Miguel Chevalier (born April 22, 1959, in Mexico) is a French Digital art, digital and Virtual art, virtual artist. Since 1978, Miguel Chevalier has used computers as a means of expression in the field of the visual arts. He has established himself internationally as one of the pioneers of virtual and digital art. His multidisciplinary and experimental work addresses the question of immateriality in art, as well as the logics induced by computers, such as hybridization, generativity, interactivity, networking. He develops different themes in his work, such as the relationship between nature and artifice, the observation of flux and networks organizing our contemporary societies, the imaginary of architecture and virtual cities, the transposition of patterns from Islamic art into the digital world. The images he offers perpetually question our relationship to the world. His works are most often presented in the form of digital installations projected at a large scale. He creates ''In situ, in-situ'' works that revisit the history and architecture of places through digital art, giving them a new interpretation. He also creates sculptures using 3D printing or laser cutting techniques, which materialize his virtual universes. Miguel Chevalier has been featured in numerous exhibitions in museums, art centers and galleries all over the world. He also carries out projects in public and architectural spaces.

Biography

Childhood and youth

Miguel Chevalier spent his childhood in Mexico where his father was a university researcher studying the history of Latin America. The cultural and artistic environment in which he grew up enabled the emergence of an early interest in art. Regular visitors to the family home included muralists David Alfaro Siqueiros, Rufino Tamayo or Diego Rivera, director Luis Buñuel and architect Luis Barragán, whose violent use of color would significantly influence the artist. The influence of Mexican artists is subsequently noticeable in the monumental dimension of the artist's works, as well as in the attention he pays to the integration of his art into the public space. During his teenage years he followed his parents to Madrid, where his father took over the management of the Casa de Velázquez, Casa de Vélazquez. He discovers with great passion the treasures of Churrigueresque, Churrigueresque architecture, as well as the European masters' paintings in museums. At the Museo del Prado, Prado Museum, Miguel Chevalier has the opportunity to discover Francisco Goya, Goya's work, which he describes as an emotional shock. The reproduction technique as a series such as The Disasters of War impacts him deeply him, much like Andy Warhol's the silkscreened works. In 1974 he also discovered the work of the Venezuelan artist Carlos Cruz-Diez opening him to kinetic art. He then moved to Paris, whose cultural richness and numerous exhibitions (including the one on Marcel Duchamp in 1977 and the famous Paris-New York, Paris-Moscow and Paris-Berlin at the Centre Pompidou, Centre Georges Pompidou) struck him as a revelation.

Training

Miguel Chevalier joined the Beaux-Arts de Paris, École Nationale Supérieure des Beaux-Arts of Paris in 1978 where he learned the basics of drawing and sculpture, where he graduated in 1981. Two years later he graduated from the École nationale supérieure des arts décoratifs, École Nationale Supérieure des Arts Décoratifs as well as obtaining a license in art and archeology at the La Sorbonne, University of Paris La Sorbonne as well as in Plastic arts, plastic art at the University of Paris Saint-Charles. The completion of Miguel Chevalier's training also included a few stays abroad: the Pratt Institute and the School of Visual Arts in New York, thanks to the Lavoisier scholarship from the Ministry of Foreign Affairs (France), Ministry of Foreign Affairs in 1984. In the United States, the French artist finally gains access to the first computer-assisted drawing software and realizes the imminent computer revolution about to transform the artistic approach to painting, photography and video. Likewise, his stays at the Villa Kujoyama in Kyoto, Japan, from 1993 to 1994, proved to be fundamental in intensifying his relationship with nature which he had already experienced as omnipresent and luxuriant in Latin America and he encountered in the Kyoto's Japanese rock garden, zen gardens like an artificial kingdom where everything is controlled in detail.

