[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-moroso-tokyo-palace":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":352},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":347,"matched_pages":348,"match_count":349,"two_pages":350,"show_text":351},18332,"Tokyo Palace","moroso-tokyo-palace","\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ffe\u002Fa40a7c6eaeba567fc114380339dee9-28928b1526.pdf","Moroso",1342,"moroso","9.0 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89,93,97,101,105,109,113,117,121,125,129,133,137,141,145,149,153,157,161,165,169,173,177,181,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,253,257,261,265,269,273,277,281,285,289,293,297,301,305,309,313,317,321,325,329,333,337,341,345],{"image":7,"text":15,"number":16},"moroso collective 25\u002F09\u002F2003\npalais de tokyo, paris\nsite de création contemporaine\nron arad_big-E\nboonzaaijer&spierenburg_\ntable to enable\ncarlo colombo_lux\ntom dixon_serpentine\ndidier gomez_village\nkonstantin grcic_osorom\nalfredo häberli_take\na line for a walk\nmichael lin_art textiles\naziz sariyer_pause\npatricia urquiola\n_highlands\nmoroso collective 25\u002F09\u002F2003\npalais de tokyo, paris\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.2.png","",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.3.png","moroso collective 25\u002F09\u002F2003\nhommage au palais de tokyo\nsite de création contemporaine\nspecialmente grazie a Giulio, senza il quale tutta questa\nstoria non sarebbe mai cominciata\ngrazie a Marc, Jérôme, Nicolas, Catherine e Pierre,\ngentilissimi direttori e curatori del Palais\nde Tokyo\ngrazie a tutti gli artisti le cui opere appaiaono nelle foto\ne danno un senso speciale al nostro lavoro\ne ancora grazie ai ragazzi che hanno posato per noi e che a\nvario titolo lavorano al Palais\ne a tutte le persone che appaiono in questo libro e di cui\nnon conosciamo i nomi ma che sono stati involontari\nprotagonisti delle nostre foto\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.4.png","005\n004\nrencontres\nCe livre est le fruit de plusieurs rencontres. D’une rencontre entre la passion d’une\nentreprise et l’aventure d’une institution. D’une rencontre entre l’œuvre d’un\nartiste et l’enthousiasme d’une jeune femme. D’une rencontre entre le regard d’un\nphotographe et la richesse d’un lieu. Et de toutes celles qui ont suivi...\nCar, depuis deux années, Moroso et le Palais de Tokyo se fréquentent, apprennent\nà se connaître, se découvrent des affinités, se rapprochent et se lient.\nD’abord, autour d’un artiste, en donnant naissance à une œuvre conçue elle aussi\ncomme une rencontre. Celle des fleurs opulentes des tissus de Taiwan et des chars\nd’assauts de l’armée russe ; rencontre hautement improbable et qui pourtant eût\nlieu. A Milan d’abord, puis à Paris, le temps d’un salon pour un palais mis en scène\npar Michael Lin. Puis, avec Pierre Joseph, pour une exposition dans laquelle l’objet\ncentral qui en articulait l’espace s’était imposé avec évidence lors d’une rencontre\nimprévue. Ensuite, autour de Chen Zhen qui, bien qu’absent, prit la parole tout au\nlong de son exposition dans un espace animé de la voix de l’artiste dans lequel se\nmêlaient images électroniques et images de papier.\nEnfin, à propos d’images, le désir naquit de provoquer la rencontre de deux\nunivers. Celui d’un bâtiment brut et des œuvres qui l’habitent, avec des objets\ninventés pour le plaisir, le bien-être et l’harmonie du quotidien. Pour montrer\ncomment ils se rencontrent, se complètent, s’enrichissent et soulèvent de\nsemblables émotions.\nEt le photographe en fit un livre d’images qui, par un heureux hasard, est publié le\njour même du deuxième anniversaire du Palais de Tokyo. Comme pour donner forme\nà une rencontre de plus, à une nouvelle connivence et, surtout, montrer que\nl’aventure ne fait que commencer.\nMarc Sanchez\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.5.png","007\n006\nincontri\nQuesto libro è frutto di parecchi incontri.\nUn incontro tra la passione di\nun’impresa e l’avventura di\nun’istituzione. Un incontro tra l’opera di\nun artista e l’entusiasmo di una giovane\ndonna. Un incontro tra l’occhio di un\nfotografo e la ricchezza di un luogo, e\ntutti quelli che sono venuti dopo…\nPoiché, da due anni, Moroso e il Palais\nde Tokyo si frequentano, imparano a\nconoscersi, scoprono le affinità, si\navvicinano e si legano.\nPrima intorno ad un artista, facendo\nnascere un’opera concepita anch’essa\ncome un incontro: i fiori opulenti dei\ntessuti di Taiwan e i carri armati\ndell’armata russa. Un incontro altamente\nimprobabile e che, proprio per questo si\nè realizzato. A Milano prima, poi a\nParigi: il tempo di un “salon” per un\nPalais messo in scena da Michael Lin.\nIn seguito, con Pierre Joseph, per\nun’esposizione nella quale l’oggetto\ncentrale che ne articolava lo spazio si\nera imposto con evidenza in un incontro\nimprevisto. Poi, intorno a Chen Zhen che,\nseppur assente, ha preso la parola lungo\ntutta la sua esposizione: uno spazio\nanimato dalla voce dell’artista, in cui si\nmescolavano immagini elettroniche e\nimmagini su carta.\nInfine, a proposito di immagini, nasceva\nil desiderio di provocare l’incontro tra i\ndue universi. Quello di un edificio allo\nstato grezzo e delle opere che lo abitano,\ne quello degli oggetti inventati per il\npiacere, il benessere e l’armonia del\nquotidiano. Per mostrare come si\nincontrano, si completano, si\narricchiscono e generano delle emozioni\nsimili.\nE il fotografo ne ha fatto un libro di\nimmagini che, per una felice\ncoincidenza, viene pubblicato lo stesso\ngiorno del secondo anniversario del\nPalais de Tokyo. Come per dare forma ad\nun ulteriore incontro, ad una nuova\nconvivenza e, soprattutto per dimostrare\nche l’avventura è appena iniziata.\nencounters\nThis book is the outcome of several\nencounters. It represents the meeting of\nthe passion behind a certain undertaking\nand the adventure on which an institution\nhas embarked; of an artist’s work and a\nyoung woman’s enthusiasm; of the eye of\na photographer and the complexity of a\ncertain place; and all those encounters\nthat have occurred since.\nFor two years now, Moroso and the Palais\nde Tokyo have worked together, got to\nknow each other, discovered their\nsimilarities, grown close and become fast\npartners.