version with 11 speakers

The installation called Quelqu’un par terre is made up of three sound parts which are secretly linked together (one sound concealing another) and emitted in three open adjacent spaces, with different acoustics and characteristics.
In this installation deployed in several spaces chairs splinters hide raised voices. The visitor has to move from a space to another to listen to these voices which can only be heard once some sills crossed. Then, this phenomenon happens in the visitors’ ear: a metallic chair falling in turn produces a sequence of words. The visitors movement permits to discover the two terms of the binomial speech/noises. This movement keeps the visitor free to chose the listening point: on one side, on the other, or in the middle. When voices appear, a narrative emerges, links are revealed.
Each sentence is linked to a chair splinter. Each of the chairs splinters is linked to a sentence which has exactly the same duration, the same progression, the same cutting : “ta-ta-ta-ta” = “quel-qu’un-par-terre”, “ta-ta-ta-ta-ta” = “tout-est-ou-bli-é”, which creates a succession of two sided sequences. Mimesis is only revealed by the fragments precise choice and an editing operation, a combination disassociated during the installation. Different spaces and diffusion systems used for each sound  accentuate this disassociation. In the first large opened space with the resonating acoustics height speakers on the ground diffuse the chairs splinters, diagonally, on both aisle sides. In the last space, more confined, with muffled acoustics (the final chapel), only one speaker on a pedestal diffuses voices (comments, digressions about a body lying on the ground).
It produces a duality between the visitors relation to what they perceive: in a side (the nave) they can cross a sound field, in the other side (the chapel), they can move away or closer from a localized point. The first space strong resonance produces an echo, a second sound extending each chairs splinter, sounding through the silence. And the visitors keep earing it even once they move away from the field. And by the synchronism set, when they move close to the voices, the echo becomes the sentences’one, associated as a shadow. 
A third sound is staged in a third intermediate space: the wind. Registered by a stormy day, the wind squeezes in the space, under doors, and make architecture sing. Unlike the two others it’s an ongoing sound which fluctuate and insinuate, never interrupted with silences.
One possible summary of Quelqu’un par terre would be: a talking chair, sentences fall, the wind which sings.