Category: Non classé

Il y a, ensuite

Il y a, ensuite
sound installation with 4 speakers
1994

exhibition Activity of Matter, gb agency, Paris, 2019
exhibition Sans réserve, collection MAC/VAL, Vitry-sur-Seine, 2018
exhibition , ABA, Salle du chevet, Paris, 2017 (cur. Michel Brière)
solo exhibition Il y a les nuages qui avancent, CIAP, Île-de-Vassivière, 2015
exhibition Itinéraire Bis, MAC/VAL, Vitry-sur-Seine, 2011
exhibition Être présent au monde, collection MAC/VAL, Vitry-sur-Seine, 2007
exhibition Exposing Cinema, Blaak 10 Gallery, Film Festival of Rotterdam, 2006 (cur. Edwin Carels)
exhibition Raconte moi/Tell me, Musée National des Beaux-Arts de Québec, 2005 (cur. Marie Fraser)
exhibition Mobiles Urbains, abbaye de Maubuisson, Saint-Ouen-l’Aumône, 2003
exhibition Les heures claires, Villa Savoye, Poissy, 2002 (cur. Frank Lamy)
exhibition Ouverture : 0.4, Château du Bionnay, Lacenas, 1999 (cur. Olivier Reneau)

Il y a, ensuite (There is, then) – version with 2 speakers and English subtitles
exhibition Raconte-moi/Tell me, Casino, Luxemburg, 2006 (cur. Marie Fraser)

Les heures creuses 

Il y a, ensuite is an installation with four speakers, two voices and a music.
In this version, the two voices and the music can be heard in the three levels of the gallery and dialog at a distance from a point to another.
The music played on two speakers fixed to the bottom of the walls in the middle of the other works (one in the lower space and one in the upper space) frame the two voices played on two speakers fixed at ear height (one in the entrance as reception, the other in the lower intermediate space).
The repetitive and linear music, perceived far or near (depending on our position in the gallery), initiates the narration and accompanies the rhythm and the scansion of the voices that respond each other at a distance: a child, on one hand, central voice that describes a landscape to be reconstructed fragment by fragment (panorama, details near or far), a composite possible landscape, half real half invented, and a woman, on the other hand, secondary voice that questions and rekindles the narrative.


visual – excerpt of the transcription

 

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gb agency, Paris, 2019 – photos Aurélien Mole


In the exhibition in Île de Vassivière, the installation took place in a little theatre (frontal space with small bleacher).
in the first part of the space and at the top of the bleacher, two speakers on the ground emit the music. Further, on what can be called the stage, two speakers on a pedestal amit the two voices at a distance from each other.
The possible landscape evoked by the voice of the child finds resonances with the real landscape of the island. This landscape from which we can see a fragment through the small window on the back wall, a framed view of the nature and the lake.

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CIAP, Île-de-Vassivière, 2015 – photos Aurélien Mole


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The installation called Il y a, ensuite takes up at least two spaces. One space for the music underlayer and nearby, one space for the two voices.
In this version, a partition draws a first space, an airlock, a first landing on which two speakers, mounted half way up on a spedestal, symmetrically emit the music. Beyond, in a larger and more open space, from which the underlayer music can still be heard, two speakers at a distance and mounted on a pedestal emit the two voices. The two loudspeakers for the voices do not face each other: the second one is oriented towards the first which is oriented towards the distance.

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MAC/VAL, Vitry-sur-Seine, 2007 – photos D.P.


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In this version of the installation called Il y a, ensuite, which takes place in a symmetrical twin staircase, the music takes up the first landing and the voices the second one. The two speakers for the music are symmetrically mounted on the window sill. For the two voices, upstairs, two speakers are set high up on either sides of the major dividing line and they are slightly steeping towards the staircases. The visitor, who can decide to use the left or right staircase to walk up, first hears either the child’s voice or the woman’s. On the second landing, the two voices, equidistant between the two speakers, merge together while the underlayer music from the lower floor can still be heard.
 

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Musée National des Beaux-Arts de Québec, 2005  – photos D.P.


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version with 2 haut-speakers and subtitles

Il y a, ensuite (There is, then).
Version for voices only from which the musical underlayer is substracted: the street down below and the traffic give rise to a rumor which can be heard inside the exhibition and takes up the space devoted to music. The great length of the glass roof enables the two voices from two distant areas to be emitted.

