Click on the name of a site to access photographs and archives. Cliquer sur le nom du site pour voir les photographies et les archives.
The name of an exhibit appears when the mouse moves over it. Le nom de l’œuvre ou de l’objet apparaît lorsque la souris le met en surbrillance.

Artworks and objects exhibited Œuvres et objets exposés

The exhibited artworks and objects are represented schematically in black and white: Les œuvres et les objets exposés sont représentés en noir et blanc de manière schématique :

Semi-transparent white Blanc semi-transparent

Works and objects identified in photographs from 1985 are shown in semi-transparent white. En blanc semi-transparent pour les œuvres et les objets identifiés sur les photographies de 1985.

Semi-transparent black Noir semi-transparent

Those whose appear­ance is documented, but whose exact placement we have not been able to ascertain, are shown in semi-transparent black, floating in the centre of their respective sites. En noir semi-transparent, flottant au centre de leurs sites respectifs, lorsque leur apparence est documentée, mais leur emplacement exact n’a pu être établi.

Black square Carré noir

Those whose appear­ance and placement are unknown today are shown as black squares. Par un carré noir : leur aspect et leur emplacement sont aujourd’hui inconnus.

Photographs superimposed on the 3D model Photographies superposées à la modélisation 3D

When your navigation through the 3D space coincides with the point of view from which one of the 1985 photographs was taken, that photograph appears, then disappears when the point of view changes again. Lorsque la navigation dans la modélisation 3D croise le même point de vue que celui d’une photographie de 1985, celle-ci apparaît, puis disparaît lorsque le point de vue se déplace.

Les Immatériaux Soundtracks Bandes sonores des « Immatériaux »

The sounds you hear are digitised versions of the original soundtracks played through the headphones distributed to visitors upon entry to the exhibition. ‘Les Immatériaux’ offered visitors a sound-based pathway through the exhibition space, consisting of 31 ‘sound zones’. Transition from one sound zone to another took place automatically as visitors moved through the space, triggered by a system of infra-red sensors. Les sons que vous écoutez correspondent aux numérisations des bandes sonores d’origine, qui étaient diffusées dans les casques distribués aux visiteurs à l’entrée de l’exposition. « Les Immatériaux » proposait un cheminement sonore à travers 31 « zones-son ». Le passage d’une zone-son à une autre se faisait au gré des déambulations des visiteurs grâce à un système de capteurs infra-rouge.

You are approaching the exhibition’s exit, would you like to leave the virtual exhibition? Vous approchez de la sortie, voulez-vous quitter l’exposition virtuelle ?

Use arrow keys or WASD to walk around. Utiliser les flèches du clavier ou les lettres WASD pour avancer dans les différentes directions.

Left click and drag to rotate the view. Clic gauche et glisser pour pivoter sur vous-même.

We would recommend to reduce the quality of the virtual exhibition model due to performance reasons.
Please choose “Proceed” to continue with the actual quality. Nous vous recommandons de diminuer la résolution de l'exposition virtuelle afin d'optimiser la navigation.
Choisir "Continuer" pour garder la résolution actuelle.

Move the mouse over an exhibit to see its name. Click on it to access photographs and archives. Passer la souris sur une œuvre ou un objet pour voir son nom. Cliquer dessus pour voir les photographies et les archives.

Use arrow keys or WASD to move through the space. Utiliser les flèches du clavier ou les lettres WASD pour avancer dans les différentes directions.

Left click and drag to rotate your view. Clic gauche et glisser pour pivoter sur vous-même.

LOADING THE VIRTUAL EXHIBITION TELÉCHARGEMENT DE L’EXPOSITION VIRTUELLE

PLEASE PRESS A TO CONTINUE APPUYEZ SUR A POUR CONTINUER

Sound is a fundamental element of this exhibition. It is advised to wear headphones for the best experience. Le son est un élément important de cette exposition virtuelle. Il est conseillé de porter des écouteurs.

