{"id":35249,"date":"2024-02-21T18:12:01","date_gmt":"2024-02-21T17:12:22","guid":{"rendered":"https:\/\/www.delpireandco.com\/?post_type=product&#038;p=35249"},"modified":"2024-02-21T18:12:23","modified_gmt":"2024-02-21T17:12:23","slug":"recto-verso-postscriptum","status":"publish","type":"product","link":"https:\/\/www.delpireandco.com\/en\/produit\/recto-verso-postscriptum\/","title":{"rendered":"Recto Verso, postscriptum"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"featured_media":35233,"template":"","meta":[],"product_cat":[61],"product_tag":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.9.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Recto Verso, postscriptum Bernard Vo\u00efta - delpire &amp; co<\/title>\n<meta name=\"description\" content=\"Nearly four months before the opening of his Recto Verso exhibition at the Kunstmuseum in Solothurn, Switzerland, Bernard Vo\u00efta was able to install a mockup of it in the museum, which was closed for technical reasons. He placed cardboard replicas of his sculptures and marked out his two dimensional pieces by projecting square lights on the wall. This proto-exhibition, a life-size model of what would be his actual show, was documented with black and white photographs that mimicked regular installation shots.This photographic material, somewhat the real archive of the project, introduced the catalog of Recto Verso, published for the occasion by Kunstmuseum Solothurn Verlag F\u00fcr Modern Kunst.The book Recto Verso postscriptum features a dialogue between the documentation of the mockup show and that of the actual one; between black and white photographs of what took place beforehand (from April 10 to April 14, 2018) and color images of what the public eventually saw (from August 11 to October 21, 2018). The systematic visual confrontation of these two moments through archival images invites us to reassess our point of view as art viewers. The Shadow, Andersen&#039;s tale included in the book, suggests the confrontation is ambiguous.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.delpireandco.com\/en\/produit\/recto-verso-postscriptum\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Recto Verso, postscriptum Bernard Vo\u00efta - delpire &amp; co\" \/>\n<meta property=\"og:description\" content=\"Nearly four months before the opening of his Recto Verso exhibition at the Kunstmuseum in Solothurn, Switzerland, Bernard Vo\u00efta was able to install a mockup of it in the museum, which was closed for technical reasons. He placed cardboard replicas of his sculptures and marked out his two dimensional pieces by projecting square lights on the wall. This proto-exhibition, a life-size model of what would be his actual show, was documented with black and white photographs that mimicked regular installation shots.This photographic material, somewhat the real archive of the project, introduced the catalog of Recto Verso, published for the occasion by Kunstmuseum Solothurn Verlag F\u00fcr Modern Kunst.The book Recto Verso postscriptum features a dialogue between the documentation of the mockup show and that of the actual one; between black and white photographs of what took place beforehand (from April 10 to April 14, 2018) and color images of what the public eventually saw (from August 11 to October 21, 2018). The systematic visual confrontation of these two moments through archival images invites us to reassess our point of view as art viewers. The Shadow, Andersen&#039;s tale included in the book, suggests the confrontation is ambiguous.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.delpireandco.com\/en\/produit\/recto-verso-postscriptum\/\" \/>\n<meta property=\"og:site_name\" content=\"delpire &amp; co\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/delpireandco\" \/>\n<meta property=\"article:modified_time\" content=\"2024-02-21T17:12:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.delpireandco.com\/wp-content\/uploads\/2024\/02\/recto-verso-post-scriptum-voita-surfaces-utiles-cover-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1707\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@DelpireEditeur\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.delpireandco.com\/en\/produit\/recto-verso-postscriptum\/\",\"url\":\"https:\/\/www.delpireandco.com\/en\/produit\/recto-verso-postscriptum\/\",\"name\":\"Recto Verso, postscriptum Bernard Vo\u00efta - delpire &amp; co\",\"isPartOf\":{\"@id\":\"https:\/\/www.delpireandco.com\/en\/#website\"},\"datePublished\":\"2024-02-21T17:12:22+00:00\",\"dateModified\":\"2024-02-21T17:12:23+00:00\",\"description\":\"Nearly four months before the opening of his Recto Verso exhibition at the Kunstmuseum in Solothurn, Switzerland, Bernard Vo\u00efta was able to install a mockup of it in the museum, which was closed for technical reasons. He placed cardboard replicas of his sculptures and marked out his two dimensional pieces by projecting square lights on the wall. This proto-exhibition, a life-size model of what would be his actual show, was documented with black and white photographs that mimicked regular installation shots.This photographic material, somewhat the real archive of the project, introduced the catalog of Recto Verso, published for the occasion by Kunstmuseum Solothurn Verlag F\u00fcr Modern Kunst.The book Recto Verso postscriptum features a dialogue between the documentation of the mockup show and that of the actual one; between black and white photographs of what took place beforehand (from April 10 to April 14, 2018) and color images of what the public eventually saw (from August 11 to October 21, 2018). The systematic visual confrontation of these two moments through archival images invites us to reassess our point of view as art viewers. 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