Career

While the end of the 1970s marks a return to painting through Figuration Libre, free figuration and graffiti, Miguel Chevalier seeks to generate a new pictorial subject in the field of painting. With the increased presence of computers in the media and the beginning of the Information society, Information Society at the beginning of the 1980s, Miguel Chevalier then invests the field of digital art thanks to computers which allow him to modify, animate and experiment with images endlessly. However, the access to IT tools remained difficult. His encounter with Serge Equilbey, engineer at the French National Centre for Scientific Research, CNRS optics center, gave him access to Numelec computers which analyze images by successive processing. CNRS engineers also help him write small pieces of program software, allowing him to manipulate these images. He thus created in 1982-1983 his first digital works with the series entitled “Baroque et Classic”. The end of the 1980s and the birth of Microcomputer, micro-computing is a turning point in Miguel Chevalier's practice by allowing him to acquire a personal computer as well as a color printer. These technological advances enabled a new freedom of creation for the artist and opened up endless possibilities. With the appearance of the first moderately priced graphics cards, able to calculate thousands of polygons, in between the 90s and the 2000s, the artist could then create his first generative works in 3D with his virtual gardens entitled "Sur-Natures".Miguel Chevalier - Le numérique au service de la création "L’artiste utilise les outils de son temps et il était difficile, après Daniel Buren affirmant qu’il représentait le niveau 0 de la peinture, d’innover en la matière. Il m’est donc apparu évident de recourir à l’informatique dès 83-84 où l’on commençait à parler de la société de l’information. C’est ce territoire, encore vierge, non exploré par la création artistique contemporaine, que j’ai souhaité approfondir Auparavant, il était difficile d’accéder au matériel qui se trouvait à l’époque dans les laboratoires ou dans les chaînes de télévision. Déterminé dans ma démarche de créer des œuvres purement numériques, j’ai réussi peu à peu gagner la confiance d’ingénieurs au CNRS qui m’ont donné accès la nuit au Centre d’Optique, à de gros calculateurs avec lesquels j’ai pu développer mes premières œuvres numériques sur le thème de la nature et de l’artifice. Je me suis aperçu que les ordinateurs m’offraient une plate-forme pour jouer avec le monde de la peinture, de la photographie que l’on pouvait redessiner à souhait, et de la vidéo par la capacité d’animer les images. Mais ces ordinateurs étaient hors de prix pour les particuliers. Quant aux imprimantes, elles étaient strictement en noir et blanc, et je n’avais d’autre recours que de photographier mes créations sur l’écran pour les avoir en couleurs. La fin des années 80 a vu naître la micro-informatique avec des ordinateurs personnels assez puissants et des imprimantes couleurs que j’ai pu acquérir, qui m’ont permis de créer en toute liberté des œuvres en 2D et des petits logiciels génératifs avec des automates cellulaires. Ses possibilités me semblaient illimitées et en transformation perpétuelle. Elles représentaient un fabuleux dictionnaire de formes et de couleurs, à partir duquel je pouvais travailler l’image, la régénérer. Cet outil numérique me proposait de créer des variations infinies et un télescopage des différentes images entre elles. Fin des années 90 début 2000-2005 s’ouvre une nouvelle ère avec l’apparition des jeux vidéo pour adolescents et enfants permettant de s’immerger dans des mondes en 3D temps réel grâce à l’apparition des premières cartes graphiques à prix modérés capable de calculer des milliers de polygones. Cela m’a permis alors de créer mes premières œuvres génératives en 3D avec la constitution d’un herbier virtuel composé de 18 graines permettant générer des jardins virtuels à l’infini intitulée les " Sur-Natures ". De 2005 à 2010 les ordinateurs PC, devenant de moins en moins onéreux, avec des cartes graphiques chaque année de plus en plus puissantes, ont offert au plus grand nombre l’accès au monde des images en 3D et la possibilité de créer des maquettes virtuelles animées très sophistiquées en jouant sur la lumière. La puissance croissante des programmes et des moteurs 3D en open source ( en accès libre et modifiable) comme Pure Data ou Unity, m’ont permis alors de créer des logiciels génératifs et interactifs de réalité virtuelle comme les " Fractal Flowers ", " Pixel liquide" " Seconde nature", " Terra incognita" alors que le même exercice était auparavant impossible à calculer car trop gourmand en calcul.... On est passé de 3 à 25 images à la seconde ! Cette puissance de calcul a ouvert un imaginaire inouï à l’architecture, au monde du cinéma et à la création d’œuvres artistiques. Le chemin est désormais ouvert à de nouvelles innovations dont le créateur doit s’emparer pour explorer le champ infini des possibles." Interviewed by Ariella Masboungi The rapid development of new technologies starting 2005, particularly the development of increasingly powerful and accessible PC computers but also the appearance of open sourced programs and engines such as Pure Data or Unity (game engine), Unity, led Miguel Chevalier to create, with the help of computer scientists, generative and interactive virtual reality software like “Fractal Flowers”, “Liquid Pixel”, “Second nature” and “Terra incognita”. The arrival of 3D printers also allowed him to explore the materialization of the virtual with works such as "Lilus Arythmeticus said to be Euclid". With the development of increasingly complex digital works, Miguel Chevalier surrounded himself with a team of specialists in a studio he called La Fabrika, in reference to Andy Warhol, Andy Warhol's factory. This workshop and research laboratory then allows him, with computer scientists, developers and other collaborators, to experiment with his works on a large scale. Miguel Chevalier also works to promote the recognition of the field of digital art in the world by closely participating in large-scale exhibitions such as Artistes & Robots at the Grand Palais in 2018 (curators : Laurence Bertrand Dorléac et Jérôme Neutres) or Immaterial / Re-material: A Brief History of Computing Art at the UCCA Center for Contemporary Art, UCCA in Beijing in 2020 (curator: Jérôme Neutres). He was also successively in charge of various teaching, especially for the City of Paris (ADAC), at the Universidad de las Andes de Bogota, at the Universidad de Mexico and at the Centro Nacional de las Artes de Mexico. He held lectures at the École Supérieure d’Art et de Design in Reims, at the École des Beaux-Arts in Rennes, at the École des Beaux-Arts in Metz and at Sciences Po, Sciences Po Paris.

