Category: Non classé

The installation called Quelqu’un est tombé over takes up three rooms and plays with their proximity, their natures and their acoustics. One layer at a time, a narrative, unfolding throughout the three spaces, is being built up.
In the first large room, with a very sonorous acoustics, four speakers set high up on either side of the columns emit a series of short sounds (bursts, stridences) broken with silences. In the small airlock in-between, also very sonorous, a speaker standing on the floor and turned the other way round to face the wall emits flows of instruments, muffled puffs and vibrations, long and tensed sequences, all of them perceived as if they were some underlayer from somewhere beyond.
Finally, and this is the third stratum of the installation, a speaker set on a pedestal in the last room, which for the occasion has been turned into a particularly muffled space (carpet on the floor and wall insulation) designed as if it were a box for words, emits voices. This speaker stands indirectly:  the space must be walked through and one must turn round to face it. The acoustic contrast of this muffled space enables the listener to add up the sound layers coming from the three adjacent spaces: the sounding bursts, the music flow, the words.
The narrative comes out, some figures stand out from the background, some bonds are revealed. A woman tells us that someone has fallen over, a child describes a fragmented landscape, another walks, trips over and endlessly falls down.

The installation called Les liens invisibles is located in three adjacent rooms, all opened the ones onto the others.
In each one of them, a speaker mounted on a pedestal emits the fragments of a voice: a long sentence broken up into three units (three dots in the space, three acoustic perspectives that stand out and rise in tiers according to where the listener finds himself) and whose meaning continues to bounce form point to point.
Alternately with the spoken sequences and the different nooks of the place, four speakers set up on the floor delimit a square (in reference to the general plan) and emit musical and sound atmospheres which fill up the whole place..

In a space plunged in darkness, two speakers symmetrically set up at ear level emit two voices in counterpoint. Each of the two voices is progressing according to its own flow, rhythm and dynamism. A child counts from 1 to 100 without stopping to the end of his breath, accelerating the rhythm towards the end to regain his breath as quickly as possible.
Second voice, an old woman in counterpoint of the childish account describes in few fragments her fatigue.

The installation called Cet empêchement takes up a rather small, muffled space all in one piece.
A first speaker on a pedestal emits a voice: a little girl (litany of the hitches, closing, constraints). Farther away, two other speakers symmetrically set up on the floor and turned upwards open up a passage: music (a scaling motif that repeats itself like a tiny sequence to be, sharply stopped and endlessly taken back up).

The installation called Mon possible is a composite work and takes place in a big space laid out into seven parts, all opened the ones onto the others.
Ball noises, broken with silences, make the place resound and through echoes, bouncing and back and forth movements, define the temporality and the distances which have been created inside the reverberating spaces (four speakers set high up in some nooks represent the diagonals).
Alternately with the ball sequences, in the hollow sections of the other parts of the space (four other speakers set half way up), several musical atmospheres (frequency, metallic hammering, stridence) fractionally fill up the volumes.
Finally the voices, remotely phrasing the distant music, are being emitted only in the muffled spaces (two speakers at ear level, one in broad daylight, the other in the dark).

The installation called La gorge sèche is a composite work which takes up a whole building over several floors. Musical sequences (undetermined mechanisms and suspended chorus) from a series of air shafts connecting the different levels together and emitted by four concealed speakers can be heard as if they had escaped from the basement.
In the basement, two other speakers in the nooks emit other sounds which associate themselves with the ones which have escaped. On the ground floor, three speakers mounted on a pedestal alternately emit voices (several narratives in three voices).
Further down, a door blocking out a passage conceals a loudspeaker from whose chink the sound of water flow and a metallic melody can be heard.
All the sounds punctuated by silences and coming from the different levels get linked together from afar and maintain relationship of dialogue, accompaniment or echoes.

The installation called De l’électricité dans l’air takes place in two spaces and connects two acoustic perspectives and two sound layers (near or far according to our position) that add up or respond to each other remotely.
In a first and big space, fourteen massive speakers on the ground irregularly positioned emit at different sound level (strongly sometimes) chopped noises, impacts, stridences, waves and vibrations. Short sequences, constantly interrupted, which disturb the place by strokes, ruptures and repeats. An electrical presence, strong, massive, unstable, coming from the ground.
In the silences, we perceive in the distance beyond a corridor ans stairs fragments of voices. Voices without text, in different states, that call, cry, sing, hold their breath, coming from a room on another floor with four speakers in height fixed on the sides.
This vocal, aerial, weightless presence, which is also discontinuous, maintains a physical and nervous relationship with the electric sounds of the first space on the lower level. The two sound layers are heard from one space to another, each one alternately, near or at a distance, one triggers, stops, responds or accompanies the other.

À l’étouffée is a composite work.
The installation takes place in a big space all in one piece. In the first part of the space, there are four speakers set up on the floor and turned towards the sides. Further back, at the end of the space, there is one speaker mounted on a pedestal in an indirect position facing a wall of insulating panels.
Several sequences follow each other in different configurations: one voice only, voices with sounds, sounds only, silences.

The installation called Pleines nuits structures two acoustic perspectives.
The first speaker, set at the threshold of a chicane in broad daylight, emits a voice: a man who talks about how his periods of insomnia get started. Short sentences introducing the three long and encompassing vocal sequences (humming, shouting, singing at the top of one’s voice, vague and unintelligible secular psalmodies) are emitted by four speakers set up inside the space plunged in darkness.

The installation called Sommeils puts several stories about the sleep into a succession On the same device with six speakers.
Inside a space all in one piece, the speakers hanging on the walls and turned towards the centre emit various voices, musical atmospheres and silences.
The place where the seat is suggests the audience a privileged listening spot towards which the many sound layers get mixed and converge.