Power Pixels

Power Pixels 2016

Power Pixels 2016
Solo Show by Miguel Chevalier in collaboration with Galerie Keza

LMS Gallery, Brussels, Belgium

LMS Gallery
Avenue Louise 335
1000 Brussels

Opening on Wensday 20 April 2016, from 6 pm to 10 pm
Exhibition from 21st April to 9th June 2016
Tel +32 2 648 70 11

From: 04/20/2016 To: 06/16/2016


"Power Pixels 2016" is Miguel Chevalier's first personal exhibition at the LMS gallery, produced in collaboration with Galerie Keza (Paris). A pioneer of virtual art, Miguel Chevalier has been using computer science as a means of expression in the field of visual arts since 1978. His work addresses the question of immateriality in art, the logic induced by the computer, such as hybridization, generativity, interactivity. The exhibition presents a series of moving and stationary creations that explore the theme of the city and these urban transformations. The artist is likely to give some ideas for renewing the look on the city and architecture, to reinvent the city of tomorrow and imagine our future world. Sensitive to the evolution of cities' development and their globalization, the works presented in the exhibition are a continuation of previous works by the artist (Aller / Retour - Tokyo / Kyoto, Villa Kujoyama, 1996; Espace Cardin, Paris, 1998; Mémoire et Mutations, La Fabrique, Beirut, 1999; Metapolis, Marco, Monterrey, Mexico City, 2002; Méta-Cités, Fernand Léger Gallery, Ivry-sur-Seine, 2015).

The digital works Light Méta-Cités and Méta-Cités filaire presented on LCD screens, are two different virtual cities that are inspired by cities and urban spaces specific to megacities.
Cerda, Haussmann and Otto Wagner have developed urban models able to restructure the city and reorganize its circulation, but today, traffic flows, real-time exchanges, force to rethink the city in its relation to life and to the territory. Computer tools now make it possible to explore these new digital cities in their future-world.
Planetary cities, without location, without beginning, without end, without center and peripheries, Meta-Cities are two virtual cities made up of wired buildings that parade before our eyes. These Méta-Cities are generated and transformed perpetually through a computer program. These cities generate themselves in a chaos of dynamisms and non-programmable flows. These Méta-Cités are revealing of a generic urban principle that reproduces itself without a state of mind, without reference points, without worrying about singularity. They telescope epochs and project us into cities where nature disappears in favor of unbridled urbanism and where cities eventually join together. They are nothing more than immense entanglements of networks, an architecture of cyberspace, impossible to browse or to know in full.

With regard to these two works on screens, are presented the sculptures Meta-Cities 2 and Archi-Pixels. These two Plexiglas sculptures realized thanks to the technique of laser cutting materialize these imaginary architectures. It emerges an aesthetic of the virtual, mixing matter and Pixels. The artist becomes a sculptor of the virtual.

Through the theme of the city, the exhibition shows us how the artist can transpose a form of reality into a new imaginary, or how to create an imaginary from a reality. These creations generate a sensitive world that opens new horizons and a poetic writing capable of raising emotions. She invites us to read and live the city differently.
Miguel Chevalier seized with the virtual the elusive and translates the new forms of contemporary life and cities today: incessant renewal, speed, transformation. Abandoning all chronological and linear memory, he constructs in images, an urban "constellation of time", between destruction and construction, growth and mutation.

Another thread of the exhibition, the Pixel, elementary point of any digital image, is a recurring motif in the work of the artist and his research on digital art. He is for him the equivalent of the pictorial touch. If Alain Jacquet or Roy Lichtenstein were interested in the enlargement of the point and the offset frame, Miguel Chevalier develops a writing no longer based on the frame of points like these artists, but on the frame of the Pixels. The Pixel, enlarged, set in motion or fixed, becomes autonomous and composes abstract universes imbued with poetry.


The enlargement of the pixels of the works "Infinite Pixels (yellow)" and "Infinite Pixels Round (white)" composes an abstract image set in abyss by the two-way mirror. The viewer plunges and is drawn into this infinite universe of light. The work "Cyberespace Pixels" mixing pixels and mathematical formulas, is the image of Big Data, ie trillions of bytes of data generated every day: messages on social media sites, digital images and videos published online, transactional records of online purchases, GPS signals from mobile phones ... It is the metaphorical image of the quantitative explosion of digital data that forces new ways of storing data, to see and analyze the world. Light, movement, energy: new poetics of matter are elaborated in the continuity of kinetic works. Miguel Chevalier transcribes from this aesthetics, notions of flow and networks. It makes visible the invisible, reveals the essence of things in an ever-changing world.


A film by Claude Mossessian