Category: Non classé

Exhalaisons

Exhalaisons
sound installation with 2 speakers
2009

exhibition Le domaine des murmures, Les-Saintes-Maries-de-la-Mer, 2014
exhibition FIAC Hors-les-murs, gb agency, Jardin des Plantes, Paris, 2012
solo exhibition Quelqu’un est tombé, abbaye de Maubuisson, Saint-Ouen-L’Aumône, 2009

The installation called Exhalaisons is set outdoors. It is in a park and is located on a bench. Two speakers standing on the ground behind the seating audience emit sequences which last a few seconds. They are broken with silences. Each sequence, introduced and concluded by textless voices (breathing, coughing, humming), deploys a rumor, as some unstable state which adds up to the sounds which are naturally produced by the place and the urban environment.
The listening of the place (the activities in the distance, nature, the road, the trains) is aroused, favoured, all the more retrieved as it is impeded for a short while (a few seconds). The sounds of the piece which is being emitted are like stimuli, underlayers, like a skin, halfway between what is inside (the sounds of the piece) and what is outside (the sounds of the place).

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1 Les-Saintes-Maries-de-la-Mer, 2014 – photo D.P. / 2 Jardin des Plantes, Paris, 2012 – photo Magalie Meunier / 3-4 abbaye de Maubuisson, 2009 – photos Patricia Langlois / Catherine Brossais

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about

– video captation abbaye de Maubuisson, Saint-Ouen-l’Aumône, 2009
– text by Lillian Davies, New York, press article Artforum, summer 2009, En.
– text by Marinella Paderni, press article Arte e Critica n°51, Rome, 2009, it./En.

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Le bout de la langue

Le bout de la langue
sound installation with 1 speaker
1994

exhibition Babylone, Le CAP, Saint-Fons, 2017
exhibition Paysages avec objets absents, centre d’Art Fri Art, Fribourg, 2011
exhibition Some time waiting, Kadist Art Foundation, Paris, 2007 (cur. Adam Carr)
exhibition Fragments d’une collection, prêt Kadist Art Foundation, Préfecture, Cayenne, 2007 (cur. Marie-Claude Jeune)
exhibition Un air de famille, Centre photographique, Lecture, 2004
exhibition Expander 1.0, Revue Bloc Notes, Espace Jousse-Seguin, Paris, 1999

Le bout de la langue (The tip of the tounge) – bilingual version Fr./En. with 2 speakers
exhibition The Space of Words, MUDAM, Luxemburg, 2009 (cur. Christophe Gallois)

The installation called Le bout de la langue breaks up, spaces out and loops the first part of the sound piece which bears the same title. It is an installation for one voice only. A unique speaker emits a voice: a specific dot in the space, mounted on a pedestal at ear level, more or less in the middle of a space.
Breathing, beginnings of sharply interrupted sentences, broken with silences. A woman is wondering, looking for something she suddenly does not remember. The duration of silences, depending on the context of the exhibition and the utilized place, gives the work a shape marked by stops and starts, making it both absent and present, first discreet then insistent to the ears of the listener who pays attention to it.

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1 Espace Jousse-Seguin, Paris, 1999 – photo Stéphanie Ditche / 2-3 Kadist Art Foundation, Paris, 2007 – photos Kadist / 4 Fri Art, Fribourg, 2011 – photo Julie Langenegger

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bilingual version Fr./En. with 2 speakers

Le bout de la langue (The tip of the tongue).
In the bilingual version the (French) voice is no longer the only one.
On another pedestal, a few steps from the first one, there stands a second voice,
that of the translator. This latter repeats and translates, into English and
in reported speech, close or far from the literal meaning.
Oral translation in English by Éric Baudelaire.

excerpt 2 bilingual version Fr./En.

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MUDAM, Luxemburg, 2009 – photos D.P.

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document

postal card, 2003

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about

– interview with Christophe Gallois, catalogue of the exhibition The Space Of Words, MUDAM, 2009, Fr./En.

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Aloof

Aloof
sound installation with 2 speakers
2005

exhibition Act I, One Thing Plus Another…, Toussaintkade 49, The Hague, 2018 (cur. Tlön Projects)
exhibition Chambres sourdes, Domaine de Rentilly, 2011 (cur. Audrey Illouz)
solo exhibition Legami invisibili, e/static > blank, Turin, 2010
exhibition Découpage (f l), e/static > blank, Turin, 2006
open studio ISCP, New York, 2005

Les heures creuses

Piece in English, orally translated by Miles Hankin.

The installation called Aloof remains hidden out from the listener. Behind a door, in a space plunged in darkness and which nobody can enter (blocked out and slightly ajar door), two speakers emit a sound scene: in the foreground of a space that can be imagined as a reverberating inside one, a child emits unintelligible vocal signs (between scream, singing and breathing) which a man, standing next to her, simultaneously translates into an articulated language, namely into English and in reported speech. In the middle distance, some ongoing urban rumor.

