light magazine 3 april 2008 published par blachere illumination s.a.s head office and workshops: Blachere Illumination s.a.s Zone Industrielle 84400 Apt - France tél.: +33 (0) 490 742 095 fax.: +33 (0) 490 741 463 mail: firstname.lastname@example.org web: www.blachere-illumination.com
only in paris page 2 Champs Elysées
c’e’ una volta celeste page 8 Milan
big page 12 Manchester
a frenchman in korea page 16 Séoul
© Blachere Illumination s.a.s
an evening in ste maxime page 20
cover illustration: light magazine 3 - J.P. - O.P © blachere design apt
photographs: Jérémie Pitot - Véro Martin - Lionel Moulet Odile Pascal - Giulio Boem
rotenturmstrasse page 24 Vienna
electro luminescent interview page 26 Menton
© fondation jean paul blachere publication: blachere illumination layout: blachere design apt printed by: imprimerie de l’hexagone aix
solar motifs page 29 Maubeuge
esprit & decoration page 30 Decoration
No unauthoried copying. This document may not be copied or reproduced by any means without the written authorisation of blachere illumination s.a.s. All our designs and graphics are protected by INPI and WIPO registration and international industrial property laws. Respect the environment. Do not discard.
blachere retail page 34 Mass Retail Sector
art & illumination page 42 Art & Light
reinvent/explore page 44 Creation
the jean-paul blachere foundation page 48 Contemporary Art
get inspired at www.blachere-illumination.com
only in paris “A challenge for the Champs-Elysées, a challenge for Blachère and, above all, a technological challenge” Jean-Paul Blachère
Blachère Illumination was behind the design and installation of the 2007 Champs-Elysées illuminations. At the centre of the plans, a common desire to control energy use brought together all the partners in an innovative project; a new and exclusive concept for tree decorations developed specifically for the occasion by the Development and Design unit of Blachère Illumination.
Elusia, a celestial motif echoing the soft light of the stars, will cloak the most beautiful avenue in a covering of sparkling light: THE Parisian event of this winter of 2007. Current environmental considerations must be considered alongside the desire for innovative design. The Champs-Elysées needs a new type of decoration; new in both aesthetic and technological terms. Blachère Illumination is offering a new and appropriate decoration without abandoning its popular and acclaimed traditional image and roots.
It is a taste of “the mysterious light which falls from the stars”: a celestial theme has inspired and shaped this project, namely the light of the stars; their permanence; their movement in the void. We chose innovative products, specially designed and developed for this project, and a colour scheme which highlighted the trees with elegance and style.
“Tonight, the capital is alight… using low energy light bulbs for the first time, we are reducing the power bill by 70%” Jean-Noël Reinhardt, president of the Champs-Elysées Committee - Le Parisien light magazine 2008 - page 3
Thanks to our design and computer graphics departments, the Champs-ElysĂŠes was decorated both virtually and physically. Real decorative tools, these simulations were a definite "plus" for the project development.
The SnowfallÂŽ is a string of lights: 10 transparent polycarbonate tubes with an integrated sparkling LED circuit linked by a two-metre long connector.
The LED The secrets of an ecological revolution We asked our “in-house” engineers Pierre Aubert and Gilles Noujarede to give us some clear answers to the most common questions about LEDs. Christine Allain-Launay: What is an LED? Gilles Noujarede: LED is the abbreviation for “light-emitting diode”. To simplify, the LED is electronic light. It is a semi-conductor and not a bulb. The light is therefore not produced by heating a filament. When moving from one semi-conductor to another, the current creates light particles called photons.
P.A: Unfortunately not. Blachère’s position on this issue has always been exemplary. We only buy the official Japanese Nichia. Buying unofficial LEDs is unfair on the consumer and prevents the technology from advancing. It is unethical and non-environmentally friendly. C.A.L: What are the advantages of the Blachère LED?
G.N: Yes, all variations are possible. We currently have 10 colours in our standard range.
G.N: - Careful selection made in the factory in order to ensure the same colour of white across the board. - The intensity of light increased by the conical form for which we registered the patent. - Its long useful life, also thanks to its excellent quality. - The quality of the colours – thanks to the official LED and the good definition of the light temperature (no grey LEDs).
C.A.L: Is the LED more reliable than incandescent lights?
C.A.L: In what way is the LED an ecological product?
P.A: Yes, for it is a single-piece electronic component, whereas a filament bulb contains loose and therefore more fragile parts.
