Category: Non classé

CD 11 petites compositions familiales

11 petites compositions familiales
mini CD
1995

musical label Staalplaat STmCD006
10 € + postage
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Les heures creuses

1. Il y a
2. Le plus gros juron
3. Un sacré paquet
4. Moi, qui l’aimais tant
5. Robe longue et p’tite cravate
6. Je ne sais pas
7. Une protection
8. Un faible pour le lac
9. Un rêve comme un cauchemar
10. Rêverie khmère
11. Train-train

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excerpt 7. Une protection

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sound pieces by Dominique Petitgand
musics composed and played by Dominique Petitgand
1992/1995

with the voices of
Liza Maria Riveros, Marie-Henriette Petitgand, Bénédicte Petitgand,
Louise Goutin, Jean Petitgand and Dario Alvarez

with the participations of Antoine Carolus (1, 3: bouzouki)
and Stéphane Janin (10: Khmer voices and bathing recordings)

graphic design: Yvonne Willems et Dominique Petitgand

(p) & (c) Dominique Petitgand / Staalplaat 1995

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about

– text by Maldoror, press article Panorama du Don, Rostov-on-Don, May 1996, Russian

CD 10 petites compositions familiales

10 petites compositions familiales
mini CD
1996

musical label Metamkine, collection Cinéma pour l’oreille MKCD021
10 € + postage
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Les heures creuses

1. Le prévu
2. En partance
3. Par terre
4. Comme tout le monde
5. On le retrouvera
6. Le visiophone odorant
7. La tête la première
8. Quelqu’un est tombé
9. La brosse à cheveux
10. L’imprévu

extrait

excerpt 6. Le visiophone odorant

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e Petitgand

sound pieces by Dominique Petitgand
musics composed and played by Dominique Petitgand
1993/1996

with the voices of
Marie-Henriette Petitgand, Bénédicte Petitgand, Liza Maria Riveros,
Louise Goutin, Camille Auvy, Colin Auvy, Sabine Armbruster, Edit Zakàl,
Dario Alvarez, Paoulo Riveros and Marceau Rousselle

with the participations of Antoine Carolus (4: tuba, 6: bouzouki)
and Jean-Pierre Viazzi (3: street recording)

graphic design: Christophe Auger
collection directed by Jérôme Noetinger

(p) & (c) Dominique Petitgand / Metamkine 1996

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CD compilations

records various artists compilations

2022 Boris DMS Songs, Paris (project by Ludovic Morillon) – vinyle 2 LP
2009 The Plastic People Issue, Vibrö n°5, Paris > see details
2007 City Sonics, Transcultures, Mons
2006 OuMuPo 6, Ici d’ailleurs…, Nancy (remix de DJ Krush)
2005 Mercersound, Venice Biennale, Mercer Union, Toronto
Vollevox, Komplot, Bruxelles – double CD
   1995-2005 Ten Years, Prohibited Records, Paris (collaboration with NLF3)
OuMuPo 3, Ici d’ailleurs…, Nancy (remix by Rubin Steiner)
2004 OuMuPo 1, Ici d’ailleurs…, Nancy (remix by Third Eye Foundation)
2002 Pas attendre, Shambala Records, Paris (collaboration with Marc Sens) – double CD
Brinkmann, Nikolai, Petitgand, Oral 06/Mutek, Montréal (remix by Thomas Brinkmann)
2001 Mutations : Sonic City, Airplane Label, Tokyo
1999 Sampler, Ici d’ailleurs…, Nancy
1997 The Cocktail Event, Staaplaat, Amsterdam (collaboration with Plunderphonic All stars)
Plunderphonic All stars, Kleptones, (coll. Public Works, Barbed, Muzictoerist, Leumund Fieling) – vinyle
Sine Terra Ferma, Ici d’ailleurs…, Nancy
1996 Sonderangebot, Staaplaat, Amsterdam
The Answering Machine, Staaplaat, Amsterdam
1995 Hörspiele 2, La Muse en Circuit, Paris
Musique’s Action 2, Vand’œuvre, CCAM, Nancy
1993 C/O Lisa, Geins’t Naït, Permis de construire, Nancy
1992 Frigo, Geins’t Naït, Permis de construire, Nancy
1991Music To Be Murdered By, Bruits Blancs (Vand’œuvre, Permis de Construire, DSA), Nancy
1990 Yvone, Geins’t Naït, Permis de construire, Nancy
1989 Fishes, Geins’t Naït, Permis de construite, Nancy – vinyle

