10 rue de Bien-Assis
Tuesday to Saturday - 2pm to 6pm
Installation produced in residency at VIDEOFORMES with the support of DRAC d’Auvergne.
An immersive and interactive installation that gives the spectator the opportunity to take part in a ludic and collaborative experience.
The vault of the heavens reveals itself to us and proposes interaction with the planets that make it up via a tablet. These planets are made with boxes containing video messages put online in a photo booth on the sides of the installation.
It is also possible to simply gaze at the starry sky in movement, basking in an original musical composition. The objective of the visual creation by Julien Piedpremier is to immerse the spectator, moving beyond the screens that we habitually use. It is a world “outside the walls”, suspended in mid-air, where the starry canopy interacts with the spectator and encourages participation in the creative process.
A mobile structure of about five meters a side which was designed by Catopsys will enable the spectator to experience 360 degrees of sound and images.
The sound environment is designed by Patrick Marcland.
Student participation in the workshop “Voix à part entière” (Voices in their own right) in the SUC are supervised by Marie-Sylviane Buzin.
Born in Clermont-Ferrand in 1975. He was a student of Henri Guibal and Jean Nani during his time at the Clermont-Ferrand School of Fine Arts, from 1996 to 1999. They helped him sharpen his perception of colors. He learned about projected images and projection material with Olivier Agid at architecture school in Clermont during the Ateliers Nuit (Night Workshops). He participated in the Vidéoformes festival in 1998 and met Miguel Chevalier with his installation Turbulences Numériques (Digital Turbulences), as well as Laurent Mignonneau with Interactive Plant Growing. These encounters greatly influenced him. In the year 2000, the digital tool and its multiple spheres of activity led him to learn from Michel Bret and Edmond Couchot in the Art and Technologies of Images in the University of Paris. He continued his studies in the digital arts, earning a doctorate under a CIFRE contract in the Parisian company SSF. He defended his dissertation in 2005 with the subject “The Great Images” under the supervision of Hervé Huitric. Throughout his university years, he had many opportunities to create with IRCAM composers, notably Alain Bonardi with whom he designed several video art installations including Alma Sola, presented at the Cube in Issy-les-Moulineaux and at the Palais de Tokyo. He also met Laurence Marthouret (dancer and choreographer) Patrick Marcland (composer) with whom he has participated as a visual artist in Monade or Meltem. Julien Piedpremier is currently the artistic director in the young company Catopsys based in Clermont-Ferrand.
Installation produced in residency at VIDEOFORMES with the help of Clermont Communauté, and the support of DRAC d’Auvergne.
Tens of thousands of years ago, telluric powers formed the lands of Auvergne. A distinctive energy emanates from the “Puys”. The land fans out. Time is different, suspended. It’s a relative data point. This series of generative films explores the possible modulations of these magical images. And from the captured colors emerges a quantity of tonalities that bring forth all the seasons of these landscapes.
Born in 1974 in Grenoble (France), Jacques Perconte lives and works in Paris. He is well known as one of the pioneers of French internet art. He is among the first artists to have worked on compression codecs. Jacques made his debuts with internet and video art. His first films date back from 1995 and his first internet artworks from 1996. The website technart.net is the core of his work, showcasing all his activities (notes, articles, performances... the web is endless). He frequently works with other artists, including Michel Herreria (painter), Didier Arnaudet (poet), Marc Em (musician), Hugo Verlinde (film maker), Léos Carax dans Holy Motors, Jean-Benoit Dunckel, Julie Rousse, Eddie Ladoire, Simonluca Laitempergher, Hélène Breschand, Jean-Jacques Birgé, Vincent Segal, Antonin-Tri Huang et Jeff Mills.
Even though his works become less and less theoretical, the relation between form and substance remains crucial. Jacques Perconte works on the forms of fiction on various medias as well as a formal research, focused on the body and the landscape.
Jacques Perconte apparently has a good knowledge of his technology, which serves him when dealing with frame and color. He tries to transform digital technology into a new media, which can be esthetically as rich as any other classical art.
Supoort and coproduction : AADN - Arts et Cultures Numériques, Salle des Rancy
Rencontres imaginaires (Imaginary meetings) presents a staging which creates an ambiguity between a real physical space and a virtual space made of augmented reflections and gives the illusion of a deformed reality.
This installation is made of a camera and a screen presented like a mirror. When a visitor enters into the room, he is faced to the interactive mirror screen reflects his/her body and face. Virtual faces and hands are attracted slowly by this reflection and are trying to touch him, to catch him, to avoid him, to surprise him... These faces and hands have lots of various behaviors : shy, reserved, curious, or engaging, and question relationships to the other. The hands and faces feel the presence and move along the face of the viewer.
Grégory Lasserre and Anaïs met den Ancxt work together with the name Scenocosme.
They mix art and digital technology in order to find substances of dreams, poetries, sensitivities and delicacies.
