Category: Non classé

Un faible pour le lac

Un faible pour le lac
sound performance with 2 speakers
2006/2015

in front of a landscape
duration 45 minutes

François Villon public library, Paris, 2019 (in front of the street)
Bois de sculptures, CIAP, Île-de-Vassivière, 2015 (in front of a lake)
Festival GMEM, Campagne Pastré park, Marseille, 2013 (in the woods)
abbaye de Maubuisson park, Saint-Ouen-l’Aumône, 2009 (in a park)
Festival Ondulations, Transat Vidéo, Saint-Laurent-de-Tergatte, 2006 (in front of a lake)

version with 16 speakers and 6 points of listening
Programmation Habiter le lieu, Prieuré St-Cosme, 2021 (in a public garden – cur. Anne-Laure Chamboissier) 

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Outdoor listening session.
The audience is seated, gathered in front of two speakers and facing a landscape. The listening is stereo, distracted or focused, environmental and narrative and based on the contemplation of the place. The voices, the sound and musical elements, the silences, maintain a relationship of rupture, dialogue and coincidence with the sounds naturally or accidentally produced by the place and the distance.
Several spoken, musical and landscape sound pieces following each other up give rise to a long open and fragmented story.

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1 Île-de-Vassivière  photo Muriel Meunier / 2 abbaye de Maubuisson – photo D.P. / 3 St-Laurent-de-Tergatte  photo D.P.


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The sound performance can also take place in front of un urban landscape,
from a privileged point of view.

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François Villon public library, Paris  photo Philippe Diaz

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Dehors

Dehors
sound piece for open headphones
2002

exhibition Mobiles urbains, abbaye de Maubuisson, Saint-Ouen-l’Aumône, 2003
exhibition Paysages, Biennale d’Art Contemporain, Enghein-les-Bains, 2002 (cur. Catherine Grout)

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Dehors is a shorter version with headphones of the outdoor installation Exhalaisons.
It’s an environmental work, without words, for a free and itinerant listening while walking in a city, a park or by a lakeshore.
The headphones used are said « open »: they don’t isolate us from our environment but let exist the external sounds, perceptible as sub-layers or punctuations, breaking or in dialogue with the half-full and half-empty composition.

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1-2 Enghein-les-Bains, 2002 – photos Biennale d’Art Contemporain / 3 abbaye de Maubuisson, 2003 – photo D.P.


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document

exhibition guide

La main coupée

La main coupée
sound installation with 5 speakers
2009

La main coupée (La mano tagliata) – version with Italian subtitles
solo exhibition Legami invisibili, e/static > blank, Turin, 2010

version with 9 speakers
exhibition La planète des signes, Squatteur program, FRAC Île-de-France, Le Plateau, Paris, 2009 (cur. Guillaume Désanges)

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version with subtitles

La main coupée (La mano tagliata) is another version of the piece with noises Quant-à-soi and connects two acoustic perspectives: a space for the noises and a space for the voice.
Four speakers, placed on shelves on the walls of a first room, emit at high-volume a series of white parasite noises and sound interferences interrupted with silences. The appearance of each mini-sequence is a surprise, a clash for the listener. The arrangement of the speakers produced an inclusive and disturbing presence that we can’t escape, but the high-volume diffusion offers to discover the richness of textures.
Further, across a hallway, in a smaller room, a privileged point that we need time to discover, an isolated speaker in the center and laid on a pedestal, emits the voice of a woman. Her dotted words mention invisible links, links between a part and a whole, a part of oneself as a hand removed. Every sentence converse with a sequence of noises diffused in the first room.

In an intermediate space, step of the way from the noises to the voice, a screen set on the wall shows the written and synchronous translation. Italian translation by Carlo Fossati.

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e/static > blank, Turin, 2010 – photos 1-9 D.P. / 10 Carlo Fossati



version with 9 speakers

In this version that interferes for a few days an exhibition and occupies all the spaces without considering the present works (on special request of the curator), eight speakers, placed on the floor in the corners of various rooms emit at high-volume the series of noises interrupted with silences.
Exception to the course in one of the rooms, a single speaker on pedestal (central point that we put a time to discover) emits the voice which interacts with the noises from the other rooms and the distance.


FRAC Île-de-France, Le Plateau, Paris, 2009
– photos Martin Argyroglo (with works in the exhibition La planète des signes)


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about

– text by Dominique Petitgand, book Les liens invisibles / The invisible links, CIAP, Île-de-Vassivière, 2015, Fr./En.
text by Claudio Cravero, press article exibart.com, Firenze, 2010, it.

