lascaux - international exhibition

Transcription

CONTENTS
Editorials ..............................................................................................p.2
1. Lascaux - International Exhibition: the meeting of Art and Science ............ p.3
Why Lascaux – International Exhibition? ..................................................................p.3
Interview with Bernard Cazeau, Senator of Dordogne,
President of the General Council
A modern, original and unique exhibition ................................................................p.4
Interview with Olivier Retout
Director of the Lascaux – International Exhibition Project
Technological innovation: a fresh view ....................................................................p.6
Interview with Francis Ringenbach, Head of artistic production
of the Périgord Facsimile Workshop
2. From Périgord to the World: international, cultural and scientific .............. p.9
significance of Lascaux
A basis for scientific research and conservation of cave art ......................................p.12
Interview with Yves Coppens, Member of the Academy of Sciences,
President of the Scientific Advisory Board in charge
of conservation of the Lascaux cave
APPENDICE
2 - Exhibition staff ....................................................................p.14
PRESS PACK - LASCAUX INTERNATIONAL EXHIBITION
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Editorials
Bernard Cazeau
Senator of Dordogne
President of the General Council
"What makes the Dordogne a key area for prehistory?
Without a doubt the fame of unique sites like Lascaux, and also the fact that the Dordogne bears the traces of nearly
450,000 years of continuous human occupation, representing the last quarter of the long human adventure.
In Périgord, in this valley of Mankind, listed as World Heritage of Humanity by UNESCO, we like to share knowledge
and pass on our heritage from one generation to the next. That is why, with Lascaux - International Exhibition,
we have decided to offer the world that part of the famous cave which has never been reproduced.
Thanks to brand new technology, with the collaboration of the best prehistorians and the painstaking work of our
artists, painters and engravers, we have made an identical reconstruction of the five decorated walls of the Nave and
the Well. True masterpieces of our distant ancestors, these unique replicas of the most spectacular sanctuary of
Paleolithic art offer food for thought on the lasting value of art in a constantly changing world.
The International Centre of Rock Art in Montignac is intended to serve as the world’s key touristic and cultural facility
dealing with cave art in general, and the Lascaux cave in particular.
With the accomplishment of these two major projects for Lascaux as we enter a new century, we will offer visitors a
complete tour of this undisputed symbol of rock art and a precious chance to meditate on the origins of Man and his
history. After Cap Sciences,
Lascaux – International Exhibition will take off for other continents and will thus unveil to the world the talent of
Humanity’s first artists.
Alain Rousset
Member of Parliament for Gironde
President of the Aquitaine Regional Council
"Few regions are as lucky as Aquitaine in having such a large number of UNESCO World Heritage sites on its territory.
Internationally recognized for its wealth of prehistoric heritage that has earned it the nickname of “Valley of Man”,
the Vézère valley is home to Lascaux, the famous cave with its 200,000 visitors per year, the “Sistine chapel of
prehistory” and rock art, in the well-known words of Abe Breuil.
Alongside the project Lascaux 4, the Montignac centre of rock art, the Region wished to support the launch of a large
international travelling exhibition, Lascaux 3.
Combining new imaging technologies with a partial replica of the cave and with explanatory areas, this exhibition
is intended to show and explain to the world the issues concerning this iconic site of the history of humanity.
I am particularly pleased that the International Exhibition is kicking off its world tour in Aquitaine, at Cap Sciences,
before continuing on its journey to Chicago, Montreal, Los Angeles, San Francisco, and then Asia."
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1 - LASCAUX - INTERNATIONAL EXHIBITION :
The meeting of Art and Science
Why put on Lascaux - International Exhibition?
Since its discovery, Lascaux has aroused unanimous interest worldwide. To cater for this fascination, the
Dordogne General Council launched the idea in the first decade of the century of making a very faithful
reproduction of a part of the cave not visible at Lascaux 2. On top of this facsimile technique, there was
the desire to pass on this unique heritage. That is why today Lascaux sets out on its journey. The exhibition
saw the light thanks to the Department of Dordogne, in partnership with the Aquitaine Region, the Ministry
of Culture and Communication and the European Union.
Bernard Cazeau with Yves Coppens President of the Scientific
Advisory Board in charge of conservation of the cave
Questions for Bernard Cazeau
Senator of Dordogne, President of the General Council
Lascaux - International Exhibition : what was the start of the project ?
