10 rue de Bien-Assis
Tuesday to Saturday - 2pm to 6pm
Support for composition and programming Max MSP/Jitter : Christian Delécluse
Co-production : Nicolas Clauss, Théâtre de l’Agora - national theater of Evry and of l’Essonne, ZINC-Friche la Belle de Mai and l’EPCC La Condition Publique. In partnership with la Maison Populaire de Montreuil and with the support of DICRéAM (CNC), of Arcadi and of DRJSCS-DRAC PACA (Identités, Parcours & Mémoire 2011 - Identities, Journeys, & Memory).
Terres arbitraires (Arbitrary Lands) is an immersive and generative video installation that explores the representations of the “projects” and their inhabitants. The spectator is placed in the center of a visual and sound experience and is confronted with (almost 300) silent and slow-motion video portraits of young inhabitants of these neighborhoods (portraits filmed in Marseille, Roubaix, Mantes-La-Jolie, and Evry). A soundtrack, composed of the atmosphere and sound bites of the media, political, and sociological discourse about these neighborhoods, is superposed on the faces and bodies who speak directly to the camera and therefore to the spectator.
Nicolas Clauss was initially a painter. He gave up painting in 2000 to start using “new technologies.” His digital pieces – for which he uses images and sound –and his interactive and generative installations create a whole universe made of a superposition of different textures, materials and tones, in which he brings together painting, photography, video, sounds and algorhythm. He was awarded with many prizes, in France and abroad, most especially Vidéoformes, Ars Electronica or Villette Numérique.
Experimental portrait of the Flemish artist Jan Fabre, made up from his diary, his plastic works and his performances.
The film, as a fairy tale, projects Jan Fabre into his own imaginative universe and composes a character who changes ceaselessly identity, plays numerous roles under the most varied disguises; behind a mask, still another mask… The female character, like a ‘demon of passage’ using different faces, haunts the male character and inspires his metamorphoses, ad infinitum.
The concepts of the work are repetition, simulacrum and metamorphosis, in essential relation as much with Jan Fabre's oeuvre as with my own. Metamorphosis means the transition from one form to another, from one intensive state to another, from one identity to another, or from one universe to another. The work as 'transposition' — the ‘performance' form turns into a cinema form — new creation.
Pierre Coulibeuf was born in Elbeuf (France). He lives in Paris. Film-maker and visual artist, in 1987 he began making experimental fictions that skilfully invest the field of art and in which changes of identity, split personalities and metamorphosis affect the universes and artists who inspire his works (Pierre Klossowski, Michelangelo Pistoletto, Marina Abramovic, Jan Fabre, Meg Stuart). His numerous films, shot in 16 and 35mm—amongst which we can mention Balkan Baroque (1999), Les Guerriers de la beauté (2002), Somewhere in between (2004), Pavillon noir (2006)—, have been presented at numerous international film festivals, and subsequently in the form of installations in the contemporary art network. His works have entered some of the great collections in France and abroad.
Solo exhibitions (selection) : 2006 : Deichtorhallen-Haus der Photographie, Hamburg (Germany). 2007 : La Rada-Centre for contemporary art, Locarno (Switzerland). 2008 : Musée des Beaux-Arts, Brest (France); Stary Browar Art Center/Kulczyk Foundation, Poznan (Poland). 2009 : La Casa Encendida, Madrid (Spain); Fundaçào Iberê Camargo, Porto Alegre (Brazil); Musée d’Art Moderne, Saint-Etienne (France). 2010 : Museu Colecçào Berardo, Lisbon (Portugal) ; Fine Arts Museum, Yekaterinburg (Russia). 2011 : Museum of Contemporary Art, Perm (Russia); Oi Futuro, Belo Horizonte (Brazil). 2012 : Museum of Contemporary Art/MOCA, Chengdu, (China).
Courtesy Gagliardi Art System, Turin
Waterproof (2011) is a 3D stereoscopic installation inspired by the scientific images obtained through nanotechnology, with the help of powerful electronic microscopes. Stereoscopic vision comes into direct relationship with real space allowing an unpredictable journey through the waves of a storm.
Everything connects with troubled gaze of the spectator who is in front of the vertigo of the image, always hovering between sublime and terrifying. The work proposed is based on the theme of the sublime and is a tribute to the great protagonists of romantic paintings of Caspar David Friedrich and William Turner, but also the Japanese art of the Edo period.
In the video, the entropic forms against which the waves of the storm surges are related to the size precarious existence according to a vision that goes beyond the physical plane. This is a work in which the sculpture and architecture are integrated with the video images creating an immersive environment where the languages of art find a renewed synthesis.
On the basis of these images, using the 3D technology (modeling and animation), I have created a virtual reality that can evoke natural landscapes, which are in fact paths that penetrate into the material itself. This generates a spontaneous flowing movement, from nano-structures to macrocosm. I have worked on visual perception and its instability. The work tackles the dramatically current issue of environmental disruption and of natural forces getting out of control. The actualized bodies are inherent in the movement of their creation.
This search for the thrill in immersion only finds its object in a surrender to the element, a loss of control that allows otherness to invade our body, sometimes to the point of plunging us into unconsciousness.
