©forgery
Réflexion sur la copie et le faux en art. À l'ère des fake news, le réalisme des images de synthèse transforme l'archive des expositions, trompant la mémoire collective, le droit d'auteur, et le réseau. (cf. wiki).
- (Eng) Thinking about copy and art forgery. In the fake news era, computer-generated imagery transform the exhibitions'archive, faking the collective memory, the copyright, and the network.
1. Installation view from the exhibition Thomas Demand, Serpentine Gallery, London (6 June - 6 August 2006), Photograph ©2006 Nic Tenwiggenhorn.
2. 3D model of the Serpentine Gallery. Wireframe, lights & decals.
3. Wallpaper pattern for the Thomas Demand's exhibition at the Serpentine Gallery, London (6 June - 6 August 2006).
4. Joseph Kosuth, "One, three chairs". ©2009 Joseph Kosuth/ARS, NY. Courtesy of CNAC/MNAM/ Dist. Reunion des Musees Nationaux/Art Resource, NY/Photo by Philippe Migeat.
5. Roman Opalka, 1965 / 1 – ∞, Détail, huile sur toile. ©2010 Gallerie Yvon Lambert, Paris.
6. Sol Lewitt, "Incomplete Open Cubes", 1974. Exhibition view, attributed to Paula Cooper Gallery, 521 W 21ST, New York, ©DR.
7. Ausstellungsansicht / exhibition view, Dan Flavin – Lights, mumok, 13.10.2012 – 3.2.2013. The Estate Collection David Zwirner. ©mumok.
2. 3D model of the Serpentine Gallery. Wireframe, lights & decals.
3. Wallpaper pattern for the Thomas Demand's exhibition at the Serpentine Gallery, London (6 June - 6 August 2006).
4. Joseph Kosuth, "One, three chairs". ©2009 Joseph Kosuth/ARS, NY. Courtesy of CNAC/MNAM/ Dist. Reunion des Musees Nationaux/Art Resource, NY/Photo by Philippe Migeat.
5. Roman Opalka, 1965 / 1 – ∞, Détail, huile sur toile. ©2010 Gallerie Yvon Lambert, Paris.
6. Sol Lewitt, "Incomplete Open Cubes", 1974. Exhibition view, attributed to Paula Cooper Gallery, 521 W 21ST, New York, ©DR.
7. Ausstellungsansicht / exhibition view, Dan Flavin – Lights, mumok, 13.10.2012 – 3.2.2013. The Estate Collection David Zwirner. ©mumok.