Artistic work

Miguel Chevalier's work pursues a constant dialogue with the history of art, in a continuity and a metamorphosis of vocabulary, to explore and experiment with a new pictorial language.

Flows and networks

The representations of the world no longer boil down to describing the territories, but rather learning about the flows that drives continents and thus expressing the ways in which recent technologies influence the constitution of new images of the globe, Miguel Chevalier has had an early interesting the theme of networks. All the flows and networks that surround us (data flows, information flows, electricity networks, railway networks, family networks, network of relationships, etc. ) overlap and intertwine. Through his works, Miguel Chevalier studies their creation, seeks to make them visible, to materialize them and to create a link between these elements. For the classic notions of near and far, slow and fast for the calculation of extents and distances, Miguel Chevalier substitutes those for connections, continuous or discontinuous interlacing and relations between spaces for cartographic installations, such as i
Crossborders
which are now established on the invisible links, information and exchanges that roam our world. Miguel Chevalier combines his wired virtual universes with large networks that are formed and deformed, creating infinitely renewed diverse universes, as illustrated i
Digital Supernova
The elements attract, repel each other, creating a rhythm of expansion and contraction similar to breathing and blending in with the architecture in which they take place. Visitors are invited to stroll around the cathedral, sit in the chairs and look up to the heavens. These digital pixel constellations immerse visitors in an atmosphere bathed in light and open onto infinity. The work of Miguel Chevalier is also imprinted with the theme of pixels, in connection with the kinetic art of the 70s, pioneers of the digital world. By enlarging the pixel, as wit
Mini Voxels Light
the artist composes an abstract image and the viewer dives into this infinite universe of lights and shapes. Works
CrossbordersMini Voxels LightDigital Supernova

Digital arabesques

Inspired by the tales of the One Thousand and One Nights, Thousand and One Nights, Miguel Chevalier developed a virtual language creating a world of colors and patterns, which would transform, as through a kaleidoscope, the universe into constellations. Starting from Islamic art, a mathematical art based on geometry, as well as mosaics, a decorative art where fragments of colored stones, enamels, or even ceramics put side by side form patterns or figures, the artist transforms the fragments into pixels to create computer-generated figures. This digital geometry, either composed of crystals, as wit
Pixels Snow
or of arabesques, as wit
Digital Arabesques
forms a world of moving shapes and colors, like a universe in creation. In many of his works, such a
Magic Carpets
Miguel Chevalier integrates interactivity using sensors that engage the body physically and its mobility in space. The viewer is encouraged to move so that the work reacts according to its movements. The relationship with the image is therefore built with the idea of movement in order to explore all its potentialities and grasp its deeper meaning. With a gesture, the visitor causes a change in the work, he elicits or modifies a color, even if he cannot foresee and control all the reactions for which he is responsible. Virtual reality artworks, 3D printed or laser cut sculptures, robot drawings or laser paper cuts, by using digital tools and techniques, Miguel Chevalier multiplies these extraordinary crystalline fractal structured shapes. Works
Pixels SnowMagic CarpetsDigital Arabesques

Nature and artifice

Creations, such a
Ultra-Nature
have their starting point the observation of the world of plants and its transposition into the digital universe. Miguel Chevalier, first inspired by his childhood spent in Mexico and his travels in Latin America where nature is omnipresent and luxuriant, but also by Japanese gardens, creates virtual gardens that explore the link between nature and artifice, which now coexist and mutually enrich each other, in a poetic and metaphorical way. In works lik
Herbarius ‘2059’
the life processes of each of these creations are inspired by models developed by the French National Institute for Agronomic Research (INRA). Miguel Chevalier's virtual gardens utilize algorithms borrowed from biology, which allowed him to create universes of artificial life, effects of growth, proliferation and disappearance. Works such a
Extra-Natural
also have an interactive component with the use of sensors. Each of the flowers reacts to the passage of visitors according to its orientation: the plants curve from left to right, the flower corollas fall, the leaves drop and the flowers disappear in an explosion of stamens. The lightness of their dance seems to sum up the evanescence of beauty and life. These artificial paradises reflect in a poetic way our current world where nature is increasingly controlled and conditioned, where reality and virtuality, nature and artifices interpenetrate more and more. These works question the status of the work of art in the digital age and the challenges of genetic manipulation. Works
Ultra-NatureHerbarius '2059'Extra-Natural