\nThe two institutions first came together\naround an artist, an encounter that was to\ngive rise to a body of work that was itself\ndesigned as a meeting of two incongruent\nthings, the opulent cloth flowers of\nTaiwan and Red Army tanks. A highly\nimprobable encounter it would seem, but\none that took place nonetheless, initially\nin Milan and later in Paris, for the brief\nspan of a salon that Michael Lin designed\nfor a palace, the Palais de Tokyo.\nThe two continued their collaboration\naround a second artist, Pierre Joseph, for\na show in which the central object\narticulating the exhibition space had\nshown itself to be the clear choice during\na quite unexpected encounter.\nNext, there was their joint venture around\nthe work of Chen Zhen. Although absent,\nZhen seemed to speak up throughout his\nshow in a space that was alive with the\nartist’s voice and in which electronic and\npaper images readily mixed.\nFinally, in terms of images, the desire\narose to bring about a meeting of two\ndifferent worlds, of a rough unadorned\nbuilding and the artworks found in it, and\na number of objects designed for the\npleasure, well-being and harmony of daily\nlife. It was a wish to show how they come\ntogether too, complement and enrich one\nanother, and generate similar emotions.\nA photographer produced a book of\nimages of all that and through one of\nthose happy coincidences, it was\npublished on the very day the Palais de\nTokyo celebrated the second anniversary\nof its opening, as if to make concrete yet\nanother encounter and a new complexity,\nand show above all that the adventure has\nonly just begun.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.6.png","010_049\n120_127\n050_065\n066_077\n110_119\n144_157\n164_193\n086_109\n128_137\n078_085\n138_143\n009\n008\npatricia urquiola_\nhighlands\nkonstantin grcic_osorom\nron arad_big-E\nvon robinson_oblio\nalfredo häberli_take a line\nfor a walk\ntom dixon_serpentine\ncarlo colombo_lux, oliver\ndidier gomez_village\nboonzaaijer&spierenburg_\ntable to enable\naziz sariyer_pause\nmichael lin_art textiles\ncolophon_backstage\n_info data\n010_049\n050_065\n066_077\n078_085\n086_109\n110_119\n120_127\n128_137\n138_143\n144_157\n158_163\n164_193\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.7.png","011\nhighlands\ndesign patricia urquiola\nMatthew Ritchie\nWeather\n(Paris version), 2003\nExperienced Time, 2003\nExposition GNS,\nPalais de Tokyo, 2003\nMatthew Ritchie\nWeather\n(Paris version), 2003\nExperienced Time, 2003\nExposition GNS,\nPalais de Tokyo, 2003\nMatthew Ritchie\nWeather\n(Paris version), 2003\nExperienced Time, 2003\nExposition GNS,\nPalais de Tokyo, 2003\n010\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.8.png","012\n013\nNathan Carter\n« Et il y a eu des fois où il était nécessaire de décrire des situations alternatives. Mêlant\nl’Afghanistan, le M.I.T. et The Associated Press. Une histoire particulière où interviennent plusieurs\nrobots qui filent et sifflent autour des collines aux portes de la préfecture de Shjikush Sottush.\nDe petites structures mécaniques mobiles qui ont été programmées pour poser des questions en patcho\ntout en prenant des photos numériques. Elles sont modelées sur l’Explorer de Mars. Mais jusqu’à\nmaintenant la plupart des photos montrent des combattants talibans en train d’uriner sur les objectifs\ndes appareils des robots à l’arrière de leur camions quatre-quatre Toyota Hi-Lux. Puis ils filent au son de\nn’importe quoi diffusé à plein volume. C’est du moins ainsi que le message sonnait à travers les\nparasites visuels fragmentaires. Et maintenant Toyota a demandé qu’on cesse de faire directement\nréférence à eux. Comment cartographie-t-on ces choses ? »\nNathan Carter, extrait du catalogue de l'exposition GNS, Palais de Tokyo, 2003.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.9.png","Nathan Carter\nI’m trying to read the road\nsigns but they keep changing\nlanguages...\nlooks dodgy around here, 2003\nExposition GNS,\nPalais de Tokyo, 2003\nNathan Carter\nI think we’re in northern\nbeijing... where’s the\nbinoculars?, 2003\nExposition GNS,\nPalais de Tokyo, 2003\nNathan Carter\nThe border patrol never let us\nacross in this state... let’s stop\nhere and have another 1664,\n2003\nExposition GNS,\nPalais de Tokyo, 2003\nhighlands, cod.HL013 + HL011 + HL06V\n014\n015\n016\n017\nCi sono stati dei casi dove è stato\nnecessario descrivere delle\nsituazioni alternative, unendo\nl’Afghanistan, il M.I.T. e il The\nAssociated Press. Una storia\nparticolare dove intervengono\ndiversi robots che sfilano e\nsfrecciano attorno alle colline, alle\nporte della prefettura di Shjikush\nSottush. Piccole strutture\nmeccaniche mobili programmate\nper fare delle domande in pastun\nmentre scattano foto digitali. Esse\nsono costruite su modello Explorer\ndi Marte. Ma fino ad ora la maggior\nparte delle foto mostra dei\ncombattenti Talebani mentre\nurinano sugli obiettivi degli\napparecchi dei robots dietro i loro,\nquattro per quattro, Toyota Hi-Lux.\nPoi se la filano via al suono di di\nun niente assoluto ma suonato a\ntutto volume. Almeno così il\nmessaggio arriva attraverso i\nframmenti visivi.\nE ora Toyota ha chiesto di cessare di\nriferirsi a lei direttamente. Come si\npossono mappare queste cose?\nAnd there have been times when it\nwas necessary to describe\nalternative situations. Melding\nAfghanistan, M.I.T. and The\nAssociated Press. A particular story\ninvolving several robots bleeping\nand whizzing around the hills\noutside the Shoji-kush Sot-tush\nPrefecture. Small mechanical\nmobile structures that have been\nprogrammed to ask questions in\nPashtoon while taking digital\npictures. They are modelled after\nthe Mars Explorer. But up to now\nmost of the pictures feature Taliban\nregulars urinating on the robot’s\ncamera lenses from the back of\ntheir Toyota Hi-Lux 4-wheel drive\ntrucks. They then speed off to the\nsound of nothing at all played at\ntop volume. At least that’s how the\nmessage sounded through the\nfragmentary glitches. And now\nToyota have asked people to stop\nreferring to them directly. How do\nyou map these things?\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.10.png","018\n019\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.11.png","020\nhighlands, cod.HL153\nhighlands, cod.HL011 + HL012\n023\n022\nMatthew Ritchie\nExposition GNS,\nPalais de Tokyo, 2003\nMatthew Ritchie\nExposition GNS,\nPalais de Tokyo, 2003\nMatthew Ritchie\nExposition GNS,\nPalais de Tokyo, 2003\nMatthew Ritchie\nMi interessa la possibilità di\ndescrivere la struttura fondamentale.\nNel mio lavoro cerco di accelerare\nquesto processo in un tentativo futile\ndi descrivere l’universo come se\npotesse essere visto tutto insieme, da\nuna persona, in un momento dato.