Essays / s /

Cross media art event.

cross media eventJean-François Réveillard Suguru Ito

Le terme cross-média trouve ses origines au début du xxie siècle avec la multiplication des technologies d'information : la presse, la radio, la télévision (dévoilé au public dès 1926) Internet et plus récemment les smartphones connectés à internet1. Il désigne des techniques d'information, à caractère promotionnel ou informatif, associant plusieurs types de médias (rédactionnels, visuels, vidéo, audio...) diffusés sur les terminaux utilisés par le public. Il s'agit d'une démarche, d'une pratique exploitant opportunément les usages du public pour lui proposer le contenu le plus adapté

Le cross média art utilise différents médias, autour d'une démarche dans une installation, une mise en scène, une architecture plastique. Il est à ne pas confondre avec le mixed média qui généralement utilise sur un seul support différent matériaux, techniques picturales. La multiplicité des médias permet un champ d'expression qui va du plus ancien au plus contemporain et une lecture pluridimensionnelle permettant de répondre et d'occuper toute la place dans l'espace visuel, auditif voir olfactif et haptique de l'observateur.

Jean-François Réveillard aka JfR - Juillet 2017 - 

Video art - Sedition platform


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Human portrait.

Conceptual metaphorical speech is indeed adequate to the activity of thinking, the operations of our mind, but the life of the soul in its very intensity is much more adequately expressed in a glance, a sound, a gesture, than in speech.

Arendt, Hannah. The Life of the Mind

Portrait with no face

- Human portrait is a series first time shown in Zurich contemporary art fair in 2014 - Human is a work about memory, some legend comming from japan and a proposal of time capsule about souvenir. All character have no face, the process of face recognization is a huge process for the brain, most of the time it's more easier to remember a smell, a global view, a dress, or an environment like the cats around.

"The face recognisation is a part of Alzheimer test for making a diagnose "Certain kinds of information can be memorized only if you concentrate, whereas other kinds of memories, such as the faces of people you see regularly and the steps of simple everyday routines like brushing your teeth, are absorbed without conscious effort. The process of learning new information, storing it, and recalling it involves a complex interplay of brain functions .... Face/name association addresses the common problem of forgetting the name of a new acquaintance. This technique links the name with something prominent about the person’s looks. For example, if Carlos has a big nose, you might think of a car parked on his nose. Or if Christine has curly hair, you might think of Christmas ornaments hanging from her curls. "

Sources: Improving Memory: Understanding age-related memory loss - Havard medical school - http://www.patienteducationcenter.org/articles/improving-memory-understanding-age-related-memory-loss

Legend of No Face,

Deeply influenced by Japaneese culture and history, i also think about this legends of no face ghost connected to memory of people disapear from your life, and stay in your brain cells, by details, and sometimes comming like ghost from the past.

Noppera-bō - A faceless ghost.

The Noppera-bō (のっぺら坊 Noppera-bō?), or faceless ghost, is a Japanese legendary creature. They are sometimes mistakenly referred to as a mujina, an old Japanese word for a badger or raccoon dog. Although the mujina can assume the form of the other, noppera-bō are usually humans. Such creatures were thought to sometimes transform themselves into noppera-bō in order to frighten humans. Lafcadio Hearn used the animals' name as the title of his story about faceless monsters, probably resulting in the misused terminology. Noppera-bō are known primarily for frightening humans, but are usually otherwise harmless. They appear at first as ordinary human beings, sometimes impersonating someone familiar to the victim, before causing their features to disappear, leaving a blank, smooth sheet of skin where their face should be.

Time capsule

The framing of this series symbolise a time capsule inside our brain, some details of human are staying alive in memory of the other. We can travel in the past, remembering some good and bad moment, and we can stay alive generation after generation through this memory system, like in a painting ....

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Art bag 3.0

Today, music is available everywhere, information on all kind of existing supports, you can listen to everywhere you want. There is no access difference whether you want to hear Lady Gaga or Mozart. The distribution mode for all is the same. Music is connected to the world, is totally integrated in the daily life of any human being living in this century. Music's omnipresence, its success - in addition to affect the sensitivity of each person - is due to easy recording facilities, uploading and use of all contemporary devices and platforms, especially the web and of course the audiovisual devices, not to forget the more traditional ways like live concerts. Nobody can say that the music is not Art, just because it's shared with a huge number of people and connected to the entire modern world. Music is one of my main source of inspiration, combined with my daily life in the mood of here and now, interconnected with the society and social networks. My concerns about pushed me to find approaches allowing to include, letting alive and share my artwork, in creating a concept similar to the traditional way of music' distribution. The packaging is a part of this. The present bags are like the envelopes of an album, a cover in a certain way, offering in addition to go further and find the history of the artwork via internet and via the QR code*. These thoughts are part of my philosophy to consider, in a contemporary vision, my artworks, to offer them a further life, not only to be viewed, but also to invite the observer to interact with the artwork, extend this also to the social networks. Doing so, countless people are able to see, to interact directly, to share, to follow my creations and their evolution, in complete transparency. It's not a scenic targeting ,but for establishing a communication, mainly to be connected with my contemporaries, to be, to exist in the actual world, using all the modern technology that everyone has integrated in his daily life. This packaging communicates with the artwork's world himself which can appear, or be distributed in other places, different from the usual art distribution sites, can remain a part of the artwork itself and of the daily life, daily consumption. The packaging has not necessarily to be removed from the artwork, it is one in total. Nevertheless, one can consider to be free to remove it, to integrate it in another space. * A QR Code is a matrix barcode (or two-dimensional code), readable by QR scanners, mobile phones with a camera, and smartphones.