They have exhibited their interactive installation artworks at ZKM Karlsruhe Centre for Art and Media (Germany), at Museum Art Gallery of Nova Scotia (Canada), la Villa Romana (Firenze), at Daejeon Museum of Art (Korea), at Contemporary Art Museum Raleigh (USA), and in many international biennals and festivals : Art Center Nabi / INDAF (Seoul), Biennial Experimenta (Australia), BIACS 3 / Biennial International of Contemporary Art of Seville (Spain), NAMOC / National Art Museum of China / TransLife / Triennial of Media Art (Beijing), C.O.D.E (Canada), Futuresonic (UK), WRO (Pologne), FAD (Brasil), ISEA / International Symposium on Electronic Art (Belfast & Istanbul & Albuquerque & Sydney), EXIT, VIA, Lille3000, Ososphere, Scopitone, Seconde nature (France) at La Gaîté Lyrique (Paris)…
Scenocosme : www.scenocosme.com
Rachel Rosalen : Over the last few years, Rosalen has traveled a unique journey in artistic-electronic production in Brazil. She has done work with video, telematics performances, interactive video installations, live theater, projects based on databases and programs – in may cases building specific interfaces for each work. Rosalen uses these devices to discuss a broader project dealing with relations between life and death, war, violence, media, eroticism and construction of the body in the contemporary metropolis. Her trajectory has been quite nomadic and solitary, and she often asks other artists, programmers, or electronic engineers to work with her on projects.
Rafael Marchetti : Buenos Aires, Argentina, 1975. Lives and works in São Paulo (SP).
Developer, designer and editor.Masters – Escuela Nacional de Bellas Artes Manuel-Belgrano-Argentina.
Collective exhibitions:1995 – Fundación Aquemia Gráfica 2001, Buenos Aires, Argentina; Fundación Moa, La Plata, Argentina.
Coproduction Gabriel Mascaro / VIDEOFORMES 2013 - creation in residency 2012/2013
This video was edited using footage recorded by soldiers during the Afghanistan War. The videos were found on a social networking site frequented by soldiers, their families and the simply curious.
In 2012, near what I thought would be the end of military occupation in Afghanistan and with the conflict in Syria impending, I contacted some American soldiers through social networks in an attempt to get a research the memories and imagery that they recorded during combat. That was when I came across the helmet-cam footage, which gives a soldier’s-eye view of the surroundings, where the camera is located very close to the true line of vision. Every month they pick out their best footage and post it online.
In reorganizing the images, I propose a journey through a symbolic war in which the enemy is invisible and the target uncertain. What interests me most about this research is the experience of a latent present, in which the conflict no longer takes place between the soldier and the enemy, but in the rarefied space and time between the camera and the helmet.
Gabriel Mascaro lives and works in Recife, Brazil. He has directed four feature length documentaries that have circulated in major festivals around the world including IDFA, Rotterdam, CPH:DOX, BAFICI, Miami, Cartagena, Visions du Reel, Munich, Museum of Contemporary Art in Barcelona (MACBA).
Gabriel’s recent work transits between documentary, fiction, experimental art video and installation.
With the collaboration of the Musée des Beaux-Arts in Nantes (France).
At the back of the very long room, a very large image and the sound that is associated with it: the sea; more precisely the waves. No beach, just a sliver of sky. The waves, in their terracing: far-away almost flat, the formation of the first contours, and, in the foreground, the unfurling. Movement and color, like an unstable monochrome, endlessly recurring, between black, blue, gray, green and golden (the sand caught up in the rolls).
“For example, the color green: yellow and blue can surely be perceived, but if their perception vanishes by dint of progressive diminution, they enter into a differential relation that determines green. And nothing impedes either yellow or blue, each on its own account, from being already determined by the differential relation of two colors that we cannot detect, or of two degrees of chiaroscuro (…) The sound of the sea: two waves must be seen as nascent and heterogeneous in order to enter into a relation capable of determining the perception of a third, that “excels” over the others and becomes conscious. Gilles Deleuze, The Fold.
What befalls the image and sound in the installation has a troubling connection with the spectator: while he neither determines the image nor the sound, which is recorded beforehand, he is the one who regulates and deregulates the speed, by his position in the room. The waves slow down the closer to the screen the spectator is, until they stop in a photograph devoid of sound. No literal fusion with the waves, but a link, or complicity with them: a renewal of the oceanic feeling (illumination of melancholy). Mechanism, perception, a return from the edge even, tow, undertow, impossible time: The Waves is a tribute to Virginia Woolf (to the book of the same title), to her writing, her invention of time, her person - this life continually on the verge of drowning (that was her real end), between terror and ecstasy.
Thierry Kuntzel was born in Bergerac in 1948.
His philosophy, linguistics and semiology studies led him ta work on a thesis, supervised by Roland Barthes, on "Travail du film / travail du rêve" ("Film-work / Dream-work'') and to write several important texts on film theory and analysis.
From 1972 to 1989, he worked at the Research Service of the O.R.T.F, then at the I.N.A, training and research. He taught semiology of cinema and textual analysis of film at Paris and American universities and the IDHEC film school.
At the end of the eighties he decided to devote himself entirely to artistic creation. After making several installations with marble and neon from 1974, he produced the majority of his videos between 1979 and 1980.
Since then, he has focused on creating installations that involve the projection of images, light and sound. Writing is also a fundamental process of the whole oeuvre.
Thierry Kuntzel has lived and worked in Paris. He died in 2007.