Sans Titre – “Corde pixels” (Untitled – “Pixel rope”)
Mathieu Mercier, 3rd Prize – 2011 Call for creation
Low warp tapestry, wool, metallized polyester, 3,20 m x 3,20 m.
Leading to a reflection over the definition of the object’s place within the industry and the field of art, Mathieu Mercier’s work, Marcel Duchamp Prize 2003, characterize by a permanent questioning over the symbolic and utilitarian functions of the objects. His productions demonstrate an unabashed behavior towards casual objects in a radical approach liberating the object, unique or serial, of every acquired knowledge.
Mathieu Mercier’s work, primed during the second edition of the Cité’s call for contemporary creation, builds itself around a game of a “two-way trip” between the material and the motive. From far away, the viewer only recognizes a textile motive, from which he does not succeed in determining in which way it is done. As much as one gets closer to the tapestry, the motive gets blurry, there is only a number of pixels to be seen but one succeeds in perceiving the textile material of the work. The tapestry then composes and decomposes itself, following in the realized movement to give “the illusion of a realistic representation remotely to become geometrical from a closer angle”, according to the artist’s words.
For the realization of its work in tapestry, Mathieu Mercier indicated his wish to obtain the flattest tapestry possible, in window dressing, breaking the imitation effect of the represented object, which could have been expected in such a project. Furthermore, the chromatic scale is tightened to seven colors. With this work, Mathieu Mercier is interested in the settlement of mini-tapestries realized from a fragment of the rope. This work of Mathieu Mercier’s is within the scope of a series of works realized by other people (craftsman etc.).
The weaving of this massive rope of 3,20 m x 3,20 m, realized by the weavers Daniel Bayle and Agnès-Marie Durieux for the workshop Pascal Legoueix, has been set free from the loom on the 6th, June 2014.
Mathieu Mercier has graduated from the École Nationale des Beaux-Arts in Bourges and the Institut des Hautes Études en Arts Plastiques in Paris. In 2003, he won the Marcel Duchamp Prize. In 2007, his whole work is exposed at the Modern Art Museum of the Ville de Paris. He is represented by the galleries Mehdi Chouakri (Berlin), Massimo Minini (Brescia, Italy), Lange & Pult (Switzerland) and Ignacio Liprandi (Buenos Aires, Argentina).
Marc Bauer, 2nd Prize – 2011 Call for contemporary creation
Both in their themes as in their aesthetics, Marc Bauer’s drawing are very inspired by the iconography of the Italian and German Renaissance, but also by the Baroque. For Melancholia I, the artist redraws the famous Mélancolie realized by the painter and engraver Albrecht Dürer in 1514, nicknamed in Germany “Bild der Bilder”, “the image of all images”. Dimensions: 3,60 m high x 3 m large.
Melancholia is within the scope of a research led by Marc Bauer since several years, articulated around the idea of deconstructing the drawing as a unique piece. Playing on the scales and the materials, the artist is in research of transposing his drawings in different materials (digital printing, photopolymer, tapestry etc.), the original drawing then finding itself modified to submit to the imperatives of the used technique. In that sense, the transposition into tapestry of Dürer’s Mélancolie redrawn by Marc Bauer aims to enrich the starting drawing and give back a certain sculpture-like aspect as well. For the artist, the tapestry should not only be considered as a media for the image, it should also exist in its own reality.
The tapestry consists in a very interesting medium for the transposition of Marc Bauer’s drawings, which are echoing one of his essential qualities: the narrative. As a starting point, the artist often takes personal memories, archive photographs or family photo albums, as many individual stories which he tries and replace in a larger historical context: “I see my drawings as a sort of archeology, which attempts, sometimes with humor, sometimes with despair, to bring back emotions and events”, he explains.
The tapestry is woven in black and white, with only a few hints of vivid colors. To realize it, a very important work of reflection with the weaver is needed to summarize the effect of destructuring, of dilating wanted by the artist. Thus, the weaver must play with the material in a very innovative way and keeping the classical weaving techniques in the same time, for the flesh, for instance. The translation of the “worn out” idea, altering in a new tapestry in order to bring him, following in Marc Bauer’s words, “a second emotional layer” is a technical challenge for the weaver.