Artbarg 3.0 Vous pouvez trouver de la musique partout, avoir de l'information sur tous les supports existants, en écouter à chaque instant de votre vie, et il n'y a aucune différence d'accès à celle-ci, que soit Lady Gaga ou Mozart, le traitement et les modes de distribution restent identiques. La musique est connectée avec le monde, et est totalement intégrée dans le quotidien de chacun vivant dans ce siècle. Le grand succès de la musique au-delà de son effet direct sur la sensibilité de chacun, est due essentiellement à son inscription et son utilisation via les outils d'aujourd'hui, le web particulièrement et les moyens audiovisuels, sans pour autant négliger ses fondamentaux que sont les concerts live. Personne sous prétexte que la musique est partagée par le plus grand nombre, et qu'elle est connectée avec le monde moderne, ne peut dire qu'elle n'est pas de l'art. La musique est une de mes grandes sources, ainsi que la vie ici et maintenant dans une société connectée en réseau. Ma réflexion autour d'elle m'a poussé à trouver des approches pour inclure, faire vivre, et partager mon Artwork en créant des concepts proches de la distribution de la musique. Le packaging en est un, ces sacs sont comme des pochettes d'album de musique, une jaquette en quelque sorte, avec la possibilité d'aller voir plus loin sur le web via un code QR*. Cette réflexion fait partie de la démarche entière, de ma façon de voir mes créations, de les inscrire dans une vision contemporaine de l'art, qui va au-delà du simple fait de donner à voir, et qui entraîne aussi le regardant dans une interactivité avec l'œuvre. Cette démarche je l'étend également aux réseaux sociaux, ce qui donne à des milliers de gens la possibilité d'avoir un regard sur la progression et la démarche de mon œuvre, en toute transparence et en ayant la possibilité de réagir directement. Ce n'est pas un but de mise en scène mais plutôt un but de mise en communication, de volonté de rester connecté avec mes contemporains et d'être et d'exister dans le monde d'aujourd'hui en utilisant les outils que chacun a intégré désormais dans sa vie quotidienne. Ce packaging met en relation avec le monde de l'œuvre elle même. Elle peut ainsi apparaître ou se mettre en distribution dans des lieux différents de ceux réservé jusque-là à l'Art, faire partie intégrante de la vie et de la consommation quotidienne. L'œuvre elle-même n'a pas besoin de sortir de son packaging, elle est un tout, mais le droit et la liberté de chacun fait qu'elle peut en sortir et s'exposer sur tout autre endroit. * Le code QR est un type de code-barres en deux dimensions (ou code matriciel datamatrix) constitué de modules noirs disposés dans un carré à fond blanc. Today, music is available everywhere, information on all kind of existing supports.

Jean-François Réveillard - Zurich 2012

Art metrage short movies videoart

Most of my video art are base on real-time and Slow Tv motion concept. Reintroducing the duration, the way of watching and taking time for it, in order to discover details, and have the sensation to be here and now with the pictures and the real world. Natural time of human being.

You can buy some originals of my video artworks on Sedition platform

.Inspiration, references.

Conceptual metaphorical speech is indeed adequate to the activity of thinking, the operations of our mind, but the life of the soul in its very intensity is much more adequately expressed in a glance, a sound, a gesture, than in speech.

Arendt, Hannah. The Life of the Mind (2 vols. Volume I: Thinking, Volume II: Willing).

The human sense of reality demands that men actualize the sheer passive givenness of their being, not in order to change it, but in order to make articulate and call into full existence what otherwise they would have to suffer passively anyhow.

Arendt, Hannah.

“When the farthest corner of the globe has been conquered technologically and can be exploited economically; when any incident you like, in any place you like, at any time you like, becomes accessible as fast as you like; when you can simultaneously "experience" an assassination attempt against a king in France and a symphony concert in Tokyo; when time is nothing but speed, instantaneity, and simultaneity, and time as history has vanished from all Being of all peoples; when a boxer counts as the great man of a people; when the tallies of millions at mass meetings are a triumph; then, yes then, there still looms like a specter over all this uproar the question: what for? — where to? — and what then?” ― Martin Heidegger, Introduction to Metaphysics

“Freedom is only to be found where there is burden to be shouldered. In creative achievements this burden always represents an imperative and a need that weighs heavily upon man’s mood, so that he comes to be in a mood of melancholy. All creative action resides in a mood of melancholy, whether we are clearly aware of the fact or not, whether we speak at length about it or not. All creative action resides in a mood of melancholy, but this is not to say that everyone in a melancholy mood is creative.”

Martin Heidegger

“Why are there beings at all instead of nothing? That is the question. Presumably it is not arbitrary question, "Why are there beings at all instead of nothing"- this is obviously the first of all questions. Of course it is not the first question in the chronological sense [...] And yet, we are each touched once, maybe even every now and then, by the concealed power of this question, without properly grasping what is happening to us. In great despair, for example, when all weight tends to dwindle away from things and the sense of things grows dark, the question looms.”

Martin Heidegger, Being and Time

You can buy some originals of my video artworks on Sedition platform