\nI am interested in whether it is\npossible to describe the fundamental\nstructure. In my work I am trying to\naccelerate this process, in a futile\nbid to describe the universe as if it\ncould all be seen by one person, now.\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.12.png","021\n025\n024\nWim Delvoye\n« La carte est, pour moi, d’abord liée à l’enfance : avec le portrait du\nroi, la cartographie était l’un des seuls types d’images qui existait dans\nun environnement. A l’école, j’en dessinais dès que je commençais à\nm’ennuyer : parce qu’elle fait partie de l’iconographie scolaire, j’avais\nl’impression qu’elle était tolérée, respectable. C’est aussi un langage\nfacile à maîtriser et qui permet de se prendre pour Dieu, parce qu’on y\norganise les choses et le monde. Il y a dans les cartes une dimension\nmégalomane – j’avais envie d’échapper à la réalité. »\nWim Delvoye, extrait du catalogue de l'exposition GNS,\nPalais de Tokyo, 2003.\nhighlands, cod. HL04S + HL153 + HL011 + HL140\nWim Delvoye\nAtlas 1-9, 2003\nExposition GNS,\nPalais de Tokyo, 2003\nWim Delvoye\nAtlas 1-9, 2003\nExposition GNS,\nPalais de Tokyo, 2003\nWim Delvoye\nAtlas 1-9, 2003\nExposition GNS,\nPalais de Tokyo, 2003\nMatthew Ritchie\n« Je m’intéresse à la possibilité de décrire la structure fondamentale.\nMon travail consiste à accélérer ce processus, en une tentative futile\nde décrire l’univers comme s’il pouvait être intégralement vu par une seule\npersonne à un moment donné. »\nMatthew Ritchie, extrait du catalogue de l'exposition GNS, Palais de Tokyo, 2003.\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.13.png","026\n027\nhighlands, cod. HL04S + HL153 + HL011 + HL140\nLa carta geografica è per me\nsoprattutto legata all’infanzia:\nassieme al ritratto di un re, la\ncartografia era una delle poche\ntipilogie di immagini esistenti\nall’interno del mio universo.\nMentre ero a scuola le disegnavo\nquando iniziavo ad annoiarmi:\npoichè facevano parte\ndell’iconografia scolastica; avevo\nl’impressione che fossero tollerate,\nrispettate. È anche un linguaggio\nfacile in cui eccellere e che\npermette di considerarsi quasi un\nDio, in quanto lì vengono\norganizzate le cose e il mondo.\nC’è una dimensione di\nmegalomania nelle carte – avevo\nvoglia di evadere dalla realtà.\nFor me maps are connected with\nchildhood first of all. Along with\nthe portrait of the king, maps are\nvery one of the only types of\nimages that existed in my\nenvironment. I would draw them\nat school as soon as I began to get\nbored. Because they were part of\nschool iconography, I had the\nimpression that they were\ntolerated, respectable. It’s also a\nlanguage that is easy to master\nand one that allows you to take\nyourself for God, because things\nand the world are organized there.\nThere is a megalomaniac\ndimension in maps – I wanted to\nescape from reality.\nMarjetica Potrc\nThe growing house\nExposition GNS,\nPalais de Tokyo, 2003\nMarjetica Potrc\nThe growing house\nExposition GNS,\nPalais de Tokyo, 2003\nMarjetica Potrc\nThe growing house\nExposition GNS,\nPalais de Tokyo, 2003\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.14.png","029\n028\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.15.png","highlands, cod.HL06W + HL06V\nhighlands, cod.HL0AL + HL 152\nhighlands, cod.HLOCY\n032\n033\n030\n031\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.16.png","highlands, cod.HL018\nBeat Streuli\n« Il est évident pour tout le\nmonde que le visage humain est\nla chose la plus importante et la\nplus intéressante à regarder. »\nÈ evidente per tutti che il volto\numano è la cosa più importante\ne più interessante da guardare.\nThe human face is one of the most\ninteresting “things” to look at for\neveryone an at all the time.\nBeat Streuli, extrait du catalogue\nPortraits 98-00, Galleria Civica\nd’Arte Moderna e Contemporanea,\nTorino, 2000\n035\n034\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.17.png","036\n037\nhighlands, cod.HL013 + HL012\nBeat Streuli\nPortraits, 2002\nInstallation permanent\nPalais de Tokyo, 2002\nBeat Streuli\nPortraits, 2002\nInstallation permanent\nPalais de Tokyo, 2002\nBeat Streuli\nPortraits, 2002\nInstallation permanent\nPalais de Tokyo, 2002\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.18.png","038\n039\n040\n041\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nhighlands, cod.HL013 + HL012\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.19.png","042\n043\nhighlands, cod.HL011 + HL011\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.20.png","045\n044\nhighlands, cod.HL153 + HL011 + HL011\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.21.png","047\n046\nhighlands, cod.HL153 + HL011 + HL011\nChen Zhen\n« Je recouvre de terre un espace et tous les objets qui s’y trouvent. C’est une\nsorte de « tombeau monochrome ». Au lieu de faire des fouilles à la recherche\ndes objets du passé, comme les archéologues, mon travail consiste au contraire\nà montrer aux gens les objets d’aujourd’hui tels qu’ils seront découverts dans\nl’avenir… C’est une sorte d’archéologie du futur… »\nChen Zhen, extrait du catalogue Invocation of washing power, éditions Gli Ori, 2003.\nChen Zhen\nPurification Room, 2003\nExposition Chen Zhen\nPalais de Tokyo, 2003\nChen Zhen\nPurification Room, 2003\nExposition Chen Zhen\nPalais de Tokyo, 2003\nChen Zhen\nPurification Room, 2003\nExposition Chen Zhen\nPalais de Tokyo, 2003\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.22.png","048\n049\nhighlands, cod.HL011 + HL0153\nCopro di terra uno spazio e tutti gli\noggetti che vi si trovano. È una\nspecie di tomba “monocroma”.