Woven by Patrick Guillot’s workshop in Aubusson, the tapestry has fallen down the loom on the 22nd, November 2013.
Marc Bauer was born in Switzerland in 1975. He lives and works in Berlin. Exhibition auditor for the 30 years of the FRAC Auvergne (Exhibition la Révolte et l’Ennui, 2013), he has also been held back for the “off” of Art Basel 2013 (auditor: Florence Derieux), where he has presented, in the “Parcours” (Journey), the film “The Architect” in collaboration with the rock band Kafka (co-produced by the FRAC Auvergne). He has been exposed in 2013 at the Centre Pompidou in Paris within the scope of the exhibition presenting the works of Guerlain’s donation and participated in the collective exhibition 101 Sacré at the Migros Museum in Zürich.
Cécile Le Talec, First Prize – 2011 Call for contemporary creation
Cécile Le Talec builds her work, very influenced by the anthropology, by giving body to the sounds.
Looking for having happen in a material way, what is, by nature, immaterial, the sound can become in its various installations a mere object or silence. Sound is there, but it can or cannot be. In the same way, the bird producer of sound(s) and inspiration(s) can be present or absent. The breath, plastic art tool of preference for the artist, structures his consideration to give the sound its materiality. The breath is music and the music is architecture. The architecture becomes landscape and Mankind evolves in this landscape.
Woven and sonorous architectural project, Panoramique polyphonique invites the visitor to penetrate the woven space and its blue light to listen to a soundtrack mixing bird’s singing and the whistled language of Gomera’s Island (the silbo), itself being part of UNESCO’s immaterial cultural Heritage of Humanity. The soundtrack gives to the invisible birds a presence, as a reminder that they inhabit in silence the Aubusson tapestries since the 15th Century. The warp threads, hidden, evoke the vocal cords, never visible, but always present in one’s ear. By penetrating the pan shot, Mankind engages in a circular horizon.
In this circular music room built to human scale (2,20 m high and 2,20 m of diameter), the tapestry is both the space and the symbol. All the tapestry’s threads are tucked in to create a “double-face” impression. This architectural device sets a panoramic brain. It translates the music into the image on the scale change, through the replication of an immense detail – the spectrogram of bird’s singing – in a plastic art approach, which gives form to material support. The detail becomes the everything in a melody as universal as the birds’ word.
The weaving of Panoramique polyphonique was realized by the Atelier A2 in Aubusson. It has been inaugurated on the 29th, June 2013 at the Centre Jean Lurçat in Aubusson. The piece was notably exposed at the Zheijang Art Museum upon Hangzhou’s first international Three-year of textile art in China, in 2013.
Represented by the Parisian gallery School Gallery, Cécile Le Talec has been exposed in several regional Founds of contemporary art, but also abroad, in galleries and contemporary art museums (Mexico, Russia, and China).
La Rivière au bord de l’eau (The River by the waterside)
Olivier Nottelet, 3rd Prize – 2010 call for contemporary creation
Olivier Nottellet received the 3rd prize of the 2010 call for projects for La Rivière au bord de l’eau. The model was realized by the artist with Indian ink and blue gouache on paper (60 cm high x 80 cm large). The low-warp weaving (300 cm high x 400 cm large) was realized by Bernard Battu’s workshop in Aubusson.
Olivier Nottellet uses essentially the black and the white to work the visual impact of the form, to set graphic masses which stand out from the void. An atmosphere of discord is created. “It is actually the convolution, sometimes inextricable, which bounds memory, representation, evocation, retinal persistence, that is precisely this, which creates my activity” explains the artist.