Meta-territories

Miguel Chevalier has nourished, through his many travels in the world, a reflection on urbanity and cities which are illustrated through different mediums (digital installation, video, digital prints, sculptures...). Since the early 90s using digital technology, as i
Terra Incognita
the artist has been translating the new forms of contemporary life and cities today: growth, infinite renewal, speed, transformation. Miguel Chevalier therefore questions how to appropriate and transcribe the city faced with the multiplication of networks. Computer tools allow the artist to explore these new digital cities in their ever evolving world. Through his fixed or moving works, he composes cities between reality and simulation, inscribed in a transformable time-space continuum. He creates a different image of the city, as wit
Light Meta-Cité
The artist also investigates the body as science reveals it through medical imaging (scans, MRI, ultrasound, thermography). Inspired by these new technologies which give an unprecedented vision of the human body, as illustrated in Body Voxels where mankind becomes transparent, wired, Miguel Chevalier revisits the classics of sculpture in an aesthetic linked to the digital realm (pixelation, meshing, voxelling). Through these different creations, Miguel Chevalier warns us of a future he fears: the disappearance of nature destroyed by the chaotic urban invasion devouring it. Works
Terra Incognita
Body Voxels
Light Meta-Cité

Grants and residencies

* 2004 Artist-in-residence, Riad Denise Masson, Marrakech (MAR) * 1993–94 Artist-in-residence, Villa Kujoyama, Kyoto (JPN) * 1991 Artist-in-residence, Casa Velazquez, Madrid (SPA) Workshop Coordinator, Museo Internacional de Electrografia, Cuenca (SPA) * 1989 Fellowship, Musashino University, Tokyo (JPN) * 1988 Fellowship, Institut des Hautes Etudes en Arts Plastiques de Paris – Founder: Pontus Hulten, Paris (FRA) * 1984 Visiting artist, School of Visual Arts of New York (USA) * 1983 Visiting artist, Pratt Institute, New York (USA)

Solo exhibition (selection)

