NEW ACQUISITION ✨ We are thrilled that our straw marquetry ‘I Lost My Page Again (Page 32)’ entered @patriciamarshallart collection.
I Lost My Page Again (Page 32), 2023
The series ‘I Lost My Page Again’ captures waiting in its construction. Empty waiting rooms are photographed and then transposed using the craft technique of straw marquetry, wisp by wisp. Each strand was dyed, split and crushed before being assembled by the craftswoman Lucie Richard. Practised in Europe from the 17th to the 19th century by people with a lot of time on their hands (convicts, nuns), straw marquetry was used to decorate boxes, chests, furniture and other practical objects.
#marqueteriedepaille @lucierichardbijoux #strawmarquetry #waitingroom #brognonrollin #artcollection #artexhibition #exhibitions #contemporaryart #collector #art #collection #artist #time #artcollector #instaart #timebasedart #artadvisor #paris #france
Text @anthony_van_den_bossche
🩵 @catherineugols
#Repost @fondation_edf
・・・
📢 On vous donne rendez-vous le 12 mars pour notre nouvelle exposition « Ce que l’horizon promet » !
Plongez dans l’imaginaire de 27 artistes français et internationaux qui interrogent notre rapport à l’avenir, entre croyance et rationalité, incertitude et maîtrise.
Une traversée au ❤️ de nos projections et de nos anticipations, et une rencontre entre art et science, portée par le regard croisé d’un commissariat collectif :
👉 Samantha Barroero, commissaire indépendante
👉 Nathalie Bazoche, responsable du Pôle culture, Fondation groupe EDF
👉 Gérald Bronner, sociologue, professeur à Sorbonne Université
👉 Erell Guégan, doctorante en sociologie
📆 À voir du 12 mars au 28 septembre 2025 !
🎟️ Entrée gratuite, sur réservation (en bio)
📍Fondation groupe EDF, 6 rue Juliette Récamier, 75007 Paris
–
ARTISTES
Tom Barbagli @tombarbagli
Benoit Barbagli @benoitbarbagli
William S. Burroughs
Mircea Cantor @mirceacantor
Didier Clain @didierclainstudio
Anthony Cudahy @anthonycudahy
Mounir Fatmi @mounirfatmiofficiel
Alice Gauthier @alice__gauthier
Joana Hadjithomas & Khalil Joreige @hadjithomasjoreigestudio
Dorothy Iannone
Zdenẽk Košek
Agnieszka Kurant @agnieszka.kurant
Ange Leccia @angeleccia
Gérald Panighi @geraldpanighi
Philippe Ramette @philippe_ramette
Christine Rebet @christine.rebet
Evariste Richer @evaristericher
Brognon Rollin @brognonrollin
Franck Scurti @franckscurti
Pierrick Sorin @pierrick.sorin
Márcia Tiburi @marciatiburi_, Fernanda Bueno @fernandabbueno & Catarina Gushiken @catarina_gushiken
Morgane Tschiember @morganetschiember
Ben Vautier @vautierben
–
Visuel exposition > @tombarbagli
Conception graphique > @nclstd avec @mariefaverot
Motions > Conception graphique : @nclstd avec @eduardogs_graphic
Scéno > @soplo_scenographies
NEW ACQUISITION ✨ We are thrilled that our video « There is more to it than Beats and Feathers » just entered the @fraciledefrance Art Collection 🇫🇷
« There is more to it than Beats and Feathers », 2022-2023
Video color, sound
9 min 44 sec
The tutorial has become an effective weapon to evade censure on social networks. Used by oppressed groups as a digital Trojan horse, the most anodyne video thus turns into the ideal vehicle to convey a message of resistance, safe from the prying eyes of government robots.
The northern cardinal is a common bird on the American continent. For Native Americans it symbolises the ancestors who went before them; they use its glowing plumage as a decorative design in a spirituality as timeless as the creation of humanity.
The soft voice of Hope Craig-Corlew offers to initiate us into making a pair of earrings with a cardinal design. Step by step the instructional images follow one another; word by word, the narration calmly diverges from its initial subject to tell another story, still relevant: the chilling history of oppression.