His drawings are first and foremost created with Indian ink in classical format notebook, like a raw material thereafter enlarged, reworked. Playing with the lines and forms, Olivier Nottellet creates a fluid black material, some sort of a mass, which floats, rolls or sinks. This fluidity is particularly present in La Rivière au bord de l’eau by the aquatic atmosphere characterizing the model. The technical writing of the weaver allowed him to transcribe this universe into the tapestry: black masses were realized in triple warp thread to obtain a stronger weaving stitch, with an addition of fiberglass to the wool to emboss the design of this material, central in Nottellet’s work. A smart wink to the fantasy elements present in his works, which yet take reality as a starting point.
In his work, the artist breaks free from traditional distinctions: he is always located on the border between figuration and abstraction, between drawing and sculpture, between forms and materials. Playing with the codes of lyrical abstraction of the post-war period, he reuses the formal writings – reminding for example of George Matthieu or Pierre Soulages, abstraction master – and sorts out a figurative writing. The ambiguity between the full and the empty, the style and the content is strengthened by the contrast inducted by the color within this black and white flow.
Leaning on the immersive force of the tapestry medium and the fact that Olivier Nottellet’s work articulates drawings, objects and installations, the Cité internationale asked the artist to think of a specific space, which could welcome and highlight this work.
Benjamin Hochart, 2nd Prize – 2010 Call for contemporary creation
Benjamin Hochart received the second price 2010 of the Cité internationale for his work Blink#0. The wool weaving was realized by the Ateliers Pinton in Felletin. Size of each piece 155 cm x 220 cm.
Blink#0 is a work, entirely adjustable, movable and nomadic. Benjamin Hochart imagined his triptych, in a way it could be hanged to the wall or left on the floor, reminding then the dimensions of the Aubusson tapestry, both monumental and domestic. The pieces of the triptych can be presented four-ways as well, because they are still readable, whatever the reading sense is. They can be exposed simultaneously or separately to better adapt the space and the architecture. Blink#0 is a work skillfully merging weaving art and space art, in coherence with the essence of the Aubusson tapestry. Benjamin Hochart proposes a serial work extremely structured. For the three pieces of Blink#0, the background is the same. It is a question of a drawing realized for the cover of the third number of Roven magazine, a critical periodical on contemporary drawing. A black form can be found as well, which creates the coherence of the series, on the three pieces. The artist builds his drawings on the mind-map scheme, which is a mental drawing aiming to offer both a detailed vision and an overview of a subject. This constantly evolving tool allows ranking the transmitted information, to put it in order. Thus, each form leads to the following, from the center to the outskirt.
He follows also a very codified method, which he developed in 2007. This method, called “dodecaphonic” in reference to Schönberg’s atonal music, allows him to define a “structure, which acts as a music score.” Thus, the drawing is an interpretation, in the musical sense of the term. His creation work is limited because, before beginning to draw, Benjamin Hochart sets the pencils he is about to use in a specific order. He begins his work in the center of the sheet with the first pencil, which he would take back, only after using all the others, one after the other.
Benjamin Hochart is born in 1982. He has graduated the École Nationale des Beaux-Arts in Lyon and teaches at the Superior School of Art in Cherbourg. He is represented by the Martine and Thibault de la Châtre gallery in Paris.
Nicolas Buffe, Grand Prize - 2010 contemporary call for creation.
A first iconic Grand Prize
Grand prize of the 2010 call for project: Peau de licorne, of Nicolas Buffe (born in 1978). Collection Cité internationale de la tapisserie, Aubusson. The model was printed from a digital image (178 cm high x 127 cm large). The tapestry is realized with wool and silk by the Patrick Guillot workshop in Aubusson, the head, hoofs, and tail in Limoges porcelain enameled by the Centre de Recherche sur les Arts du Feu et de la Terre (CRAFT) in Limoges.
An iconoclastic style merging pop culture and scholar culture
His works are composed of decors borrowed from the mannerist ornament, baroque or rococo, blended with characters from comics or animation film.
“Assembling, pasting, mixing characters out of the pop culture and scholar culture, I proceed to the most eloquent possible associations, following my pleasure. This dialogue between past and present, which is deeply written within my work come under the entertainment.”