\nInvece di scavare in cerca di\noggetti del passato, come fanno\ngli archeologi, il mio lavoro\nconsiste, al contrario, nel mostrare\nalla gente gli oggetti di oggi tali e\nquali come saranno scoperti in\nfuturo… È una specie di\n“archeologia del futuro”…\nI cover a space with earth, along\nwith all the objects that happen to\nbe there. It is a sort of\n“monochrome grave”. Instead of\nexcavating in search of past\nobjects, as archaeologists do, my\nwork consists, on the contrary, in\nshowing people today’s objects as\nthey will be discovered in the\nfuture… It is a sort of archaeology\nof the future…\nChen Zhen\nDiagnostic Room, 2000\nExposition Chen Zhen\nPalais de Tokyo, 2003\nChen Zhen\nObsession of Longevity, 1995\nExposition Chen Zhen\nPalais de Tokyo, 2003\nChen Zhen\nObsession of Longevity, 1995\nExposition Chen Zhen\nPalais de Tokyo, 2003\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.23.png","052\nDavid Thorp\n« J’attends d’une institution artistique du 21e siècle qu’elle soit\nflexible, sincère, démocratique, multiculturelle, contradictoire\net audacieuse. Splendide quand elle a l’argent pour cela et\nhéroïque dans le cas contraire. La tête dans les étoiles, le\nfonctionnement exemplaire et l’esprit d’équipe, avec les pieds\nsur terre et le cœur gros comme ça. Qu’elle aime les artistes,\nprenne soin du public, tolère la cigarette et reste ouverte tard. »\nDavid Thorp, The Henry Moore Foundation, extrait du TokyoBook n 1,\nPalais de Tokyo, 2001\n051\nMoroso collective\n25\u002F29\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F29\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F29\u002F2003\nPalais de Tokyo, Paris\nosorom\ndesign konstantin grcic\n050\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.24.png","055\n053\n054\nFabien Verschaere\n« Le mur est un espace\nd’expression populaire. J’ai grandi\nen banlieue et l’histoire de la\npeinture murale y est vraiment\nancrée. Peindre sur un mur, c’est\ndéfier l’espace, imposer un\nmessage, organiser comme une fête\nsur la place du village. »\nFabien Vershaere, extrait du\ncatalogue A Novel for Life, édition\nPalais de Tokyo\u002F Dena Foundation,\n2003\nespace de l’exposition Fabien\nVerschaere en cours de démontage\nIl muro è uno spazio d’espressione\npopolare. Sono cresciuto in un\nsobborgo e la storia della pittura\nmurale ci si è proprio radicata.\nDipingere su un muro è come\ndefinire uno spazio, imporre un\nmessaggio, organizzare una festa\nnella piazza di un paese.\nspazio espositivo in fase di\nsmontaggio\nThe wall is a place of popular\nexpression. I grew up in a suburb\nwhere the suburb where the history\nof wall painting is really\ningrained. To paint a wall is to\ndefine the space, to impose a\nmessage, as to organize a fair in a\ntown square.\nexibition space while dismantling\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.25.png","057\n056\nMichael Lin\nLa sua opera attinge alla forza visiva\nal contempo arcaica ed attualissima dei\ntessuti tradizionali, in un mix di\npittura, cultura popolare e arte decorativa.\nL’artista utilizza il metodo pittorico\ntradizionale del pennello asiatico,\naccostato a materiali contemporanei in un\nlavoro dove dominano esagerazione ed\nesuberanza visiva, cromie avvampate\ndi patterns amplificati, in un sottile gioco\ndi trasgressione culturale e visiva.\nLo spettatore smaterializza e rompe le\nsignificazioni comunemente associate\nall’arte: diventa soggetto attivo, interagisce\ncon la dinamica espositiva, dialoga in\nmaniera più immediata con gli oggetti,\nil luogo dell’esposizione e l’apparato\ndell’allestimento. La sua percezione visiva\ndiventa totale, è parte integrante dell’opera,\nla vive, ci cammina sopra.\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.26.png","059\n058\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.27.png","062\n063\n060\n",27,{"image":122,"text":123,"number":124},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.28.png","061\n065\n064\nLe jardin sauvage\n« Le Balto a inventé au Palais de Tokyo\nun art du jardin renouvelé qui évolue selon\nles plantes qui le constituent ou qui\nl’envahissent, les cycles vitaux non\nprogrammés et les saisons. Un jardin\nmodeste, un jardin vivant, dont le jardinier\ncesse d’être l’esclave, un jardin conçu\ncomme un espace intermédiaire, libre et\nen perpétuelle mutation en plein cœur\nde Paris. »\nIl Balto ha inventato al Palais de Tokyo\nun’arte del giardino rinnovato che evolve\nsecondo le piante che lo costituiscono\no che lo invadono, che cambia con le\nstagioni e i suoi cicli vitali non\nprogrammati. Un giardino modesto, un\ngiardino vivo di cui il giardiniere cessa di\nesserne schiavo, un giardino concepito\ncome uno spazio, che fa da intermediario,\nlibero e in continuo cambiamento, nel\npieno cuore di Parigi.\nLe Balto, extrait du catalogue Le jardin\nsauvage, Palais de Tokyo, 2002\n",28,{"image":126,"text":127,"number":128},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.29.png","Moroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nbig-E\ndesign ron arad\n067\n066\n",29,{"image":130,"text":131,"number":132},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.30.png","big-E, cod.TZ01\n069\n068\n",30,{"image":134,"text":135,"number":136},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.31.png","071\n070\nLe jardin sauvage\nThe group Le Balto has invented at the\nPalais de Tokyo an art of the revived\ngarden. It is a garden that evolves along\nwith the plants making it up or making\ntheir way in, that changes with the seasons\nand its unprogrammed life cycles. It is a\nmodest garden, a vital garden which the\ngardener is no longer slave to, a garden\nthat has been designed as an intermediary\nspace, at liberty and in perpetual\ntransformation, thriving in the very heart of\nParis.\nLe jardin sauvage\natelier Le Balto,\nPalais de Tokyo, 2002\nLe jardin sauvage\natelier Le Balto,\nPalais de Tokyo, 2002\nLe jardin sauvage\natelier Le Balto,\nPalais de Tokyo, 2002\n",31,{"image":138,"text":139,"number":140},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.32.png","074\n075\n072\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nDavid Thorp\nMi aspetto da un’istituzione artistica del\n210 secolo che sia flessibile, sincera,\ndemocratica, multiculturale,\ncontradditoria e audace. Splendida quando\nè ricca, eroica quando non ha denaro.\nDeve avere la testa fra le nuvole, funzionare\nin maniera esemplare, avere lo spirito di\nsquadra, i piedi per terra e un cuore\ngrande così. Mi aspetto che essa ami gli\nartisti, si prenda cura del pubblico, tolleri\nil fumo e rimanga aperta fino a tardi.\nDavid Thorp, The Henry Moore Foundation,\nTokyobook n 1, Palais de Tokyo, 2001\nbig-E, cod.TZ01\n",32,{"image":142,"text":143,"number":144},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.33.png","073\nbig-E, cod.TZ01\n077\n076\nDavid Thorp\nI expect an art institution of the\n21st century to be flexible,\nforthright, democratic,\nmulticultural, contradictory and\nadventurous. Splendid when it has\nthe money to be and heroic when\nit does not. Star gazing, model\nmaking and team playing with its\nfeet on the ground and its heart in\nthe right place. I expect it to love\nartists, enjoy audiences, tolerate\nsmoking and stay open late.