Leave the virtual exhibition and return to the plan on the welcome page. Your current position will be saved. Quitter l’exposition virtuelle et revenir au plan de la page d’accueil. Votre position actuelle sera conservée.

Go back to the entrance of the virtual exhibition. Revenir à l’entrée de l’exposition virtuelle.

Les Immatériaux - virtual exhibition Les Immatériaux - virtual exhibition

THE VIRTUAL EXHIBITION of EXPOSITION VIRTUELLE

Les Immatériaux
  • LES IMMATÉRIAUX,
    CENTRE POMPIDOU,
    1985     LES IMMATÉRIAUX,
    CENTRE POMPIDOU,
    1985
  • A LANDMARK EXHIBITION UNE EXPOSITION MARQUANTE
  • A POSTMODERN DIALOGUE BETWEEN ART, SCIENCE AND NEW TECHNOLOGIES UN DIALOGUE POSTMODERNE ENTRE ARTS, SCIENCES ET NOUVELLES TECHNOLOGIES
  • AN EXPERIMENTAL SCENOGRAPHY, IM‑MATERIAL, LABYRINTHINE, DISQUIETING UNE SCÉNOGRAPHIE EXPÉRIMENTALE IM‑MATÉRIELLE, LABYRINTHIQUE, TROUBLANTE
  • IMMERSING THE VIEWER IN A SOUNDSCAPE ENVELOPPANT LE PUBLIC DANS UN ENVIRONNEMENT SONORE
  • HERE DOCUMENTED IN A VIRTUAL REINTERPRETATION DOCUMENTÉE ICI À TRAVERS UNE RÉINTERPRÉTATION VIRTUELLE
Octave au pays des Immatériaux, 1985. Excerpts.
Director: Paule Zajdermann ; scenario: Daniel Soutif and Paule Zajdermann ; production: Centre Pompidou ; music excerpt: Jonathan Harvey, Bhakti, 1982. Octave au pays des Immatériaux, 1985. Extraits.
Réalisatrice : Paule Zajdermann ; scénario : Daniel Soutif et Paule Zajdermann ; production : Centre Pompidou ; extrait musical : Jonathan Harvey, Bhakti, 1982.

Organised in 1985 by the Centre de Création Industrielle of the Centre Pompidou, ‘Les Immatériaux’ was conceived by the philosopher Jean-François Lyotard and the design theorist Thierry Chaput, working alongside a team of project managers and scientific advisors. By setting up a dialogue between artworks and scientific and technological devices, the exhibition sought to explore the shift toward a postmodern sensibility in which new technologies were profoundly disrupting relations between the human and the world. Organisée en 1985 par le Centre de Création Industrielle du Centre Pompidou, « Les Immatériaux » a été conçue par le philosophe Jean-François Lyotard et le théoricien du design Thierry Chaput, accompagnés par une équipe de chefs de projets et de conseillers scientifiques. À travers le dialogue d’œuvres, de dispositifs scientifiques et de technologies, cette exposition interrogeait le passage de l’époque moderne à l’époque postmoderne, où les nouvelles technologies bouleversaient en profondeur les relations de l’humain au monde.

La présente exposition virtuelle, souhaite documenter la « manifestation » historique « Les Immatériaux » à travers une riche sélection de photographies et d’archives, décrites et contextualisées. Dans la version conçue pour ordinateur, cette documentation se déploie dans un espace modélisé en 3D, reflétant l’architecture, la scénographie et l’environnement sonore d’origine

Thematic texts shedding light on the history of the exhibition, its initial conception, its scenography, its sound environment and the accompanying film, concert, and conference. The presentations are structured around annotated maps, photographs, and archives. The fifth text, on programming, contains digitised catalogues from the exhibition, including English versions of the Inventaire [Inventory] catalogue and the Petit journal [Mini-Guide] of the exhibition, translated in 2022. Des chapitres thématiques éclairent l’histoire de l’exposition, sa conception, sa scénographie, son environnement sonore et la programmation qui l’accompagnait. La présentation est structurée autour de plans légendés, de photographies et d’archives. On trouve dans le cinquième chapitre, consacré à la programmation, les catalogues d’exposition numérisés, dont les versions anglaises de l’Inventaire et du Petit journal de l’exposition réalisées en 2022.

