{"id":3321,"date":"2019-01-17T02:00:33","date_gmt":"2019-01-17T07:00:33","guid":{"rendered":"https:\/\/foreman.ubishops.ca\/2020\/05\/13\/dataesthetics\/"},"modified":"2022-09-29T16:07:16","modified_gmt":"2022-09-29T20:07:16","slug":"dataesthetics","status":"publish","type":"post","link":"https:\/\/foreman.ubishops.ca\/fr\/dataesthetics\/","title":{"rendered":"Dataesthetics"},"content":{"rendered":"

[et_pb_section fb_built=\u00a0\u00bb1″ admin_label=\u00a0\u00bbHeader\u00a0\u00bb _builder_version=\u00a0\u00bb4.16″ background_color=\u00a0\u00bb#d7ffe0″ collapsed=\u00a0\u00bbon\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_row make_equal=\u00a0\u00bbon\u00a0\u00bb admin_label=\u00a0\u00bbHeader\u00a0\u00bb _builder_version=\u00a0\u00bb4.16″ collapsed=\u00a0\u00bboff\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.16″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.18.0″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_font=\u00a0\u00bb|300|||||||\u00a0\u00bb text_text_color=\u00a0\u00bb#8dcb98″ text_font_size=\u00a0\u00bb61px\u00a0\u00bb header_font=\u00a0\u00bb|300|||||||\u00a0\u00bb custom_margin=\u00a0\u00bb|||0px|false|false\u00a0\u00bb custom_padding=\u00a0\u00bb15px||||false|false\u00a0\u00bb locked=\u00a0\u00bboff\u00a0\u00bb global_colors_info=\u00a0\u00bb{%22gcid-d2b62973-8a7c-4fd4-92e9-e712b9785f27%22:%91%93}\u00a0\u00bb]<\/p>\n

COURANTS SOCIAUX<\/p>\n

[\/et_pb_text][et_pb_text admin_label=\u00a0\u00bbExhibition Title\u00a0\u00bb _builder_version=\u00a0\u00bb4.16″ text_font=\u00a0\u00bb||||||||\u00a0\u00bb text_text_color=\u00a0\u00bb#474747″ text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_line_height=\u00a0\u00bb2em\u00a0\u00bb header_font=\u00a0\u00bb|600|||||||\u00a0\u00bb header_font_size=\u00a0\u00bb36px\u00a0\u00bb header_line_height=\u00a0\u00bb1.5em\u00a0\u00bb header_2_font=\u00a0\u00bb|600|||||||\u00a0\u00bb header_2_font_size=\u00a0\u00bb20px\u00a0\u00bb header_2_line_height=\u00a0\u00bb1.5em\u00a0\u00bb header_3_font=\u00a0\u00bb|300|||||||\u00a0\u00bb header_3_font_size=\u00a0\u00bb20px\u00a0\u00bb header_3_line_height=\u00a0\u00bb2em\u00a0\u00bb header_6_font=\u00a0\u00bb||||||||\u00a0\u00bb header_6_font_size=\u00a0\u00bb18px\u00a0\u00bb custom_padding=\u00a0\u00bb40px||40px||true|false\u00a0\u00bb custom_padding_tablet=\u00a0\u00bb\u00a0\u00bb custom_padding_phone=\u00a0\u00bb\u00a0\u00bb custom_padding_last_edited=\u00a0\u00bbon|desktop\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

