Category: Non classé

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.

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.

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.
 

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.
 

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.

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.