The artist draws with white chalk on a black background, his compositions invade the wall space. In 2008 at the Tokyo Contemporary Art Museum, he invested entirely an exhibition room with almost 200 m2 of finely drawn surface.
“As a child, in the 1980’s, the cultural atmosphere in which I bathed, was strongly influenced by the Japanese imagery of the mangas and video games on the one hand, and by the trace leaved by American animated cartoons. By using these elements, I am referring to a vocabulary, which has a very widely spread impact, even universal. I am not only into art history, but into animation history as well, so as comics and toys.”
Nicolas Buffe is constantly concerned with building and developing a new manner, which he puts to the test on very different mediums; architecture, objects, toys: “It is even more so exciting that the grotesques are twisting at leisure to adapt to whatever chosen form.”
Peau de licorne: kill a symbol to see it reborn.
“Working in Aubusson, it is putting the finger on the tapestry history in France and being part of this history as well, by kicking it (with all my due respect…) to have it penetrate my present and my pleasure.”
The celebrity of the two tapestry series of the Dame à la licorne (woven in the end of the 15th Century in the Flanders and conserved at the Cluny Museum in Paris) and the Chasse à la licorne (woven in 1500 in the Flanders and conserved at the Metropolitan Museum in New York), is such that the imaginary animal can be considered nowadays as tapestry emblematic.
“I conceived a project representing the unicorn’s corpse. In this somehow iconoclastic gesture of killing the symbol to regenerate it, I hope to print the mark of a new era full of stimulating creations for Aubusson, but for the French tapestry as well.”
In the late Middle Ages, the white unicorn, so as we know it today, appears in the bestiaries as a Christ symbol. Nicolas Buffe, by referring the five wounds of the Christ, integrates to his work the heart (as a target) pierced by the spear which killed the animal, so as Jesus on the cross. Like the series of the Chasse à la licorne tapestries, the dogs are numerous; they are represented here in the middle of a run, by referring the photographs of the bitch Maggie, taken in 1887 by Eadweard Muybridge (1830-1904) within the frame of its work on the photograph deconstruction of the movement.
Nicolas Buffe has graduated the École des Beaux-Arts in Paris. He lives and works in Tokyo.
The project “Aubusson weaves Tolkien” floods the Cité’s creative platform to showcase there cartoons, which will allow realizing 14 weavings after original illustrations of the famous author of Lord of the Rings, J.R.R. Tolkien. During the whole year, the visitors can picture there the “making-of” of this monumental weaved project and discover the Tolkien tapestries, as their weaving goes along, amongst them the first ever Tolkien tapestry: Bilbo comes to the Hut of the Raft-Elves.
The Cité internationale de la tapisserie signed a convention with the Tolkien Estate for the four-years realization in Aubusson of an exclusive series of thirteen tapestries and one rug, weaved after the original graphic work of J.R.R. Tolkien (1892 – 1973).
Such a highlighting project of this major area of the author’s work is unseen before. It is also very innovative in the tapestry world, because it is about realizing a narrative hanging which will place amongst the most famous of the entire world, excerpted from the 20th Century greatest literary saga, while this bound between tapestry and literature seems to have been lost from the late 18th Century onwards.
The first step of this project consists in realizing tapestry cartoons after chosen works in collaboration with the Tolkien family. The adaptation of these 14 watercolors into the realization of monumental tapestries represents a true challenge.
The Cité gave its creative platform a new look, with colors of the Middle Earth: the visitors can discover here the necessary process of creation of those monumental weaved works.
The preparation of the cartoon, which provides to the weaver a precise and detailed guide for the weaving, is indeed an essential work, all the more so complex it is about creating a hanging, that is a group of several tapestries: textile interpretation, choice of the color range, technical writings and notes etc.
The 14 chosen illustrations chosen and destined to be weaved are unveiled to the public there.