* 2023 ''Digital Cosmologies'', Chapelle de la visitation - Espace d'art contemporain, Thonon-les-Bains (FRA) * 2023 ''Regard Algorithmique'', Galerie Pome Turbil, Thonon-les-Bains (FRA) * 2023 ''Digital Beauty'', Ara Art Center, Seoul (KOR) * 2022 ''Digital Moirés'', Ancienne tour de refroidissement du site d’Esch-Schifflange d’Arcelor Mittal, pour les Nuits de la culture et Esch-sur-Alzette, Capitale européenne de la culture, Esch-sur-Alzette (LUX) * 2022 ''Bóvedas Celestes'', Festival Gau Zuria, Eglise de la Encarnacion, Bilbao (Spain) * 2022 ''Paradis Artificiels'', Maison Elsa Triolet-Aragon, Saint-Arnoult-en-Yvelines (FRA) * 2021 ''Digital Abysses'', Aqua Planet, Jeju Island (KOR) * 2021 ''Digital Moirés'', Espace Niemeyer, Paris (FRA) * 2021 ''Paradis Artificiels'', Cineum, Cannes (FRA) * 2021 ''Extra-Natural'', Musée de Gajac, Villeneuve-sur-Lot (FRA) * 2020 ''Power Pixels'', Wood Street Galleries, Pittsburgh, (USA) *2020 ''Digital Cristaux 2020,'' Espace Art Absolument, Paris, (FRA) * 2020 ''Power Pixels'', Wood Street Galleries, Pittsburgh (USA) * 2020 ''Digital Cristaux'', Espace Art Absolument, Paris (FRA) * 2019 ''Orbites 2019'', Beaugrenelle Paris shopping mall, Beaugrenelle Paris, Atrium Magnetic, (FRA) * 2019 ''Digitale Supernova 2019'', Rodez Cathedral, Cathédrale Notre-Dame de Rodez, (FRA) * 2019 ''Pixels Noir Lumière'', Musée Soulages, Rodez, (FRA) * 2019 ''Machine Vision'', Galerie Lélia Mordoch, Paris (FRA) * 2018 ''D'un rêve à l'autre'', Domaine de Trévarez, Saint-Goazec (FRA) * 2018 ''Power Pixels 2018'', Galerie par Graf Notaires, Paris (FRA) * 2018 ''Magic Carpets Bangkok'', Bangkok Illumination at Iconsiam, Bangkok (THA) * 2018 ''Digital Icônes'', Chapelle Saint-Nicolas, Grand festival, Verdun (FRA) * 2018 ''Digital Abysses'', Base sous-marine, Bordeaux (FRA) * 2018 ''Ubiquity 1'', The Mayor Gallery, London (UK) * 2018 ''Ubiquity 2'', Wilmotte Gallery, London (UK) * 2017 ''Flower Power'', Festival Aarhus, Bispetorv, Aarhus (DNK), Galerie Lélia Mordoch, Paris (FRA) * 2017 ''In-Out/Paradis Artificiels'', Domaine de Chaumont-sur-Loire (FRA) Galerie Lélia Mordoch, Paris (FRA) * 2017 ''Fractal Flowers'', front of the Hôtel de Ville, Ivry-sur-Seine (FRA) Galerie Lélia Mordoch, Paris (FRA) * 2016 ''Power Pixels'', Galerie Lélia Mordoch, Paris (FRA) * 2016 ''Voûtes Célestes'', Nuit Blanche, Saint-Eustache, Paris (FRA) * 2016 ''Onde Pixel - Lo sguardo di... Miguel Chevalier'', UniCredit Pavilion, Milan (ITA) * 2016 ''Magic Carpets'', IF: Milton Keynes International Festival 2016, Middleton Hall; centre:mk, Milton Keynes (UK) * 2015 ''Voxels Light'', Saint-Eustache, Paris, Église Saint-Eustache, Paris (FRA) * 2015 ''Complex Meshes'', Festival Lumière, Durham Cathedral, Durham (UK) * 2015 ''Dear World... Yours, Cambridge'', King's College Chapel, Cambridge, King's College Chapel, Cambridge (UK) * 2015 ''Méta-Territoires'', Galerie Fernand Léger, Ivry-sur-Seine (FRA) * 2015 ''Vortex'', Galerie Lélia Mordoch, Paris (FRA) * 2015 ''Paradis Artificiels'', Domaine départemental de la Château de la Roche-Jagu, Roche Jagu, Ploëzal (FRA) * 2015 Instituts français of Morocco: Derb Lâalouj à Essaouira; Dar Benjelloun à Tétouan; Institut français garden in Agadir; Dar Batha à Fès (MAR) * 2014 ''Digital Paradise'', Puerta Roja Gallery, Hong Kong (CN) * 2014 ''Magic Carpets'', Festival Internazionale di Andria Castel dei Mondi, Castel del Monte, Andria (ITA) * 2014 ''Paradis Artificiels'', Musée d'art moderne, Céret (FRA) * 2013 ''El Origen del mundo'', Filux, Festival Internacional de las Luces México, Palacio de Bellas Artes, México (MEX) * 2013 ''Power Pixels'', Centre des Arts, Enghien-les-Bains (FRA) * 2013 ''Fractal Flowers'', Château de la Cité de Carcassonne (FRA) * 2013 ''Power Pixels'', Wood Street Galleries, Pittsburgh (US) * 2012 ''Power Pixels'', Festival a-part, Carrières de Lumières, Baux-de-Provence (FRA) * 2012 ''Nuage Fractal'', Château de Dravert, La Guiche (FRA) * 2011 ''Pixels Snow'', Les Halles, Forum des Halles, Paris (FRA) * 2010 ''Terra Incognita'', Mis, São Paulo (BRA) * 2009 ''Fractal Flowers 2009'', Galería station, Galeria metro station, Brasilia (BRA) * 2007 ''Sur-Natures'', LCL building on the Champs-Élysées, Paris (FRA) * 2006 ''Arabesques numériques 2006'', Ksar Char Bagh Palace, Marrakech (MOR) * 2005 ''Sur-Natures in vitro'', Centre Pompidou, Paris (FRA) * 2004 ''Ultra-Nature'', metro Central Station, Astrup Fearnley Museum of Modern Art, Oslo (NOR) * 1996 ''Oro negro'', Museo de arte Alvar y Carmen T. de Carrillo Gil, México (MEX) * 1992 ''Performances'', Winter and Summer Olympic Games, Albertville (FRA) and Barcelona (SPN) * 1987 ''Baroque & Classique'', Granit Centre d'art contemporain, Belfort (FRA)

Group exhibitions (selection)

