slides - musée de l'Élysée · 2017-05-31 · slides elysée lausanne 2/11 slides. the...

Elysée Lausanne Press kit

SlidesThe History of Projected Photography01.06 - 24.09.2017

Slides Elysée Lausanne 2/11

Slides. The History of Projected Photography01.06 - 24.09.2017

The Musée de l’Elysée presents one of the first exhibitions devoted to the history of the slide, from its inception in the second half of the 19th century to today. Whereas the history of photography was built around the photographic print, the photographic projection underwent a major development as of the last third of the 19th century, borrowing from the tradition of magic lantern shows.

For a long time confined to the realm of teaching, public lectures and popular entertainment, photographic projection also became increasingly popular among amateur photographers. Some well-known professional photographers already used the slide in the first half of the 20th century, but it wasn’t until the decade from 1960-1970 that this type of presentation really took hold within the artistic community when conceptual artists adopted it as an alternative means of expression.

The exhibition is organized into four major sections, each devoted to a different aspect of this type of photographic presentation: light-images, the apparatus, sequence, and screening.

The selection covers the diversity of these practices in order to emphasize its impact on visual culture. It consists of more than 20 projections and brings together different media – slide objects, prints, projectors, original documentation and videos (reconstitutions).

CurationAnne Lacoste, curator, Musée de l’Elysée, LausanneCarole Sandrin, curator, Musée de l’Elysée, LausanneNathalie Boulouch, lecturer on contemporary art history and photography, Université Rennes 2, FranceOlivier Lugon, professor, Department of Film History and Esthetics and the Center for Historical Cultural Sciences, Université de LausanneWith the assistance of Emilie Delcambre Hirsch

Artistes Marcel Broodthaers (1924-1976) I Jan Dibbets (1941) I Peter Fischli (1932) et David Weiss (1946-2012) I Ceal Floyer (1968) I Gisèle Freund (1908-2000) I Bertrand Gadenne (1951) I Jules Gervais-Courtellemont (1863-1931) I Nan Goldin (1953) I Dan Graham (1942) I Lewis W. Hine (1874-1940) I Runo Lagomarsino (1977) I Frederick (1809-1879) et William (1807-1874) Langenheim I Helen Levitt (1913-2009) I Laszlo Moholy-Nagy (1895-1946) I Antonin Personnaz (1854-1936) I Josef Svoboda (1920-2002) I Alain Sabatier (1945) I Allan Sekula (1951-2013) I Robert Smithson (1938-1973) I Alfred Stieglitz (1864-1946) I Krzysztof Wodiczko (1943) Designers Charles (1907-1978) et Ray (1912-1988) Eames I Gerard Ifert (1928) et Rudi Meyer (1943) I Ken Isaacs (1927-2016) Architect Le Corbusier (1887-1965)

Cover : Runo Lagomarsino, Sea Grammar, Installation view, 2015 © Runo Lagomarsino / Photo Agostino Osio / Courtesy of the artist, Mendes Wood DM, São Paulo, Nils Staerk, Copenhagen and Francesca Minini, MilanBertrand Gadenne, Les Papillons, 1988 © 2017, ProLitteris, Zurich / Bertrand Gadenne / Collection du Musée de l’Elysée, LausanneKodak advertisement for Kodachrome film, 1940-1950 © Kodak / Photo Musée de l’Elysée, Lausanne


Excerpt from the publication

The book Diapositive. The History of Projected Photography recounts the fascinating history of slides, from their appearance in the second half of the 19th century until today. The book, organized into four broad thematic sections (light-images, the apparatus, sequence, and screening), presents the specificities of the slide. The publication includes four essays and an interview with artist Krzysztof Wodiczko, internationally recognized for his cultural and social engagement through large-scale outdoor projections. Foreword by Tatyana Franck With Slides. The History of Projected Photography, the Musée is looking back at a little-known and somewhat neglected aspect of the history of photography, a field that has hitherto made its primary subject of study paper prints – which are supposed to ensure the work’s durability as well as its legitimacy in relation to the fine arts and their market. […] Recognized for the quality of its saturated color and contrasts, the flexible slide became the ideal medium for capturing and preserving important moments in the lives of amateur photographers, like holidays and family get-togethers. For the baby boom generation, it was the quintessential film.