In this version with subtitles, the voices stays the same (in French). On one side, a video screen fixed on the wall shows the written and synchronous translation.
English translation by Chet Wiener.
 

excerpt 2 with two voices only

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Casino, Luxemburg, 2006 – photos Christian Mosar


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about

text by Anne-Sophie Miclo, press article La belle revue, June 2015, Fr./En.
text by Alexia Fabre, catalogue of the exhibition Être présent au monde, MAC/VAL, 2007, Fr./En.
text by Marie Fraser, catalogue of the exhibition Tell me, MNBA Québec/Casino Luxembourg, 2005, Fr./En.

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L’amorce des consignes

L’amorce des consignes
sound installation with 7 speakers
1997

exhibition Domaines publics, Mairie du XIXe, Paris, 2001 (cur. F. Piron, G. Désanges, A. Woltz)

Les heures creuses 

The installation called L’amorce des consignes takes up two spaces inside a public building, city hall.
In the lobby, six speakers set high up emit a repetitive musical atmosphere, whose volume and mixing vary according to the attention being paid to it.
Further down, in an adjacent part beyond several doors, a speaker hanging on a wall at ear level behind seats emits a voice (a little boy who makes a stocklist of the things to be taken in case of an impending disaster).
The doors, which get opened or closed whenever the users of the place walk in or out, make the neighbouring voice and the music perceived from afar overlap, or not.

excerpt

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Le prévu, l’imprévu

Le prévu / L’imprévu
sound installation with 4 speakers
1993

exhibition Déplacements – Chez l’un, l’autre, galerie Anton Weller, Paris, 1998 (cur. Alain Declercq)

 

The installation called Le prévu, l’imprévu takes up two symmetrical spaces, laid out on either side of a long corridor.
Inside each one of the two spaces, two speakers: a unique voice (a woman) and a unique haunting musical atmosphere. In the first space, the woman describes what makes the expectation and the excitement about an unhoped-for and unspoken event (Le prévu) while in the second one, she describes the acknowledgement and the devastation once the event has taken place (L’imprévu).
Right in the middle of the corridor, the music which comes from either sides connects the two distant spaces.

excerpt part 1 – part 2

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Les phrases

Les phrases
sound pieces on local radio and editions
1998

exhibition Plaisir d’offrir, Centre Commercial Italie 2, Place d’Italie, Paris, 1998

 


The sound pieces Les phrases interfere a commercial and public space.
On the local radio of a shopping mall and emitted throughout the circulation spaces, a very short sentence that lasts only a few seconds (randomly selected out of a set of fifteen) can be heard every quarter of an hour, interrupting the flow of music, activities and advertisement.


editions in real situation

Like another interference, in one of the shops of the mall, inside the shop window, unlimited editions – records, post cards, ink pads – are displayed in stacks and sold, next to alarm clocks.

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excerpt

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 photos D.P.

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Fringale

Fringale
sound installation with 2 speakers
1997

exhibition Actions urbaines II, FRAC Lorraine, Metz, 1997

Les heures creuses 




Fringale is an outdoor installation.
In the city center, next to a terrace, a sequence of stereo sound pieces emitted by two speakers set behind a fence can be heard as if from inside by a listener who would be sitting outside on a bench.


photo FRAC Lorraine

Au pied du lit

Au pied du lit
sound installation with 5 speakers
1996

solo exhibition Petites compositions familiales, Phonurgia Nova, Arles, 1996

Les heures creuses 

In every single room (kitchen, bedrooms, attic) of an almost empty several storey house, portable record players are set up on a chair,
a table, a nightstand. On each player, a sequence of stereo sound pieces.
The mixing of the different sound sources can be heard through the doors in the staircase and on the landings. 

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photos Alain Potoski

Certaines responsabilités

Certaines responsabilités
sound installation with 2 speakers
1994

exhibition Le saut dans le vide, Maison centrale des artistes, Moscow, 1994 (cur. Nadine Descendre)

Certaines responsabilités is a composite work.
Two speakers at ear level are set up in front of a row of seats like in a film theatre. Listening is meant to be performed while seated, in stereo and frontal. On the same device, several sound pieces follow one another and deploy a long open and fragmented story.

Les liens invisibles

Les liens invisibles
sound installation with 5 speakers
2013

solo exhibition Il y a les nuages qui avancent, CIAP, Île-de-Vassivière, 2015

Les liens invisibles (The invisible links) – version with English subtitles
exhibition Place is the Space, Contemporary Art Museum, St. Louis, USA, 2013 (cur. Dominic Molon)