« The movement of the Indian people will continue to go on. We have been made indestructible! Today the younger generation of my people stands up in pride of the Indian people. No more are we going to stand around and watch these bills go by. We’re not going to have this any more. We are going to continue to march! This is not the end of The Longest Walk!
We are going to continue to walk, and walk, and walk until we find freedom for all the Native people! And I will remind you, you may not be an Indian, but you better join us. Your life is at stake. Your survival depends on this. »
-Phillip Deere, Mvskoke Elder, “An Understood Law, 1978”
With the exceptional collaboration of @hopecorlew , United American Indian Involvement @uaii_inc , Maddie Sanders – Wotko Moon, LLC, @holatte, Mvskoke Nation, The Deere Family and Phillip Deere Foundation
Beading: @holatte
Sound: @ant1bert1
Text: @anthony_van_den_bossche
#brognonrollin #video #contemporaryart #beading #beadingtutorial #cardinalbird #natives #phillipdeere #mvskoke #native #tribalsovereignty
Au revoir Mcb. 💔💔
Merci d’avoir changé nos vies !
#mcb
NEW ACQUISITION 2024 ✨ We are thrilled that our videos « Subbar, Sabra » and « The Agreement » just entered the @mucem_officiel (Musée des Civilisations de l’Europe et de la Méditerranée) Art Collection in Marseille 🇫🇷
Special thanks to @helia_paukner_mucem and Justine Bohbote
Subbar, Sabra, 2015
Two-channel projection, colour video, sound
6 min 47 sec
In collaboration with D. Almasy
The prickly pear is a schizophrenic symbol, shared by two antagonistic peoples. A plant synonymous with the appropriation of land. In Palestine, the prickly pear was used to mark out the edges of neighbouring plots. The impassable barriers of thorn had a cadastral function. Their roots survived in the villages razed by the Israeli army and, over the years, the subbar started growing again, delimiting empty gardens and becoming the phantom imprint of the Arab presence in the territory.
The Agreement, 2015
Colour video, sound
10 min 05 sec
Production BPS22, Belgium @bps22.charleroi
In Jerusalem, a palimpsest of a city that is constantly being rebuilt on itself, the Franciscan school Terra Sancta abuts the wall of the Old City. In the playground, a football pitch is adapted to this twisted cadastre. It is impossible for the goals to face each other. The approximate position of the centre circle shortens the pitch and thus gives one of the teams an advantage.
The Agreement is a new geometrical compromise between the students in their efforts to find the exact centre point of the pitch. To measure and trace it. And to start playing fairly.
Collection @mucem_officiel
Texts @anthony_van_den_bossche
NEW ACQUISITION 2024 ✨ We are thrilled that our artwork « Even a Broken Clock is Right Three Times a Day (10h10) » and the film « Mon Heure de Gloire » just entered the @mahgeneve, Musée d’Art et d’Histoire de Genève Art Collection. Special thanks to @marcolivierwahler🇨🇭and @orcazz
These 2 works were produced in collaboration with the former workers of the Caterpillar factory in Gosselies (Belgium), which closed suddenly in 2017. Produced as part of a commission by @bps22.charleroi 🇧🇪
This clock has been chosen by @macval.musee and @spasskyfischer to illustrate the sublime poster for our solo show in 2020-2021.
« Even a Broken Clock is Right Three Times a Day (10h10) », 2017, is a work that discreetly alters reality. By means of a sophisticated technology, the popular saying “Even a broken clock is right two times a day” is diverted: each and every day, during one short minute, the supposedly broken, unmoving clock will come to according to a random pattern, and give the right time before freezing again.
« Mon Heure de Gloire », 2016-2017
Video color, sound 4 min 23 sec
On the wall, a clock marks 8.50am, highlighted by a name: ‘Gosselies’ written in capital letters. At 8.50am on 2 September 2016, the 2,500 workers at the Caterpillar Gosselies plant were informed that the site would soon be closing. In places, the deserted factory reveals abandoned clocks. Each one stubbornly marked 8.50am.