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record En-tê-te

En-tê-te
vinyl single
2019

musical label Ouvré, 2019
limited edition
15 € + postage
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Les heures creuses

sound pieces by Dominique Petitgand
music composed and played by Dominique Petitgand
1995/2019

face A : En-tê-te 1
face B : En-tê-te 2

with the voice of Dominique Ané
with the participations of Christine Ott with ondes Martenot (recorded by F. Lor in 2001) and Marc Sens (electric guitar)

label Ouvré, mastering, cover and pictures: Fabrice Laureau
(p) & (c) Dominique Petitgand / Ouvré 2019

extrait

excerpt face A

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CD La journée

La journée
CD single
1998

musical label Sous-entendus Productions
10 € + postage
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eLes heures creuses

sound piece by Dominique Petitgand
1994

with the voice of Liza Maria Riveros, Bénédicte Petitgand and Marie-Henriette Petitgand

(p) & (c) Dominique Petitgand / Sous-entendus productions 1998

extrait

excerpt

CD État liquide

État liquide
CD single
2002

in situ, biennal of Contemporary Art, Enghien-les-Bains
10 € + postage
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Les heures creuses

sound piece by Dominique Petitgand (long version)
music composed and played by Dominique Petitgand
2001/2002

mastering: F. Lor

(p) & (c) Dominique Petitgand / in situ 2002

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excerpt

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disque Le son du tonneau

Le son du tonneau
vinyl single
2004

Circuit gallery – Lausanne
30 € + postage
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Les heures creuses

sound piece by Dominique Petitgand
music composed and played by Dominique Petitgand and Fabrice Laureau
2001

face A : Le son du tonneau
face B : Le son du tonneau (musique seule)

with the voice of Georges Caruzzo
with the participation of Christine Ott with ondes Martenot
(recorded by F. Lor)

mastering: F. Lor

(p) & (c) Dominique Petitgand / Circuit 2004

extrait

excerpt face A

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CD Fatigue

Fatigue
CD single
2006

musical label Le confort moderne / L’oreille est hardie
10 € + postage
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Les heures creuses

sound piece by Dominique Petitgand
1997

with the voices of Colin Auvy and Louise Goutin

mastering: F.Lor

(p) & (c) Dominique Petitgand / Le confort Moderne 2006

extrait

excerpt

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La question est posée

La question est posée
sound installation with 14 speakers
2020

La question est posée (We’re asking the question)
version with 2 screens for French and English subtitles
exhibition Anticorps, Palais de Tokyo, Paris, 2020

version with 8 speakers
exhibition Contre-vents, Le Grand Café, Saint-Nazaire, 2019 (cur. Guillaume Désanges, François Piron)

stereo version for radio
ARTE Radio, 2020

silent video version with French subtitles
exhibition Une clameur, Château de Voltaire, Ferney-Voltaire, 2024 (cur. Max Bondu, Bénédicte le Pimpec, Guillaume Robert/bermuda)