DATAESTHETICS<\/span><\/span><\/h1>\n

17 janvier <\/span><\/span><\/span>\u2013\u00a023 mars<\/span><\/span>\u00a0<\/span><\/span>2019<\/span><\/span>\u00a0<\/span><\/span><\/h2>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ admin_label=\u00a0\u00bbOverview\u00a0\u00bb _builder_version=\u00a0\u00bb4.16″ custom_margin=\u00a0\u00bb0px||||false|false\u00a0\u00bb collapsed=\u00a0\u00bbon\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_row admin_label=\u00a0\u00bbOverview Title\u00a0\u00bb _builder_version=\u00a0\u00bb4.16″ collapsed=\u00a0\u00bbon\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.16″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_gallery gallery_ids=\u00a0\u00bb626,344,630,629,4170,4172″ fullwidth=\u00a0\u00bbon\u00a0\u00bb admin_label=\u00a0\u00bbMain Images\u00a0\u00bb _builder_version=\u00a0\u00bb4.16″ title_text_align=\u00a0\u00bbcenter\u00a0\u00bb caption_text_align=\u00a0\u00bbleft\u00a0\u00bb background_color=\u00a0\u00bbrgba(0,0,0,0)\u00a0\u00bb position_origin_a=\u00a0\u00bbcenter_center\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb width=\u00a0\u00bb100%\u00a0\u00bb module_alignment=\u00a0\u00bbcenter\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_gallery][et_pb_text admin_label=\u00a0\u00bbMain Info\u00a0\u00bb _builder_version=\u00a0\u00bb4.18.0″ text_font=\u00a0\u00bb||||||||\u00a0\u00bb text_text_color=\u00a0\u00bb#474747″ text_font_size=\u00a0\u00bb18px\u00a0\u00bb text_line_height=\u00a0\u00bb2em\u00a0\u00bb header_font=\u00a0\u00bb|600|||||||\u00a0\u00bb header_text_color=\u00a0\u00bb#474747″ header_font_size=\u00a0\u00bb36px\u00a0\u00bb header_line_height=\u00a0\u00bb2em\u00a0\u00bb header_2_font=\u00a0\u00bb||||||||solid\u00a0\u00bb header_2_text_color=\u00a0\u00bb#474747″ header_2_font_size=\u00a0\u00bb20px\u00a0\u00bb header_2_line_height=\u00a0\u00bb0.5em\u00a0\u00bb header_3_font=\u00a0\u00bb|300|||||||\u00a0\u00bb header_3_text_color=\u00a0\u00bb#474747″ header_3_font_size=\u00a0\u00bb20px\u00a0\u00bb header_6_font=\u00a0\u00bb||||||||\u00a0\u00bb header_6_text_color=\u00a0\u00bb#474747″ header_6_font_size=\u00a0\u00bb18px\u00a0\u00bb background_enable_color=\u00a0\u00bboff\u00a0\u00bb custom_margin=\u00a0\u00bb50px||50px||true|false\u00a0\u00bb custom_padding=\u00a0\u00bb10px||||false|false\u00a0\u00bb border_radii=\u00a0\u00bboff||||\u00a0\u00bb border_color_all=\u00a0\u00bb#d7ffe0″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

Artistes<\/h2>\n

Richard <\/span><\/span>Ibghy<\/span><\/span>\u00a0et\u00a0<\/span><\/span>Marilou<\/span><\/span>\u00a0<\/span><\/span>Lemmens<\/span><\/span>,\u00a0<\/span><\/span>Toril<\/span><\/span>\u00a0<\/span><\/span>Johannessen<\/span><\/span>, Katie Holland Lewis, Jeannine Mosely, Phil<\/span><\/span>lip David Stearns<\/span><\/span>, Colleen Wolstenholme<\/span><\/span>\u00a0<\/span><\/span><\/span><\/h3>\n

\u00a0<\/h2>\n

Commissaire<\/h2>\n

Gentiane B\u00e9langer<\/h3>\n

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Survol<\/h6>\n

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Dataesthetics<\/em>\u00a0<\/em>est une exposition centr\u00e9e sur l\u2019\u00e9mergence d\u2019un nouveau paradigme esth\u00e9tique avec l\u2019essor de la visualisation de donn\u00e9es. Le sublime math\u00e9matique v\u00e9hicul\u00e9 par les\u00a0<\/span>m\u00e9gadonn\u00e9es<\/span>\u00a0(<\/span>Big<\/span>\u00a0Data) influence notre lecture du monde. Dans cet horizon oc\u00e9anique de donn\u00e9es, les infographes charg\u00e9s de la mod\u00e9lisation sont des oracles contemporains, des \u00e9nonciateurs de connaissance et des rh\u00e9toriciens visuels.\u00a0 Cette exposition observe comment les\u00a0<\/span>artistes s’inspirent de la collecte et du traitement de donn\u00e9es, afin d\u2019amorcer une r\u00e9flexion \u00e9pist\u00e9mologique sur la construction du savoir et sur le pouvoir rh\u00e9torique de la visualisation de donn\u00e9es. Couvrant un spectre tr\u00e8s large d\u2019approches sensibles, allant de l\u2019artisanat et l\u2019art communautaire aux mod\u00e9lisations num\u00e9riques et logarithmiques, les \u0153uvres comprises dans cette exposition s\u2019attardent aux techniques figuratives d\u00e9velopp\u00e9es par notre soci\u00e9t\u00e9 pour faire sens du monde<\/span>.<\/span>\u00a0<\/span><\/p>\n