Children, sons and daughters of workers, are busy moving these clocks to a wall at the Université du Travail in Charleroi. Time has stopped. Stopping any possibility of transmission.
Images @donald_cardwell
Text @anthony_van_den_bossche
Il est 11h le 19 octobre 2024 quand le berger malinois Leo entre dans le Grand Palais accompagné de son maître et de Martin Bethenod, afin de retrouver un tableau disparu.
L’aventure TELL THE DOGS, initiée en 2021, continue de nous émerveiller. ✨✨✨
Un immense merci à @martinbethenod et à @artbasel Paris pour cette balade exceptionnelle.
Merci à @michele_didier_paris d’accompagner encore une fois nos idées les plus folles.
Merci évidement au maître-chien Serge Garidel et à Leo 🐕
Merci à @carolecalvez_designerolfactif pour son immense travail, qui a même inclus de la boulangerie.
Merci à @anthony_van_den_bossche pour tous les textes magnifiques qui accompagnent nos œuvres.
Merci à @nynketynagel pour ce badge incroyable que tout le monde nous demande 😉
Et enfin merci à tous les amoureux d’art (et de chiens) qui sont venus assister à la performance.
NEW ACQUISITION 2024 ✨ We are thrilled that our straw marquetry ‘I Lost My Page Again (Page 26)’ just entered the European Investment Bank (EIB) Art Collection.
« My mother Gisèle Rollin worked at the EIB. As a child in the 1980s, I discovered art through this collection, wandering through the corridors. It is with emotion and pride that today our work joins the pieces that have shaped my knowledge of art. It is also with a special thought for my mother who died in 1988, and who would have loved this idea. » (S. Rollin)
Thanks to #delphinemunro and @michele_didier_paris
I Lost My Page Again (Page 26), 2022
(EN) The series ‘I Lost My Page Again’ captures waiting in its construction. Empty waiting rooms are photographed and then transposed using the craft technique of straw marquetry, wisp by wisp. Each strand was dyed, split and crushed before being assembled by the craftswoman Lucie Richard. Practised in Europe from the 17th to the 19th century by people with a lot of time on their hands (convicts, nuns), straw marquetry was used to decorate boxes, chests, furniture and other practical objects.
#marqueteriedepaille @lucierichardbijoux #strawmarquetry #waitingroom #brognonrollin #artcollection #artcurator #artexhibition #exhibitions #contemporaryart #museum #collector #art #collection #artist #wait #time #artcollector #instaart #masterpiece #timebasedart #covid #luxexpo #vaccin
Text @anthony_van_den_bossche
Thank you Thank you Thank you ❤️
All of you made ‘Templates of Chance’ a reality
Curator: @maoliosaboyle
Production Manager: @joyce.dunne
Senior Technician: Hugh McCarthy
Assistant Technician: Paul Heary
Technical Development: Radek Pater and Agnieszka Kozioł, Eidotech
Videographer @eamo.ie
Photographer @juliette.rowland
Magic : @rua_magician
Token Design @nynketynagel
Token production: Des Hurley
Straw marquetry: @lucierichardbijoux
Essay @marc.donnadieu
Text by @anthony_van_den_bossche
Designers: Rossi McAuley and Jenny Leahy
🙏🏼 @rua_red fantastic team !!! Guys you are the best ❤️
🙏🏼 Participants from Jobstown Assisting Drug Dependency (JADD); Mick Duff @duff.mick ; senator_lynn_ruane ; Jacqueline Sheehy, Pat Clifford, Tallaght Drug and Alcohol Task Force SDCP; Tom Jenner, Technical University Dublin – Tallaght Campus
🙏🏼 The Arts Council of Ireland, Valérie Quilez International Director of @kulturlx – Arts Council Luxembourg, South Dublin County Council Arts Office and Creative Ireland.