\nDavid Thorp, The Henry Moore\nFoundation, Tokyobook n 1,\nPalais de Tokyo, 2001\n",33,{"image":146,"text":147,"number":148},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.34.png","Moroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\n079\noblio\ndesign von robinson\n078\n",34,{"image":150,"text":151,"number":152},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.35.png","081\n080\noblio, cod.148\n",35,{"image":154,"text":155,"number":156},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.36.png","082\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\n083\n",36,{"image":158,"text":159,"number":160},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.37.png","085\n084\noblio, cod.148\n",37,{"image":162,"text":163,"number":164},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.38.png","Ocean Earth\nExposition GNS,\nPalais de Tokyo, 2003\nOcean Earth\nExposition GNS,\nPalais de Tokyo, 2003\nOcean Earth\nExposition GNS,\nPalais de Tokyo, 2003\n086\n087\ntake a line for a walk\ndesign alfredo häberli\n",38,{"image":166,"text":167,"number":168},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.39.png","089\n088\ntake a line for a walk, cod.TK079\n",39,{"image":170,"text":171,"number":172},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.40.png","091\n092\n093\n090\ntake a line for a walk, cod.TK079\nIngo Vetter\n“Je veux une institution forte, capable d’agir pour le bien de l’art.\nUne institution avec une stratégie, un concept et une assurance développés\npour servir d’intermédiaire entre artistes, sponsors et public. Consciente de\nses armes et trésors, et ne jonglant pas avec des intérêts économiques et\npolitiques à court terme. Une structure intelligente et flexible, capable d’être\nlà au moment crucial, cinq minutes avant que la hype ne se pointe au lieu\nd’être toujours cinq minutes en retard et se contenter de la confirmer. Et je veux\ndes personnes efficaces dedans, conscientes de leurs missions et désireuses\nd’atteindre la position où elles peuvent transmettre leur travail aux autres.”\nIngo Vetter, artiste, extrait du TokyoBook n 1, Palais de Tokyo, 2001\n",40,{"image":174,"text":175,"number":176},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.41.png","095\n094\ntake a line for a walk, cod.TK0V7 + TK0V6\n",41,{"image":178,"text":179,"number":180},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.42.png","097\n096\ntake a line for a walk, cod.TK0V6\nLuis Fernández-Galiano\n“Le bonheur, c’est l’équilibre parfait et serein\nsous l’empire logique du cycle solaire.\nLe design environnemental reste soumis aux lois\nimmuables et primordiales qui régissent le\nmouvement des astres.”\nLuis Fernández-Galiano, Fire on Memory,\nOn Architecture and Energy,\nCité par Simon Starling dans le catalogue de\nl’exposition GNS, Palais de Tokyo, 2003.\n",42,{"image":182,"text":183,"number":184},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.43.png","099\n100\n101\n098\nSimon Starling\nExposition GNS,\nPalais de Tokyo, 2003\nSimon Starling\nExposition GNS,\nPalais de Tokyo, 2003\nSimon Starling\nExposition GNS,\nPalais de Tokyo, 2003\nLuis Fernández-Galiano\nLa felicità è il perfetto e sereno\nequilibrio sotto il logico impero del\nciclo solare. Il design ambientale\nrimane sottomesso alle immutabili\ne necessarie leggi del movimento\ndegli astri.\nHappiness is the perfect and serene\nequilibrium under the logical\nempire of the solar cycle.\nEnvironmental design rests in\nsubmission to the immutable and\nnecessary laws of the movement\nof the stars.\n",43,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.44.png","104\n105\n102\nChen Zhen\nChaque fois que vous vous trouvez\ndans un nouveau lieu, vous devez\ncomprendre à la fois son\nagencement global et ses\ncaractéristiques spatiales en détail.\nMais vous devez aussi être très\nsensible à ses moindres détails et\ndéfauts. La plupart du temps, ces\nfaiblesses et défauts sont les traits les\nplus importants et font tout le charme\nde ce lieu. Vous pouvez alors créer votre\npropre domaine en vous appuyant sur\nces éléments. Il vous reste ensuite à\ntrouver comment transformer ces\nfaiblesses et défauts en forces et\nqualités.\nChen Zhen, extrait d’une conversation\navec Zhu Xian, 2000\nChen Zhen\néléments de l’oeuvre\nJue Chang - Dancing Body\n\u002F Drumming Mind, 2000\nChen Zhen\néléments de l’oeuvre\nJue Chang - Dancing Body\n\u002F Drumming Mind, 2000\nChen Zhen\néléments de l’oeuvre\nJue Chang - Dancing Body\n\u002F Drumming Mind, 2000\n",44,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.45.png","103\n108\n109\n106\ntake a line for a walk, cod.TK0V6\nOgni volta che vi trovate in un\nluogo nuovo, dovete sofrzarvi di\ncapirne in dettaglio la\nplanimetria e le caratteristiche\nambientali. E, ancora più\nimportante, dovete sentirne i\npunti deboli e i difetti. Molto\nspesso debolezze e svantaggi sono\ntratti importanti che donano\nfascino al luogo. Solo allora potete\ncostruirvi “uno spazio vostro”\nbasato su questi elementi. Segue il\ntrovare come trasformare\ndebolezze e difetti in forza e\nqualità.\nWhenever you are in a new place,\nyou have to understand its overall\nlayout and its detailed spatial\ncharacteristics. Yet, even more\nimportantly, you have to be very\nsensitive to its weaknesses and\ndeficiencies. More often than not,\nthose weaknesses and deficiencies\nform the most distinguishing\nfeatures and most enchanting\ncharms of this particular locale.\nYou then can create 'your own\nspace' based on these features.\nWhat follows is then how you\nshould turn its weaknesses and\ndeficiencies into strengths and\nadvantages.\nExposition Pierre Joseph\nPalais de Tokyo, 2003\nExposition Pierre Joseph\nPalais de Tokyo, 2003\nExposition Pierre Joseph\nPalais de Tokyo, 2003\nPerformance de Tan Dun\nExposition Chen Zhen,\nPalais de Tokyo, 2003\nPerformance de Tan Dun\nExposition Chen Zhen,\nPalais de Tokyo, 2003\nPerformance de Tan Dun\nExposition Chen Zhen,\nPalais de Tokyo, 2003\n",45,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.46.png","107\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\n110\n111\nserpentine\ndesign tom dixon\n",46,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.47.png","112\n113\nserpentine, cod.SR0W7\n",47,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.48.png","114\n115\nserpentine, cod.SR04T + SR04H + SR041 + SR04T\n",48,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.49.png","118\n119\nserpentine, cod.SR04T + SR04H + SR041 + SR04T\n116\nVue exposition GNS,\nPalais de Tokyo, 2003\nVue exposition GNS,\nPalais de Tokyo, 2003\nVue exposition GNS,\nPalais de Tokyo, 