Une production de la Galerie d\u2019art Foreman avec l\u2019appui du Conseil des arts du Canada, la Ville de Sherbrooke ainsi que le Conseil des arts et des lettres du Qu\u00e9bec<\/span><\/span>.<\/span><\/span>\u00a0<\/span><\/em><\/p>\n

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La pratique collaborative de\u00a0<\/span>Richard\u00a0Ibghy\u00a0<\/span><\/b>et\u00a0<\/span>Marilou Lemmens<\/span><\/b>\u00a0explore les qualit\u00e9s affectives du langage et des mat\u00e9riaux, les dimensions politiques de l’abstraction et de la production de connaissances, et les liens entre l’incarnation et la r\u00e9sistance.\u00a0<\/span>A<\/span>doptant une approche \u00e0 la fois conceptuelle<\/span>\u00a0et\u00a0<\/span>mat\u00e9rielle<\/span>,<\/span>\u00a0souvent ludique,\u00a0<\/span>les\u00a0<\/span>artistes\u00a0<\/span>s\u2019int\u00e9ressent aux<\/span>\u00a0<\/span>histoire<\/span>s<\/span>\u00a0et\u00a0<\/span>aux\u00a0<\/span>m\u00e9thodologies scientifiques, y compris l’utilisation de l’observation, de la mesure, de l’abstraction et de la repr\u00e9sentation graphique des\u00a0<\/span>donn\u00e9es.\u00a0<\/span>Ils\u00a0<\/span>travaillent<\/span>\u00a0principalement la s<\/span>culpture,\u00a0<\/span>la\u00a0<\/span>vid\u00e9o,\u00a0<\/span>la\u00a0<\/span>performance,\u00a0<\/span>l\u2019<\/span>installation et\u00a0<\/span>le\u00a0<\/span>livre d’artiste.<\/span>\u00a0<\/span>Derni\u00e8rement<\/span>, leur<\/span>s \u0153uvres ont\u00a0<\/span>fait l\u2019objet d\u2019<\/span>expositions\u00a0<\/span>individuelles<\/span>\u00a0\u00e0\u00a0Visningsrommet\u00a0USF, Bergen (2018),\u00a0<\/span>\u00e0 l\u2019<\/span>A<\/span>ud<\/span>ai<\/span>n<\/span>\u00a0Gallery, Vancouver (2018),\u00a0<\/span>\u00e0 l\u2019<\/span>Agnes\u00a0Etherington\u00a0Art Centre, Kingston (2017),\u00a0<\/span>\u00e0 la\u00a0<\/span>Jane Lombard\u00a0Gallery, New York (2017),\u00a0<\/span>\u00e0 l\u2019<\/span>Owens Art\u00a0Gallery, Sackville,\u00a0<\/span>Nouveau-Brunswick<\/span>\u00a0(2017),\u00a0<\/span>\u00e0\u00a0<\/span>l’International Studio\u00a0<\/span>and<\/span>\u00a0Curatorial\u00a0Program, New York (2016),\u00a0<\/span>\u00e0\u00a0<\/span>l\u2019<\/span>Esker<\/span>\u00a0Foundation<\/span>, Calgary (2016)<\/span>\u00a0et \u00e0 la Galerie\u00a0<\/span>Leonard\u00a0<\/span>et<\/span>\u00a0Bina Ellen, Montr\u00e9al (2016).\u00a0Ibghy\u00a0<\/span>et<\/span>\u00a0Lemmens\u00a0<\/span>ont<\/span>\u00a0particip\u00e9\u00a0<\/span>\u00e0 la<\/span>\u00a02<\/span>e<\/span>\u00a0OFF-Biennale<\/span>\u00a0de\u00a0<\/span>Budapest (2017),\u00a0<\/span>\u00e0 la\u00a0<\/span>13<\/span>e<\/span>\u00a0<\/span>Biennale de Cuenca,\u00a0<\/span>\u00c9quateur<\/span>\u00a0(2016),\u00a0<\/span>\u00e0 la\u00a0<\/span>14<\/span>e<\/span>\u00a0Biennale d’Istanbul (2015),\u00a0<\/span>\u00e0 l<\/span>a Biennale de Montr\u00e9al (2014),\u00a0<\/span>\u00e0 la\u00a0<\/span>Manif d’art 7 : Biennale de Qu\u00e9bec (2014) et\u00a0<\/span>\u00e0 la\u00a0<\/span>10<\/span>e<\/span>\u00a0Biennale de Sharjah (2011).<\/span>\u00a0<\/span><\/p>\n