🙏🏼 « Private donor, in memory of Seán O’Donnell
🙏🏼 llr Guss O Connell- Chair of the SPC AND Rua Red Board of Directors
🙏🏼 Paul Fusco County Librarian, Rua Red Board of Directors
🙏🏼 Florence Ensch The Ambassador of the Grand Duchy of Luxembourg
Exhibition continues until 30 August.
All Welcome. Admission Free. ✨✨
Opening tonight ✨✨✨ « Templates of Chance » @rua_red , Dublin 🇮🇪
Overcoming addiction is a slow and personal process, involving all our strengths and vulnerabilities. Relapse is not a failure, but a necessary part of the long journey towards change.
During a series of conversations with the Drug & Alcohol Task Force in Tallaght, it became clear that people needed a physical symbol for this journey, to visualise and hold in their hand the path they’ve travelled. These tokens represent victorious moments: 10 years, 5 years, 1 year, 6 months, and perhaps most importantly, the first day—the day of decision and action (« Take the risk or lose the chance »).
Five tokens were designed, each stamped with symbolic figures and mantras collected from meetings with those on their journeys to recovery. The lighthouse, the anchor, the mirror… These tokens are now given in exchange for significant personal achievements in Tallaght’s communities.
In a video installation, these tokens are entrusted to Rua @rua_magician a magician and Dubliner who excels in manipulation and deception. With his sleight of hand, he plays with our expectations; the time-charged metal vanishes at his will. When his hands are bound, gravity takes over. Appearing and disappearing from the world, becoming present or fading away.
Curator: @maoliosaboyle
Production Manager: @joyce.dunne
Senior Technician: Hugh McCarthy
Assistant Technician: Paul Heary
Technical Development: Radek Pater and Agnieszka Kozioł, Eidotech
Videographer @eamo.ie
Photographer @juliette.rowland
Token Design @nynketynagel
Token production: Des Hurley
Essay @marc.donnadieu
Text by @anthony_van_den_bossche
Designers: Rossi McAuley and Jenny Leahy
🙏🏼 Participants from Jobstown Assisting Drug Dependency (JADD); Mick Duff; Lynn Ruane; Jacqueline Sheehy, Tallaght Drug and Alcohol Task Force SDCP; Tom Jenner, Technical University Dublin – Tallaght Campus
🙏🏼 The Arts Council of Ireland, @kulturlx – Arts Council Luxembourg, South Dublin County Council Arts Office and Creative Ireland.
🙏🏼 « Private donor, in memory of Seán O’Donnell »
SAVE THE DATE ✨✨✨ Next solo show « Templates of Chance » Starts June 7th @rua_red, Dublin 🇮🇪
Overcoming addiction is a slow and personal process, involving all our strengths and vulnerabilities. Relapse is not a failure, but a necessary part of the long journey towards change.
During a series of conversations with the Drug & Alcohol Task Force in Tallaght, it became clear that people needed a physical symbol for this journey, to visualise and hold in their hand the path they’ve travelled. These tokens represent victorious moments: 10 years, 5 years, 1 year, 6 months, and perhaps most importantly, the first day—the day of decision and action (« Take the risk or lose the chance »).
Five tokens were designed, each stamped with symbolic figures and mantras collected from meetings with those on their journeys to recovery. The lighthouse, the anchor, the mirror… These tokens are now given in exchange for significant personal achievements in Tallaght’s communities.
In a video installation, these tokens are entrusted to Rua @rua_magician a magician and Dubliner who excels in manipulation and deception. With his sleight of hand, he plays with our expectations; the time-charged metal vanishes at his will. When his hands are bound, gravity takes over. Appearing and disappearing from the world, becoming present or fading away.
Curator: @maoliosaboyle
Production Manager: @joyce.dunne
Senior Technician: Hugh McCarthy
Assistant Technician: Paul Heary
Technical Development: Radek Pater and Agnieszka Kozioł, Eidotech
Videographer @eamo.ie
Photographer @juliette.rowland
Token Design @nynketynagel
Token production: Des Hurley
Essay @marc.donnadieu
Text by @anthony_van_den_bossche
Designers: Rossi McAuley and Jenny Leahy
🙏🏼 Participants from Jobstown Assisting Drug Dependency (JADD); Mick Duff; Lynn Ruane; Jacqueline Sheehy, Tallaght Drug and Alcohol Task Force SDCP; Tom Jenner, Technical University Dublin – Tallaght Campus
🙏🏼 The Arts Council of Ireland, @kulturlx – Arts Council Luxembourg, South Dublin County Council Arts Office and Creative Ireland.