The Exhibition ‘Les Immatériaux’ L'exposition « Les Immatériaux »

‘Les Immatériaux’ was presented in 1985 by the Centre Pompidou’s Centre de Création Industrielle. It was curated by the philosopher Jean-François Lyotard and the design theorist Thierry Chaput, working alongside a team of project managers and scientific advisors. Conceived fundamentally as a philosophical project, the exhibition explored the shift toward a postmodern sensibility in which new technologies were profoundly disrupting relations between the human and the world. « Les Immatériaux » est organisée en 1985 par le Centre de Création Industrielle du Centre Pompidou. Le philosophe Jean-François Lyotard et le théoricien du design Thierry Chaput en assurent le commissariat, accompagnés par une équipe de chefs de projets et de conseillers scientifiques. Conçue comme un essai au fondement philosophique, l’exposition interroge le passage de l’époque moderne à l’époque postmoderne, où les nouvelles technologies bouleversent en profondeur les relations de l’humain au monde.

A Medium for Experimentation Un médium d’expérimentation

‘Les Immatériaux’ set itself in opposition to a model of the exhibition as universal, transparent, and didactic, instead aiming to ‘provoke reflection and inquietude in the visitor in relation to the postmodern condition’. It therefore took an experimental form that played upon the notions of immateriality and disorientation. Artworks, scientific and technological devices, and industrial products were displayed across more than sixty ‘sites’ delimited by suspended metal partitions of varying opacity. Visitors were free to choose their own path between the ‘Theatre of the non-body’ and the ‘Labyrinth of language’, situated respectively at the beginning and end of the exhibition. « Les Immatériaux » s’opposent au modèle de l’exposition universelle, transparente, didactique, pour « susciter chez le visiteur une réflexion et une inquiétude au sujet de la condition postmoderne ». Elle adopte ainsi une forme expérimentale reposant sur les notions d’immatérialité et de désorientation. Les œuvres et les dispositifs plastiques, scientifiques et technologiques se déploient au sein d’une soixantaine de « sites » délimités par des parois suspendues en tissage métallique, à l’opacité variable. Allant du « Théâtre du non-corps » jusqu’au « Labyrinthe du langage », situés aux deux extrémités de l’exposition, le cheminement est libre.

Sound Environment Environnement sonore

Visitors were given headphones which would play a number of soundtracks triggered by a system of infra-red sensors as they moved through the space. These soundtracks—a mixture of electro-acoustic music and readings of literary, philosophical, and poetic texts—were not explanatory in nature. They formed part of a multi-sensory experience in which various levels of signs and references were superimposed and intertwined. Les visiteurs portent un casque audio diffusant des bandes sonores variant par un système de capteurs infra-rouge au gré de leurs déambulations. Composées de musiques électro-acoustiques et de lectures de textes littéraires, philosophiques et poétiques, ces sons ne sont pas explicatifs. Ils contribuent à produire une expérience multi-sensorielle où les strates de signes et de références se superposent et s’entremêlent.

The Virtual Exhibition L’exposition virtuelle

This virtual exhibition offers a systematic insight into the archives of the Centre Pompidou, and is the fruit of three years of research including an oral history project on ‘Les Immatériaux’. Along with digitised versions of the soundtracks, a 3D model of the exhibition has been designed which, although not an exact reproduction, reflects the original architecture and scenography. Within the model, artworks and other exhibits appear in various modes of transparency, following a visual code that serves to indicate what is known about them today. Each of the exhibition’s sixty-five sites and some one hundred and fifty works, devices and objects exhibited are documented by a range of photographs and archives, descriptions and contextualisations. La présente exposition virtuelle offre un aperçu raisonné des archives du Centre Pompidou et résume le fruit de trois années de recherches, incluant un travail d’histoire orale autour des « Immatériaux ». Animé par les bandes sonores numérisées, l’espace modélisé en 3D reflète l’architecture et la scénographie d’origine sans les reproduire de manière mimétique. Les œuvres et les différents dispositifs s’y inscrivent en transparence, selon un code visuel reflétant l’état des connaissances réunies à leur égard. Chacun des soixante-cinq sites de l’exposition et des quelques cent vingt œuvres et dispositifs exposés sont documentés par des sélections de photographies et d’archives, décrites et contextualisées.