Toril\u00a0<\/span>Johannessen<\/span><\/span>\u00a0<\/span><\/span><\/strong>vit et travaille<\/span><\/span>\u00a0\u00e0 Troms\u00f8<\/span><\/span>, en Norv\u00e8ge<\/span><\/span>. Les fa\u00e7ons de voir\u00a0<\/span><\/span>\u2013<\/span><\/span>\u00a0et de ne pas voir\u00a0<\/span><\/span>\u2013<\/span><\/span>\u00a0sont des th\u00e8mes r\u00e9currents dans\u00a0<\/span><\/span>s<\/span><\/span>a pratique artistique.\u00a0<\/span><\/span>Elle c<\/span><\/span>ombin<\/span><\/span>e<\/span><\/span>\u00a0documents historiques<\/span><\/span>,\u00a0<\/span><\/span>fiction et ses propres recherches<\/span><\/span>\u00a0pour produire d<\/span><\/span>es \u0153uvres\u00a0<\/span><\/span>qui\u00a0<\/span><\/span>comportent souvent des \u00e9l\u00e9ments narratifs sous forme visuelle ou \u00e9crite.\u00a0<\/span><\/span>Elle a eu<\/span><\/span>\u00a0des expositions individuelles au\u00a0<\/span><\/span>m<\/span><\/span>us\u00e9e Munch (<\/span><\/span>avec\u00a0<\/span><\/span>Marjolijn<\/span>\u00a0<\/span>Dijkman<\/span>)<\/span><\/span>,<\/span><\/span>\u00a0<\/span><\/span>\u00e0 Oslo (2018) ;\u00a0<\/span><\/span>au mus\u00e9e<\/span><\/span>\u00a0<\/span><\/span>ARoS<\/span><\/span>,<\/span><\/span>\u00a0Aarhus<\/span><\/span>\u00a0<\/span><\/span>(2017) ;\u00a0<\/span><\/span>au mus\u00e9e d\u2019art de\u00a0<\/span><\/span>Trondheim<\/span><\/span>\u00a0<\/span><\/span>(2016) ; et\u00a0<\/span><\/span>au mus\u00e9e d\u2019art contemporain d\u2019<\/span><\/span>Oslo (2016)<\/span><\/span>. Elle a \u00e9galement particip\u00e9 \u00e0 des\u00a0<\/span><\/span>expositions collectives<\/span><\/span>, notamment\u00a0<\/span><\/span>la 13<\/span><\/span>e<\/span><\/span>\u00a0Biennale\u00a0<\/span>Dak’Art<\/span>\u00a0de Dakar (2018), STAGES :\u00a0<\/span>Drawing<\/span>\u00a0the Curtain, Plug In ICA,\u00a0<\/span><\/span>\u00e0\u00a0<\/span><\/span>Winnipeg (2017) ;\u00a0<\/span><\/span>la\u00a0<\/span><\/span>13<\/span><\/span>e<\/span><\/span>\u00a0Biennale d’Istanbul (2013) ; Curiosit\u00e9<\/span><\/span>\u202f<\/span><\/span>: Art\u00a0<\/span><\/span>and<\/span><\/span>\u00a0the<\/span><\/span>\u00a0<\/span><\/span>Pleasures<\/span>\u00a0of\u00a0<\/span>Knowing<\/span>, Hayward Touring (2013-2<\/span><\/span>01<\/span><\/span>4) ; et Documenta 13 (2012).<\/span><\/span>\u00a0<\/span><\/p>\n