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CD Le sens de la mesure

Le sens de la mesure
CD
1999

musical label Ici, d’ailleurs… IDA009
15 € + postage
order here: contact or to order directly online

Les heures creuses 

1.   Le sens de la mesure
2.   L’amorce des consignes
3.   Je descends
4.   1/79
5.   La chaleur
6.   Il s’est précipité
7.   Mur
8.   À l’étouffée
9.   Exhalaison
10. Une protection
11. La tête
12. Pont
13. De l’éther
14. Je marche
15. 1/2/3
16. Ce lointain
17. Il dormait
18. Il y a, ensuite
19. Son coin
20. Épuisement
21. Du mercurochrome

excerpt 5. La chaleur

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pièces sonores de Dominique Petitgan

sound pieces by Dominique Petitgand
musics composed and played by Dominique Petitgand
1992/1999

with the voices of
Bénédicte Petitgand, Paoulo Riveros, Camille Auvy, Colin Auvy, Marie-Henriette Petitgand,
Liza Maria Riveros, Louise Goutin and Norbert 

with the participation of Antoine Carolus (19: tuba / 21: tzouras)
 
mastering: Uwe Tiechert
graphic design: Claude Lévêque (writing by Gilberte Lévêque)

(p) & (c) Dominique Petitgand / Ici, d’ailleurs… 1999

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CD Les liens invisibles

Les liens invisibles
CD
2015

free with the book Les liens invisibles (The invisible links)
published on the occasion of the solo exhibition Il y a les nuages qui avancent, CIAP, Île-de-Vassivière
10 € (
book included)
order here: contact or to order directly online

Les heures creuses 

composition in 2015
with excerpts of the sound pieces:

Les liens invisibles, 2013
A part of you, 2012
Les liens en sourdine, 2011
La main coupée, 2009
Proche, très proche, 2006
Aloof, 2005
Quant-à-soi (thaï), 2004
Quant-à-soi, 2002

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excerpt

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sound pieces and music by Dominique Petitgand


with the voices of
Liza Maria Riveros, Bénédicte Petitgand, Tatsanai Wongpisethkul,
Miles Hankin and Norbert

mastering: Florian Guillaume
graphic design: Adrien Aymard and Dominique Petitgand
 
(p) & (c) Dominique Petitgand / CIAP Vassivière 2015

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Un tout, dont je fais partie

Un tout, dont je fais partie
sound installation with 4 speakers
2008

collection of Musée d’Art Moderne et Contemporain de Strasbourg
solo exhibition Un tout, dont je fais partie, L’Aubette 1928, MAMCS, Strasbourg, 2012 (cur. Camille Gietler)

Un tout, dont je fais partie (A whole, that I am a part of) – version with English subtitles
Art premiere, gb agency, Art Basel, Basel, 2008

 

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Un tout, dont je fais partie is a composite work.
On the first floor of L’Aubette 1928, in the entry and the stairs, the installation emits a series of spoken and musical sound pieces.
Two speakers on pedestal at different heights of levels and stairs emit the fragments of different sentences which have been broken up into two symmetrical units entering into a remote dialogue. Two other loudspeakers hidden in the entry emit musical sequences either alternately or accompanying the words.

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excerpt

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L’Aubette 1928, Strasbourg, 2012 – photos Matthieu Bertola


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version with subtitles

Un tout, dont je fais partie (A whole, that I am a part of).
In this version for non-French-speaking countries, the sound stays the same (voices in French). 
In a particularly muffled L-shaped space (floor and wall insulation), two first speakers hanging on opposite walls emit the fragments of different sentences into two symmetrical units. On the ceiling and on the floor, two other speakers, set up crosswise, emit musical sequences either alternately or accompanying the words.
In a central position which is equidistant between the voices, as a stop in the visitor’s movement, a video screen shows the written and synchronous translation of the words which have been here unified and put back together. English translation by Miles Hankin and Chet Wiener.
 

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Art Basel, Basel, 2008 – photos Christelle Chalumeaux


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about

–  interview with Élodie Royer and Yoann Gourmel, guide of the exhibition, Art Basel, 2008, Fr./En.