2003\n117\n",49,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.50.png","Moroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\n120\n121\nlux\ndesign carlo colombo\n",50,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.51.png","122\n124\n125\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\noliver, cod.OV016\n",51,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.52.png","123\n126\n127\nlux, cod.LU050\nlux, cod.LU061\n",52,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.53.png","Moroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\n128\n129\nvillage\ndesign didier gomez\ntable to enable\nboonzaaijer \u002F spierenburg\n+\n",53,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.54.png","130\n132\ntable to enable, cod.TY016\n133\nWim Delvoye\nAtlas 1-9, 2003\nExposition GNS,\nPalais de Tokyo, 2003\nWim Delvoye\nAtlas 1-9, 2003\nExposition GNS,\nPalais de Tokyo, 2003\nWim Delvoye\nAtlas 1-9, 2003\nExposition GNS,\nPalais de Tokyo, 2003\n",54,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.55.png","131\ntable to enable, cod.TY016\n135\n134\nt-village, cod.VI162\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nIngo Vetter\nIo voglio un’istituzione forte,\ncapace di agire per il bene\ndell’arte”. Un’istituzione con una\nstrategia, un concept e una forza\nsviluppati per servire da\nintermediari fra artisti, sponsors e\npubblico.\nCosciente delle sue armi e tesori e\nnon giocando con interessi\neconomici e politici a breve\ntermine. Una struttura intelligente\ne flessibile, capace di essere al\nposto giusto nel momento giusto,\ncinque minuti prima del mercato,\ne non come al solito cinque minuti\ndopo solo per confermare quello\nche è già avvenuto. E voglio delle\npersone efficaci dentro, coscienti\ndella loro missione e desiderose di\narrivare alla posizione dalla quale\nesse potranno trasmettere il loro\nlavoro agli altri”\nI want a strong institution, which\nis able to act for the sake of art.\nAn institution with a strategy, a\nconcept and self-confidence\nskilled to take in the position\nbetween artists, sponsors and the\npublic. Aware of their arm and\ntreasures and not behaving like a\npinball of short run political and\neconomical interests. Something\nintelligent and flexible which is\nable to be at the very moment five\nminutes before the commercials\narrive instead of always being five\nminutes late and only affirming it.\nAnd I want great people there,\nconscious about their task and\nwilling to come to the position,\nwhere they can hand over their\nwork to others.\nIngo Vetter, artist, TokyoBook n 1,\nPalais de Tokyo, 2001.\n",55,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.56.png","137\n136\nt-village, cod.VI162\n",56,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.57.png","Moroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\n138\n139\npause\ndesign aziz sariyer\n",57,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.58.png","140\n142\n143\nPause, cod.160\nMoroso collective\n25\u002F29\u002F2003\nPalais du Tokyo, Paris\nMoroso collective\n25\u002F29\u002F2003\nPalais du Tokyo, Paris\nMoroso collective\n25\u002F29\u002F2003\nPalais du Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\n",58,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.59.png","141\nMichael Lin\nSpring 2003\nPalais de Tokyo, 2003\nMichael Lin\nSpring 2003\nPalais de Tokyo, 2003\nMichael Lin\nSpring 2003\nPalais de Tokyo, 2003\n144\n145\nart textiles\nby michael lin\n",59,{"image":250,"text":251,"number":252},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.60.png","146\n148\n149\n",60,{"image":254,"text":255,"number":256},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.61.png","150\n151\n147\nMichael Lin\n« L’idée n’est pas de peindre une fresque sur un mur ou sur un sol, mais\nde proposer un changement dans notre façon d’aborder l’art. Parce que\nl’image est un motif, les questions de composition, d’interrelations entre\nformes et couleurs, ne se posent plus comme dans une toile. L’image est\nune surface qui entretient un rapport étroit avec les autres plans de\nl’espace. L’image s’inscrit alors totalement dans l’espace comme un\nensemble qui inclut tous les objets qui participent à cet espace, qu’il\ns’agisse de meubles, d’autres œuvres d’art, voire de corps qui s’y déplacent. »\nMichael Lin, catalogue Palais de Tokyo, 2002\n",61,{"image":258,"text":259,"number":260},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.62.png","152\n154\n155\nMichael Lin\nSpring 2003\nPalais de Tokyo, 2003\nMichael Lin\nSpring 2003\nPalais de Tokyo, 2003\nMichael Lin\nSpring 2003\nPalais de Tokyo, 2003\n",62,{"image":262,"text":263,"number":264},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.63.png","153\n156\n157\nMichael Lin\nL’idea non è quella di dipingere un\nmurale oppure un pavimento, ma\ndi proporre un cambiamento nel\nnostro modo di recepire l’arte.\nIn quanto l’immagine è un pattern,\nnon si tratta di composizione, di\ncorrelazione tra forme o colori\ncome nella pittura. L’immagine è\nun piano in relazione con altri\npiani dello spazio. L’immagine si\nrelaziona nello spazio come un\ninsieme che racchiude tutti gli\noggetti di questo spazio, sia che\nsi tratti di mobili, di altre opere\nd’arte oppure di corpi che si\nmuovono in quello spazio.\nThe idea is not to paint a mural or\nto do a painting on a floor, but to\npropose a shift in our reception of\nart. Because the image is a\npattern, thre is no question of\ncomposition, the interrelationship\nof forms or colors, as in a painting.\nThe image is a plane that relates to\nthe other planes of the space.\nThe image relates to the space as\na whole that includes all objects in\nthat space, be it furniture, other\nart works, or bodies that move\nthrough that space.\n",63,{"image":266,"text":267,"number":268},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.64.png","Moroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nthanks to\n158\n159\nRemerciements:\nvogliamo ringraziare\nMichael Lin\nMatthew Ritchie\nNathan Carter\nWim Delvoye\nMarjetica Potrc\nBeat Streuli\nXu Min\nFabien Verschaere\nLe Balto\nSimon Starling\nPierre Joseph\ngli artisti le cui opere\nappaiono nelle foto e\ndanno un senso speciale\nal nostro lavoro.\nMarc, Jérôme, Nicolas,\nCatherine, Marie, Naïa,\nPierre et toute l’équipe\ndu Palais de Tokyo, site\nde création\ncontemporaine e\nspecialmente Axelle,\nIsabelle, Alfonso,\nRoland, che hanno\nstupendamente posato\nper noi.