Katie Lewis<\/span><\/b>\u00a0<\/span>a obtenu\u00a0<\/span>un\u00a0<\/span>baccalaur\u00e9at \u00e8s arts<\/span>\u00a0du Colorado\u00a0College\u00a0et une\u00a0<\/span>ma\u00eetrise<\/span>\u00a0<\/span>du California\u00a0College\u00a0of the Arts.\u00a0<\/span>S<\/span>es \u0153uvres\u00a0<\/span>ont \u00e9t\u00e9 pr\u00e9sent\u00e9es aux \u00c9tats-Unis\u00a0<\/span>et ailleurs dans le monde, notamment<\/span>\u00a0<\/span>au\u00a0<\/span>Mudam\u00a0Luxembourg<\/span>, au\u00a0<\/span>M<\/span>us<\/span>eum\u00a0<\/span>Rijswijk<\/span>\u00a0<\/span>(<\/span>Pays-Bas<\/span>)<\/span>, au\u00a0<\/span>m<\/span>us<\/span>\u00e9e d\u2019art du\u00a0<\/span>Nevada<\/span>, \u00e0 l’Universit\u00e9 Stanford, au\u00a0<\/span>San Jose Institute<\/span>\u00a0of\u00a0Contemporary\u00a0Art, \u00e0\u00a0<\/span>l\u2019Universit\u00e9 d\u2019\u00c9tat de<\/span>\u00a0San Francisco, au\u00a0Pennsylvania\u00a0College\u00a0of Art and Design et \u00e0 la Patricia\u00a0Sweetow\u00a0Gallery. En 2016, elle a re\u00e7u une bourse\u00a0<\/span>du\u00a0<\/span>Joan Mitchell\u00a0Painters\u00a0and\u00a0Sculptors\u00a0Grant Program<\/span>. Elle a \u00e9galement\u00a0<\/span>obtenu<\/span>\u00a0des bourses de la Pollock<\/span>–<\/span>Krasner\u00a0Foundation<\/span>\u00a0et<\/span>\u00a0de la Sierra Arts\u00a0Foundation\u00a0<\/span>ainsi qu\u2019<\/span>une r\u00e9sidence\u00a0<\/span>\u00e0 l\u2019<\/span>Anderson Ranch Arts Center.\u00a0<\/span>Son travail a<\/span>\u00a0\u00e9t\u00e9 inclus<\/span>\u00a0dans\u00a0<\/span>The\u00a0Map\u00a0as Art :\u00a0Contemporary\u00a0Artists Explore\u00a0Cartography<\/span><\/i>\u00a0et\u00a0<\/span>Cartographies of Time<\/span><\/i>,\u00a0<\/span>ouvrages\u00a0<\/span>publi\u00e9s par Princeton Architectural\u00a0Press.\u00a0<\/span>\u00a0<\/span><\/p>\n

Reconnue pour son travail d’artiste origami<\/span>ste,<\/span>\u00a0<\/span><\/b>Jeannine\u00a0Mosely<\/span><\/b>\u00a0(n\u00e9e\u00a0<\/span>en<\/span>\u00a01953 \u00e0 Pittsburgh,\u00a0<\/span>Pennsylvanie<\/span>) est titulaire d’un doctorat en g\u00e9nie \u00e9lectrique et en informatique du Massachusetts Institute of\u00a0Technology.\u00a0<\/span>On la conna\u00eet surtout\u00a0<\/span>pour ses origamis modulaires,\u00a0<\/span>et tout particuli\u00e8rement<\/span>\u00a0pour son\u00a0<\/span>utilisation de<\/span>\u00a0cartes de visite.\u00a0<\/span>P<\/span>lusieurs\u00a0<\/span>de ses\u00a0<\/span>projets d’origami<\/span>s ont \u00e9t\u00e9 cr\u00e9\u00e9s en externalisation ouverte (<\/span>\u00ab\u202f<\/span>crowdsourcing<\/span>\u202f\u00bb<\/span>)<\/span>\u00a0\u00e0 partir de dizaines de milliers de cartes\u00a0<\/span>de visite<\/span>, chaque projet n\u00e9cessitant la participation de\u00a0<\/span>centaines de b\u00e9n\u00e9voles. Son travail a \u00e9t\u00e9 pr\u00e9sent\u00e9 \u00e0 l’<\/span>Institute For\u00a0Figuring\u00a0(IFF),\u00a0<\/span>un organisme de<\/span>\u00a0Los Angeles,\u00a0<\/span>en\u00a0<\/span>Californie, qui\u00a0<\/span>sensibilise le\u00a0<\/span>publi<\/span>c<\/span>\u00a0<\/span>aux<\/span>\u00a0dimensions po\u00e9tique et esth\u00e9tique des sciences, des math\u00e9matiques et des\u00a0<\/span>arts techn<\/span>ologiques<\/span>.<\/span>\u00a0<\/span><\/p>\n