P.A: Essentially in terms of its energy consumption, which is 10 times less than that of a filament bulb for the same level of illumination. Its reliability over time means it wears well: it needs to be renewed 10 times less frequently than filament bulbs.
C.A.L: What is a photon? Pierre Aubert: A photon is an elementary light particle. C.A.L: Are there other colours of LED?
C.A.L: When was this system discovered? G.N: 1907 was the year light was produced by a semi-conductor for the first time. C.A.L: Why are the red and green less expensive than the blue and the white LEDs? P.A: The use of red and green started in 1962. Today, these two colours are in the public domain and therefore inexpensive – you just have to look at the widespread use of these colours in indicator lights for remote controls and calculators. Since 1992, we have been using white and blue LED covered by a Japanese patent.
CAL: Why should you spend more and buy an official LED? G.N: It’s a question of ethics. You cannot advocate sustainable development, research, a certain notion of citizenship, by buying counterfeit products. The dynamism of companies such as Blachère illumination should be encouraged; these companies are making the LED evolve to meet environmental needs and increase products’ energy efficiency.
C.A.L: What is a warm white LED? G.N: It is a cool white LED covered in yellow fluorescent powder. C.A.L: Do all white LEDs come from suppliers who hold the patent?
light magazine 2008 - page 5
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light magazine 2008 - page 7
câ€™eâ€™ una volta
celeste page 8
Crédit photo © Giulio Boem
“Beneath a sky of blue stars and classical music, the Galleria Vittorio Emmanuele is transformed into a veritable salon.” Maurizio Cadeo (Assessore all' Arredo urbano) Il Giornale - Milan light magazine 2008 - page 9
â€œThe starry sky inside the Galleria Vittorio Emmanuele is a feast for sore eyes. The blue luminescent LEDs which cover its dome lend it elegance and grace.â€? La Republica - Milan page 10
Photograph ÂŠ Giulio Boem
light magazine 2008 - page 11
Big “These are the first pictures of this new Father Christmas, sparkling from his 100 000 LEDs. 89 parts were assembled to create this 10 metre high giant. It’s exciting, and great fun. This monument of light will be the pièce de résistance of the Christmas celebrations.”
Pat Karney Town's hall city centre spokesman - Manchester
light magazine 2008 - page 13
The city already had a large inflatable Father Christmas and wanted to breathe fresh life into the decoration idea with an original concept. The extreme lateness of the invitation to tender meant that we were unable to respond in 2006, but it was promised that the installation would be complete for 2007. Paul Goddard, in charge of business in the north of England, provided information on the region’s popular imagery surrounding Santa Claus. Our designers took inspiration from this and dreamt up a Father Christmas in the form of a child’s toy… a 10 metre high “Mr Wobbly Man”. The sketches wowed the decisionmakers, we won the tender and moved to the project study phase.
The process was complex and carried out in two stages. The first stage consisted of the structural design and the dimensional study. The Father Christmas was to be installed 10 metres up in the outer archway of the church. The structure was thus lightened over the course of the study phase; mechanical resistance and storm resistance were approached differently as the geographical site of the installation played an extremely important role. During this period, our département cablâge [wiring department] undertook the electrics survey. The second stage was technical approval by an external supervisory office. This independent body studied the structural elements to ensure they adhered to the rules of design for aluminium alloys and European standards. It drew up a statement, a calculation note certifying the mechanical strength and the stability of the three-dimensional structure. This document was then submitted to our customer.
The enormous three-dimensional decoration is erected in our workshop in Apt. 700 hours of ironworking for the internal aluminium structure, 800 hours for the covering, also aluminium, and 500 hoursâ€™ work on wiring are needed. The Father Christmas is to be assembled and disassembled at each stage of its design, for the assembly of the structure, during manufacture of the cover and lastly for the final test once the synthetic fabric and strings of lights have been put in place.
Four full lorries take it to Manchester, where our local team and the installation support team from BlachĂ¨re illumination France await. The body of the Father Christmas is assembled on the ground, a crane lifts him up in his entirety and places him 10 metres up on the platform. The entire structure is then topped of with the head. Three daysâ€™ installation time is needed; the challenge has been successfully met.
a frenchman in korea
In 2007, Blachère illumination’s savoir faire reaches the Antipodes: the “Land of the Morning Calm”, Korea, becomes the latest provide DMX animation solutions to shine out their full potential.
light magazine 2008 - page 17
4 DMX controllers bring together the animation system (48 lines per box), the real brains of the façade decoration. Each of the 192 animation connections feeds 4 strings of Blachère Sparklight® lights. This means 768 strings i.e. 153 600 lights, bringing light and life to the Shinsegae shopping centre in the very heart of Seoul.