Uncertainties and Unknowns Incertitudes et inconnues

The archive of ‘Les Immatériaux’, like any archive, has some holes in it. To date, no photographs have been found of some of the sites. Although our research has allowed us gradually to fill in the gaps, certain unknowns still remain, and the project acknowledges these absences. The 3D models of artworks, objects, and devices are of three types: those identified in photographs from 1985 are represented in semi-transparent white; those whose appearance was documented but whose exact location within the exhibition could not be established are represented in semi-transparent black, floating in the centre of their respective sites; and finally, those whose appearance and placement are unknown are represented as black squares. Comme toute archive, celle des « Immatériaux » est lacunaire. De certains espaces ne subsiste aucune photographie identifiée à ce jour. Si les recherches permettent peu à peu de combler ces manques, certaines inconnues subsistent, dont ce projet veut rendre compte. Les œuvres et les dispositifs modélisés en 3D sont ainsi de trois types : ceux identifiés sur les photographies de 1985 sont représentés en blanc semi-transparent ; ceux dont l’apparence est documentée, mais l'emplacement exact dans les espaces d'exposition n’a pu être établi, sont représentés en noir semi-transparent, flottant au centre de leurs sites respectifs ; enfin, ceux dont l'aspect et l’emplacement sont inconnus sont représentés par un carré noir.

An Ongoing Project Un projet au long cours

A team of researchers, conservators, designers and developers have collaborated on this project since January 2019. Our research in the archives and our interviews with those who participated in ‘Les Immatériaux’ are ongiong projects whose future development will allow us to continue to fill out this virtual exhibition. Une équipe de chercheurs, de conservateurs, de designers et de développeurs collabore sur ce projet depuis janvier 2019. Les recherches dans les archives et les entretiens avec les personnes qui ont participé aux Immatériaux sont des travaux au long cours, dont les évolutions futures permettront de continuer à actualiser cette exposition virtuelle.

LES IMMATÉRIAUX

Les Immatériaux exhibition

Les Immatériaux was a pioneering exhibition which took place at the Centre Pompidou in Paris in 1985. Organized by the Centre for Industrial Creation (CCI) of the Centre Pompidou, it was curated by the French philosopher Jean-François Lyotard and the design theorist Thierry Chaput, together with a team of project managers and advisors. By exploring the intersections of art, science and technologies, they sought to address the postmodern transformation of the world effected by the growing presence of new technologies in all areas of life.

A medium for experimentation

Central to the curators’ working process was the notion that the exhibition is a medium for experimentation that provides room for questioning rather than mere demonstration. Comprising sixty-one separate “sites”, covering almost all the top floor of the landmark building in the centre of Paris, the architects Philippe Délis and Katia Lafitte created a ground-breaking scenography based on the notions of immateriality and indistinctness. The exhibition’s route was labyrinthine, with no specific path imposed. Wherever possible, the partition of the spaces did not rely on walls but on suspended screens of multi-layered metal mesh, whose transparency varied from site to site.

The soundtracks

Headphones enabled visitors to listen to soundtracks which, thanks to short-range transmitters, switched from one programme to the other as people moved through the thirty-one audio-zones of the exhibition. These soundtracks—which included readings of literary, philosophical or poetic texts accompanied by electronic music—infused the exhibition with an additional layer of associations, while disrupting the customary habits of the exhibition audience.