🙏🏼 « Private donor, in memory of Seán O’Donnell »
Our film « La Mémoire d’Hadrien (Part 1) » is in the exhibition of new acquisitions « Porter notre part de la nuit » On view until 8 April at @macval.musee 🇫🇷
« La Mémoire d’Hadrien (Part 1) », 2016
Colour video, sound
3 min 1 sec
Collection MAC VAL – Musée d’Art Contemporain
du Val-de-Marne, Vitry-sur-Seine
The border wall is a permanently contemporary invention. In 122 CE, the emperor Hadrian built a fortification 120 kilometres long near today’s Anglo-Scottish border in order to fend off the ‘Barbarians’. A stone, recalling this ancient human drive to separation, is detached from the fragile structure, like the first chapter in a journey whose destination is unknown.
#contemporaryart #museum #artcollection #videoart #brognonrollin #hadrianswall #macval
Au Mucem @mucem_officiel depuis le 12 janvier, un regard lumineux s’élève vers le ciel depuis le fort Saint-Jean.
« Je pense dire un truc bateau, mais tellement vrai me concernant, tout est possible »
Un immense merci à tous les gens qui ont participé de près ou de loin à ce merveilleux projet !
Merci tout d’abord à @poneofficiel et @wahiba_ibougal pour leur confiance, leur force (et leur patience 😉)
Merci au comité de @mondes_nouveaux du ministère de la culture @culture_gouv, de nous avoir permis de réaliser cette œuvre, spécialement à Bernard Blistène et Maud Desseignes d’être venus à l’inauguration.
Un immense merci à l’équipe de choc du @mucem_officiel, tout particulièrement à @helia_paukner_mucem et Justine Bohbote, fantastiques commissaires!
Merci à notre fidèle dream « geek »team @ant1bert1 et @superbe.studio pour leur talent (et leur patience 😉)
Enfin merci à tous les amis qui étaient présents à Marseille pour vivre ce moment ensemble !
✨✨✨✨✨
Le Phare, 2024
Le duo d’artistes Brognon Rollin transformera la tour du Fanal en phare poétique, à travers lequel ils adressent aux Marseillais un message de @poneofficiel
Atteint de la maladie de Charcot depuis 2015, Pone l`iconique beatmaker de la Fonky Family est appareillé d’une technique informatique de calibrage oculaire. Avec ses yeux, il peut ainsi naviguer seul sur internet et communiquer avec ses proches, alors que la maladie le paralyse et le prive de sa voix.
En conversation avec lui, David Brognon et Stéphanie Rollin ont capté le mouvement de ses pupilles. Cet enregistrement numérique est connecté à la tour du Fanal. L’ancien phare reproduit fidèlement le mouvement des pupilles de Pone.
À voir jusqu’au 31 juillet 2024 à la nuit tombée et au petit matin.
📸 © Clémence Piot MuCEM
© Brognon Rollin
© @ant1bert1
Au Mucem à partir du 12 janvier 2024 ✨✨
Un regard lumineux s’élèvera vers le ciel depuis le fort Saint-Jean.
Le duo d’artistes Brognon Rollin transformera la tour du Fanal en phare poétique, à travers lequel ils adresseront aux Marseillais un message de @poneofficiel
Atteint de la maladie de Charcot depuis 2015, Pone l`iconique beatmaker de la Fonky Family est appareillé d’une technique informatique de calibrage oculaire. Avec ses yeux, il peut ainsi naviguer seul sur internet et communiquer avec ses proches, alors que la maladie le paralyse et le prive de sa voix.