Each ray of pure white LED light, a branch of one of the 192 lines of the animation system, can be controlled separately. The various possible lighting combinations offer creative freedom and a fluidity of movement.
In France, the DMX animateurs worked their magic on the façade of the St Cyprian town hall. The Blachère products used by the lighting designer Jérôme Roy in a brilliant modern set sparkled in harmony, creating a show to remember.
light magazine 2008 - page 19
an evening in sainte maxime
Ste Maxime owes its “lovely 20m Christmas tree…” to Blachère, leader in the world of lighting, which produced this unique and exclusive model especially for the town...We thought that original, high quality illumination would add to the municipality's attractiveness in terms of business and tourism: just think how many families will choose a day trip to Ste Maxime once they know a magnificent show of lights awaits them there. Cost is, of course, an important factor, but when you look at the work, the quality of the structure and its visual impact, everything is relative.
Damien Spuri-Ragni Head of Lighting and Events at the SMACT (Sainte Maxime lighting, business and tourism) Source : Var Matin
light magazine 2008 - page 21
Light or planet, no need to choose. “A place for dreams but dreams in their place” said Desnos, to whom Aragon dedicated one of his poems. The topic back then may not have been the brilliant sparkle of the Christmas decorations – the stuff dreams are made of, and not only for children – but it still holds true: you must recognise the place of dreams in your life. Pierre Bastien - La marseillaise page 22
light magazine 2008 - page 23
rotenturmstrasse ethereal decoration
“ ” “Magnificent Christmas baubles with over 20 000 spots of light decorate the Rotenturmstrasse. Drawing inspiration from name of the street, the lighting designer came up with an exclusive project reminiscent of our large red and gold banners.” Österreich - Vienne
light magazine 2008 - page 25 11
electro luminescent interview In partnership with Blachère illumination, the town of Menton was one of the pioneers in the decorative use of LEDs. For us, the prospect of working with the town on the technical aspect of this revolution in festive decorations was a most intriguing one. It’s now time to hand over to Christophe Ghiena, head of the municipal technical centre, a forward-looking customer who wishes to pursue this new Christmas lighting concept. Christine Allain-Launay: The Menton project is an ambitious one, as it involves modifying the existing structures. What gave you the idea of transforming street lights into Christmas trees? Christophe Ghiena: The “Christmas lights” in Menton have been the focus of much attention for nearly ten years. As local councillors, we wanted to turn this time into a magic moment for the people of Menton, and an additional tourist attraction, by installing original and beautiful decorations in almost every street in town. When we were renewing the decorations in 2005, I was given the task of coming up with a new concept to display the pièce de résistance of our lighting in all its glory, an illuminated platform of over 14000m² above the 2.2 kilometre long seaside promenade. I had the idea of creating a magic forest, using the 63 street lights as brackets for both supporting and providing energy for the trees. C.A.L.: Is this idea of getting rid of overhead wires going to spread to other fields of lighting? C.G.: Yes, each time we reassess a public space, we integrate, quite systematically,
light sockets into the street lights. This allows us to supply power to the motifs very easily and dispense with the entirety of the unsightly power cables. We are using this opportunity to create a separate supply network from that for pubic lighting so that we can control and separate the light-up times in the interests of economy.
tional government environmental initiative/working group). That is when, on the basis of the choices we had made, we were able to give details of the type of material used in the municipality and demonstrate to our fellow citizens that we were following the energy consumption control guidelines of the “grenelle” to the letter.
C.A.L.: You were one of the first local decision-makers to consider using LEDs. Why?
C.A.L.: Would you agree that the robustness of products is often a key argument?
C.G.: There were three main reasons. The first was their unique light – a superb pure blue-white. The second concerned the issue of maintenance and strength of the product and the third, its low energy consumption.
C.G.: When you have nearly 500 motifs and decorations installed in the municipality, you are constantly worrying about breakdown or burnt out bulbs that need to be fixed or replaced on a daily basis; this requires the deployment of a great deal of human and material resources. The long useful life and robustness of the LED clearly guarantee that the decorations will last, and thus considerably reduce the amount of maintenance required.