Artiste et designer,<\/span>\u00a0<\/span><\/b>Phillip David Stearns<\/span><\/b>\u00a0<\/span>vit<\/span>\u00a0\u00e0 Brooklyn, N<\/span>ew York<\/span>. Son travail est centr\u00e9 sur l’utilisation des technologies et m\u00e9dias \u00e9lectroniques pour explorer<\/span>\u00a0les r\u00f4les multiples de la technologie<\/span>\u00a0au sein\u00a0<\/span>de la soci\u00e9t\u00e9 contemporaine<\/span>. D\u00e9construction, reconfiguration et extension sont des m\u00e9thodologies et techniques cl<\/span>\u00e9<\/span>s\u00a0<\/span>qu\u2019il utilise pour<\/span>\u00a0produire des<\/span>\u00a0\u0153uvres\u00a0<\/span>de formes diverses\u202f:<\/span>\u00a0performances audiovisuelles, sculptures \u00e9lectroniques, installations sonores et lumineuses, textiles num\u00e9riques et autres bizarreries \u00e0 la fois num\u00e9riques et mat\u00e9rielles.\u202fIl\u00a0<\/span>a obtenu une<\/span>\u00a0ma\u00eetrise en composition musi<\/span>cale<\/span>\u00a0et m\u00e9dias int\u00e9gr\u00e9s de l’Institut des Arts de Californie<\/span>,\u00a0<\/span>en 2007<\/span>,<\/span>\u00a0<\/span>ainsi qu\u2019un<\/span>\u00a0baccalaur\u00e9at en technologie de la musique de l’Universit\u00e9 du Colorado \u00e0 Denver<\/span>,<\/span>\u00a0en 2005.<\/span>\u00a0<\/span>Il fait partie de la cinqui\u00e8me cohorte de NEW INC.<\/span>\u00a0<\/span><\/p>\n

Colleen\u00a0<\/span><\/b>Wolstenholme<\/span><\/b>\u00a0<\/span>utilise<\/span>\u00a0<\/span>des<\/span>\u00a0<\/span>m\u00e9diums<\/span>\u00a0<\/span>aussi divers<\/span>\u00a0<\/span>que\u00a0<\/span>le bijou<\/span>, le dessin, la peinture, la sculpture, la broderie et le collage num\u00e9rique.\u00a0<\/span>Par<\/span>\u00a0des<\/span>\u00a0approches formelles syst\u00e9matiques<\/span>,<\/span>\u00a0<\/span>elle tente<\/span>\u00a0<\/span>d’\u00e9voquer des objets et des syst\u00e8mes invisibles \u00e0 l’\u0153il nu, mais\u00a0<\/span>dont l\u2019<\/span>influence\u00a0<\/span>sur nos vies est\u00a0<\/span>\u00e9norme.\u00a0<\/span>Pour ce faire, elle<\/span>\u00a0<\/span>applique<\/span>\u00a0<\/span>des<\/span>\u00a0ensemble<\/span>s<\/span>\u00a0<\/span>fluide<\/span>s<\/span>\u00a0<\/span>de r\u00e8gles pour cr\u00e9er une situation\u00a0<\/span>\u00e0 partir de laquelle<\/span>\u00a0la forme d<\/span>e l\u2019<\/span>\u0153uvre\u00a0<\/span>\u00e9merge du<\/span>\u00a0flux de<\/span>\u00a0production<\/span>\u00a0ainsi lanc\u00e9<\/span>.<\/span>\u00a0L’organisation formelle qui s’ensuit est le r\u00e9sultat d’une n\u00e9gociation avec\u00a0<\/span>la potentialit\u00e9<\/span>. Il s’agit d’un processus de\u00a0<\/span>d\u00e9ploiement<\/span>\u00a0o\u00f9 la variance par rapport \u00e0 une norme\u00a0<\/span>d\u00e9termine<\/span>\u00a0les caract\u00e9ristiques complexes de la forme. Colleen\u00a0Wolstenholme\u00a0a obtenu un baccalaur\u00e9at en beaux-arts du Nova Scotia\u00a0College\u00a0of Art and Design\u00a0<\/span>d\u2019<\/span>Halifax<\/span>,<\/span>\u00a0<\/span>en 1986,\u00a0<\/span>et une ma\u00eetrise en beaux-arts d<\/span>e\u00a0<\/span>l\u2019Universit\u00e9 d\u2019\u00c9tat de<\/span>\u00a0New York, The\u00a0College\u00a0at New\u00a0Paltz<\/span>, en 1992.<\/span>\u00a0<\/span><\/p>\n