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Avec ou sans voix

Avec et sans voix
sound installation with 5 speakers
2006

Avec ou sans voix (Con voci e senza) – version with Italian subtitles
solo exhibition Con voci e senza, e/static, Turin, 2006







The installation Avec ou sans voix is a composite work and plays several sequences over a set of five speakers.
In the center, a speaker mounted on a pedestal emits voices whereas in the periphery four speakers (three on the floor on either sides and one hanging on the entrance wall) emit musical and sound atmospheres (as backgrounds or interludes). The sequences follow one another in different configurations: voices only, voices with music, music without voices, noises only, silences.

version with subtitles

Avec ou sans voix (Con voci e senza).
On the floor, near the center and in an indirect position, a video screen shows the written and synchronous translation. Italian translation by Centre Culturel Français de Turin.
 

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photos Carlo Fossati


document

invitation card

La cécité

La cécité
sound installation with 5 speakers
1997

exhibition ON/OFF, FRAC Lorraine, Metz, 2007

La cécité (Blindness) – version with English subtitles
solo exhibition, MUHKA, Antwerpen, 2006

 

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The installation called La cécité takes up a lengthy space all in one piece with only one entrance and plunged in darkness and invites us to live an experience close to that which is narrated to us: the passage from darkness to light.
The entrance is left open, so the outside light can reach the first meters and then show the wayout to the visitor who, after being in darkness, turns his back. In the back of the space – pitch-black, a bottomless well – a speaker set up at ear level and oriented towards the entrance emits a voice (the story of a journey, from darkness to light, from isolation to the return amongst people). In the middle of the space, four speakers set up on the floor and turned upwards emit encompassing sound atmospheres: muted and groggy vibration during the slow blink progression then collective clear and bright hubbub which announces the return of the light.


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FRAC Lorraine, Metz, 2006 – photos Rémi Villaggi


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version with subtitles
 
La cécité (Blindness).
In this version for non-French-speaking countries, the sound stays
the same (voice in French).
Outside and in broad daylight, a video screen shows the written translation of the words that have been heard inside.
English translation by Chet Wiener.

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about

 text by Guillaume Désanges, catalogue of the exhibition ON/OFF, FRAC Lorraine, 2006, Fr./Ger.

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Voix blanche

Voix blanche
sound installation with 6 speakers
2005

Voix blanche (Voci bianche) – bilingual version French/Italian
solo exhibition, Centre Culturel Français de Milan, 2005 (cur. Claire Burrus)

Les heures creuses 

On the same device with six speakers, the installation called Voix blanches is composed with three sound and musical sequences – including État liquide (Télépathie) – in bilingual version French/Italian.
The installation structures two acoustic perspectives: a background and a foreground which are shown according to an inverted logic. At first sight, four speakers concealed above the central space on an inner rooftop emit four musical and sound sequences which shower back down in the entrance and on the side parts and welcome the visitors. Further on, in the back section of an alcove, two speakers set up on the floor in an indirect position emit two voices (a woman and a female translator recorded on the phone, speaking Italian in reported speech). When the visitor find themself in the alcove, sat in front of the two speakers, the sounds coming from the roof can now be heard like a background, against which the voices stand out in the foreground.
Oral translation in Italian by Marina Melancorteci.

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excerpt bilingual version Fr./It.

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photos CCF Milan


document

invitation card – graphic design Baron Osuna and D.P.

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Les liens en sourdine

Les liens en sourdine
sound installation with 2 speakers
2011

Les liens en sourdine (Attenuated bonds) – version with English subtitles
solo exhibition, gb agency, Paris, 2011

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Les liens en sourdine is taken from the work Quant-a-soi, which has already engendered multiple versions about the same concept of invisible links, including Aloof, Proche, très proche, La main coupée, Les liens invisibles.
This is a sound installation with two speakers, two acoustics perspectives. A speaker on a pedestal in the first room diffuses the voice of a woman. Behind every word, a cry from the distance is diffused in an exact and synchronous way. 
Both sound presences are symmetrical – they are two opposing magnets that repel each other. Present on both sides of the gallery, they are heads or tails of the same coin, whose side is distended – the viewer is placed in between these two opposing things, leaving one to discover the other. 

version with subtitles

Les liens en sourdine (Attenuated bonds).
In this version for non-French-speaking countries, the sound stays the same (voice in French). 
Equidistant from the two sounds, a screen shows the synchronous and written translation of the words. English translation by Miles Hankin.

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hiuhuu

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photos Marc Domage


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about

– text by Dominique Petitgand, book Les liens invisibles / The invisible links, CIAP, Île-de-Vassivière, 2015, Fr./En.
video captation gb agency, Paris, 2011

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