C.A.L.: Did you immediately consider the “eco” aspect of the LED? C.G.: To be honest, not right away. Our initial reasons for choosing the product were aesthetics, originality and the control of energy consumption costs. We really recognised the “eco” aspect of the LED when the concerns of those involved in energy consumption matters were heightened by the widespread media coverage of the “grenelle de l’environnement” (French na-
C.A.L.: At the end of the day, is the extra cost of the LED, around 0.51 centimes per inhabitant at sale price, really acceptable? C.G.: Each municipality takes its own approach depending on its size, its financial light magazine 2008 - page 27
“The long useful life and robustness of the LED clearly guarantee the decorations will last and thus considerably reduce the amount of maintenance required.”
means and public will on the subject of Christmas lights, something which can vary. You have to weigh up the extra cost, the savings in energy and maintenance which this material brings to avoid basing such an analysis on purely financial factors. As regards environmental concerns, I believe that a municipality should be wholly committed to reducing energy consumption. The LED offers a good way of meeting this objective and without putting excessive strain on local finances. C.A.L.: You have chosen to buy the official LED. Did you feel that was important? C.G.: The choice of the “LED” was, as I mentioned already, based on its light and on the product’s robustness. The guarantee of having a product which meets these two quality criteria does, unarguably, mean the purchase of the official LED. The manufacture of this type of material is carried out almost exclusively in Asia, where forgery forms a parallel economy - unfortunately to the detriment of the quality of the product supplied and to customer expectations. C.A.L.: Have you extended the period your page 28
illuminations will be lit? C.G.: No; however, following the concerns raised by the “grenelle de l’environnemnt” we were able to announce that we were largely using LED designs for our lights. This meant that we were allowed to maintain our lightup period, unlike other municipalities which had not taken this step and had no alternative but to postpone switching on their lights in order to save on energy. C.A.L.: LED technology opens the door to the use of renewable energy for lighting – wind power, solar… Are you ready to take a further, decisive step in this direction? C.G.: Yes, the next stage is to select a pilot site to set up projects which would allow us to power the decorations using photovoltaic cells. We have the good fortune to be in a municipality where the sun shines for 300 days each year, which costs us a great deal in some areas. It is time we get some advantage from it, by using the sun to lower our electricity bill and reducing our energy consumption.
Solar motifs The town of Maubeuge has already chosen to light its streets using LED technology for the New Year celebrations. The main purpose of the technical innovation was to save energy. This year, a solar illuminated display has been installed and renewable energy has thus made its début appearance on the festive illumination scene. We spoke to Didier Colinet, chief municipal engineer, about the new installations. Christine Allain-Launay: Today, when a municipality raises the subject of Christmas lights, is the ecological aspect part of negotiations? Didier Colinet: It is one the priorities. Over the course of the past 5 years, we have progressively opted for LED technology, a method which consumes far less energy and is significantly brighter. This has allowed us to cut our electricity bill to a 20th of what it was. C.A.L: How did you argue the case for this idea in your town? D.C: Before the LED, our motifs used filament lights and required significant amounts of electrical power. Moreover, the light-up period (1 month) required regular maintenance to replace burnt-out bulbs. We always installed clocks at each branch in order to reduce the time they were lit (6hours/day). Now, everything is on for the same time as the public lighting (15 hours/day) and still consumes less energy. We realised that vandalism had significantly decreased, for damaging live strings of lights is a rather more delicate operation. Now, maintenance purely involves hanging up the lights again on windy days. C.A.L: The company has now suggested that you try out solar decorations. Isn’t the idea of harnessing renewable energy for town lighting simply a fantastic dream?
D.C: We have tested the first solar motifs. This fits perfectly with the municipality’s environmental approach, the aim being maximum reduction of our energy consumption without sacrificing the quality of light. C.A.L: Do you consider the Blachère illumination solar range to be reasonably broad? D.C: At the moment, the range is relatively limited. We are waiting to see the next generation. C.A.L: What was your initial reaction to the product? D.C: The light is fine. Bi-energy meant that we have been able to ensure continuous supply. C.A.L: What immediate improvements should be made to the products that you have tested? D.C: The energy storage capacity should be improved, a metre should be installed so that we can calculate exactly what percentage of solar energy is being used and how much is coming from the grid; the range of products should be extended – it is currently too limited.
D.C: It is indeed a plus, although there are few areas in our municipality which are not connected. C.A.L: Did you know that we can extend the solar panels for the decorations by around ten metres and that they can thus be installed on roofs? D.C: Improvements in the dimensions of solar panels will allow them to be better integrated into the landscape. C.A.L: Have you benefited from this “eco” image as a boost to public relations? D.C: Several newspaper articles have been published on such energy savings and these have supported and reinforced our choices. The quality of light of this new technology has also been a major factor in the success of the campaign. Our success in improving the quality of light whilst achieving considerable reductions in the energy bill ended up by convincing the public that this policy is a sensible one.