"Since the 2000s, the General Council commissioned a facsimile studio in Montignac to make reproductions of the
panels of the Nave, in order to exhibit them at Le Thot. Encouraged by the public’s response to these works, the
idea of mounting a travelling exhibit of these reproductions took shape and lingered in my mind, especially as a
large number of persons in the world did not have the means to access this unique cave. With Lascaux - International Exhibition, we decided to offer the world a part of the famous cave which has never been reproduced.
Thanks to brand new technology, and the collaboration of the best prehistorians and the painstaking labor of our
artists, painters and engravers, we have created an exact reconstruction of the five decorated walls of the Nave
and the Well Scene. I can say that the result is a brilliant success."
What is the future for prehistory in Dordogne ?
"Concerning prehistory in Dordogne, we are resolved to establish a long term departmental policy on the matter.
Our objective is to set up the world’s first hub for prehistory and cave art, grouping the International Prehistory
Centre, the Les Eyzies reception centre, the Château de Campagne and the International Centre of Cave Art. The
future of prehistory in Dordogne is, in my view, our most valuable asset in developing the territory, from an economic
as well as a touristic and cultural standpoint. Looking beyond the future of the department, and perhaps taking a
philosophic view, it is also our duty to help others get to know our origins."
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A modern, original and unique exhibition
The Lascaux cave has been recreated with 5 unique exact replicas of the paintings in the Nave and the
Well Scene. Visitors can thus discover the life-size panels in a cave lit just as it was when the art was
made, with oil lamps and torches. Also on display will be moldings of original objects from Lascaux
(arrow heads, spears, the famous pink lamp in red sandstone…), as well as anatomical models of a
Cro-Magnon family.
This unique exhibition is the fruit of a marriage between cutting-edge technology and the art of excellence.
The replicas exactly reproduce the topography of the rock walls based on a detailed laser scan of Lascaux.
The panels are identical to the originals in their characteristics: micro-relief, appearance, texture and final
rendering.
The 800 m² exhibition layout will allow the public to explore the history of the famous cave which for over
70 years has been the focus of the efforts and interest of scientists and artists. Each visitor will be able to
form his own personal interpretation of Humanity’s first works.
Interview with Olivier Retout
Director of the Lascaux - International Exhibition project
Could you describe this exhibition for us in a few lines? What
will we be able to discover?
"For the first time, we will see part of the cave which was not
reproduced in Lascaux 2: the Nave and the Well Scene. It
consists of five scenes exhibited in the form of life-size panels
made by hand by painters, engravers, and artists from a complete micrometric digital laser scan of the cave. The exhibition is
a true world first, and promises to be monumental because the
set designers of the DU&MA agency had the brilliant idea of
building objects that complete the exhibition along with the five
replicas. The idea of building a Nave lets visitors contemplate
the majestic grandeur of Lascaux in the dark, in silence,
without commentaries. This exhibition will take them into the
very depths of the Lascaux cave."
Who is this exhibition for?
"It’s for everyone. For families, but also for adults as Lascaux is
a reflection on art and aesthetics. It is first and foremost a
philosophical exhibition, where arts and sciences combine to
raise questions on beauty, aesthetics and the origins of art."
In what way is it innovative? Does it bring a new perception
of the cave? Does it shed new scientific light on it?
"For the first time a nearly complete collection of all the finest
reproductions of Lascaux will be on show. When the Lascaux
cave was discovered, we immediately set to drawing it, photographing it, filming it in color, digitising, scanning, each time taking part in the adventure of copying and making reproductions.
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In this exhibition we will present the whole collection of all
these images. What is more, we will bring the digital model of
the cave, that is to say a computer model, a virtual object made
of billions of laser-recorded georeferenced points. Using this
object, our filmmaker Maurice Bunio has made a film in 3D,
which visitors will be able to watch with special glasses,
and which will be projected on a special screen. Digital Lascaux
is a world first."
What makes this exhibition interactive?
"A good part of the exhibition is interactive, that’s essential these
days. As one cannot touch the replicas, we present objects for
visitors to touch. The replicas are difficult to read. So we have
made interactive back-up for reading them. People will be able
to manipulate the images, and have sensory experiences with
their hands and eyes … This will help them assimilate Lascaux."
Is the exhibition participative?