\nInoltre grazie ad\nAlessandro, Marco, Toni,\nFerruccio, Abdou Salam,\nPiero, Roberto, tutto lo\nstaff Moroso presente a\nParigi, con i quali\nlavorare è stato un\ngrande piacere, come\nsempre.\nE infine ringraziamo\nLaura ed Alberto per la\nloro disponibilità e\nl’aiuto nelle traduzioni.\n",64,{"image":270,"text":271,"number":272},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.65.png","160\n161\n",65,{"image":274,"text":275,"number":276},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.66.png","162\n163\n",66,{"image":278,"text":279,"number":280},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.67.png","164\n165\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\ninfo data\n",67,{"image":282,"text":283,"number":284},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.68.png","166\n167\nDetails and drawings\nhighlands\ndesign patricia urquiola\n",68,{"image":286,"text":287,"number":288},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.69.png","169\n168\ncod.HL011\ncod.HL011\ncod.HL04S\ncod.HL04S\ncod.HL140\ncod.HL140\ncod.HL0D3\ncod.HL0D3\ncod.HL013\ncod.HL153\ncod.HL0D3\ncod.HL0D3\n",69,{"image":290,"text":291,"number":292},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.70.png","170\n171\ncod.HL018\n",70,{"image":294,"text":295,"number":296},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.71.png","172\n173\ncod.HL018 + HL0CY + HL152\ncod.HL018 + HL0CY + HL152 + HL0AL\ncod.HL0CY + HL152 + HL0AL\ncod.HL013 + HL012\ncod.HL013 + HL012\ncod.HL013 + HL012\n",71,{"image":298,"text":299,"number":300},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.72.png","174\n175\ncod.HL141 + HL011 + HL0D3\n",72,{"image":302,"text":303,"number":304},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.73.png","176\n177\ncod.HL011 + HL011\ncod.HL011 + HL011 + HL0D3\ncod.HL011 + HL011 + HL0D3\ncod.HL141 + HL011 + HL0D3\ncod.HL013 + HL011 + HL0D3\ncod.HL013 + HL011 + HL0D3\n",73,{"image":306,"text":307,"number":308},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.74.png","178\n179\ncod.HL06W + HL011 + HL06D\n",74,{"image":310,"text":311,"number":312},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.75.png","180\n181\ncod.HL06E + HL011 + HL06D\ncod.HL06E + HL011 + HL06D\ncod.HL06E + HL011 + HL06D\ncod.HL013 + HL011 + HL153\ncod.HL013 + HL011 + HL153\ncod.HL013 + HL011 + HL153\n",75,{"image":314,"text":315,"number":316},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.76.png","182\n183\ncod.HL06E + HL153 + HL011 + HL06D\n",76,{"image":318,"text":319,"number":320},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.77.png","184\n185\ncod.HL06E + HL011 + HL153 + HL04S\ncod.HL06E + HL153 + HL011 + HL06D\ncod.HL06E + HL011 + HL153 + HL04S\ncod.HL06E + HL153 + HL011 + HL06D\n",77,{"image":322,"text":323,"number":324},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.78.png","186\n187\n194\n90\n90\n275\n65\n100\n38\n70\n101\n90\n100\n65\n100\n38\n70\n101\n90\n137\n65\n100\n38\n70\n101\n137\n90\n6\n73\n120\n90\n137\n65\n100\n38\n70\n101\n137\n90\n65\n100\n38\n70\n101\n120\n73\n4\n4\n73\n120\n38\n50\n50\n100\n100\n38\n83\n100\n38\n73\n73\n240\n164\n4\n73\n83\n115\n4\n150\n38\n70\n101\n90\n100\n115\n150\n4\n38\n70\n101\n73\n83\n65\n100\n38\n70\n101\n120\n73\n65\n100\n38\n70\n101\n73\n120\n73\n120\n115\n150\n38\n70\n101\n73\n120\n50\n50\n38\n100\n100\n27\n73\n120\n115\n150\n38\n70\n101\nHighlands\nStruttura\nBase in legno e poliuretano\nespanso indeformabile a\ndensità differenziate e fibra\npoliestere. Schienale e\nbracciolo in espanso schiumato\na freddo con struttura e\nmeccanismo in acciaio.\nI piani dei tavolini sono in\nlamiera inox ornamentale\nelettrocolorata.\ndesign Patricia Urquiola\nStructure\nSeat in wooden frame covered\nwith stressresistant\npolyurethane foam at varied\ndensities and polyester fiber.\nBack and armrests, steel, cold\nfoam injected polyurethane\nwith reclining device, covered\nwith polyester fiber. Table tops\nare in DECO stainless steel plate\nelectrochemically stained.\nStruktur\nSitz aus Holz, mit\nunverformbarem\nPolyurethanschaum in\nunterschiedlichen\nRaumgewichte gepolstert und\nmit Polyesterwatte umhuellt.\nRuecken und Armlehnen aus\nStahl kaltgeschaeumt und\nPolyesterwatte mit endlos\nverstellbaren Mechanismus.\nTischoberflaceche aus DECO\nEdelstahlblech elektrochemisch\ngefaerbt.\nStructure\nAssise en bois recouverte de\nmousse polyuréthane\nindéformable à densités\ndifférenciées et ouatte\nsyntetique. Dossier et\naccoudoires en acier enrobée\ndans la mousse injectée a froid\net ouatte synthétique avec\nmechanisme reglable.\nLe plateau des tables sont en\nacier inox DECO avec traitement\ncouleur electrochemique.\ncod.HL011\ncod.HL141\ncod.HL140\ncod.HL013\ncod.HL012\ncod.HL06C\ncod.HL143\ncod.HL018\ncod.HL04S\ncod.HL034\ncod.HL154\ncod.HL0D4\ncod.HL0D3\ncod.HL06W\ncod.HL06V\ncod.HL152\ncod.HL153\ncod.HL0CY\ncod.HL0AL\ncod.HL003\ncod.HL142\ncod.HL06E\ncod.HL06D\nCaratteristiche\nLa collezione Highlands è\ncompletamente sfoderabile,\neccetto i tavolini.\nSpec. Characteristics\nCollection Highlands has\ncompletely loose covers, exept\ntables.\nBesonderheiten\nKollektion Highlands ist\nkomplett abziehbar.\nCaractéristiques\nLa collection Highlands est\ncomplètement déhoussable.\n",78,{"image":326,"text":327,"number":328},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.79.png","188\n189\nOsorom\nStruttura\nScocca in materiale plastico\nformato da tecnopolimeri\ncompositi.\ndesign Konstantin Grcic\nStructure\nShell in multilayered\ntechnopolymer composite.\nStruktur\nSchale in Technopolymer in\nSchichtverfahren mit varierten\nDensitaeten.\nStructure\nCoque en multiplis de\ntechnopolymer de densité\nvariable\n120\n46\n88\n58\n133\n42\n91\n42\n42\nBig-E\nStruttura\nPolietilene riciclabile tinto in\nmassa ottenuto mediante\nstampaggio rotazionale.\nI colori sono: bianco, nero,\nrosso e blu. Resistente alla\nluce e all’acqua, per uso\nesterno.\ndesign Ron Arad\nStructure\nRotationally moulded\nrecyclable coloured\npolyethylene. Available colors:\nwhite, black, red and blue.\nSuitable for outside use.\nWaterproof and light resistant.\nStruktur\nEingefaerbtes recyclable\nPolyethylen durch\nDrehspritzgiessen. Farben\nPalette: Weiss, Schwarz, Rot\nund Blau. Für Aussenbereiche\nverwendbar. Licht und\nWasserfest.\nStructure\nPolyethiléne recyclable teinté\navec moule rotationel.\nCouleurs disponibles : blanc,\nnoir, rouge et bleu. Peut être\nutilisé à l’extérieur. Résistant\nà la lumiere et à l’eau.\nOblio\nStruttura\nScocca in materiale plastico\nformato da tecnopolimeri\ncompositi.\ndesign Von Robinson\nStructure\nShell in multilayered\ntechnopolymer composite.