C.A.L: It is becoming possible to light up new areas with the network. What do you think of this new opportunity?
light magazine 2008 - page 29
esprit & dĂŠcoration Decorative lighting for shopping centres is always a creative challenge. Shopkeepers and passers-by like ethereal decorsâ€Ś and BlachĂ¨re illumination creates magical Christmases just for them. light magazine 2008 - page 31
Bruno Dolis, interior designer of many years’ standing, answers our questions. C. Blachère: : Each centre has its own identity. Is it important to absorb this before starting each project? Bruno Dolis: Immersing yourself in the identity of the centre, its architecture and its values in terms of communications and customer base: these are the most important aspects in the creation of our décor. The budget announced after the study stage also plays a significant role; we design in accordance with all these parameters.
B.D: It is true that the concourses, galleries and arcades are often extremely well lit. Nevertheless, you cannot do without the light which is the basic element of Christmas decorations. Indeed, it is extremely important to introduce elements of decoration to fill up these spaces; the light adds that magical touch. C.B: Should Interior and Exterior be in decorative harmony? B.D: The interior and the exterior must be in complete harmony; the customer must be immersed in the theme as soon as he approaches the outside of the centre.
C.B: At Christmas, customers want to be surprised. How is the theme chosen? Do you discuss it in the very first meeting?
C.B: What are the trends for the coming winter in terms of colours, materials and shapes?
B.D: The theme is very often the result of centre identity + architecture + values promoted. We suggest the theme to the centre. It is the thread which runs through our project and brings it together.
B.D: The trend is towards coloured décor and lighting in the line with the increasingly prominent role colours are taking in the centres; there is also a move in the direction of natural and ecological themes which are very much in evidence in new business and commercial architecture.
C.B: The concourses, arcades and galleries are often already lit, so what is the role of the illuminations?
C.B: Designing the décor for a centre also means working in an environment with ex-
tremely tight security restrictions. What main areas do you consider? B.D: Each person involved in ERP must face up to these restrictions. They are clearly set out; sometimes they limit creativity but they must nevertheless be adhered to: the consequences of not doing so can be grave in the extreme. C.B: Does the advent of the LED constitute a lighting revolution? B.D: Absolutely. The fact that it is 3 times more brilliant allows us to overcome light restrictions for permanent gallery lighting and to increase yet further the magical aspect of our decors. It is also a real revolution as regards maintenance, for we experience very few breakdowns. C.B: In this context, what is the role of ecology? B.D: As far as ecology is concerned, we have a duty to offer our customers products which consume 3 to 4 times less energy than incandescent lighting.
light magazine 2008 - page 33
Towering a full 25m high, this fir of spheres was a bespoke creation designed to suit the immensity of its surroundings.
blachere retail A new year of creation and surprises in our retail range… Our designers are revelling in the trends – and introducing their own inimitable twist. Sophistication and sensitivity are the inspiration behind the “joyaux” range: strings of lights are transformed, decorating the house with pearls and diamonds. Origami and plexiglass cutting techniques create a more “designer“ form, sending out pure crystal cold light for the most modern of interiors. Children will also enjoy letting their imaginations run riot with the range of new motifs to light up their universe – and already, Christmas has entered everyone’s heart. Just wait and see – you too will be won over.
“The in house designers’ creations are inspired by current trends with a sophisticated chic range, another completely “eco-nature” range and an infinite variety of whites, and finally a range all in amber and purple.” Carina Istre for La Provence
light magazine 2008 - page 35
Stalactite Pendant Garland.
Classical Frosted Stalactite Pendant Garland.
Pearl Chandelier Garland.
Frosted Pearl Flower Bunches.
1. Clear Crystal Snowflake LED Garland. 2. LED Jewel Chandelier. 3. Flicker Jewel Aquamarine. 4. Cone Garland with Clear Pearls. 5. Black Crystal Snowflake LED Garland. light magazine 2008 - page 37
light magazine 2008 - page 39
Dog and Kennel Garland.
Guirlande dĂŠco papier - coccinelles.
paper Clown Kidsâ€™ Garland.
Paper Decoration Garland - Flowers.
Paper Ball Micro-bulb Garland.
Paper Decoration Garland - Butterflies
Coloured Plastic Flower Garland.
Blue Petal Garland.
Red Petal Garland.
