la Carafe n°8 participe à 

 Renversant ! Quand art et design s'emparent du verre
Exposition temporaire #exporenversant
15 mars 2019 - 30 juin 2019 
La Carafe n°8 en couverture du Hors série de La Revue Des Vins De France, été 2018

Exposition Ceci n'est pas une bouteille

  • Musée valaisan de la Vigne et du Vin, Sierre. Suisse
Du 2 mai au 25 octobre 2015
  • Ouverture me-ve 14h-18h / sa-di 11h-18h
Hommage aux flacons qui servent l'ivresse... Découvrez les mutiples facettes de la bouteille et de la carafe, entre fonctionnalité, design industriel et design d'auteur. L'exposition a été conçue en partenariat avec le mudac (Musée de design et d'arts appliqués contemporains) de Lausanne où elle sera présentée en novembre 2015.

 Musée de la Main. Lausanne
ANATOMIES. De Vésale au virtuel
13 février - 17 août 2014

Interactive, contemplative et immersive, l’exposition Anatomies propose un voyage au coeur des conceptions et des représentations du corps humain. Vous y découvrirez un florilège d’images, d’objets et de témoignages entre passé et présent, entre art et science, entre médecine et société.

Une place particulière est faite au médecin André Vésale (1514-1564), l’un des fondateurs de l’anatomie moderne dont nous fêtons le 500e anniversaire. Des ouvrages anciens aux technologies d’imagerie les plus récentes, des préparations anatomiques aux installations virtuelles, Anatomies vous invite à traverser les multiples miroirs de nos corps intérieurs.

Une exposition sous le patronage de l’Académie suisse des sciences naturelles.

 D.H.M.  Dresden 2012
"The exhibition is less concerned with feelings in general than it is with the basic emotions, those that seem to overwhelm us, to endanger our integrity, our subjectivity and self-control, those we perceive to overpower us and which we feel compelled to resist, contain or deny. It is about rage and fear, love, joy, disgust and desire, in other words the most unpredictable and uncontrollable, the most sublime and yet banal, the most dangerous, vital and exhilarating emotions known to us as human beings."
Edith Hirte

 "How Wine Became Modern"
MoMA SanFrancisco  2010 / 2011

Design + Wine 1976 to Now
How Wine Became Modern explores recent transformations in the visual and material culture of wine. Opening at the San Francisco Museum of Modern Art in November 2010, the exhibition offers a fresh way of understanding the contemporary culture of wine and the role that architecture, graphic design, and industrial design have played in its recent evolution. Organized by Henry Urbach, SFMOMA’s curator of architecture and design, the exhibition marks the first time that modern wine has been considered as an integrated yet expansive, richly textured set of cultural phenomena.
The story begins in 1976, the year of the so-called Judgment of Paris, when a group of French wine experts blindly judged a number of northern California wines superior to esteemed French vintages. However apt the decision, later criticized and often restaged, the event was witnessed by a reporter who published his account in Time magazine. His account released shock waves around the globe as it gave the California wine industry, as well as winemakers in other parts of the world, new confidence, credibility, and visibility. This, in turn, had multiple effects in subsequent years, including the expansion of wine markets, growing popular awareness of wine, the birth of wine criticism, vineyard tourism, and a host of other manifestations. From this moment forward, the culture of wine began to accommodate and valorize new priorities such as innovation, diversification, and globalization.
In many different ways, all around the world, wine has become ‘modern’ as it has re-imagined its own representation and joined itself to other forms of culture, including architecture, graphic and industrial design, the visual arts, the performing arts, and film. And it is here, the exhibition claims, in this particular meeting-ground between nature and contemporary culture, that the social meanings of wine have been joined to key problematics of our moment, including the status of place and authenticity in a world increasingly structured by dematerialized, virtual experience.
The exhibition, designed by the New York-based architectural studio Diller, Scofidio + Renfro (DS+R), combines original artifacts such as architectural models and photographs with works of art, some newly commissioned, as well as multimedia presentations and interpretive text. Viewers will encounter artworks, objects, and information within immersive environments that engage multiple senses including smell. 


"Taste Of Glass
Glazen Huis.Lommel. 2010 

The exhibition "The Taste of Glass" confronts historical glasswork with contemporary artwork.It examines the influence of form on perception. It calculates the proportion between content and container. This is a taste investigation about typologie and oenologie, about empty bottles and broken glasses, about hamburgers and carrots.

Jeroem Maes