{"id":9476,"date":"2023-02-07T16:40:42","date_gmt":"2023-02-07T15:40:42","guid":{"rendered":"https:\/\/initial.mentalworks.me\/impression-3d-titane-imprimer-le-monde\/"},"modified":"2023-12-04T17:57:39","modified_gmt":"2023-12-04T16:57:39","slug":"3dprinting-titanium-exhibition-imprimer-le-monde","status":"publish","type":"post","link":"https:\/\/initial.mentalworks.me\/en\/3dprinting-titanium-exhibition-imprimer-le-monde\/","title":{"rendered":"The \u201cImprimer le monde\u201d exhibition"},"content":{"rendered":"
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\n titanium 3D printing <\/span>\n

Acquisition of the work by the Pompidou Centre <\/h2>\n <\/div>\n
On show as part of the \u201cImprimer le Monde\u201d exhibition\r\n \r\n15 March to 3 July 2017 \u2013 Paris\r\n \r\n<\/div>\n
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Mathias Bengtsson
\nGrowth Table Titanium, 2016<\/em>
\nTitanium, 3D printing
\n<\/a>
\n(EBM\u00ae-Electron Beam Melting)<\/p>\n

81 x 140 x 66 cm<\/p>\n

Centre Pompidou<\/a>, the national museum of modern art \/ industrial design centre, Paris.
\nProduced with the support of Initial, Prodways Group<\/a> and the Maria Wettergren Gallery<\/a>.
\nPurchased thanks to the support of the law firm De Gaulle Fleurance & Associ\u00e9s and the Society of friends of the Pompidou Centre’s Acquisition Committee for Design.
\n<\/em><\/p>\n

\"Pompidou<\/p>\n\n <\/div>\n <\/div>\n <\/div>\n

\n \n \"initial\n <\/picture>\n \u00a9 titanium 3D printing <\/span>\n <\/div>\n <\/div>\n <\/div>\n\n\n
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\u201cI am trying to create a universe where we can grow things as nature would.\u201d
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Mathias Bengtsson\n <\/div>\n
Mathias Bengtsson was born in Copenhagen in 1971 and now lives and works in Stockholm.\n <\/div>\n <\/div>\n <\/div>\n\n\n
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Pioneering experimental research\n <\/h2>\n <\/div>\n
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To create this work, <\/b>Mathias Bengtsson<\/a> developed brand new simulation software using a grid with around 1000 constraint parameters<\/b>: mass, energy, gravity, pressure, etc. within which he allows algorithms to develop.<\/p>\n

His process interprets the model of bone growth by cell division and differentiation.
\n The performances of living organisms are analysed and applied to the performances of materials to generate new complex forms that blur the boundaries between design, art, craftsmanship and scientific research.<\/p>\n\n <\/div>\n <\/div>\n <\/div>\n\n\n

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titanium 3D printing at Initial <\/h2>\n <\/div>\n
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Through this technological and artistic challenge, the artist Mathias Bengtsson was able to capitalise on Initial\u2019s more than 25 years\u2019 experience and unrivalled 3D printing expertise.<\/strong><\/p>\n

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The Growth Table Titanium is the result of pioneering experimental research and was produced by titanium 3D printing <\/a>based on the EBM\u00ae additive manufacturing <\/a>process (Electron Beam Melting), which has the characteristic of using an electron beam to produce parts by metal powder sintering, specifically used in the aviation <\/a>or defence industries<\/a>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Initial was commissioned to produce the Growth Table Titanium.
\nThe work took 310 hours to produce and is made up of 22 titanium parts.
\nA technical feat for this extraordinary project: a unique and custom-made item.
\n<\/strong><\/p><\/blockquote>\n<\/div>\n<\/div>\n<\/div>\n\n <\/div>\n <\/div>\n <\/div>\n\n\n

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Mathias BENGTSSON\u2019s works <\/h2>\n Mathias Bengtsson\u2019s works (Slice Chair, Spun Chair, Growth Chair, 1998) combine craftsmanship with cutting-edge technology. Mathias Bengtsson is one of the most innovative designers when it comes to digital technologies, which he uses to design objects with complex forms in new materials. <\/span>\n <\/div>\n\n
\n \n \"Initial\n <\/picture>\n <\/div>\n
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BIOGRAPHY <\/h2>\n <\/div>\n
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Mathias Bengtsson (born in Copenhagen in 1971, now living and working in Stockholm) studied at the Royal College of Art and the Danish Design School in Copenhagen.<\/p>\n