The visitors discover notably the work on the color choice with help of gouache samples, realized on the cartoons and the string of corresponding tainted wools, but also the technical advices destined to the weavers in charge of the weavings, thanks to a sample weaved by the referent weaver, representing a particularly technical excerpt of the first tapestry to be realized, Bilbo comes to the Hut of the Raft-Elves, and which joined the exhibit space after its “fall from the loom” on April, 6th 2018. Realized by the Atelier A2 in association with the Atelier Françoise Vernaudon on the massive low-warp loom the Cité provides the weavers, the weaving demanded 5 months of work.
This exhibition space is the occasion, as much for the visitors as for the actors of the tapestry in Aubusson, to wander in a reading room, to sink into the universe of the Middle Earth and discover which passages from The Hobbit, Lord of the Rings or the Silmarillion correspond to the graphic works, which will compose this hanging, thus linking the writer and the artist aspect of J.R.R. Tolkien.
4 tapestries are already on display by the end of the year 2018.
Low season: open every day 9.30-12 a.m ; 2-6 p.m except on Tuesdays (weekly closure).
July & August: open every day from 10 a.m to 6 p.m except on Tuesdays (from 2 to 6 p.m only).
A project of contemporary creation in Aubusson tapestry materializes itself thanks to the involvement of the Cité de la tapisserie on the United Arab Emirates (U.A.E.) market: C'estl’aube, by eL Seed.
Amongst his mission of economic and artistic support to the tapestry field, the Cité internationale engaged a market research in the U.A.E. in 2016, with the hiring of a Business International Volunteer in charge of creating a contact network and determine the important artists, in the eyes of the U.A.E., likely to be weaved.
The Creusois Senator Jean-Jacques Lozach, then President of the Cité internationale, the Cité Director Emmanuel Gérard, so as a Commission of the Creusois Trade and Industry Chamber flew thereafter to the U.A.E. to carry this mission out. Several projects are in the process of being realized, some of them will allow the presence of the Aubusson tapestry in the most prestigious places of the Emirates.
A project caught in particular the attention of the Cité internatinale to integrate the contemporary section of its public collection “Musée de France”. It is about a model proposed by the French-Tunisian artist eL Seed, settled in Dubai. The Cité internationale wished to acquire a model of this artist and have it weaved within the scope of the regional Funding for the creation of contemporary tapestry.
This project, totally representative of the new engaged process to develop tapestries orders from the Emirates, is then initiated by an exemplary work of the bridge creation between the French artistic profession and the contemporary expression of an artist coming from the Muslim world, in the following of the UNESCO labelling.
Moreover, eL Seed’s work is in line with the wall art approach in the perspective of a future implication of this artist in the tapestry.
Wishing his future tapestry to refer strongly to the French tradition, he realized a first model by calligraphing one lucky phrase of Jean Lurçat’s: “It is the dawn of a new world, a world where man would not be a wolf for man” engraved on his academician sword.
Presented to the directors of the Arabic World Institute, this project received support and written encouragements on behalf of Jack Lang, President of the IMA.
The oil on canvas C’est l’aube is destined to become a weaving of 2,50 m x 2,50 m.
The artist came to Aubusson in October for a working and exchange session around the weaved transcript of its work. Accompanied by a cartoon maker and the conservator of the Cité internationale, he determined a very precise bill of specifications containing his intentions for the weaving, the works of its collections being suitable to serve as reference (notably Triangles Blancs from Alexander Calder). A part of the work has been selected to act as a base for a weaving sample, on which the weaving workshops would be judged within the scope of adjudications launched in the beginning of the year. The “fall from the loom” of C’est l’aube, el Seed’s first tapestry and presaging a long-lasting collaboration, is considered for the 2018 autumn. The artist will be in charge of his work’s diffusion to the collectors and museums, in preparation for re-weavings in the limit of 7 still possible copies.
Born in France in 1981, eL Seed settled his creation studio in the U.A.E. eL Seed’s calligraphic compositions call not only for the words and their signification, but for their movement as well, which brings the spectator into a surrealist universe. eL Seed comes up, through his work, to subjects, which seem contradictory, but which reflect the complex reality of man and the world, in which we leave.
eL Seed established his work in the public space, galleries and institutions all around the world. From New York streets to Rio de Janeiro favelas, from Cap slums to Paris buildings, his contemporary approach tends to bring peoples, cultures and generations together.