Introduction by Anne Lacoste, Nathalie Boulouch, Olivier Lugon and Carole Sandrin[…] The slide is distinguished primarily by its intrinsic duality: a positive, manipulable image on a transparent medium, which attains an enlarged, luminous, lively form by means of the beam of light that passes through it. Owing to the fact that its existence was subject to the duration of its illumination, this diaphanous image struggled to establish itself as an esthetic form in photographic circles that favored the printed object and long limited this image to its uses by the public or to applied photography. […] It was ultimately the visual artists of the 1960s and 1970s who turned the ordinary slide into an autonomous work of art, by appropriating it as a new form of expression. By taking advantage of its serial, automated character and its transparency or superimposition effects, they revealed the creative, reflexive potentialities of the projected image. […] With its transparent medium and its reduced size, whether black and white or color, slides have no better ally than projection. Thanks to this apparatus consisting of a projector and screen, the slide transforms into an ephemeral representation, at the intersection of several disciplines and mediums. […] (This form of presentation) enabled new ways of interpreting photography to be developed. If its modular qualities met the needs of a reflexive approach to the very nature of photographic recording, it also contributed to inspiring the photographic field with a new visual narrative potential specific to linked images. In the 1960s, the advent of the slide show brought a synchronized soundtrack to the automatic succession of slides, permanently sealing its integration into the audiovisual arts. […]

Cover of the book Slides. The History of Projected Photography, Collection - Musée de l’Elysée, copublished with Editions Noir sur Blanc

Under the direction of Anne Lacoste, Nathalie Boulouch, Olivier Lugon and Carole Sandrin

In coedition with the Editions Noir sur Blanc, May 201721 x 27,2 cm/213 images

French/English


Double pages from the book Slides. The History of Projected Photography, Collection - Musée de l’Elysée, copublished with Editions Noir sur Blanc

Finally, projection offers a collective experience of photography: the enlarged luminous image ensures a spectacular, captivating diffusion to a large audience. […]Like magic lantern shows, photographic projection takes us on a journey of discovery, laughter and enchantment. […]Although the beginning of the 21st century marked the end of production for Kodachrome in 2009 and for Ektachrome in 2012, the digital slide show boom testifies to the persistent influence of analogue photographic projection in the digital age. […]

Imagine a screen... : photographic projection circa 1900, by Nathalie Boulouch[…]“ Where would our numerous photographic societies be without the lantern ? ,” wondered the author of a projection manual in 1895. For photographers and their circles, “nice evenings ” that brought back memories of the magic lantern shows of their youth lay at the heart of the activities of associations. […] Within the insiders’ society that was developing around projections, the screening of work by amateur photographers often generated humorous or satirical complicity between the commentator and his audience. […]

Exhibiting/projecting: slides and multiple screens in the 1960s, by Olivier Lugon[…] Most of these installations had little to do with traditional cinemas and the frontal relationship inherited from theaters — a relationship established with a single, centered image. Instead, they aimed to plunge visitors into the middle of a fragmented temporal and spatial montage of images and sounds in abundance. As a cross between a movie theater and the mosaic of a newspaper page, these new forms of mass communication constituted a choice illustration to symbolize the advent of an information society based on the management of a growing stream of data. […]

Interview with Krzysztof Wodiczko on his public projection practice, by Christophe Domino[…] It’s always a really important and intense moment when the projection starts. It’s a political moment of course, because it causes an interruption in the routine perception of the building and its environment. It’s the effect of disruption in itself, as in the case of a blackout in the city, or a thunderstorm, or times of war and bombing. In this environment that projects itself all the time, projection says or simply suggests new things. We follow up, we complete those suggestions and feed those blank facades and unfinished architectural statements with our own wishes, fantasies or phantasms. […]


Calendar

Every last Thu of the

month6pm-8pm

Every First Sa of the

month6pm-8pm

Every first Su of the

month2pm

Tu 06.068.30pm

24.064pm-2am

21.096pm-8pm

23.0914h-2h

Museum at nightFree entry

Guided toursand free entrances

Sunday Family Program

Film screening in CapitoleFilm screening of Les Voyages extraordinaires d’Ella Maillart followed by a meeting with the directorRaphaël Blanc

Nuit des images

« Le son de l’image »Carte blanche to EJMA as part of Lausanne Estivale

Nuit des musées

Workshop « Joue avec la lumière »From the age of 5

« Visite découverte »Discovery brochure available at reception desk.Free (only in French). From the age of 6 to 12.Registration not required.

« Ton portrait àl’ancienne » WorkshopPasseport Vacances

« Ton projecteur poursmartphone » WorkshopPasseport Vacances

Every We(excluding

19.07, 26.07, 02.08)

2pm-6pm

Every day

04, 06, 07.07,17.08, 18.08

2pm–5pm

14-15.082pm–5pm

Cultural program

Impro-Diapo EveningsThu 29.06, 27.07, 31.08, 6.30pm-8pmDuring the Museum’s «Late openings», join us in an evening where the art of the improvisation theater and the world of photography meet. The Musée de l’Elysée launches a new concept of improvisation using projected photography. Thanks to a collaboration with Les Gnocchi, an amateur improv troupe, the public is invited to participate by selecting the slides which the troupe will use to impro. Open to all ages and free. Registration on www.elysee.ch

The StudioSpecially designed for young visitors, the discovery space The Studio offers participative and multi-sensorial experiences. The installation Road Trip proposes a writing activity based on the road trip slides projected and the idea of the search for oneself within the journey and is inspired by Kerouac’s spontaneous prose writing style and vernacular slide photography. The slides take you from New York to San Francisco during the period when the road trip took on great importance in American culture and the use of the slide was at its pinnacle.The space At home celebrates over 40 years of use of the slide projector as a means of home entertainment in the family living room. A selection of slides from private donations is available to the public. Several Swiss amateur photographers have left behind sets of slides of their travels throughout Switzerland and Europe from the 1950’s to the 1980’s.