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[\/et_pb_toggle][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=\u00a0\u00bbArtist(s)\u00a0\u00bb _builder_version=\u00a0\u00bb4.16″ collapsed=\u00a0\u00bbon\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.16″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_toggle title=\u00a0\u00bbDocumentation\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#000000″ open_toggle_background_color=\u00a0\u00bb#ffffff\u00a0\u00bb closed_toggle_text_color=\u00a0\u00bb#474747″ closed_toggle_background_color=\u00a0\u00bb#ffffff\u00a0\u00bb icon_color=\u00a0\u00bb#8dcb99″ use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb icon_font_size=\u00a0\u00bb30px\u00a0\u00bb open_icon_color=\u00a0\u00bb#8dcb99″ open_use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb open_icon_font_size=\u00a0\u00bb30px\u00a0\u00bb admin_label=\u00a0\u00bbArtist(s)\u00a0\u00bb _builder_version=\u00a0\u00bb4.18.0″ title_text_color=\u00a0\u00bb#000000″ title_level=\u00a0\u00bbh6″ title_font=\u00a0\u00bb|300||||||#000000|\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb title_font_size=\u00a0\u00bb20px\u00a0\u00bb title_line_height=\u00a0\u00bb1.5em\u00a0\u00bb closed_title_font=\u00a0\u00bb|300|||||||\u00a0\u00bb closed_title_text_align=\u00a0\u00bbleft\u00a0\u00bb closed_title_font_size=\u00a0\u00bb20px\u00a0\u00bb closed_title_line_height=\u00a0\u00bb1.5em\u00a0\u00bb body_font=\u00a0\u00bb||||||||\u00a0\u00bb body_text_align=\u00a0\u00bbleft\u00a0\u00bb body_text_color=\u00a0\u00bb#474747″ body_font_size=\u00a0\u00bb18px\u00a0\u00bb body_line_height=\u00a0\u00bb1.9em\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb width=\u00a0\u00bb100%\u00a0\u00bb custom_padding=\u00a0\u00bb25px|15px|10px|0px|false|false\u00a0\u00bb border_color_all=\u00a0\u00bb#ffffff\u00a0\u00bb border_color_bottom=\u00a0\u00bb#000000″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb border_width_all__hover_enabled=\u00a0\u00bbon|hover\u00a0\u00bb]<\/p>\n