In 2017, eL Seed won the UNESCO Sharjah Price for Arabic culture. He is named “Global Thinker” in 2016 by the periodical Foreign Policy for its “Perception” project in the Ragman neighbor in Cairo. In 2013, he collaborates with Louis Vuitton by decorating the famous “Foulard d’artiste” of his calligraphies.
Discover the other works of eL Seed on its website
The Cité as produced the only commemorative tapestry for the Centenary of the First World War. A project of massive tapestry in partnership with the National Monument of Hartmannswillerkopf (Haut-Rhin) Comity, which has “fallen from the loom” in June 2017 after almost a year of weaving.
Thanks to the patronage of the Groupe Würth, the Cité international integrated in its collections a sketch of the German painter Thomas Bayrle (born in 1937), a Pop Art pioneer. The artwork has been unveiled on Thursday, 24th March 2016 in Aubusson, in the presence of M. Jean-Marc Todeschini, secretary of State responsible for the Veterans and the Memory.
This poignant Pieta, consisting in a multitude of skulls, will give birth to an immense tapestry of more than 20 m2, named Pietà for the World War I. It will constitute one of the iconic works of the centenary of the Great War, destined to be displayed during the National Monument of Hartmannswillerkopf opening ceremony. This work fits in the labeled project by the “Mission du Centenaire de la Première Guerre mondiale”, an public interest group created in 2012.
The weaving of this major piece has been entrusted the “Atelier Patrick Guillot”. It began in June 2016 in a workshop dedicated to special orders within the Cité internationale and the work has “fallen from the loom” on June, 9th 2017. The 21 m2 tapestry develops different techniques and materials to create the optical illusion and the embossed design of the Virgin Mary holding the Christ: cotton, wool, silk, viscose, by way of textured polyester fibers, worn out by the external tapestry prototype, to create the white colored eyes of the Pieta.
A French-German project for a common duty of remembrance
The Centenary tapestry project has been progressively built by a process of partnership between the Monument of Hartmannswillerkopf Comity and the Cité internationale.
The inherent qualities of the tapestry medium – nomadism, immersive and narrative universe, long-lasting communicative media – answers the will the create a peripatetic work. Indeed, this one will be displayed in the future French-German history museum in the Hartmannswillerkopf, Alsace, from its inauguration in Aubusson, its place of production. It will be exposed in different sites of WWI German and French front or in institutions, dedicated to this same theme.
This project received the support of the “Mission du centenaire de la Première Guerre mondiale”, the Groupe Würth, La France mutualiste and the national Federation André Maginot.
Thomas Bayrle was born in 1937 in Berlin. He lives and works in Frankfurt. His works have integrated, amongst others, the Modern Art Museum of Frankfurt, the Art Museum of Stuttgart, the MOCA of Los Angeles, the FNAC in Puteaux and the FRAC in the Limousin. Its pictural productions are part of the Pop Art. They consist in the repetition of a motive variable in size, reflected to represent itself, playing then on the optical sensations of the spectators.
The artist and director Clément Cogitore played along the adaptation of a work into an Aubusson tapestry, thanks to the patronage of the corporate foundation AG2R La Mondiale for artistic vitality.
Within the scope of the regional Funding for contemporary tapestries creation, and in parallel with calls for projects launched every year since 2010, the Cité internationale works for the Aubusson tapestries creation and thus, supporting its economical field through specific projects, realized in partnership with artists, architects, galleries, studios or other institutions.
The Cité internationale works currently with the artist and director Clément Cogitore in the aim to create a tapestry, unavoidably contemporary, adapted from a picture created from several screenshots of the 2011 actuality, during the Egyptian revolutions: Ghost_Horseman_of_the_Apocalypse_in_Cairo_Egypt.jpg. This collaboration is the result of the meeting, a few years ago, of the headmaster of the Cité internationale Emmanuel Gérard and Clément Cogitore, by the intermediary of Jérémy Planchon and Camille de Bayser.