* 2023 ''Fait Machine – Code sur le fil'', Miam, Sète (FRA) * 2023 ''Flowers Forever'', Kunsthalle der Hypo-Kulturstiftung, Munich (GER) * 2022 ''Herbarius (Évolution)'', 2022, is presented in the exhibition ''Les Choses. Une histoire de la nature morte'' at the musée du Louvre from the 12th of Octobre 2022 to the 23rd of January 2023, within the space named « Sélectionner, collectionner, classer » * 2022 ''La couleur en mouvement'', Galerie Wagner, Paris (FRA) * 2022 ''Cinétique, La sculpture en mouvement'', Espace Monte-Cristo, Paris (FRA) * 2022 ''Art Basel'', with The Mayor Gallery, Messe Basel, Bâle (CHE) * 2021 ''Flowers in art'', ARKEN Museum for Moderne Kunst, Ishøj (DNK) * 2021 ''Sur les chemins du paradis'', Les Franciscaines, Deauville (FRA) * 2021 ''Sculpture en fête ! L’exposition des 10 ans de la collection Fondation Villa Datris'', Fondation Villa Datris, L’Isle-sur-la-Sorgue (FRA) * 2020 ''Immaterial/Re-material: A Brief History of Computing Art'', Ullens Center for Contemporary Art, UCCA - Ullens Center for Contemporary Art, Beijing, (China) *2020 ''Art Paris Art Fair'' with the Lélia Mordoch gallery, Grand Palais, Paris (FRA) * 2020 ''Immaterial/Re-material: A Brief History of Computing Art'', UCCA Center for Contemporary Art, UCCA - Ullens Center for Contemporary Art, Beijing, (CHI) * 2020 ''Art Paris Art Fair'' avec la Galerie Lélia Mordoch, Grand Palais, Paris (FRA) * 2019 ''Illusion Natur, Digitale'' ''Welten'', Sinclair-Haus Museum, Bad Homburg v. d. Höhe (GER) * 2019 ''Mutatio'', Garage Amelot, Paris (FRA) * 2019 ''Desviaciones'', Museo Provincial de Fotografia, Palacio Dionisi, Cordoba (ARG) * 2019 ''Diálogo entre sentidos: el viaje del arte perceptivo entre América y Europa'', Museo del Canal Interoceánico de Panamá (PAN) * 2019 ''Arte Botanica-Regards d'artistes contemporains'', Domaine de la Château de la Roche-Jagu, Roche Jagu, Ploëzal (FRA) * ''2019 TEFAF Maastricht'', avec The Mayor Gallery (Londres), Maastricht (NLD) * 2019 ''Cinétisme, Abstraction, Figuration'', Galerie Lélia Mordoch, Paris (F) * 2019 ''Shadows'', Galerie italienne, Paris (FRA) * 2018 ''Art in Motion. 100 Masterpieces With and Through Media,'' ZKM, Center for art, technologies and medias, Karlsruhe, (GER) * 2018 ''Artistes & Robots'', Grand Palais, Paris (FRA) * 2018 ''Al Musica'', Philharmonie de Paris, Philharmonie, Paris (FRA) * 2018 ''TEFAF Maastricht'', The Mayor Gallery (London), Maastricht (NLD) * 2018 ''De Calder à Koons, bijoux d’artistes. La collection idéale de Diane Venet'', Musée des Arts Décoratifs, Paris, Musée des Arts décoratifs de Paris (FRA) * 2018 ''Art Paris Art Fair'', avec la Galerie Mordoch (Paris/Miami), Grand Palais, Paris (FRA) * 2017 ''Artists & Robots'', Contemporary Art Center, Astana (KAZ) * 2017 ''Hortus 2.0'', Louis Vouland Museum, Musée Louis Vouland, Avignon (FRA) * 2017 ''De Nature en Sculpture'', Fondation Villa Datris, L’Isle-sur-la-Sorgue (FRA) * 2017 ''Data City'', Centre des arts, Enghien-les-Bains (FRA) * 2017 ''Gainsbourg still alive'', Maison de vente aux enchères Cornette de Saint Cyr, Paris (FRA) * 2016 ''Sculpture en partage'', Fondation Villa Datris, L’Isle-sur-la-Sorgue (FRA) * 2016 ''Scope Miami Beach'', Galerie Lélia Mordoch, Miami (USA) * 2016 ''Intangible Space - Miguel Chevalier et Laurent Martin "Lo"'', Puerta Roja Gallery, Hongkong, (HKG) * 2016 ''Les Lumières de la Ville'', Galerie Lélia Mordoch, Paris (FRA) * 2015 ''ARCHI-SCULPTURE,'' Fondation Villa Datris, L’Isle-sur-la-Sorgue (FRA) * 2015 2050 - ''Une brève histoire de l'avenir'', Royal Museums of Fine Arts of Belgium, Musées Royaux des Beaux-Arts de Belgique, Bruxelles (BEL) * 2015 ''Bonjour la France'', Seongnam Arts Center, Seongnam (KOR) * 2014 ''Digital Arabesques'', Al Majaz waterfront, Islamic Art Festival, Sharjah (E.A.U) * 2014 ''Metamorphosis of the Virtual'', K11 Art Foundation, Shanghai (CHN) * 2014 ''L'Origine du Monde'', façade du Grand Palais, Art Paris Art Fair, Paris (FRA). Courtesy Louise Alexander Gallery * 2013 ''Les Métamorphoses du Virtuel'', ''100 ans d’art et de liberté'', Officina delle Zattere, Venise (ITA) * 2013 ''Retrospective Auguste Herbin'', Musée d'art moderne, Céret (FRA) * 2013 Turbulences II, Fondation Boghossian – Villa Empain, Bruxelles (BEL) * 2012 ''Retrospective Auguste Herbin'', Matisse Museum (Le Cateau), Musée départemental Matisse, Le Cateau Cambrésis (FRA) * 2012 ''Mouvement et lumière'', Villa Datris, L'Isle-sur-la-Sorgue (FRA) * 2012 ''Turbulences'', Espace culturel Louis Vuitton, Paris (FRA) * 2012 ''Picasso to Koons: Artist as Jeweler'' (cat.), Benaki Museum, Athènes (GRC) * 2011 Festival La Novela, Les Abattoirs, Musée des Abattoirs, Toulouse (FRA) * 2010 ''Manimal'', Herzliya Contemporary Art Museum, Herzliya (IL) * 2009 ''Inside, art and science'', Cordoaria Nacional, Cordoaria, Lisbonne (POR) * 2009 ''Dialogue avec les collections #2 - paysage/vidéo'', Musée d'Art de Toulon (FRA) * 2008 ''Ultra-Natures, Emoção Art.ficial 4.0'', Station de Métro Paraiso, Centro Cultural Itaú, São Paulo (BRA) * 2007 ''Ultra-Nature, Glow Festival : forum of light in art and architecture'', Eindhoven (NLD) * 2006 ''Art and playing'', Funsters, Seoul Arts Center, Séoul (KOR) * 2005 ''Digital Paradise'', Daejeon Museum of Art Gallery, Daejeon (KOR) * 2003 ''Space Art'', Festival Art Outsiders, Maison européenne de la photographie, Maison Européenne de la Photographie, Paris (FRA) * 2000 Kwangju International Biennale (KOR) * 1999 ''Virtuel Réel'', Espace Paul Ricard, Paris (FRA) * 1997 ''Magie der Zahl'', Staatsgalerie Stuttgart, Staatsgalerie, Stuttgart (GER) * 1996 ''La Ville moderne en Europe'', Museum of Contemporary Art Tokyo, Museum of contemporary art of Tokyo (JPN) * 1996 ''La Ville'', Centre Pompidou, Centre Georges Pompidou, Paris (FRA) * 1993 ''Excess in the techno-mediacratic society'', Shoshana Wayne Gallery, Santa Monica (États-Unis) * 1992 ''Variaciones en Gris'', Teatro Fernán Gómez, Centro Cultural de la Villa, Madrid (SPA) * 1990 ''Art & publicité 1890–1990'', Centre Pompidou, Centre Georges Pompidou, Paris (FRA) * 1988 ''Ateliers 88'', ARC, Musée d'Art Moderne de Paris, Musée d’art moderne de Paris (FRA)

