site-specific light and media art. She founded the light art platform ARTE LUCE Kunstprojekte, which highlights artists working in the field and hosts exhibitions in Berlin. She also is initiator and artistic director of Glisch in Zurich, co-curator of the light art biennale EVI LICHTUNGEN in Hildesheim, and chairwoman of media art foundation T.W.-Stiftung in Hamburg. In 2019, she served on the jury of the International Light Art Award hosted by the Centre for International Light Art in Unna. She holds a BSc in Business Management at King’s College London and Master in Arts Management at SDA Bocconi in Milan.
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Philosophe et historien d’art, Georges Roque est chercheur au CNRS et à l’école des hautes études en sciences sociales depuis 1982. Spécialiste de l’analyse des couleurs dans l’histoire de l’art, il développe l’étude de l’imaginaire de la couleur, en analysant les représentations mentales que nous nous formons de la couleur, et qui reposent sur des lieux communs souvent profondément ancrés dans les mentalités. Auteur du livre de référence Art et science de la couleur (1987, réédité en 2009), son dernier livre Quand la lumière devient couleur (2018) aborde les rapports entre couleur et lumière en histoire de l’art sous un angle inédit : la dépendance de la couleur à l’égard de la lumière, puis son difficile affranchissement.
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Since 2009, Adrien Lucca has developed an artistic practice around the topics of geometry, light, color, physics and perception. He explored extensively the interactions between natural and artificial light, colored pigments and glass in several monumental projects in the public space, such as Soleil de minuit (2017, Montreal), Microkosmos (2018, Brussels), Dentelles de lumière (2018, Rome) or Yellow-free zone (2018, Rotterdam). Besides his interest for what artists have done with color and light in the past, he learned contemporary color science with specialists and set up a home-laboratory where he uses chemistry, spectrometry, electronics and computer programming for artistic purposes.
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Thomas Pons a obtenu sa thèse de doctorat en Physique à l’Université Pierre et Marie Curie (Paris, France) en 2002 sur l’utilisation de la génération de seconde harmonique pour l’imagerie biologique, sous la direction de J. Mertz. Il a ensuite effectué un séjour post-doctoral de deux ans au Naval Research Laboratory à Washington, DC, où il a développé des nanocristaux fluorescents pour la bio-détection. Depuis 2007, il est chargé de recherche INSERM au Laboratoire de Physique et Etude des Matériaux, à l’ESPCI Paris, où il développe l’utilisation des nanoparticules pour l’imagerie biologique et biomédicale ainsi que pour le diagnostic.
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Florian Bachmann and Marcus Pericin are heading the Colour-Light-Center of the Zurich University of the Arts (ZHdK) since 2011. Over the past 15 years, they have participated in various exhibitions and research projects on colour and light (SNF and KTI projects) and are teaching in the departments of design, performing arts and film and art education. The focus is on questions addressing light, colour, space, atmosphere and perception in the intersection of art and science.
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Après des études scientifiques en biologie, puis un court passage par l’école des Beaux-Arts d’Avignon, Anne Goyer se tourne entièrement vers la pratique du dessin. Elle se forme aux techniques anciennes dans divers ateliers (les techniques traditionnelles de la peinture à l’huile, l’icône traditionnelle russe, les techniques de la fresque) et travaille à mieux appréhender la lumière et la couleur à travers leurs fondamentaux scientifiques et leurs enjeux contemporains (Ecole interdisciplinaire Okhra – CNRS). En 2008, elle invente une technique innovante de dessin permettant d’obtenir un bleu physique sur papier, similaire à celui de l’atmosphère. Elle collabore depuis 2014 au développement de cette technique avec des restaurateurs d’art et des experts en matériaux de l’Institut Lumière- Matière (Université Lyon 1, UMR5306 CNRS) dans le cadre d’un programme de recherche. Le procédé issu de ce projet Art-Science a fait l’objet d’un brevet déposé conjointement avec une société d’accélération et de transfert de technologie.