En conversation avec lui, David Brognon et Stéphanie Rollin ont capté le mouvement de ses pupilles. Cet enregistrement numérique est connecté à la tour du Fanal. L’ancien phare reproduit fidèlement le mouvement des pupilles de Pone.
À voir jusqu’en juillet 2024 à la nuit tombée et au petit matin.
Cette installation a été soutenue par le programme @mondes_nouveaux du Ministère de la Culture @culture_gouv
Commissariat @helia_paukner_mucem et Justine Bohbote
Dream team : @ant1bert1 @superbe.studio
📷Brognon Rollin, Le Phare, 2022-2024 (simulation) © Mucem / Brognon Rollin / Julie Cohen
We are thrilled that our straw marquetry ‘I Lost My Page Again (Page 33)’ just entered a private collection in Luxembourg.
(EN) The series ‘I Lost My Page Again’ captures waiting in its construction. Empty waiting rooms are photographed and then transposed using the craft technique of straw marquetry, wisp by wisp. Each strand was dyed, split and crushed before being assembled by the craftswoman Lucie Richard. Practised in Europe from the 17th to the 19th century by people with a lot of time on their hands (convicts, nuns), straw marquetry was used to decorate boxes, chests, furniture and other practical objects.
«Just Love Me» collection, @gubbinimarc
#marqueteriedepaille @lucierichardbijoux #strawmarquetry #waitingroom #brognonrollin #artcollection #artcurator #artexhibition #exhibitions #contemporaryart #museum #collector #art #collection #artist #wait #time #artcollector #instaart #masterpiece #timebasedart #losangeles
Text @anthony_van_den_bossche
« Portrait d’un Collectionneur bu par l’Artiste (Damien Pierre), 2023
@thegoodolddayz 🧡
#brognonrollin #contemporaryart #coffee #portrait #collector #artcollector
« Shadow Ban », 2023
No rule is definitive. Everything is always on the move, everywhere. Our playgrounds are social spaces with shifting, impermanent dimensions. For the duration of a game, the Marseille club US Endoume Catalans chooses a shadow as its touchline and light as its playing field.
Thank you @us_endoume @flo.behar @michele_didier_gallery @camdum7 @stephen.korytko
Text: @anthony_van_den_bossche
#brognonrollin #contemporaryart #football #marseille #france #videoart #shadow #conceptualart #protocol
« Portrait d’un collectionneur bu par l’artiste (Frédéric de Goldschmidt) », 2023
Hommage aux dessins à boire de Amedeo Modigliani.
Série de photographies noir et blanc sur fine art paper.
15 x 11,5cm. Datée et signée
Contact us if you want yours ☕️📩
First coffee with @frederic_net
Our solo show « The Land and the Unfolded Map » until June 11th and the permanent artwork « Premiere Ligne ».
✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨✨
@hopecorlew @anael_lejeune @isabelle_de_longree @wotko.moon @holatte @granduchy @_markcorlew @ant1bert1 @_martinleroy_ @anthony_van_den_bossche
@uaii_inc @kulturlx #neon #contemporaryart #brognonrollin #exhibition #artexhibition #art #videoart #museum #artmuseum #collector #artcollector #curator
« There is more to it than Beats and Feathers », 2022-2023
Video color, sound
9 min 44 sec
The tutorial has become an effective weapon to evade censure on social networks. Used by oppressed groups as a digital Trojan horse, the most anodyne video thus turns into the ideal vehicle to convey a message of resistance, safe from the prying eyes of government robots.
The northern cardinal is a common bird on the American continent. For Native Americans it symbolises the ancestors who went before them; they use its glowing plumage as a decorative design in a spirituality as timeless as the creation of humanity.
The soft voice of Hope Craig-Corlew offers to initiate us into making a pair of earrings with a cardinal design. Step by step the instructional images follow one another; word by word, the narration calmly diverges from its initial subject to tell another story, still relevant: the chilling history of oppression.
« The movement of the Indian people will continue to go on. We have been made indestructible! Today the younger generation of my people stands up in pride of the Indian people. No more are we going to stand around and watch these bills go by. We`re not going to have this any more. We are going to continue to march! This is not the end of The Longest Walk!