heures creuses

La question est posée is a work apart because the voices come from a pre-existing material that I did not record myself.
In Palais de Tokyo, the exhibition opens on a question, a question that echoes throughout the entrance in a diffuse and fragmented fashion, raised by nameless voices speaking out in witness, protest and rebellion.
I have adapted to the scale of the Palais de Tokyo (with fourteen speakers and two screens) an installation presented at the Grand Café de Saint-Nazaire in 2019 (as part of Contre-Vents, an exhibition curated by Guillaume Désanges and François Piron on the convergence of social struggles in Brittany) and afterwards reworked as a broadcast piece for Arte Radio.
The work marks a turn in my practice: I did not record the voices myself but extracted them from the soundtracks of political films dating from the 1970s to the present. While the material might be different, the method is not, I have cut and spliced fragments to create a collage of voices, a moving and musical sound piece. In the voices, energy and emotion take precedence over the understanding of what is said, now stripped of its context.
By eliminating historical reference points, the work presents us with a timeless figure of struggle. The question posed here, then, is surely that of the presence of bodies rendered invisible. Echoing with their chants, their slogans and their silences, the exhibition entrance itself becomes, as the visitors listen, an all-enveloping body in struggle.
In this version at Palais de Tokyo, fourteen speakers fixed at several height in the rotunda and a promontory emit several sound layers: anonymous, individual and collective voices borrowed from the corpus of documentary films (testimonies, excerpts from interviews, harangues and speeches with a megaphone, slogans, clamours, group demonstrations) and other abstract sounds, musical elements that I composed (wave, frequencies, metal or electric clangs).
The sound layers cut by long or short silences are scattered in space, isolated on the speakers or gathered and mixed by addition, distributing the fragments according to the full and the voids of the composition and the spatialization.

version with subtitles on 2 screens

La question est posée (We’re asking the question).
On both sides of the promontory, two video screens fixed to the walls face-to-face, show the synchronous subtitles of the double transcription (French version and English version) of the sounds and the voices.
English translation by Michael Angland.

Thanks to the filmmakers and rights holders for their kind permission.
With sound excerpts from movies by Soazig Chappedelaine & René Vautier (Quand les femmes ont pris la colère – 1978), Armand Gatti (Le baille le train la moëre – 1976), Daniele Jaeggi (C’est tout pour nous et vous – 1974), Nicole Le Garrec (Plogoff, des pierres contre des fusils – 1980), Nicole Le Garrec & René Vautier (Quand tu disais Valery – 1975), Jean-Louis Le Tacon (Bretonnerie pour Kodakrome – 1974, Marche au Larzac – 1973, Voici la colère bretonne – 1976), Jacques Loiseleux (La Parcelle – 1969), Carole Roussopoulos (Les Travailleuses de la mer – 1985), René Vautier (Marée noire et colère rouge – 1978), and a recording by Bruno Serralongue at Notre-Dame-des-Landes (2016).

photos Aurélien Mole (6, 7, 8, 9: with work by Carolyn Lazard)

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excerpt with screen – English version

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excerpt with screen – French version

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Quelqu’un panique

Quelqu’un panique
sound installation with 2 speakers
2001

exhibition Traversées, ARC, Musée d’Art Moderne de la Ville de Paris, 2001

Quelqu’un panique (Someone is panicking) – version with English subtitles
Unexpected ArtHome, gb agency, The ArtHome, Brussels, 2006

Les heures creuses

The installation called Quelqu’un panique makes hear a sentence slips in two parts alternately on two speakers located at some distance from each other, on either side of a central axis and slightly in height.
A long silence like a break and a void between the two alternate fragments. From one part to the other, a shift, an interval that suspends the drama that is played there.
The alternating and suspended repetition of the two parts of the sentence creates a rhythm, a regular beat (tick/tock) a measure, a haunting presence although dotted. The presence of this work may evoke that of a clock, an impression confirmed by its slightly overhanging position.

version with subtitles

Quelqu’un panique (Someone is panicking).
In this version for non-French-speaking countries, the sound stays the same (voices in French).
At a strategic place, which is central and equidistant between the two speakers, a video screen hanging on a wall shows the written translation of the words, which are here put back together into a retrieved unit. English translation by Miles Hankin.

excerpt

extrait

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