For children

Robert Phillips, Slide Projection at Home, 1957 © KODAK / Photo Robert Phillips – DR / Musée Nicéphore Niépce

Guided tours of the exhibitionFind out the program of the visits proposed for families, for teachers or during lunch break on elysee.ch


The reproducted images in the press release and below are available for the press.Their use is exclusively limited to the promotion of the exhibition Slides. The History of Projected Photography and cannot be reformatted or modified. Please use the captions as they arepresented below.

Media contactJulie Maillard

+41 (0)21 316 99 27 [email protected]

Advertisement for Kodachrome film by Kodak, 1982 © Kodak / Photo Musée de l’Elysée, Lausanne

Bertrand Gadenne, Les Papillons, 1988 © 2017, ProLitteris, Zurich / Bertrand Gadenne / Collection du Musée de l’Elysée, Lausanne

H. P. Bänninger, View of the installation Globovision, Expo 64 © Rudi Meyer & Gérard Ifert / Photography H.P. Bänninger, 1964

Runo Lagomarsino, Sea Grammar, 2015 © Runo Lagomarsino / Photo: Andreas Meck and Terje Östling / Courtesy of the artist, Mendes Wood DM, São Paulo, Nils Staerk, Copenhagen and Francesca Minini, Milan

Dan Graham, Project for Slide Projector, 1966-2005 © Dan Graham, courtesy Marian Goodman Gallery. Collection: Astrid Ullens de Schooten / Fondation A Stichting, Brussels

Advertisement for Kodachrome film by Kodak, 1940-1950 © Kodak / Photo Musée de l’Elysée, Lausanne

Le Musée de l’Elyséeest une institutiondu Canton de Vaud


The reproducted images in the press release and below are available for the press.Their use is exclusively limited to the promotion of the exhibition Slides. The History of Projected Photography and cannot be reformatted or modified. Please use the captions as they arepresented below.

Media contactJulie Maillard

+41 (0)21 316 99 27 [email protected]

Runo Lagomarsino, Sea Grammar, Installation view, 2015 © Runo Lagomarsino / Photo Agostino Osio / Courtesy of the artist, Mendes Wood DM, São Paulo, Nils Staerk, Copenhagen and Francesca Minini, Milan

Josef Svoboda, Emil Radok and Miroslav Pflug, STVOŘENÍ SVĚTA (The Creation of the World), Installation view, 1967 © Josef Svoboda Archives

Cover of the book Diapositive. Histoire de la photographie projetée, Collection - Musée de l’Elysée, copublished with Editions Noir sur Blanc, May 2017


Peter Fischli, David Weiss, Eine unerledigte Arbeit, An unsettled work (groß), 2000-2006 © Peter Fischli and David Weiss, Zurich 2016 / Courtesy Sprüth Magers, Matthew Marks Gallery, Galerie Eva Presenhuber, Collection Thomas and Cristina Bechtler, Switzerland

Le Corbusier, Poème électronique, Installation view, 1958 © 2017, ProLitteris, 2017 / Fondation Le Corbusier

Marcel Broodthaers, Bateau Tableau, 1973 © Estate Marcel Broodthaers


Upcoming exhibitions

From October 25, 2017, to January 7, 2018Gus Van Sant/Icons

The exhibition Gus Van Sant/Icons proposes the first Swiss retrospective of the films and artistic creations of the American filmmaker. A genuine multi-disciplinary journey, it is divided into five sections, each in turn exploring an aspect of Gus Van Sant’s creative force and outlining the contours of a bountiful and impertinent universe.