"Lascaux - International Exhibition is immersive and interactive
but not participative. In the beginning, I had conceived it as participative based on two questions: asking the public for its interpretation of Lascaux or asking their opinion about the securing
of the site. We soon realized that wouldn’t work. It was too soon
to ask this question and current events have borne this out!
We made the wild gamble of building the exhibition while at the
same time placing it in various museums of the world. Starting
with the idea that Lascaux, an internationally known icon, is
more of a subject than an object, I have tried in this exhibition
to tell the history of the Lascaux cave: its birth, its childhood,
its good moments, its illnesses, its closure, up to the present
day. We tell whole Lascaux story."
5 life size reproductions
of the decorated walls of the Nave and the Well Scene
The Panel of the Imprint
The Frieze of the five Stags
It owes its name to the imprint of a hand in the clay
of the soil, long since disappeared. Just above it to
the left there is the frieze of the seven painted and
engraved ibex. The panel is decorated with an
engraved and painted herd, classic at Lascaux: a
good half dozen horses and a bovine, framed by
two quadrangular signs. One of the horses and the
bison are burdened with a number of barbed signs.
On the right wall of the Nave, a frieze extending 5m
and about 2m from the ground is made up of four
stag heads traced in black with manganese dioxide
using a broad brush, followed by a fifth stag drawn
in brown clay. The richly pointed antlers are given a
conventional perspective treatment. One ear springs
from the nape of the neck while the other lies flat
against the side of the neck.
The Great Black Cow
The Well Scene
Situated on the wall of the Nave, more than 3m from
the ground, this bovine figure was executed in three
stages: the engraved sketch, filling in of black pigment by blowing or dabbing, and over engraving of
the outlines. Details are painted with a brush. It is typical of the Lascaux style. This cow is overlaid on a
frieze of about 7m in length, composed of some
twenty small horses walking in the opposite direction.
At the bottom of the Well, there is the famous painting of the Man Facing a Charging Bison. This
human silhouette is rudimentary. The man, the only
human representation in the cave, is the central character of a narrative scene. Stretched on his back, he
is threatened by a charging bison pierced by a long
spear with his entrails spilling out. The presence of
a wounded and suffering animal, a bird and
two possible hunting weapons adds further to the
strangeness of the image.
The Crossed Bison
This panel reflects an attitude of intimidation,
the challenge of the males during the reproductive
period. The two bison in the Nave are in contact,
rump against rump.
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Technological innovation:
a fresh view
This International Exhibition brings together state-of-the-art
digital technologies in order to make the visit interactive
and unforgettable: simulators of human presence, virtual
trips using the most advanced 3D projections, interactive
terminals as well as multimedia and a model of the cave.
Visitors will be able to travel throughout the whole cave in
a virtual tour before admiring the 5 life-size facsimiles of
the Nave and the Well. They will then come face to face in
a unique and unforgettable meeting with a Cro-Magnon
family. They can also admire the artists of Lascaux preparing their tools and then painting and engraving the walls
of the cave.
TOUR ITINERARY
Lascaux: from discovery to interdiction - In 1940, four
adolescents and their dog discovered a treasure which
amazed the world, and brought more than a million visitors
between 1948 and 1963. Closed to the public since that
date, Lascaux remains the world icon of art from the dawn
of Humanity. The journey through the world of Lascaux
begins with a visual experience which immerses the visitor
in the heart of the subject with a gallery of unpublished
photographs and films which tell the saga of Lascaux.
Making Lascaux accessible - For 10 years, from 1972 to
1983, French artist Monique Peytral documented and
reproduced the paintings of the Hall of the Bulls and Axial
Gallery. The result, Lascaux 2, is a life-size replica that can
be visited at Montignac. You can discover the artist at work
with images and interactive terminals. Experience the magic
of the cave with a virtual 3D tour in HD.
Science and Art working in concert - To share Lascaux, it
was necessary to call on science and technology but also
the work of artists and craftsmen. Watch how scientists,
technicians, artisans and artists have produced identical
replicas of an unseen part of the cave, exclusively for
Lascaux – International Exhibition.