Public procurements

* 2017 ''Pixels Wave Light'', Les Halles, Forum des Halles, Paris (FRA) * 2015 ''Les Métamorphoses'', Les Fauvettes Cinéma, Paris (FRA), Architect: Françoise Raynaud/Loci Anima * 2012 ''Pixels Crossing'', Les Halles, Forum des Halles, Paris (FRA) * 2011 ''Pixels Op'Art'', front of a building, Colmar (FRA) * 2010 ''Seconde Nature'', place d'Arvieux, Marseille (FRA), avec Charles Bové * 2008 ''Fractal Flowers'', Bank of Cheonggyecheon River, Séoul (KOR) * 2007 ''Pixels Crossing'', Hôpital Trousseau, Paris (FRA), Architectes: Agence Grimaud & Israël * 2006 ''Mosaïque Unicef'', Hall of the Head Office of the UNICEF, NYC (USA) * 2000 ''Living Networks'', Palais des congrès de Paris, Palais de Congrès, Paris (FRA), Architecte: Christian de Portzamparc

Miguel Chevalier's work in Museum collections

* Musée d'Art Moderne de Paris, Musée d'Art moderne de la ville de Paris, Paris (FRA) * Bibliothèque nationale de France, Bibliothèque nationale, Paris (FRA) * Musée de la Chasse et de la Nature, Paris (FRA) * Mobilier National, Paris (FRA) * Pasteur Institute, Institut Pasteur, Paris (FRA) * Fonds national d'art contemporain, Puteaux (FRA) * Musée d’art et d’histoire, Belfort (FRA) * Musée d'Art Contemporain du Val-de-Marne, MAC/VAL, musée d'art contemporain du Val-de-Marne, Vitry-sur-Seine (FRA) * Museo internacional de electrografia, Cuenca (ESP) * Museo de arte Alvar y Carmen T. de Carrillo Gil, Mexico (MEX) * Museo de artes visuales Alejandro Otero, Caracas (VEN) * Museo de bellas artes, Maracaibo (VEN) * Royal Caribbean Cruce line, Miami (US) * Centre Culturel Itau, São Paulo (BRA) * Musée de La Poste, Musée de la poste, Paris (FRA) * Digital Art International (FRA) * Fondation Clément, Martinique (MTQ)