The acquisition of this sketch, which integrates the “Musée de France” collections of the Cité internationale, is supported by the corporate foundation AG2R La Mondiale for its artistic vitality. Created in April 2007, this corporate foundation dedicated to the cultural patronage is engaged in favor of the territories, the preservation of the regional cultural heritage, material and immaterial, the valorization of the contemporary creation, so as the promotion of the artistic professions.
Clément Cogitore is interested in the tradition of the battle representation in the artistic field, for its cinegenic aspects and its quality in producing stories, fiction and novels, by relying on Paolo Uccello’s iconography, with his Battle of San Romano (around 1456).
For his tapestry project, Clément Cogitore draws his inspiration from the actuality pictures of the 2011 riots on Tahrir’s place in Egypt. Among the riots’ plans, a sequence was particularly reused worldwide because a luminous halo (a flare) crossed through the crowd and evoking the silhouette of a man on a horse. Netizens all over the world then identified it with the one of the fourth rider of the Apocalypse, making of those images a new story.
Working from very enlarged screenshots, Clément Cogitore have an interest in the relationship between the digital picture and the tapestry and their common relationship with the pixel. The discovery of the know-how is then considered as a preparation time essential to the model creation.
“This project falls in with my work about very little defined images, circulating in a network sparking off stories, beliefs or superstitionby the viewer in his absence of details. By the lack of informations it communicates, the image becomes then a projection media of the spectator’s imagination, opened to every possibilities”, Clément Cogitore
The technical adaptation
What is technically at stake is the interpretation with the cartoon painter and the weaver of a very little defined digital picture, so compressed that the details are missing, and its translation into a rather wide weaving, giving a strong presence to the textile, in important dimensions: 5X2 meters. To determine the choice of color and material and define the “grain” of the future tapestry (the weaving’s size), the artist, accompanied by a technical comity constituted by the Cité internationale, chose to have “tirelles” realized, that is small samples, weaved only on a few centimeters wide. The weaving comity works to define a precise bill of specifications for the weaving of the work, for the launch of adjudications by the weaving workshops of the Aubusson-Felletin region. The tapestry will join the contemporary Content of the Cité internationale.
Born in 1983 in Colmar, Clément Cogitore lives and works in Paris. He is represented by the Eva Hober Gallery (Paris) and the Reinhard Hauff Gallery (Stuttgart).
After studying at the Superior School for Decorative Arts in Strasbourg and at Fresnoy-National Studio of Contemporary Arts, Clément Cogitore develops an experience in-between the cinema and the contemporary arts. Merging films, video, installations and photographs, his work questions the condition of cohabitation between humans and their images. It is most of the time question of rituals, collective remembrance, representation of the sacred so as a certain idea of the permeability of the worlds.
Clément Cogitore was awarded in 2011 the Great price of the Montrouge Salon, then nominated for the year 2012 as pensionary of the Académie de France in Rome-Villa Médicis. In 2015, his first feature film Ni le ciel, Ni la terre was awarded by the Prix de la Fondation Gan at the Cannes Festival – Critique’s week. It was nominated for the 2016 Césars in the First Film category. It received in 2016 the Prix Sciences Po for contemporary art, so as the Prix de la Fondation Ricard: two of its works were then selected to integrate the Centre Pompidou’s collection, national Museum of modern art, and are currently on display. His work was exposed during the summer of 2016 at the Palais de Tokyo. First laureate of the Prix le BAL for Young Creation with the ADAGP, he presents his project Braguino ou La communauté impossible at the BAL (“independent platform of exhibition, edition, reflexion and education, dedicated to the contemporary image under all of its forms”) until the 24th, December 2017. A project which received a special distinction from the Grand Prix de la competition internationale du FIDMarseille last July. Clément Cogitore is competing for the Prix Marcel Duchamp 2018 beside the artists Mohammed Bourouissa, Thu Van Tran and Marie Voignier.
 A flare is an optical aberration due to an interfering light spread in the camera lens.