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A complex and well thought out work - The paintings
and engravings of Lascaux are not the products of happenstance. They are rich works, created by individuals
for a precise reason that we do not know. Numerous
multimedia presentations and interactive terminals reveal their complexity and give a measure of the technical
mastery exhibited by the artists of Lascaux. Watch the
Panel of the Black Cow comes to life, dissolve and reform to reveal the existence of paintings and engravings
which intertwine, overlap and mask each other. Hold in
your hand the molding of a tool and re-enact the artist’s
movements. Discover how the artists of Lascaux used the
natural relief of the cave to create movement, and
perspective and composition to tell a story.
A transdisciplinary passion - Since it was discovered,
Lascaux has inspired prehistorians, journalists, photographers, filmmakers, painters, writers, surveyors,
conservators and scientists. Discover their methods and
techniques thanks to eight interactive terminals. Understand by imitating the actions of professionals, how studying (science) and reproducing (art) help conserve this
fragile heritage listed by UNESCO as World Heritage
of Humanity.
Meet Cro-Magnon, our common ancestor - Cro-Magnon lived from hunting and gathering; he had a structured social organization and created tools, clothing,
ornaments and paintings. Far from the popular sticker
image of the cave man, his culture was a lot more
sophisticated and refined than most of us imagine. Hold
in your hand and use objects created by Cro-Magnon.
Observe how Cro- Magnon man lived, hunted, ate and
dressed.
Dermoplastie E. Daynès
Experiencing art at the dawn of Humanity - To make
Lascaux accessible to an international public, the cave
has been recreated in a new and unique set of 5 exact
replicas of the paintings in the Nave and the Well Scene.
Contemplate the paintings, their splendor and power, in
an atmosphere of silence and lamplight which makes
one ponder on the origins of Humanity. Watch the
animals move in the flickering light of the oil lamps
and torches of the Lascaux artists. Share the emotion
and beauty of one of the first masterpieces of Humanity.
Lascaux: the mystery remains - Lastly, it has to be
admitted that despite 70 years of research, study and
analyses, the meaning of Lascaux remains a mystery. In
the comfort of an amphitheatre, the visitor can catch up
with the ideas and images which make up our understanding of prehistoric man. Choose from among eight
points of view: interviews with scientists, historians,
artists and philosophers. Discover the diversity of representations of prehistoric man, realistic and fantastical:
cartoons, films, television broadcasts, etc. Seated in front
of the screens, a Cro-Magnon family welcomes visitors:
an old man, an adolescent, a woman and a child,
dressed and decked out with materials in existence 200
centuries ago.
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“Hall of the Bulls” and “the Axial Gallery” there. Here we
have two new parts: the “Nave” and the “Well” with the
famous “Man Facing a Charging Bison” at the bottom of
the Well. Lascaux 2 is a static object, a large block of
concrete. Here, it is a much lighter version that can travel.
The 5 replicas alone represent 180 m² of the exhibition.
At the start of construction, there was a vague undefined
idea of taking it on tour. Production began in 2007 with
numerous parameters which helped refine the project as
time went by. Today, 99% of the details have been dealt
with. The complete exhibition, covering over 800 m², is
ready for the road."
Interview with
Francis Ringenbach,
Head of artistic
production, Périgord
Facsimile Workshop
What was your work on Lascaux - International
Exhibition?
"I arrived at the Workshop as an artist-sculptor, at first in
order to make the sculpture part of the matrices. By matrices we refer to the elements in polystyrene reproducing
the frontal volume of the wall at a scale of one to one, lifesize, using photos projected on the wall. I carried out the
work of modeling using a type of polystyrene that can be
hollowed out then covered in a render over the whole
surface, thus reproducing the wall’s epidermis. That was
my first approach to facsimile."
Who have you collaborated with for this exhibition?
"I have basically worked with Olivier Retout and with other
artists from the Workshop, as well as with web and digital
technicians. In the cave, replicas are made from a 3D digital scan in the original cave. Guy Perazio’s firm took
part; it’s a surveying firm which made laser scans of the
cave from which a point cloud could be made and worked
to transform it into a life-size physical module called the
matrix. "
What makes this exhibition exceptional, innovative? And
in what way does it help improve or modify our perception of Lascaux?
"The modeled walls have never been shown elsewhere.
The original idea was to make complements that were not
visible at Lascaux 2. At the moment you can only see the
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What technical tools were used for making
these replicas?
"We used the same pigments as the Lascaux artists. The
ground is a resin shell onto which a mineral part is applied
to make what we might call a “stone veil”, with a front part
in mineral and a technical part in industrial resin behind.
