Marie jo lafontaine biography of barack

For Marie-Jo Lafontaine, the spirit and the body are flowers reaching for the sky, while flowers are pagan nativities, expressions of the great movement of existence. June - September Komm mit in meine Welt Mit allen Wassern gewaschen Serie Mensch gib achtC-Print, 90 x 90 cm. By the time these monitors stop functioning there may be new technology available to display the work similarly to the way it was originally created i.

Since cathode ray tube technology is no longer manufactured, these monitors and their spare parts are already very difficult to find.

Marie jo lafontaine biography of barack: Noted Belgian artist Marie-Jo

Due to high demand, the price of such monitors has risen considerably on the second hand market. This option would be to postpone the obsolescence problem for a certain period of time, but sooner or later the CRT monitors will stop functioning and the issue of updating the display equipment will rise again. In the artist interview Marie-Jo Lafontaine states that she considers the aspect ratio to be an important feature of the artwork.

The prevalent aspect ratio for flatscreen monitors is At the start of the case study the flatscreen aspect ratio were not available in sizes bigger than 21". In order to retain the original aspect ratio of the screen i. However, due to the small size of this monitor i. In order to maintain the aspect ratio of the artwork and the desired size of the image i.

The video image in aspect ratio will be tilted and lifted on the upper part of the screen. The pedestal will cover the lower part of the screen. After testing an Hantarex 42" Lite LED monitor in portrait mode and consulting with Marie-Jo Lafontaine, it was chosen for future presentations of A las cinco de la tarde. Since the screens are standing in a circle, the qualities of the display equipment should allow one to view the image from the side without considerable distortions.

For this purpose, special attention was paid to the criteria of brightness, contrast ratio and viewing angle of the screen Settings of the monitors such as, amongst others, contrast, colours and brightness, were set together with the artist. Despite the fact that the original aspect ratio of can be retained by using screens in portrait mode and the sculptural form of the installation is not changed, it is necessary to consider how to provide information to the visitor about the change in display equipment.

Additionally to the fifteen monitors, two spare monitors of the same model were bought in case one of the active ones fail. The twenty exemplars will be dedicated to the presentation of A las cinco de la tarde and won't be used for any other purpose in the museum. The video of A las cinco de la tarde is played back in accordance with a predefined temporal sequence.

The monitors of the video sculpture are divided into five groups A, B, C, D, Eeach group playing the video with a certain delay compared to the previous group. The monitors of each group are then placed side by side in this order:. The original playback and synchronization system of A las cinco de la tarde consisted of five U-matic players and a custom-made synchronizer using beep tones recorded on each tape to sync-up all the U-matic players and play the five tapes with the desired delay.

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The original playback equipment didn't have any sculptural value as it wasn't visible in the original version of the installation. Thus, the behaviour of the original set-up could be recreated with current technologies without modifying the look or meaning of the work. The new playback system of A Las Cinco de la Tarde is based on five solid state players BrightSign HD with programming and networking capabilities.

The critical aspect was to recreate the same time interval between the different channels as in the original version of the work. No documentation about the synchronization was found in the museum. As such, the new synchronization was based on three different sources:. Because of the bad shape of some of the U-matic tapes and because of some uncertainty as to whether the five tapes were really used in the same presentation of the work, basing the new synchronization on the beep tones seemed imprecise.

Basing it on footage from the first exhibition of the work appeared much more efficient as the new synchronization could be compared to the original one in real time by Maverick ICS. The artist then validated the amount of delay between each group of channels. Technically, the delay between each group of channels was specified and programmed using BrightSign's authoring software BrightAuthor.

The experience of Johan Schelfhout with this set-up of BrightSign players in previous projects produced by Maverick ICS is that it is very reliable in operation. This configuration ensures that, within each group ie. While there can be a drift of one or two frames between two different groups ie. In collaboration with the artist the synchronization will be thoroughly documented.

An accurate and precise documentation of the synchronization is crucial to recreate the work in the future without the functional equipment and the artist's presence. The new set-up only needs to be plugged to the mains in order to start and display the fifteen videos in the expected way. This makes turning on and off the installation a very easy procedure for the staff at S.

The BrightSign players, the splitters and their power supplies are all hidden in one of the pedestals. Cables running from one pedestal to the other are covered and completely invisible. The audio soundtrack of the work is sent to two amplified speakers and a subwoofer placed in the central pedestal using the analogue BNC output of one BrightSign player.

The pedestals from the Initiatief '86 exhibition still retained by S. The look of the original fifteen pedestals was used as a reference in this process and as in previous manifestations of the work, the pedestals are painted in black. The new pedestals allow the fifteen flat screen Hantarex monitors to be placed and fixed in portrait mode in order to hide the lower portion of the screen behind the wooden front panel.

The opening on the front panel has a aspect ratio to allow only the part of the screen where the video is displayed to be visible.

Marie jo lafontaine biography of barack: Marie Jo Lafontaine. He lives and

The media players, the splitter and the speakers are placed in one of the pedestals. Specific attention was put on creating enough ventilation openings to dissipate the heat produced by the monitors and the other electronic equipment. A las cinco de la tarde only remained in the S. The impossibility for S. With the preservation and update of its components and of its documentation, the video installation has now taken on a sort of second life in the museum.

The important part of this restoration process has been the creation of a useful documentation and description of the functioning of the work timing, aspect of the video, size of the space, disposition, etc. For indeed, obsolescence and wear will force the museum to carry out migration to new formats and replacement of the works' technical components in the future.

To postpone this moment as long as possible, proper handling and storage conditions of the new display and playback equipment are crucial. Skip to main content.

Marie jo lafontaine biography of barack: Marie-Jo Lafontaine (b. ), Sky, and

Search form Search. Archives and literature 2. Archives S. Literature The Luminous Image. Amsterdam: Stedelijk Museum, Marie-Jo Lafontaine. Charts on artist trends and performance over time, ready to export. Get your artworks appraised online in 72 hours or less by experienced IFAA accredited professionals. Get the best price for your artwork or collection.

We notify you each time your favorite artists feature in an exhibition, auction or the press. Access detailed sales records for overartists, and more than two decades of past auction results. Belgian DLD Conference. Munich, New York: Prestel. ISBN External links [ edit ]. Authority control databases. Deutsche Biographie. Categories : births Living people 20th-century Belgian women artists 21st-century Belgian women artists Belgian video artists Belgian women sculptors Artists from Antwerp Belgian contemporary artists Academic staff of the Karlsruhe University of Arts and Design Belgian artist stubs.