Ramy Fischler

Ecole

Ramy Fischler (Belgium, age 37) opened his own design studio after ten years working alongside Patrick Jouin, and after a residency at the Villa Medici in 2010. A graduate of the École Nationale Supérieure de Création Industrielle in Paris, his practice embraces every aspect of design: industrial, artistic and cultural.

Aware that creative action must adapt to its times, to its tools, in order to engender convergences and shared meaning, Ramy Fischler works on projects and problematics that, for him, are as complementary as they are diverse: connected objects, furniture, exhibition design. He intervenes in the domestic universe, public space, in hospitals, and in the worlds of gastronomy and culture, and often in both at once, as is currently the case for Cinéma Paradiso, a project under way in São Paulo for MK2. Here, cinema is transformed into a contemporary cabaret, as a social space where the furniture, the light and the design are conceived in total harmony with the place’s multiple functions.

The designer is also working on the next display at the Shoah Memorial, again with the aim of comparing visions and combining skills in an effort to present and share history in a new way, using audiovisual devices and installations conceived in collaboration with young artists. The point, as ever, is to enable cohabitation, collaboration and dialogue between the industrial, cultural, scientific and crafts participants who are essential to his practice. Ramy Fischler is a member of a creative generation which looks beyond disciplines and frontiers and puts the emphasis on coming up with an original answer which will be different for each context.


This work of opening up different fields is also at the heart of the teaching at Le Fresnoy, an institution where the artist has just begun his second year as visiting professor. In relation to his artistic mentoring of second year students, in 2014-2015 he was able to start up a collaboration with the director Cyril Teste. This encounter resulted in a first stage apparatus designed for a musical work by Jesper Nordin, a Swedish composer in residence at IRCAM, performed by a string quartet. Ramy Fischler has also yoked together cinema and design by producing lamps whose light comes from the films made specially for them by Alain Fleischer.

In order to change the intensity of the light one must act on the filmed sequence and the actors. The films are shown on screens surmounted by a LED device which extends the beams of light. The moving image becomes a tool for everyday life as it interacts with its surroundings, moving from its fictional world to the real world, without a break, adding a narrative dimension to the beauty of the light. This lighting gives its owner superhuman powers, enabling her to inflect a narrative in real time, as in the world of video games. Ramy Fischler wanted to unite in a single object two conceptions of light—illumination and cinema—that are diametrically opposed but technologically almost identical.

The objective in his second year at Le Fresnoy is to further develop this linking of live performance, cinema and design, notably by means of technology, by continuing the dialogue with Cyril Teste. Their encounter has convinced both men, the designer and the director, that the union of objects, new technologies and performance could generate new modes of representation and interactions between actors, performers and the audience. They are therefore working on a joint project that combines form and content, the virtual and the real, and brings to bear a critical gaze on questions that make contemporary art, in combination with new technologies, at once fascinating and complex to implement. This work provides an opportunity to share with second-year students questions that are key to the development of their own artistic practice.

This week

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Ce jour
Du 21 au 22 September
de Rebecca Zlotowski - 2019
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Ce jour
Du 21 au 22 September
de Olivier Ducastel - et de Jacques Martineau - 2019
, , ,
Ce jour
Du 21 au 22 September
de Chris Renaud - et de Jonathan Del Val - 2019