\nStruktur\nSchale in Technopolymer in\nSchichtverfahren mit varierten\nDensitaeten.\nStructure\nCoque en multiplis de\ntechnopolymer de densité\nvariable\nTake a line for a walk\nStruttura\nEspanso schiumato a freddo\ncon struttura in acciaio,\nrivestito in fibra poliestere.\nBasamento in tubo d’acciaio\nverniciato con poggiapiedi\ncromato. Il basamento con\nmeccanismo girevole è in\nacciaio verniciato.\nCaratteristiche\nLa poltrona non è sfoderabile.\ndesign Alfredo Häberli\nStructure\nSteel frame covered with\ninjected polyurethane foam\nand polyesterfiber. Base in\nlaquered steel tube rifle\nbrown and grey with footrest\nin chrome. Swivel\nmechanisme rifle brown.\nUnderfeet PVC.\nSpec. Characteristics\nThe armchair has no\nremovable covers.\nStruktur\nStahlgestell in\nkaltgeschaeumtem\nSchaumstoff und\nPolyesterwatte. Gestell,\nStahlrohr Kanonengrau und\ngrau lackiert. Fussstuetze in\nChrom. Drehmechanismus\nKanonengrau lackiert mit PVC\nUnterfuesse.\nBesonderheiten\nDie Sessel ist nicht abziehbar.\nStructure\nEn acier enrobée dans la\nmousse injectée a froid et\nouatte synthétique. Base en\ntube de acier laqué gris fusil\net gris avec repose pied\nchromé. Base pivotant en\nacier gris fusil et sous-pieds\nPVC.\nCaractéristiques\nLe fauteuil n’est pas\ndéhoussable.\n40\n110\n126\n77\n77\n91\n40\n110\n80\n88\n40\n110\n65\n63\n35\ncod.TZ01\ncod.TK079\ncod.TK001\ncod.TK0V6\ncod.TK0V7\ncod.148\n",79,{"image":330,"text":331,"number":332},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.80.png","Lux\nStruttura\nIn acciaio inox satinato.\nScocca in multistrato rivestito\ncon poliuretano espanso e\nfibra poliestere. Sottopiede in\nPVC.\nCaratteristiche\nIl modello Lux non\nè sfoderabile.\ndesign Carlo Colombo\nStructure\nStainless steel satin finish.\nSeatshell in plywood covered\nwith stressresistant\npolyurethan foam and\npolyesterfiber. Underfeet in\nPVC.\nSpec. Characteristics\nThe model Lux has no\nremovable cover.\nStruktur\nEdelstahl satiniert. Sitzschale\nin Sperrholz mit\nunverformbaren\nPolyurethanschaum in\nunterschiedlichen\nRaumgewichte und\nPolyesterwatte. Unterfuesse in\nPVC.\nBesonderheiten\nDas Modell Lux ist nicht\nabziehbar.\nStructure\nAcier inoxydable satiné. Coque\nd’assise en multiplex\nrecouverte de mousse\npolyuréthane indèformable et\nouatte synthétique. Sous-pieds\nen PVC.\nCaractéristiques\nLe modéle Lux n’est pas\ndéhoussable.\nSerpentine\nStruttura\nEspanso schiumato a freddo\nignifugo, con struttura\ninterna in acciaio e rivestito\ncon fibra poliestere. Piedi in\nacciaio verniciato canna di\nfucile.\nCaratteristiche\nIl modello Serpentine non\nè sfoderabile.\ndesign Tom Dixon\nStructure\nSteel frame covered with\ninjected flame-retardant\npolyurethane foam and\npolyester fiber. Feet in\nvarnished tube rifle brown\nsteel.\nSpec. Characteristics\nThe model Serpentine has no\nremovable cover.\nStruktur\nDas Modell besteht aus einem\nStahlgestell in\nfeuerhemmendem\nkaltgeschaeumtem\nSchaumstoff und\nPoliesterwatte. Fuesse aus\nStahl Kanonengrau Lackiert.\nBesonderheiten\nDas Modell Serpentine ist nicht\nabziehbar.\nStructure\nEn acier enrobée dans la\nmousse ignifugée injectée a\nfroid et ouatte synthétique.\nPieds en acier vernis gris\nfusil.\nCaractéristiques\nLe modéle Serpentine n’est pas\ndéhoussable.\nOliver\nStruttura\nPortante in tubo d’acciaio\ninox satinato. Piano in\npannello di alluminio\nalveolare laccato bianco\nlucido o impiallacciato rovere\nsbiancato o nero opaco.\ndesign Carlo Colombo\nStructure\nStainless steeltube satin\nfinish. Tabletop in honeycomb\naluminum panel. Versions:\nhighgloss white lacquered, or\noak veneer bleeched, oak\nveneer black mat.\nStruktur\nEdelstahlrohr satiniert.\nTischplatte aus “Honeycomb”\nAluminium. Ausfuehrungen:\nWeiss hochglanz lackiert, oder\nEichenholzfurnier gebleicht,\nEichenholzfurnier Schwarz\nmatt.\nStructure\nTube d’acier inoxydable\nsatiné. Plateau en panneaux\nd’aluminium “honeycomb”.\nVersions : lacqué blanc\nbrillant, ou plaqué chêne\nblanchi, plaqué chêne noir\nmat.\n190\n191\n75\n61\n85\n44\n70\n60\n59\n45\n66\n76\n240\n90\n73\n66\n74\n37\n57\n69\n120\n61\n85\n44\n70\n133\n90°\nr 95\n85\n133\n90°\n85\nr 95\n180\n61\n85\n44\n70\ncod.SR04A\ncod.SR0W7\ncod.SR04I\ncod.SR04H\ncod.SR04T\ncod.LU050\ncod.OV016\ncod.LU061\n",80,{"image":334,"text":335,"number":336},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.81.png","Table to enable\nStruttura\nMultistrati laminato e laccato.\ndesign\nBoonzaaijer_Spierenburg\nStructure\nMultilayer plywood, laminated\nand laquered.\nStruktur\nSperrholz mehrschichtig,\nOberflaeche Laminat lackiert.\nStructure\nMultiplex en bois laminé et\nlaqué.\n192\n193\nVillage\nStruttura\nBase in acciaio verniciato\ncolor bianco. Piano in MDF\nlaccato bianco lucido.\ndesign Didier Gomez\nStructure\nBase in varnished steel white.\nTabletop in MDF highgloss\nwhite lacquered.\nStruktur\nUntergestell aus Stahl, Weiss\nlackiert. Tischplatte ist in MDF\nWeiss hochglanz lackiert.\nStructure\nBase en acier vernis blanc.\nPlateau est en MDF laqué blanc\nbrillante.\nPause\nStruttura\nPortante in pannelli di\nalluminio alveolare\nanodizzato.\ndesign Aziz Sariyer\nStructure\nSelfsustaining panels of\nhoneycomb anodized\naluminum.\nStruktur\nSelbsttragende “honeycomb”\nAluminium Panele anodisiert.\nStructure\nPortante en panneaux de\naluminium alvéolaire anodisé.\n80\n80\n70\n245\n160\n140\n74\n55\n55\n70\ncod.VI163\ncod.TY016\ncod.TY06J\ncod.VI162\ncod.160\n118\n40\n30\n196\n",81,{"image":338,"text":339,"number":340},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.82.png","194\n195\nPalais de Tokyo\nSite de création contemporaine\n13, Avenue du Président Wilson\nF - 75116 Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\nMoroso collective\n25\u002F09\u002F2003\nPalais de Tokyo, Paris\npalais de tokyo\n",82,{"image":342,"text":343,"number":344},"\u002Fmedia\u002Fimages\u002Fa3\u002Ff7ced9cf4860a148774b243732fcb9-28929526db.83.png","Moroso Spa\nvia Nazionale, 60\n33010 Cavalicco\u002F Udine\u002F Italy\nT +39 0432 577111\nF +39 0432 570761\ninfo@moroso.it\nwww.moroso.it\nMoroso Showroom\nvia Pontaccio 8\u002F10\n20121 Milano\u002F Italy\nT +39 02 72016336\nF +39 02 72006684\nArt direction: Patrizia Moroso\nPhotography: Alessandro Paderni\nSet coordinator: Marco Viola\nDesign: Designwork\nLayout: Artemio Croatto, Chiara Caucig\nTexts: Marc Sanchez\nTextiles: Giulio Ridolfo\nColor separation: Fotolito Udinese\nPrinted in Italy by Editoriale Lloyd\u002F 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