Coloured Plastic Square Garland.
Purple Petal Garland.
paper light magazine 2008 - page 41
"Aimé M’Pané won the Foundation’s prize at the Dak’art Bienniale 2006. The visual artist, born in Kinshasa (Congo) and trained in Brussels, is one of the most talented players on the current contemporary art scene. His project “Ota Benga” speaks out for the pygmies expelled from their land, unlike the gorillas protected by a public awareness campaign. The exhibition of light shows the gorillas, a traditional hut, and a video, for this work is part of the new programme “art and enterprise” aimed at creating new links between art and the science of light.” Pierre Jaccaud Artistic Director Fondation Jean-Paul Blachère
art & illumination Boosted by the experience of its Foundation, the company has developed its own artists’ residence programmes. It invites artists and designers to explore the material light, taking an innovative approach to both its design and the finished product. The project can be part of the urban landscape; the artistic challenge and focus is as much on the partial use of techniques and materials known to the company as on possible future approaches. The company always expects exceptional and exclusive creations. Place: Fondation Jean-Paul Blachère - ZI les bourguignons - 84400 Apt - France Disciplines: Video, photo, sculpture, painting-installation, design, architecture, urbanism… For further information: christine@blachère-illumination.com or email@example.com
light magazine 2008 - page 43
From the three-dimensional virtual Christmas tree for the project “The synonyms for the verb undo” to real trees to add light and life to your urban spaces… Tomorrow is taking shape today…
Continuing to offer magical subjects, daring to be grand yet unpretentious, playing on the monumental for unique locations… this is what we work to “reinvent” and “explore” each and every day. We are fascinated by forms, materials, effects and above all the functionality of each of the lamps and lights we design. The first black and brilliant white designs decked in thousands of tiny pieces of gems have already left our production sites. You can see them tomorrow when we take part in the most important trade fairs and exhibitions. The more stylised range which we have presented here is a forerunner for the 2009 collection.
light magazine 2008 - page 45
These trees symbolise the renaissance of the spirit of the 50s. A joyful design and a sense of lightness have inspired this range of 6 productsâ€Ś Coming soon.
Design for allâ€Ś.by opening our doors to artists, designers and video artists, we hope to offer our customers projects which are subtle, surprising and moving.
light magazine 2008 - page 47
the jean-paul blachere foundation Set up in 2004, this foundation for the promotion of contemporary African art is one of the few of its kind in France. The idea behind it came from the CEO of the Jean-Paul Blachère company, who was great art-lover. He had fallen in love with Africa and wanted to share his passion through this humanist project. The foundation is thus the expression and crystallisation of a stage in his life and that of his company, offering him a purpose in work and his work a place in history, whilst at the same time giving it a “citizenship” dimension which transcends all these boundaries. The Jean-Paul Blachère Foundation has an art centre with exhibition space, a studio workshop for the artists in residence, a documentation centre, a gallery and a shop. Since its establishment, the foundation has concentrated its efforts on promoting artists from Africa by helping them access the art markets in western countries. This aim is set out in the company’s constitutional charter, drawn up at the end of 2003: “The purpose is neither to donate nor to provide help in design and production, but to promote fair access to all markets for African works of art.”
7th February – 31st May
Photographic exhibition “voiles et dévoilements” by Angèle Etoundi Essamba
26th mars – 25th avril
Artist residential programme art & enterprise (Aimé Mpane – DRC)
Release and signature of Angéle Etoundi Essamba’s catalogue
9th mai – 15th mai
Jean-Paul Blachère Foundation Prize – Dakar Biennale Critical review at the Gorée Institute
29th mai – 15th juin
Artist residential programme Gabriel Kemzo Malou (pupil of Moustapha Dimé, Senegal)
10th juin – 12th octobre
Monographic Exhibition, Moustapha Dimé (Senegalese sculptor, 1952 – 1998)
16th juin – 11th juillet
Second artist residential programme art & enterprise
23rd octobre – 30th octobre Artist residential programme for photographic and video artists 28th octobre Bamako Exhibition private viewing 28th octobre – 18th janvier 09 Bamako Exhibition (photographs et videos) Artists invited : Adama Bamba (Mali), Sammy Baloji (DRC) Jodi Bieber (South Africa) Ghislain El Magambo Gulda (DRC) Tsvangirayi Mukwazhi (Zimbabwe) Amal Kenawy (Egypt) and the group of students of the ESN (Paris) and CAMM (Bamako). 6th & 7th décembre
Open-doors week-end - Boutik