So we have a resin shell bound and supported by metallic
structures."
What has been the main difficulty that you have had in
making these replicas?
"The main difficulties were more technical than artistic. Artistically, the aim was to make an exact reproduction. The
technical means evolved rapidly, and we were always left
somewhat behind by the technological evolution. Whereas
the artistic part always stayed the same."
A resolutely
international exhibition
After its preview in Bordeaux at Cap Sciences from
13th October 2012 to 6th January 2013, LascauxInternational Exhibition takes off for:
● The Field Museum in Chicago from 19th March
to 15th September 2013
● Houston from November 2013 to March 2014
● The Centre des Sciences in Montreal from 14th
April to 15th September 2014
● Denver from November 2014 to April 2015
The exhibition will then visit other cities on the
American continent, before travelling to Asia...
2 - FROM PERIGORD TO THE WORLD :
International, cultural and scientific significance of Lascaux
A unique archaeological and geological site
Located in Dordogne, in the commune of Montignac, the Lascaux cave is a timeless and universal work, a World
Heritage site dubbed the “Sistine chapel of Prehistory”, a veritable masterpiece of prehistoric parietal art. Also known
as the Lascaux bestiary, its frescos represent many animals, including horses, bulls, deer, ibex as well as felines, a cat,
a rhinoceros and even an imaginary figure commonly called the unicorn. These pictures are accompanied by enigmatic
signs and some human representations such as the Man Facing a Charging Bison (Well), raising new questions about
the perception of our prehistoric ancestors.
1940 - Lascaux, discovery
Lascaux, is above all a fabulous story, that of four adolescents: Marcel Ravidat, Jacques Marsal, Simon Coencas and
Georges Agniel who on 12th September 1940 discovered
what would be named the Lascaux cave, a true jewel of
prehistoric art, and a major archaeological revelation of
Humanity.
Seven days later, the four "explorers" decided to alert their
retired schoolteacher, Léon Laval, a prehistory and archaeology buff. On 21st September, the expert in cave art Abe
Henri Breuil arrived and was so overcome by this masterpiece of Prehistory, that he stayed on the spot for several
weeks, before beginning to study it. Although he intervened
little at Lascaux, he undertook the direct tracing of the engravings in the Chamber of the Felines. From December 1940, the Lascaux cave was listed as a Historical Monument.
It was opened to visitors in 1948. Archaeological research was then entrusted to Abe André Glory in 1952. From 1958
Marcel Ravidat and Jacques Marsal first signaled the deterioration due to the invasion of green algae. Today, Simon
Coencas is the last living witness of this epoch.
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LASCAUX IN 7 DATES
Some 20,000
years ago, men inscribed their story in Lascaux.
1940, Marcel Ravidat, Simon Coencas, Georges Agniel, Jacques Marsal discovered the cave and the work of
Lascaux entered History.
1963, put at risk by too many visitors, the cave was closed to the public at the request of André Malraux, Minister of Culture.
1979, Lascaux was listed as an official UNESCO World Heritage site.
1983, the Dordogne General Council undertook an ambitious programme of museographic reproduction with
the opening of Lascaux 2 (life-size replica of the Hall of the Bulls and of the Axial Gallery).
2012, beginning of the world tour of Lascaux, International Exhibition. Using new technologies of molding
and replication the Dordogne General Council completes the replica of the mineral wall of the Nave, another part
of the cave not reproduced in Lascaux 2.
Horizon 2016 the whole of the Lascaux cave will make up the centerpiece of the International Cave Art
Centre in Montignac.
Cave art of Lascaux
Cave art of Lascaux. Paleolithic cave art concerns all the engraved, sculpted or painted representations, on the walls of caves
and shelters under rocks: animals, images of female or male genitalia, handprints etc. At Lascaux, three fundamental themes
stand out: animals, humans and signs.
The animals. The bestiary of Lascaux numbers nearly 600 examples. It is very largely dominated by the horse, while stags and
aurochs are equally represented, followed by the ibex and the
bison. The carnivorous animals, bears and felines, are fewer in
number, and are engraved or painted in the more remote sectors.
The bestiary reflects the fauna known to the men of the Paleolithic
without being representative of their eating habits.
The humans. Very few sanctuaries feature several images of man.