We are going to continue to walk, and walk, and walk until we find freedom for all the Native people! And I will remind you, you may not be an Indian, but you better join us. Your life is at stake. Your survival depends on this. »
-Phillip Deere, Mvskoke Elder, “An Understood Law, 1978”
With the exceptional collaboration of @hopecorlew , United American Indian Involvement @uaii_inc , Maddie Sanders – Wotko Moon, LLC, @holatte @maddie.sanders.photography Mvskoke Nation, The Deere Family et la Phillip Deere Foundation
Beading: @holatte
Sound: @ant1bert1
Text: @anthony_van_den_bossche
With the support of @kulturlx
❤️ @fo_encvmpe
#brognonrollin #video #contemporaryart #beading #beadingtutorial #cardinalbird #natives #voices #phillipdeere #mvskoke #native #tribalsovereignty @pablojoseramirez
« The Land and the Unfolded Map » Until June 11th >> @ledeltanamur ✨✨✨
We are deeply grateful to @hopecorlew, Joseph Quintana and the @uaii_inc United American Indian Involvement, Inc. for their trust and for sharing their story, the story of Native Peoples in what is currently known as the United States. We hope the story of their survival, resilience, and defiance against continued forced assimilation and erasure will be amplified through this exhibition.
A special THANK YOU to Maddie Sanders @wotko.moon for sharing how beading is a form of artwork.
THANK YOU to the Delta team for this amazing show. To @anael_lejeune, @isabelle_de_longree, Bernadette Bonnier …
THANK YOU to our wizard @ant1bert1 for the sound.
THANK YOU to @anthony_van_den_bossche for the credits. To @granduchy for the design.
To @stephen.korytko, @_martinleroy_ and to Amine Jaber for the images.
THANK YOU to Pierre-Olivier Rollin @bustos.domecq for his text and his great speech.
THANK YOU to @kulturlx for the support.
THANK YOU to all the great people who came to the opening.
❤️ @fo_encvmpe , Toni Craigs Thomas …
Yesterday, after investigation in Luxembourg High Security Hub, with research dog Léo and dog handler Serge; we didn’t find « Hors d’œuvres » painted by Pieter Claesz in 1623 and stolen in 1939.
🐾🐾🐾
TELL THE DOGS, 2021 – …
En 1623, le peintre belge Pieter Claesz dispose des couverts, un citron, du pain, du vin et quelques olives sur une table de bois dans son atelier d’Haarlem (Hollande), et entreprend une nature morte intitulée « Hors d’œuvres ». Cette oeuvre disparaît en 1939 à Varsovie.
En novembre 2021, la designer olfactive Carole Calvez est missionnée afin de reconstituer le parfum de la composition originelle. Après une minutieuse recherche historique, la provenance de chaque élément est identifiée. Les olives vertes et le citron jaune ont été amené depuis Séville et sa région. Le vin est un vin blanc sucré de Barsac (France), probablement additionné de miel comme le voulait alors le goût hollandais. Le pain est un « Hardbrood », également appelé « pain de la mer » pour ses capacités de longue conservation, probablement cuit au feu de bois à Groningen.
A l’aide de soixante-deux essences naturelles et molécules synthétiques, l’odeur de chaque aliment est reproduite selon son intensité et ses interactions imaginées avec l’environnement.
La formule de chaque fragrance est ensuite définitivement archivée. Les extraits sont confiés à Serge Garidel, ancien capitaine et maître-chien du Groupe Cynotechnique de Luxembourg, pour l’entraînement de Léo, son chien berger malinois ; une race fréquemment utilisée par les brigades de recherche cynophile pour ses extraordinaires capacités olfactives.
Depuis octobre 2021, Leo est entraîné à identifier et trouver dans n’importe quel environnement la combinaison olfactive « Hardbrood, vin de Barsac, olives vertes et citron de Séville, ainsi que les odeurs de l’atelier ».
Olfactory design @carolecalvez_designerolfactif
Patch design @nynketynagel
Text @anthony_van_den_bossche
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