The digital reconstruction

The present digital reconstruction seeks to document the historical exhibition of Les Immatériaux. Due to the multi-sensory and interactive situations that visitors encountered throughout the show—with some exhibits incorporating additional lights, sounds and even smells, which cannot be adequately represented in such a virtual model—and due to the incomplete photographic documentation, a faithful digital reproduction has not been intended. Instead, what you can experience here wants to give an idea of the architecture and the atmosphere of the spaces, and to share a rich selection of photos and archive materials about each room (called “site”) and each exhibit.

The parts that are unknown

Importantly, this 3D documentation does not try to reconstruct parts of the exhibition that are unknown. Therefore, you will find three types of exhibits: those exhibits which can be identified in the original photographs from 1985 are rendered in transparent white; those exhibits of which we know how they looked, but we don't know their exact placement in the exhibition spaces, are rendered in semi-transparent black, floating in the middle of the respective sites; and the exhibits whose appearance is unknown are represented by a black square.

An ongoing project

This digital documentation of Les Immatériaux is an ongoing project. In the version currently presented at Väre, Aalto University, you are invited to discover the 3D reconstruction, where the space, the scenography and the exhibits are modeled. Photos, archive materials and yet unpublished translations of important texts will be uploaded gradually, as the archival research goes on, in the course of the Beyond Matter project.

IMPRINT CRÉDITS

Centre national d’art et de culture Georges Pompidou

The Centre National d’Art et de Culture Georges Pompidou is a national public establishment under the supervision of the French Ministry of Culture (Law 75-1, 3 January 1975).

Laurent Le Bon | Chairman, Director & CEO

Julie Narbey | Executive Director

Charlotte Bruyerre | Deputy Director

Xavier Rey | Director of the Musée national d’art moderne - Centre de création industrielle

Mathieu Potte-Bonneville | Director of the Département culture et création

Jack Lang | President of the Association pour le développement du Centre Pompidou

Floriane de Saint Pierre | President of Les amis du Centre Pompidou

Curatorial team - New Media Department, Musée national d’art moderne - Centre de création industrielle

Marcella Lista, Philippe Bettinelli, Julie Champion

Archival research

Andreas Broeckmann, Marie Vicet

Concept design - Aalto University, Espoo, Finland

Niklas Alenius, Punit Hiremath, Edoardo Piroddi, Jiaxin Tao, under supervision of Lily Diaz-Kommonen and Cvijeta Miljak

UI/UX design and 3D modeling

Niklas Alenius, Edoardo Piroddi

Project Management and UI/ UX design adviser

Matthias Heckel

Software development

Netzbewegung GmbH

Texts

Andreas Broeckmann, Marie Vicet and Antonia Wunderlich, edited by Andreas Broeckmann

English translations

Andreas Broeckmann, Robin Mackay, Pierre Von-Ow

Digitization

Bibliothèque Kandinsky, Gecko – numérisation et restauration du patrimoine sonore

With the participation of the following departments at the Centre Pompidou

Bibliothèque Kandinsky, Musée national d’art moderne-Centre de création industrielle : Nicolas Liucci-Goutnikov, François Nawrocki, Mica Gherghescu, Sonia Descamps, Laurianne Nehlig

Service de la production audiovisuelle, département de la production: Sylvain Wolf, Arnold Jeanville, Laetitia Poissonnier

Service juridique et des archives: Jean-Philippe Bonilli, Jean Charlier


Special thanks to the people who kindly shared their memories and archives of Les Immatériaux:

Jean-Pierre Balpe, Christophe Bargues, Bernard Blistène, Jean-Louis Boissier, Jacques-Élie Chabert, Clément Délis, Pauline Délis, Frédéric Develay, Jean-Paul Fargier, Jean-Charles François, Catherine Ikam, Katia Lafitte, Luc Maillet, Françoise Michel, Martine Moinot, Paule Monory, Chantal Noël, Jean-Pierre Ozil, Arnaud Petit, Camille Philibert, Jean-Claude Planchet, Philippe Puicouyoul, Dolorès Rogozinski, Jonathan Ross, Annegret Soltau, Daniel Soutif, Marie-Hélène Tramus, Katerina Thomadaki, Liliane Terrier, Sabine Vigoureux, Paule Zajdermann

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In addition, we store your IP addresses and the time of registration and confirmation. The purpose of the procedure is to be able to prove your registration and, if necessary, to clarify a possible misuse of your personal data.