Lascaux is no exception to this tradition; the site only contains one
anthropomorphic representation, that of the Well Scene.
The signs. Lascaux has some five hundred or so of these more or
less complex and varied geometrical designs that are much more
frequent in the engraved areas and have preserved their mystery
to the present day. They sometime occur in isolation, but are most
often juxtaposed with or overlap animal figures.
The Hall of the Bulls. In outline, apart from an incomplete horse
and an enigmatic figure "the Unicorn", the frieze numbers some
thirty main figures including four majestic aurochs, associated
with some fifteen horses and three red bovines (1 bison, 1 cow
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and her calf) separated by a group of small stags. A bear can
be discerned inside the ventral line of one of the bulls. Some thirty
signs can be seen.
The Axial Gallery. It is a direct prolongation of the Hall of the
Bulls, a corridor where the upper part of the walls and the vault
are almost completely covered with a complex ensemble of some
sixty animal figures and about fifty painted signs. At the end of
the Gallery there is the famous upside-down horse, open to a
host of interpretations.
The Apse-Well. The Apse contains more than 1,000 graphical
items: half of them are more or less complete animal figures, a
quarter are signs. The famous Man Facing a Charging Bison is
found at the bottom of the Well. We only know of three other truly
comparables scenes in the whole of Paleolithic art. The presence
of a wounded and suffering animal, a bird and two possible hunting weapons, adds to the strangeness of the scene.
The Nave. The barrel vault includes more than 50 animal figures
and more than 20 signs. It includes the famous Black Cow, the
rump-to-rump Crossed Bison as well as the Frieze of the Stags.
The Chamber of the Felines. Situated at the end of the Nave, the
Chamber of the Felines was very difficult to reach because of the
narrow “cat flap” and the sloping passageway, and difficult to
explore because of its lack of space. It is divided into two: the
Cabinet of the Felines and the particularly ornate Cabinet of the
Horses.
LASCAUX - INTERNATIONAL EXHIBITION
The well scene (Well)
The panel of the
black cow (Nave)
The Frieze of the
five stags (Nave)
The panel of
the imprint (Well)
The panel of the
crossed Bison (Well)
LASCAUX 2
Hall of the Bulls
Axial gallery
Passage
The large bulls
(Hall of the Bulls)
Well
Apse
The chinese horse
(Axial gallery)
Nave
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How do you see the last 50 years of conservation?
Has Lascaux 2 really saved Lascaux?
"These 50 years have been a bit chaotic. For the simple
reason that there has been damage – and not surprisingly. When you remove 8 m3 of plugs, and bring in
thousands of visitors, you increase the pollution of the
cave.
When the cave began to develop algae and then fungi,
there was a reaction of panic, with some harsh measures which caused variations in the cave’s state of
health. In the end, it is satisfactory. There was no lasting
damage. So we have to salute the quality of the paintings and the Cro-Magnon painters of Lascaux, and the
quality of their own painting conservation procedures."
A basis for scientific research
and conservation of cave art
Interview with Yves Coppens
President of the Scientific Advisory Board in
charge of conservation of the cave
What is your history with the Lascaux cave?
What emotions, impressions, sensations, did you
have when you entered the cave for the first time?
"My answer is paradoxical and twofold. It was at the
same time an impression of incredible noise, but also
of a sacred silence. In fact all these animals with the
abstract lines which accompany them seemed to me
loaded with information and meaning; as if they communicated with one another. The other aspect was the
sensation of a vast sacred silence to do with the mystical and mythical aspects of the cave as a witness of
Humanity’s timeless dimension. The painters of Lascaux
painted the cave as one would paint a cathedral, a sacred place. All these dimensions appeared to me as
leading to the gods, towards the heavens of these prehistoric men, and not to the prehistoric men themselves
but towards their pantheon."
What is its state of health at the moment?
"Lascaux is in excellent health. The cave is doing well,
we keep watch and pay close attention to it. The doors
of the cave are closed except for about 800 man hours
per year for inspections. In addition we have a simulator at the University of Bordeaux which lets us monitor
any actions taken to ensure that there is no collateral
damage."
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How do you see its future?
"Its future: the work of the Scientific Advisory Board is
to give the maximum of information to conserve the
cave as well and for as long as possible. In this connection, we carry out scientific research to avoid taking
actions blindly, and to try and ensure that the cave
does well. I think that the cave can survive for a good
twenty thousand more years."