“Photography” encompasses a selection of Polaroid pictures taken by Gus Van Sant during casting sessions for his first films. Hundreds of actors, writers and anonymous individuals posed for his camera. Even after having abandoned his Polaroid at the end of the 1990s, the filmmaker continued to make photographs, especially for fashion magazines and rock bands. “Cinepark” gives us a glimpse of Gus Van Sant’s cinema, a sensitive template of this moment in post-modern American history. The figurehead of the “independent” cinema revival, Van Sant was the instigator of an artistic liberty that radiates from the fringes. His heterogeneous filmography forces us to question the concept of a film auteur. “Constellations” evokes Gus Van Sant’s artistic filiations, from the omnipresence of his city of adoption, Portland, to the major influences that shaped his esthetic – among others, the Beat Generation and the American writer William S. Burroughs.Gus Van Sant’s paintings and drawings were done at different times in his life. Some of the collages date from the 1970s, whereas his series of large-format watercolors exhibited at the Gagosian Gallery in Los Angeles date from 2011. Exhibited in the “Painting” section, they provide an unexpected complement to the very eclectic artistic universe of Gus Van Sant.Lastly, the “Music” section expresses Van Sant’s interest in film music that he sees as a language of its own. This section contains the original soundtracks specially written for his films, original creations of Van Sant himself, as well as a selection of music videos that he made for David Bowie, the Red Hot Chili Peppers and the Hansons, among others.

A book published by Actes Sud, supervised by Matthieu Orléan, accompagnies the exhibition. A Gus Van Sant retrospective will take place at the Cinémathèque suisse in the fall of 2017 (November - December with a launch at the Capitole at the end of October).

CuratorsMatthieu Orléan, Cinémathèque française Lydia Dorner, Musée de l’Elysée

Press conference: Tuesday, October 24 at 10amPreview: Tuesday, October 24 at 6pm

Gus Van Sant, Keanu Reeves, from the series Polaroids, 1983-1999 © Gus Van SantAnonymous photographer, Alicia Miles and John Robinson in Elephant by Gus Van Sant, 2003 © HBO


From October 25, 2017, to January 7, 2018Unfamiliar Familiarities. Outside Views on Switzerland

Switzerland’s image has been significantly shaped by photographs dedicated to tourism. With spectacular mountain panoramas, rural idylls or portraits of local people the country could be successfully marketed, and these photographs also made an important contri-bution towards national identity. Another consequence, however, was that the respective pictorial repertoire became inflated and stereotyped.

Switzerland Tourism has chosen an unusual project to mark its 100th anniversary in 2017 with the aim of exploring the potential of photography anew. The Swiss Foundation for Photography (Winterthur) and the Musée de l’Elysée (Lausanne) invited five internationally renowned photographers to scrutinise Switzerland in their capacity as independent, subjective and sensitive observers – unrestricted by any advertising commission.

What Alinka Echeverría (Mexico/UK), Shane Lavalette (USA), Eva Leitolf (Germany), Simon Roberts (UK) and Zhang Xiao (China) discovered on their travels around the country or along its borders is both inspiring and revealing. Their exciting, poetic or mysterious-enigmatic images invite viewers to see the familiar with the eyes of an outsider.

An initiative of the Swiss Foundation for Photography, co-produced by the Musée de l’Elysée and with the support of Switzerland Tourism.

A boxed set of books co-published by the Swiss Foundation for Photography, the Musée de l’Elysée and Lars Müller Publishers will accompany the exhibition. Technical information: February 2017 / 16,5 x 23 cm, six soft-cover volumes in a box / 300 pages.

CuratorsTatyana Franck, director of the Musée de l’ElyséePeter Pfrunder, director of the Swiss Foundation for PhotographyLars Willumeit, independent curator

Press conference: Tuesday, October 24 at 10amPreview: Tuesday, October 24 at 6pm

Eva Leitolf © Marek Kruszewski / Alinka Echeverría © Leo Maguire / Simon Roberts, 2015 © Simon Roberts / Shane Lavalette, 2016 © Allison Beondé / Zhang Xiao © SuliBook Cover Unfamiliar Familiarities


Partners

The Musée de l’Elysée thanks its valued partners for 2017

VINZEL

Châteaula Bâtie

Châteaula Bâtie

VINZEL

Châteaula Bâtie

Global Partner

Preferred Partners

Main Partners

Private Partners, Patrons and Institutional Partners

Official Suppliers

Media Partners


Useful Information

Exhibition DatesSlides. The History of Projected PhotographyFrom June 1st to September 24th

Press ConferenceWednesday May 31, 9:30am

Opening of the exhibitionWednesday May 31, 6pm

Contact presseJulie Maillard +41 (0)21 316 99 [email protected]

Adresse18, avenue de l’ElyséeCH - 1014 LausanneT + 41 21 316 99 11F + 41 21 316 99 12www.elysee.ch

Twitter @ElyseeMuseeFacebook facebook.com/elysee.lausanneHashtags#diapositive#commealamaison#roadtrip

Opening HoursTuesday-Sunday, 11am–6pmClosed on Mondays (except bank holidays)The museum is open until 8pm on the last Thursday of the month


Façade du Musée de l’Elysée © Reto DurietLe futur bâtiment du Musée de l’Elysée et du mudac © Aires Mateus/PLATEFORME 10

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