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1 The Hague, 2018 – photo Gunnar Meier / 2-3 Domaine de Rentilly, 2011 – William Lacalmontie / Ghislaine Périchet / 4-5 e/static, Turin, 2010 – Carlo Fossati / D. P.

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about

– text by Dominique Petitgand, book Les liens invisibles / The invisible links, CIAP, Île-de-Vassivière, 2015, Fr./En.
– transcription by Vanessa Desclaux in “Script for a struttering exhibition”, revue Život umjetnosti, Zagreb, 2010, Cr./En.

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Je

Je
sound installation with 4 speakers
2005

exhibition Chères Hantises, works of the collection, FRAC Alsace, Sélestat, 2023
exhibition Expérience sonore, Musée d’Art Moderne, Troyes, 2016
solo exhibition Je, Centre Culturel Colombier, Rennes, 2008
exhibition Petites compositions entre amis, gb agency, Paris, 2005
exhibition Tracking the traces, Concordia University, Montréal, 2005 (cur. Nicole Gingras)

Je (I) – version with English subtitles
exhibition Je marche, j’ouvre une porte, je ferme une porte, Kasteel Wijlre, The Netherlands, 2018 (cur. Tlön Projects)eures creuses

The installation called Je takes up a space all in one piece.
It is made up of four speakers set up on the floor, turned upwards, mounted and oriented according to a logic we do not understand. They can be walked across. We can hear four characters (a girl, a boy, a woman, a man) in staggered rows describing in turns the actions they are carrying out. The architecture is one of short sentences broken with silences. Several stories appear, thread their way through the silences and cross each other through sentences which are repeated, swapped, associated and dissociated.

version with subtitles

Je (I).
In this version for non-French-speaking countries, the sound stays the same (voices in French). Somewhere in the periphery, a video screen hanging on the wall shows the written and synchronized translation of the words. The translation can be made in English or in the language of the country.
English translation by Miles Hankin.

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1-2 FRAC Alsace, 2023 – photos Pierre Rich / 3 CCC Rennes, 2007 – photo Mathieu Harel-Vivier / 4-5 gb agency, Paris, 2005 – D.P. / 4 Concordia University, Montréal, 2005 – Eric Matson

version with English subtitles

Kasteel Wiljre, 2010 – photos Peter Cox

document

invitation card CCC, Rennes, 2007

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about

– text by Pascalle Mansvelders, press article Beelden n°1, Rotterdam, 2018, Dut.
– text by Nicole Gingras, catalogue of the exhibition Traces, Concordia University, Montréal, 2005, Fr./En.

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À la merci

À la merci
sound installation with 2 speakers
2011

À la merci (Στο έλεος) – version with English and Greek subtitles
exhibition The last Reader – The Unwritten Library, Annex M, Megaron Concert Hall, Athens, 2018 (cur. Anna Kafetsi)

À la merci (At the mercy) – version with English subtitles
exhibition Sous l’Amazone coule un fleuve, collection FRAC Auvergne, Clermont-Ferrand, 2013
exhibition Une terrible beauté est née, La Sucrière, Biennale de Lyon, 2011 (cur. Victoria Noorthoorn)
solo exhibition, gb agency, Paris, 2011
exhibition Both, Before and After, gb agency, Paris, 2010

Les heures creuses

À la merci is composed by a sound recording presented as an archive. A child dictates words one by one, syllable by syllable forming convoluted sentences that are repeated by an adult voice. This audio document glides doubt over its own reliability. It takes the appearance of a crude sequence that stages an obviously unreal situation: a child barely knowing how to speak dictates long, inaudible and unreadable sentences that in their entirety sound as a writing.

version with subtitles

À la merci (Στο έλεος), À la merci (At the mercy).
In these versions for non-French-speaking countries, the sound stays the same (voices in French). At the side, on another wall, off set from the frontality of the listening, a screen broadcasts the translation of each word a visual transfer resuming the scansion, the stammering and the repetitions of the sentence under construction.
Greek translation by Annex M and English translation by Miles Hankin.

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extrait

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1-2-3 Biennale de Lyon, 2011 – photos Blaise Adilon / 4 FRAC Auvergne, 2013 / 5-6-7 gb agency, Paris, 2011 – photos Marc Domage

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documents

visuals for catalogue – excerpts of the text with translation in English

subtitles

excerpts translation in English and in Greek

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about

– video captation gb agency, Paris, 2011
– text by Dominique Petitgand, catalogue of the exhibition Une terrible beauté est née, Biennale de Lyon, 2011, Fr./En.

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son coin

Son coin
sound installation with 5 speakers and headphones
1997

solo exhibition Le bout de la langue, La Bâtie-Festival, Genève, 1997 (cur. Marie Jeanson)

On several floors of an administrative building, in several empty rooms and spaces (meeting room, waiting room, corridors, staircases, landings), portable record players, with loudspeakers and headsets, are set up, concealed or visible, and emit a series of stereo sound pieces.

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photos D.P.