Bibliography

* ''Miguel Chevalier'', Bernard Chauveau Édition, Paris, 2018 () * ''Miguel Chevalier, 1-Bit Book: l'imaginaire des mondes virtuels 2012–2015'', Galerie Lélia Mordoch, Paris/Miami, 2015 () * Serge Fauchereau et David Rosenberg, ''Power Pixels'', Enghien-les-Bains, Centre des arts, 2013 () * Miguel Chevalier, ''L’Algorithme pixelisé'', collection "L'art en écrit", éditions Jannink, Paris, 2003 () * Serge Fauchereau et Vincent Huguet, ''Power Pixels'', Rio de Janeiro, Aeroplano editora, 2011 * Christine Buci-Glucksmann, ''Seconde Nature/Marseille 2010'', Miguel Chevalier et Charles Bové, Paris, a.p.r.e.s. éditions, 2011 () * Miguel Matos, ''Power Pixels'', Lisboa, Antonio Prates, 2010 * Suzete Venturelli, ''Segunda Natureza'', Brasilia, Espaço Marcantônio Vilaça, 2009 * Jean-Pierre Balpe et Miguel Chevalier, ''Herbarius 2059 - 12 graines'', Paris, 2009 () * Cemren Altan et Pierre Yves Desaive, ''Fractal Flowers 2009'', Bruxelles, iMal, 2009 * Mario Costa, Edmond Couchot, Gunnar Kvaran, Gunnar B. Kvaran, Ariella Masboungi et Mohamed Rachdi, ''Miguel Chevalier, 2000/2008'', Blou, Monografik Editions, 2008 () * Henri-François Debailleux, ''Seconde nature'', Trelazé, Ed. Mairie de Trelazé, 2007 * Manuela de Barros, ''Arabesques Numériques'', Marrakech, Ed. Institut Français de Marrakech, 2005 * Françoise Gaillard, ''Paradis artificiels'', Vitry sur Seine, Ed. Galerie Municipale de Vitry-sur-Seine, 2004 * Norbert Hillaire, ''Autres Natures'', Montreuil, Ed. Centre d’Art Modene Espace Mira Phalaina, 2001 * Pierre Restany, Laurence Bertrand Dorléac, Laurence Bertrand-Dorléac et Patrick Imbard, ''Miguel Chevalier 1981/2000'', Paris, Flammarion, 2001 * Christine Buci-Glucksmann et Miguel Chevalier, CD-Rom intéractive, Paris, 2000 * Gerardo Estrada, Jorge Juanes et Elias Levin Rojo, ''Oro negro'', Mexico, Ed. Museo de arte Alvar y Carmen T. de Carrillo Gil, 1996 * José Hernan Aguilar et Miguel Chevalier, ''Oro negro'', Bogotà, Ed. Museo de arte universidad nacional de Colombia, 1994 * Jorge Luis Gutiérrez, ''Oro negro'', Caracas, Ed. Museo de artes visuales Alejandro Otero, 1993 * Rosanna Albertini, ''De l’analogique au numérique'', Belfort, Ed. Musée d’art et d’histoire, 1992 * Miguel Chevalier, ''Marine'', Nantes, Ed. École régionale des beaux-arts, 1991 * Eric Audinet et Ginger Danto, ''Œnologie'', Paris, Ed. Horizons chimériques, 1991 * Patrick Imbard et Alain Renaud, ''Miguel Chevalier. Interconnexion'', Levallois-Perret, Ed. Centre d’art contemporain La Base, 1990 * Vittorio Fagone, ''Anthropométrie'', Firenze, Ed. Galleria Vivita 2, 1990 * Miguel Chevalier, ''Mosaïques'', Brétigny-sur-Orge, Ed. Centre d’art contemporain, 1989 * Pierre Restany et Laurence Bertrand Dorléac, ''Révolution. De la peinture au numérique'', Hérouville-Saint-Clair, Ed. Centre d’art contemporain, 1989 * Jérôme Sans, Miguel Chevalier, ''Images nouvelles'', Belfort, Ed. Granit Centre d’art contemporain, 1987

References

External links

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{{DEFAULTSORT:Chevalier, Miguel 1959 births Living people French digital artists University of Paris alumni Kinetic artists