After founding his studio in 2002, he moved to Stockholm in 2007.
\nHis works (Slice Chair, 1998, Spun Chair, 2002, Cellular Chair, 2011, Growth Chair, 2012) combine craftsmanship with cutting-edge technology and push the boundaries of what is sculpturally, technically and philosophically possible in terms of three-dimensional design.<\/p>\n

Mathias Bengtsson is one of the most innovative designers when it comes to digital technologies, which he uses to design objects with complex forms in new materials.
\n<\/strong><\/p>\n

His \u201ccomputational design\u201d is based on a language of algorithms, which is similar to the approach adopted by architects to generate forms using parametric calculations.<\/p>\n\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n

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Mathias Bengtsson is recognised worldwide for his visually striking and technically innovative sculptures\n <\/h2>\n <\/div>\n
Working with various processes and industrial materials, Bengtsson is always expanding the sculptural, technical and philosophical possibilities of three-dimensional design.\n He is constantly looking for new possibilities in terms of expression, and blurs the established boundaries between design, art, craftsmanship and new technologies.\n <\/div>\n
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Museum collections: Pompidou Centre, Paris France; MoMA, Museum of Modern Art, New York, USA; The Museum of Fine Arts, Houston, USA; The Mint Museum of Art, North Carolina, USA; High Museum of Art, Atlanta, USA; Indianapolis Museum of Art, Indianapolis, USA; Montreal Museum of Art, Montreal, Canada; Frank Cohen Collection, Manchester, UK; Manchester Art Gallery, Manchester, UK; The Lowry, Manchester, UK; Cass Sculpture Foundation, West Sussex, UK; R\u00f6hsska Museum, Gothenburg, Sweden; Stedelijk Museum, Amsterdam, Holland; Danish Museum of Decorative Arts, Copenhagen, Denmark.
\n <\/em><\/p>\n\n <\/div>\n <\/div>\n <\/div>\n\n\n

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\n \n \"GALERIE\n <\/picture>\n <\/div>\n
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MARIA WETTERGREN Gallery <\/h2>\n <\/div>\n
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Maria Wettergren, the Danish gallery owner, opened her gallery in Paris in 2010, having run the Galerie Dansk Moebelkunst in Paris for eight years.
\nSince then, she has exhibited works by the new scene\u2019s leading Scandinavian designers and artists.<\/p>\n

Three years after opening the Parisian gallery, Maria Wettergren was included in the American magazine, Art & Auction\u2019s Power 100 list.
\nIn 2014, she was awarded the Finn Juhl Prize for her international promotion of Scandinavian design.
\nThe gallery\u2019s artistic direction is characterised by a taste for experimental freedom, whether this is scientific, technological or relating to craftsmanship, which is embodied in works that render the boundaries between art, craftsmanship and design obsolete.
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Sponsorship by the law firm De Gaulle Fleurance & associ\u00e9s <\/h2>\n <\/div>\n
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Artists have seized upon additive manufacturing<\/a> as a new creative tool.
\nThis technique also attracts engineers, businesses and other stakeholders interested in its industrial and commercial potential \u2013 with its many legal implications.
\nFirst and foremost with regard to intellectual property law<\/a> (copyright, patents, trademarks and designs and models), which protects all forms of creation, ensuring the regulation, monitoring and punishment of any reproduction of a work or object that is not authorised by its copyright holder.<\/p>\n

\u201cPaving the way for a work of art to shed light on the legal issues surrounding 3D printing.\u201d
\n<\/b><\/p><\/blockquote>\n\n <\/div>\n <\/div>\n <\/div>\n

\n \n \"Artiste\n <\/picture>\n <\/div>\n <\/div>\n <\/div>\n\n\n
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\u201cSupporting Mathias Bengtsson\u2019s Growth Table Titanium project offers the opportunity to demonstrate our position at the forefront of issues relating to intellectual property and new technologies.\u201d
\n <\/strong><\/h5>\n<\/div>\n
Louis de Gaulle\n <\/div>\n
Partner\n <\/div>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

Growth Table Titanium, 2016, by Mathias Bengtsson.<\/p>\n","protected":false},"author":2,"featured_media":2235,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"content-type":"","footnotes":""},"categories":[15],"tags":[],"class_list":["post-9476","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-categorie-revue-de-presse-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/posts\/9476","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/comments?post=9476"}],"version-history":[{"count":13,"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/posts\/9476\/revisions"}],"predecessor-version":[{"id":10372,"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/posts\/9476\/revisions\/10372"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/media\/2235"}],"wp:attachment":[{"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/media?parent=9476"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/categories?post=9476"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/initial.mentalworks.me\/en\/wp-json\/wp\/v2\/tags?post=9476"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}