Les heures creuses 


Les liens invisibles, variation of Quant-à-soi (which has already engendered multiple versions about the same concept of invisible links, including Aloof, Proche, très proche, La main coupée, Les liens en sourdine) is a sound installation with five speakers that reveals itself in several stages.
It forms two synchronous but remote planes – first noises, then a voice – and must be listened to as we walk, building up according to our spatial and mental progress.
In 2015 in Île de Vassivière, the installation took place in a tower.
On the first level, four speakers are standing on the wall surrounding the visitor who enters the tower. They form a first sound screen that consists of a series of noises circulating from one speaker to another, interspersed with silences. Each of these sounds is an action produced with objects that seem to be made of glass. Their apparitions, articulations and movements follow a logic that eludes us. At times, a sound wave fills the entire space of the tower.
At the top of this tower, after having climbed the huge circular staircase, we can discover a fifth speaker fixed on the small platform at ear height. It emits a voice that has remained hidden from us until then. The way we discover it depends on our movement and the way we listen. It is by approaching and accessing this second space that we can hear – more or less strongly and distinctly according to the distance – short sentences, also interspersed with silences and broadcast in exact synchronicity with the sounds of the first room – sounds that are now perceived in the distance, accompanied by their reverberation.
It is this synchronicity that has made it possible to hide the voice: each sentence has a corresponding noise, and each noise is linked to a sentence – noise and speech like the two sides of a medal, joined together in editing and then separated ans spatially removed from each other in the installation.
When the voice appears, connections are revealed, a narrative becomes possible: a woman speaks to us, evoking invisible links that connect her to others, to people, objects or entities that she has trouble defining or naming. Her fragmented speech remains undetermined and suspended.
Once the two sounds planes are revealed, we can move back and forth between the two poles, choosing one over the other or any of the intermediate degrees, determine the near and far and listen to their invisible links.

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CIAP, Île-de-Vassivière, 2015 – photos Aurélien Mole


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version with subtitles

Les liens invisibles (The invisible links).
The installation took place on the two levels of the museum: the main galleries and the mezzanine area. The installation encourages the people traveling through the espace and listening to the sounds to make synchronic connections between the noises and the voice in their concentrated and attentive perambulation of the space.
On the first level the four speakers for the noises are standing on the floor in a scattered configuration. Upstairs on the mezzanine (a balcony space that along with an open walkway) a fifth speaker on pedestal emits the voice.

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 that can be heard a few meters. English translation. by Miles Hankin.
 

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CAM, St. Louis, USA, 2013 – photos David Johnson


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documents

postal cards published by Transpalette, Emmetrop, Bourges, 2006


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about

text by Dominique Petitgand, catalogue of collection of FRAC Île-de-France, Paris, 2020, Fr/.En.
– text by Dominique Petitgand, book Les liens invisibles / The invisible links, CIAP, Île-de-Vassivière, 2015, Fr./En.
text by Anne-Sophie Miclo, press article La belle revue, June 2015, Fr./En.
audio presentation by Dominic Molon, CAM – St-Louis, 2013, En.
text by Dominic Molon, catalogue of the exhibition Place is the Space, CAM – St-Louis, 2013, En.

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Quant-à-soi

Quant-à-soi
sound installation with 2 speakers
2002

exhibition Chambres sourdes, Domaine de Rentilly, Bussy-Saint-Martin, 2011 (cur. Audrey Illouz)
exhibition The mer, Site Capécure, Boulogne-sur-Mer, 2007 (cur. Amélie Codugnella)
Festival Archipel, Salle du Plain-Palais, Genève, 2002 (cur. Marie Jeanson)

Quant-à-soi (Aloofness) – version with English subtitles
exhibition gb agency at Croy Nielsen Gallery, Berlin, 2009

Quant-à-soi (Terughoudend) – bilingual version French/Dutch
exhibition Vollevox, Komplot, Musées Royaux des Beaux-Arts de Belgique, Brussels, 2004 

Quant-à-soi (-) – bilingual version French/ThaÏ
exhibition Here and Now, AARA Foundation, About Café, Bangkok, 2004 (cur. Nathalie Boutin)

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The installation called Quant-à-soi connects two voices and two acoustic perspectives: one close and one distant. 
In a first space, a speaker emits a woman’s voice. It is mounted on a pedestal, to be seen somewhere. It has the status of what is close. The voice talks about the invisible links that relate it to the others. Long silences between the sentences make way to the second voice. In a second space that the visitors cannot see, on the other side of a wall, a second speaker emits the voice of a man who yells in the distance; he rants and talks in an unintelligible manner. It has the status of what is distant and seems to come from a highly reverberating space.
The editing structures the non direct, invisible links between the two voices. A sung passage makes this agreement manifest.

excerpt 1 

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Domaine de Rentilly, Bussy-Saint-Martin, 2011
– photos Aurélien Mole


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Site Capécure, Boulogne-sur-Mer, 2007 – photos D.P.