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Anne Pillonnet (FR)
Anne Pillonnet est physicienne, Professeure des Université à l’Université de Lyon. Sa recherche dans le domaine de l’optique et des matériaux est réalisée au sein de l’Institut Lumière Matière, unité mixte Université Lyon1/CNRS. Elle possède une expertise reconnue dans le domaine de l’élaboration et l’analyse de films photoniques, en particulier dans le domaine de la spectroscopie de fluorescence et la plasmonique. Elle dirige l’Université Ouverte, qui propose chaque année 200 conférences et événements pour le grand public en science et santé. Depuis de nombreuses années, elle développe des relations avec le milieu de l’art, dans des projets de recherche, de médiation et des projets pédagogiques, en collaboration avec des musées, des associations et des artistes contemporains. Elle appartient actuellement au COPIL de la formation transdisplinaire macSUP entre l’université de Lyon et le musée d’Art Contemporain de Lyon, et est membre du projet européen sur les nouvelles pratiques avancées (EFAP).
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Kevin A.G. Smet, obtained his PhD in Engineering at KU Leuven in 2011. He is currently appointed as an Associate Research Professor at KU Leuven. Kevin is the team leader of the Appearance & Perception group of the Light&Lighting Laboratory and is an active member of CIE Division 1. His research interests include color rendition and color quality of white light sources, color appearance modeling, memory and preferred colors, perception of light and color in virtual reality and color science in general.
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(soon available)
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Stefan Michalski was senior conservation scientist at the Canadian Conservation Institute (CCI). For 40 years, he has carried out research and provided advice on preservation for museums, galleries and archives, particularly on the topics of lighting and climate control. In 1987, for the conference Lighting in museums, galleries and historic houses Stefan provided a critical review of the literature on damage by UV and light. In 1989, he developed the CCI Light Damage Slide Rule, and twenty years later, developed its web based replacement, the CCI Light Damage Calculator. In 1990, he proposed that lighting exposure guidelines be based on explicit consideration of an object’s purpose, its required lifetime, and its specific vulnerability, not on fixed rules and not on false generalizations across media, e.g., all paper objects, all paintings, etc. In 1997, he applied the CIE model of visual performance to the museum visitor’s task, and showed that Thomson’s selection of 50 lux as a benchmark could be derived explicitly for a task of moderate difficulty on an object of moderate reflectivity, moderate contrast, moderate detail, but only for a young observer. He derived rules of thumb for adjusting the intensity for older viewers, darker objects, softer contrast. He is the author of CCI’s current web pages on light and UV, as well as those on incorrect relative humidity and incorrect temperature. His data tables on the sensitivity of various materials to light were used in the publications Museum and Gallery Lighting (IESNA RP-30-96) and in Control of Damage to Museum Objects by Optical Radiation Publication, CIE 157:2004. For a CCI workshop in 2011, he co-authored guidelines with Jim Druzik (GCI) on solid state lighting for museums. In 2014 the US Department of Energy surveyed 979 museums who had obtained the guidelines and analyzed their experience of LED lighting. A completely revised version of the guidelines is in press, published by CCI as a Technical Bulletin, LED Lighting in Museums and Art Galleries. Stefan’s other work has been in climate control guidelines and collections’ risk management.
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Agnes Brokerhof is senior conservation scientist and consultant at the Heritage Laboratory of the Cultural Heritage Agency of the Netherlands in Amsterdam. Her area of expertise is value management, risk management and preventive conservation. She introduced the Dutch risk based museum lighting guidelines in 2005 and has been working with museums to develop lighting policies based on acceptable changes within a particular time period. Her research focusses on the relationship between material change and change in value, what do people see and what do they think of it and how do collection keepers manage change. At the conference she will explore how participants would manage change in a print collection in their care.
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Olivier Steib est Conservateur-Restaurateur des biens culturels, spécialisé en sculptures. Diplômé des écoles de la Cambre et de Tours, il traite aussi bien des œuvres traditionnelles que contemporaines. Il intervient notamment pour l’étude et le traitement des œuvres à caractère « technologique », contenant des composants industriels, telles que les œuvres lumineuses et électroniques.
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Studied Mathematics and Physics, since 1985 employed at Bartenbach GmbH as Director Research and member of management board. Dealing with basic as well as application oriented research in artificial lighting, daylighting and building physics, visual perception and light and health. Leader of various international planning and R&D-projects in these fields. Lecturer at different universities, university teaching position at the Lighting Academy Bartenbach (a branch of the University of Innsbruck), several scientific papers and presentations, participation in international advisory boards.
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