Communiqu\u00e9 de presse<\/a><\/p>\n

Opuscule<\/a> d’exposition<\/a><\/p>\n

[\/et_pb_toggle][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=\u00a0\u00bbArtist(s)\u00a0\u00bb _builder_version=\u00a0\u00bb4.16″ collapsed=\u00a0\u00bbon\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb4_4″ _builder_version=\u00a0\u00bb4.16″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_toggle title=\u00a0\u00bbCouverture de presse\u00a0\u00bb open_toggle_text_color=\u00a0\u00bb#000000″ open_toggle_background_color=\u00a0\u00bb#ffffff\u00a0\u00bb closed_toggle_text_color=\u00a0\u00bb#474747″ closed_toggle_background_color=\u00a0\u00bb#ffffff\u00a0\u00bb icon_color=\u00a0\u00bb#8dcb99″ use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb icon_font_size=\u00a0\u00bb30px\u00a0\u00bb open_icon_color=\u00a0\u00bb#8dcb99″ open_use_icon_font_size=\u00a0\u00bbon\u00a0\u00bb open_icon_font_size=\u00a0\u00bb30px\u00a0\u00bb admin_label=\u00a0\u00bbArtist(s)\u00a0\u00bb _builder_version=\u00a0\u00bb4.18.0″ title_text_color=\u00a0\u00bb#000000″ title_level=\u00a0\u00bbh6″ title_font=\u00a0\u00bb|300||||||#000000|\u00a0\u00bb title_text_align=\u00a0\u00bbleft\u00a0\u00bb title_font_size=\u00a0\u00bb20px\u00a0\u00bb title_line_height=\u00a0\u00bb1.5em\u00a0\u00bb closed_title_font=\u00a0\u00bb|300|||||||\u00a0\u00bb closed_title_text_align=\u00a0\u00bbleft\u00a0\u00bb closed_title_font_size=\u00a0\u00bb20px\u00a0\u00bb closed_title_line_height=\u00a0\u00bb1.5em\u00a0\u00bb body_font=\u00a0\u00bb||||||||\u00a0\u00bb body_text_align=\u00a0\u00bbleft\u00a0\u00bb body_text_color=\u00a0\u00bb#474747″ body_font_size=\u00a0\u00bb18px\u00a0\u00bb body_line_height=\u00a0\u00bb1.9em\u00a0\u00bb text_orientation=\u00a0\u00bbleft\u00a0\u00bb width=\u00a0\u00bb100%\u00a0\u00bb custom_padding=\u00a0\u00bb25px|15px|10px|0px|false|false\u00a0\u00bb hover_enabled=\u00a0\u00bb0″ border_color_all=\u00a0\u00bb#ffffff\u00a0\u00bb border_color_bottom=\u00a0\u00bb#000000″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb border_width_all__hover_enabled=\u00a0\u00bbon|hover\u00a0\u00bb sticky_enabled=\u00a0\u00bb0″]<\/p>\n

Interview with Gentiane B\u00e9langer at\u00a0Arts d\u2019Oeuvres<\/em>, CFLX, January 22 , 2019<\/p>\n

Maryclare Macissac,\u00a0Dataesthetics: the First Time I\u2019ve Loved Numbers Since I Dropped Out of Business<\/em>, The Campus, Vol. 74, No.8.\u00a0<\/a>January 31, 2019. p.8<\/a><\/p>\n

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COURANTS SOCIAUXDATAESTHETICS 17 janvier \u2013\u00a023 mars\u00a02019\u00a0Artistes Richard Ibghy\u00a0et\u00a0Marilou\u00a0Lemmens,\u00a0Toril\u00a0Johannessen, Katie Holland Lewis, Jeannine Mosely, Phillip David Stearns, Colleen Wolstenholme\u00a0 \u00a0 Commissaire Gentiane B\u00e9langerSurvolDataesthetics\u00a0est une exposition centr\u00e9e sur l\u2019\u00e9mergence d\u2019un nouveau paradigme esth\u00e9tique avec l\u2019essor de la visualisation de donn\u00e9es. Le sublime math\u00e9matique v\u00e9hicul\u00e9 par les\u00a0m\u00e9gadonn\u00e9es\u00a0(Big\u00a0Data) influence notre lecture du monde. Dans cet horizon oc\u00e9anique de donn\u00e9es, […]<\/p>\n","protected":false},"author":17,"featured_media":6277,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[45,33],"tags":[127],"class_list":["post-3321","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-2019-fr","category-anterieures","tag-dataesthetics-fr"],"acf":[],"yoast_head":"\nDataesthetics - Foreman Art Gallery<\/title>\n<meta name=\"description\" content=\"Dataesthetics est une exposition centr\u00e9e sur l\u2019\u00e9mergence d\u2019un nouveau paradigme esth\u00e9tique avec l\u2019essor de la visualisation de donn\u00e9es.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/foreman.ubishops.ca\/fr\/dataesthetics\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dataesthetics - 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