Are you in favor of closing off the site?
"I am in favor of closing off the site to minimize pollution as far as possible. The proximity of Lascaux 2 to
Lascaux could cause damage in the long run. There are
a lot of visitors – nearly 300,000 per year – which increases pollution. So I am in favor of fencing off the
site and of setting up Lascaux 4 at the foot of the hill."
A host of conservation problems
1955: the first signs of alteration were noticed. It was caused by excess carbon dioxide from
the visitors breathing, causing acidification of the exhaled water vapor which corroded the walls.
1957: installation of a preliminary system for refreshing the ambient air and stabilizing the
temperature and hygrometry.
1960: appearance of the “green disease”, a veil of calcite grew on the walls and over certain works.
It was linked to the emanations of carbon dioxide from visitors, to raised temperatures and to artificial
lighting.
1963: the micro-organisms continued to proliferate in spite of the installation of zone filters. In April
the then Minister in charge of Cultural Affairs, André Malraux, decided to close Lascaux to the general
public.
1965 - 1967: the whole system of thermal and hygrometric regulation was modified.
1983: opening to the public of a replica of part of the cave (Lascaux 2).
1995: inspection by Jean-Michel Geneste of the cave’s technical installations drawn up in the form
of a "White Book ". He noted the aging condition of the electrical installations and equipments installed
in 1967.
1998: replacement of the hydrothermal regulation system.
2001: appearance of an extremely resistant mushroom Fusarium solani in the entrance vestibule of
the cave. This phenomenon coincided with the installation of the new hydrothermal regulation system
which was poorly designed. The mushroom spread to the paintings, which were soon covered with a
white down of mycelium. Up to December
2003, emergency treatments were applied to the cave to slow the rapid development of the moulds.
2002: an International Scientific Committee for the Lascaux cave was set up by the Ministry of Culture
to deal with the problem.
2006: the contamination was more or less brought under control, but new black stains appeared in
some of the more confined parts of the cave, the Passage, the Nave and the Apse.
2008: a biocide treatment was carried out but did not manage to completely eradicate the
phenomenon.
2009: a symposium on “Lascaux and Conservation in Subterranean Environments” was held in Paris
under the chairmanship of Jean Clottes.
2010: Minister of Culture Frédéric Mitterrand entrusted paleoanthropologist Yves Coppens with the
chairmanship of the Scientific Advisory Board in charge of conservation of the cave.
13
Appendix 1 – Exhibition staff
Organized by the Dordogne General Council In
partnership with the Ministry of Culture and
Communication, the Aquitaine Regional Council
and the European Union With the support of Crédit Agricole
DESIGN & BUILDING
Project management
Olivier Retout assisted by
Claire de Visscher and Robin Silver
ARTISTIC AND SCIENTIFIC STEERING COMMITTEE
Scenario, research and drafting
Nicolas St-Cyr assisted by Nathalie Grenet
PRESIDENT OF THE COMITÉ DE PILOTAGE
Yves Coppens
Member of the Academy of Sciences,
President of the Scientific Advisory Board of the Lascaux
cave
Stage design and production
DU&MA
Véronique Massenet and Rémi Dumas-Primbault assisted
by Serge Noël, Christophe Dubois, Pascal Mazoyer,
Vincent Capmartin, Derek Metz and Sophie Bertaut
DORDOGNE GENERAL COUNCIL
Bernard Cazeau,
Senator, President of the General Council
Bernard Noël, Deputy General Director of Education and
Culture
AQUITAINE REGIONAL COUNCIL
Eric Cron,
Director of Patrimony and Inventory
MINISTRY OF CULTURE
Dany Barraud,
Regional Conservator Archaeology
Muriel Mauriac,
Conservator of the Lascaux cave
Jean Clottes,