After your confirmation, we will save the data you provide for the purpose of sending you the corresponding newsletter. The legal basis is your consent in accordance with Article 6 paragraph 1 sentence 1 letter a GDPR.

You can revoke your consent to receive the newsletter at any time and unsubscribe from the newsletter. The easiest way to cancel your subscription is to click on the link provided in each newsletter e-mail.

VI. Recipients of personal data

We will only pass on your personal data to external third parties if this is necessary for the processing or handling of your request, if we have another legal permission or if we have your consent to do so. External recipients may in particular be service providers that we use for the provision of services, for example in the areas of technical infrastructure and maintenance of our website. Such contractors are carefully selected and regularly checked by us. You may only use the data for the purposes specified by us and in accordance with our instructions.

If data is transferred to entities whose registered office or place of data processing is not located in a member state of the European Union or in another state party to the Agreement on the European Economic Area, we will ensure that the recipient either has an adequate level of data protection or your consent to the transfer of data prior to the transfer, except in exceptional cases permitted by law.

VII. Storing time

We store your personal data only as long as this is necessary for the fulfillment of the purposes or – in the case of a consent – as long as you do not revoke the consent. In the event of an objection, we will delete your personal data unless further processing is permitted by the relevant statutory provisions or is even mandatory (e.g. within the framework of commercial and tax storage obligations). We delete your personal data even if we are obliged to do so for legal reasons.

VIII. Rights as data subject

As a person affected by the data processing, you have numerous rights at your disposal. In particular, these are:

  • Right of information (Article 15 GDPR): You have the right to obtain information about your personal data stored by us.
  • Right of rectification (Article 16 GDPR): You can ask us to rectify incorrect data.
  • Right of deletion (Article 17 GDPR): You may request us to delete data that has been processed illegally in particular.
  • Restriction of processing (Article 18 GDPR): You may require us to restrict the processing of your data, in particular to »block« data whose processing is controversial.
  • Data transferability (Article 20 GDPR): If you have provided us with data on the basis of a contract or consent, you may request that you receive the data you have provided in a structured, current and machine-readable format or that we transmit it to another person responsible.
  • Objection to data processing on the legal basis of »legitimate interest« (Article 21 GDPR): You have the right to refuse data processing by us at any time for reasons arising from your particular situation, insofar as this is based on the legal basis of »legitimate interest«. If you exercise your right of objection, we will stop processing your data unless we can prove compelling reasons worthy of protection for further processing, which outweigh your rights. In the case of direct advertising or the use of cookies due to justified interests, we will generally observe your objection and stop the corresponding processing of your data. If you object to cookies, please note that you must take certain precautions in your browser as described above.
  • Revocation of consent (Article 7(3) GDPR): If you have given us consent to the processing of your data, you can revoke this at any time with effect for the future. The legality of the processing of your data until revocation remains unaffected by this.
  • Right of appeal to the supervisory authority (Article 77 GDPR): You may also lodge a complaint with the competent supervisory authority if you believe that the processing of your data violates applicable law. You can contact the data protection authority responsible for your place of residence or country or the data protection authority responsible for us.

You are only entitled to the rights described above on condition that the legal requirements applicable in this respect are fulfilled, even if this is not expressly mentioned in the above description.

If you have any questions regarding the processing of your personal data, your rights as a person concerned or any consent you may contact us free of charge. To exercise all your aforementioned rights, please contact community@zkm.de or write to the address indicated in Section I above. Please ensure that we can uniquely identify you. You can also contact our data protection officer, also under the contact details mentioned in Section I.

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