This version takes up the whole space of an empty theatre (off performance and rehearsal times).
The first voice, that of the woman, is located upstairs on the dress circle right in the middle of a row of seats. This is the only place where the visitors can go to hear this voice at close range. The second voice, that of the man (unintelligible yelling haranguer), is hidden out on the stage inside the prompt box and can be heard from afar, resounding all over the reverberating space.

Salle du Plain-Palais, Genève, 2002 – photos D.P.


version with subtitles

Quant-à-soi (Aloofness).
In this version with subtitles, the sound stays the same (voices in French). In an intermediate space, step of the way from the first voice to the second and hidden one, a screen set on the wall shows the written and synchronous translation. English translation by Miles Hankin.

Croy Nielsen Gallery, Berlin, 2009 – photos D.P.


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bilingual version French/Dutch

Quant-à-soi (Terughoudend).
In this bilingual version, the French voice is accompanied by a second one, the voice of a female translator who repeats and automatically translates in reported speech into the other language of the hosting country (Dutch).
The translator’s voice has been recorded on a phone. The recording background noise allows to hear the distance between the two languages and distinguishes the two voices.
This version is located inside a large lift with seats which connects the different floors of a museum. This space is a rest area, a break in the visits of the rooms. Its status is almost that of a public space. To the sounds produced by the lift machinery itself are added other sounds: rumors, vibrations, unspecified underground layers, all of them making music out of this whole and making the listener have doubts as to the origin of all he perceives. The duration of the silences endows the piece with a discreet, disruptive and unsettling presence.
Oral translation in Dutch by Sophie Nys.


excerpt 2 bilingual version French/Dutch

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Musées Royaux des Beaux-Arts de Belgique, Brusels, 2004 – photos D.P.


bilingual version bilingue French/Thaï with headphones

Quant-à-soi (-).
In this bilingual version for which the female translator’s voice has been recorded on the phone, can be heard with headsets lent on request to the visitor so he may walk along the street that connects, outdoors, the different stages of the exhibition.
The headphones that are used are called “open”. Unlike “closed” headsets which do not allow anything else but what is recorded to be heard, “open” headsets allow to hear the surrounding noises.  Therefore, the listener has a private access to the mixing between inner sounds and outer ones.
The two voices (in French and in Thai) alternately overlap according to a dotted pattern, like some mental commentary on the street events and activities.
Oral translation in Thaï by Tatsanai Wongpisethkul.

excerpt 3 bilingual version French/ThaÏ

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AARA Foundation, About Café, Bangkok, 2004 – photos D.P.ddd

Le banc

Le banc
works in consultation, sound performances,
radio broadcasts and publications in newspaper

2006

Le banc (die Bank / La panca) – trilingual versions French/German/Italian
exhibition Con-Sens, AR/GE Kunst, Galleria Museo, Bolzano/Bozen, 2006 (cur. Catherine Grout)

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In the city of Bolzano/Bozen, located on the border of Germany and Italy, benches have been specially designed and geographically placed to allow to look at the landscape and the horizon either of the German side, or on the Italian side by flipping the file on one side or the other.

Several devices for a series of 8 stereo sound pieces in trilingual versions. Around an editing specific to each story, three present languages: French and its translation (in reported speech) into the two languages (Italian and German) used in the city.
Oral translation in german by Ruth Gamper and in Italian by Massimo Prandini.

These trilingual pieces can be listened in whole or in fragments on several devices in the public space:
– free collective listening sessions in a bar, a youth hostel (with the presence of the artist) or to organize at home (by borrowing a CD and a a brief instruction manual)
– daily broadcasts interrupting the news every hour on two local public radio stations
– full page publications of a selection of transcriptions and translations in local newspapers
– access in the gallery, meeting and information point of the scattered exhibition: listening with headphones and documentation in consultation

extrait 1 français / allemand / italien

excerpt 1 French/German/Italian

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excerpt 2 French/German/Italian

extrait 1 français / allemand / italien

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extrait 2 français / allemand / italien

Galleria Museo, in consultation or to borrow – photos 1-2-3 D.P. / 4 Martin Pardatscher


sound performances in bar and youth hostel – photos 1 Ivo Corrà / 2 Catherine Grout


publications in newspapers Corriere dell’ Alto Adige / Neue Südtiroler Tageszeitung


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about

interview with Sabine Gamper, Con-Sens, catalogue of the exhibition Con-Sens, Galleria Museo, 2006, En./Ger./It.
publication Corriere dell’ Alto Adige, July 7, par Dominique Petitgand, Bolzano, 2006, Fr./Ger./It.
publication Neue Südtiroler Tageszeitung, May 31, par Dominique Petitgand, Bozen, 2006, Fr./Ger./It.

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