Honorary General Conservator of the Patrimony,
Jean-Michel Geneste,
Director of the National Prehistory Centre,
Monique Peytral, Artist-painter
Graphics
GRAFIBUS
Luc Maillet and Linette Chambon, assisted by Delphine
Gavache and Charlie Abad
Audiovisuals
LA PROD EST DANS LE PRE
Maurice Bunio, assisted by Emmanuelle Findji and Régine
Nowak
Virtual Lascaux: Michel Bonnat, Philippe Bordelais, Thierry
Pouffary, Xavier Thenon, Thomas Bunio, Géraud Bec, with
the collaboration of Guy Pérazio and studios Pillule et Pigeon and Peanut FX
The Black Cow and its procession: Elena Man-Estier, Géraud Bec
The Lascaux spear and the truncated blade: Pascal Magontier, Jean-Michel Geneste, Serge Maury, Bernard Sanserre,
Jacques Pellegrin, Alain Martin, Jean-Paul L'Homme,
Malvina Baumann, Caroline Peschaux
Interviews with experts: Baptiste Magnien,
Hassan Kamrani, Jérôme Million, Géraud Bec
Interactives
BLUE YETI
Jean-Michel Couturier and Magnolya Roy assisted by Laurent Garnier, Pierrick Letos, Nicolas Louvancourt, Anne Morata and Gregory Cosenza
14
Lighting
ACL
Alexis Coussement, assisted by Mathieu Gabry
Illustrations
Bénédicte Roland and Philippe Mignon
PRODUCTION AND BUILDING
Woodwork Construction
SEQUOIA - Matthieu Dheilly and his team
Replicas in stone shroud
ATELIERS DES FAC SIMILES DU PERIGORD
Francis Ringenbach, assisted by Valérie Mathias, Aurélia
Téxéira, Alan Bolle, Régis Drain, Thierry Lorent, under the
direction of Eric Chapuis
Anatomical sculptures of Cro-Magnon
ATELIERS DAYNES
Elisabeth Daynès, assisted by Peggy Martin, Céline Verney,
Charlotte Spiers
Molding of objects
Alain Dalis
Reproduction of objects
Serge Maury
Special equipment
VEROLIV
Olivier Taussig, assisted by Dominique Porcher, Aurélia
Maury, Jean Baptiste Bonanni
Multimedia and light coordination
BIG BANG
Philippe Rouillon, assisted by Pascal Dapsance
Prints
MULTIPLAST – in APPARENCE
Michel Protat, assisted by Anne Langerôme
Silk-screens
OEIL DE LYNX
Christophe Michel, assisted by Pierre Brugeail
Photo Credits
Ministry of Culture and Communication
Regional Cultural Affairs Board, Aquitaine
Institute of Human Paleontology
Historical Monument Research Laboratory
Architecture and Patrimony Media Library
National Prehistory Centre Toulouse Museum
International Prehistory Hub
Dordogne Departmental Archaeology Service
Alain Roussot
Brigitte and Gilles Delluc
François Laval
Monique Peytral
Jacques Lagrange
Maurice Déribéré
Didier Galop
Illustrations: Bénédicte Roland & Philippe Mignon, Christian
Jégou
FILM CLIPS
‘Corpus Lascaux’
Mario Ruspoli (1986) / Centre des Monuments Nationaux
«Les Gestes de la Préhistoire» (1998)
Pascal Magontier, Jean-Michel Geneste, Serge Maury,
Jacques Pellegrin,
Jean-Paul L'Homme / Dordogne General Council
‘À l'époque des peintres de Lascaux’
Daniel Cardot (1974) / CERIMES
‘Le temps des chasseurs solutréens’
Pascal Magontier (1999)
‘L'âge du renne’
Pascal Magontier (1999)
‘Dessins animés préhistoriques’
Marc Azéma (2011)
Acknowledgements
The Dordogne General Council wishes to thank
Jacques Buisson-Catil and the team of the International Prehistory Hub, Jean-Jacques Cleyet-Merle, National Museum
of Prehistory, Brigitte and Gilles Delluc, National Natural
History Museum ,Jean Michel Geneste and the team of the
National Prehistory Centre ,Laurent Bergeot and Isabelle
Grasswill, National Monuments Centre, Delphine Lacanette,
Laboratoire Trefle, University of Bordeaux, Elise Leboucher,
Historical Monument Research Laboratory
Jean-Daniel Pariset and Jean-Charles Forgeret, Architecture
and Patrimony Media Library, François Semah and Denis
Vialou, National Natural History Museum,
Jean Paul Jouary, Paris - Sorbonne University
Marinette Ravidat.
This exhibition is dedicated to the memory of the prehistorian Norbert Aujoulat (1946-2011)
LIFE Magazine
National Geographic
Fotolia
Philippe Psaila
15
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