Giuliana Cunéaz (Aosta, 1959) lives and works in Aosta and Milan. A graduate of the Accademia di Belle Arti di Torino, she uses all media, from video- installation to sculpture, from photography to painting, and even screen painting, a technique of her own invention. In the early nineties, she opened a strand of research that involved exploring forms combined with video experimentation. In 2004 3-D became an integral part of her work, forming an element of research for both video and for screen painting. The acquisition of a technological instrument is part of a field of research in which the artist takes elements from the world of science and nanoscience and transforms them into a virtual landscape that interacts with natural data.
EXOPOLIS is an audio-visual installation based on the observation of the movements of a swarm of bees. The work is presented in the form of a triple projection and a multi-point sound broadcast. The videographer and musician get together here to propose a special moment to look and listen in an immersive audio-visual arrangement. The very alarming ecological situation of bees is not directly evoked; it is more an underlying issue, illustrated by an unnatural visual and sound representation. Trajectories are drawn on a white background that decontextualize bees from their environment, some of these lines are real, just as the camera captured them, others are manipulated as an echo to the music. Like the videographer, the composer has put together a compilation of recordings that are very close to the hive. This fundamental material is taken to the studio, dissected, synthesized, and reorganized. There is no opposition between real and artificial, but simple relationships of juxtaposition, a mixture or “technical” modification of what is natural has as a goal the search for coherence between the musical and visual object.
At first glance, EXOPOLIS can be seen as a musical piece in graphic form. It has all the attributes and functionalities, and the project was originally envisioned in this way. Yet this installation especially asks the question about mankind’s representation of nature and our relationship with it.
Bruno Capelle : Musical studies at the University and Conservatory of Toulouse, where he earned a degree in composing in 1991. A unanimous gold medal in electroacoustic music was obtained in 1992. SACEM award in 1992. He received honorable mention at the composing competition “Métamorphose” (Belgium) in 2000.
He has been invited to compose in several musical creation centers: GRAME and GMVL (Lyon), ATELAM (Millau), GRECA (Lézignan-Corbières), COREAM (Grenoble/Fontaine), SAM (currently EOLE, Toulouse /Blagnac), “Music and Research” (Ohain/Belgium). He has been commissioned by: the festival “38ème Rugissants” (Grenoble), the festival « Novelum » (Toulouse), the city of Fontaine (Isère), the French government... He created a large sound mobile, a commission from the Museum of Toulouse, a commission from the Modern Art Museum of Saint-Etienne in 2011, and the Museum of Art and Industry of Saint-Etienne in 2012.
From 1989 to 1992, he participated in the activities of the group “Pythagore” (Pythagoras) in Toulouse. Co-founder of the group “Vibrationscomposées” (Composedvibrations) in Lyon in 1993. From 1996 to 1999, he was a member of Coréam (Fontaine, Grenoble). From 1999 to 2004, he was a member of SAM (currently Eole) in Toulouse / Blagnac. From January 2009 to May 2010, he joined the program planning team of the festival “Musiques démesurées” (Unmeasured Music) in Clermont-Ferrand. Member of the group “plus-moins” (more-less) (Saint-Etienne) in 2010. In 2011, he organized “soirées” (performances, concerts, projections…) in the “L’ATELIER” in Saint-Etienne. He has co-organized since October 2011 artistic events at “La Cour” (Saint-Etienne). He is a member of “L’onde” (Wave), an association for the promotion of contemporary artistic practices.
Philippe FONTES lives and works in Saint-Étienne. He studied photography, and his early work was strongly influenced by the principles of direct photography. Since the end of the 90s, his taste for experimental music and improvisation has pushed him to an increasing number of collaborations with musicians. He started by mixing his photographic creations live to musical improvisations. He then quickly turned to video that would end up being an appropriate concert medium. His work as a performer is expressed through minimalist installations that he controls live in front of the camera.
He is currently working with musician/composers such as Franck Vigroux, Bruno Capelle, Mathias Forge, Jérôme Montagne, François David, Iris Lancery, and Annabelle Playe. He recently perfomed at the Modern Art Museum of Saint-Étienne and at the Opéra Comique de Paris for Futurs Composés.
The project “My free time” is a study on what we do with our time. In 2009, the American giant Amazon created a powerful interactive system called “Amazon Mechanical Turks”. The platform gave
companies the possibility of posting online questionnaires. The users can choose when, how many, and how to respond to the questionnaires, and thus give the companies a quick, efficient, and
economic way of deciphering the behaviors and desires of the consumer. Payment for answering the questionnaires is virtual and leads to bonuses that can be converted into the consumption of
products from Amazon. The profile of the users who respond is varied: the unemployed, young people, or professionals who use their free time to earn some extra money.
This practice is part of an important debate on contemporary behaviors, the way of thinking what we do with our time at a moment when large high-tech companies devote themselves to making immersive machines that life passes through and is thus set by the terms and codes of use of these platforms. Machines store life in the form of status, updates, preferences, posts, photos, and ways of life that are all the more in a dynamic of this reinforced power of 2.0 capitalism.
In this project, the Amazon Turks, as users are called, are invited to circumvent this process. Here, we propose to buy the time of the users with, in return, the proposal to spend ten minutes not answering any questionnaires and guaranteeing their use of free time, ordinary time, time to do nothing at all.
The user must prove that he took advantage of this free time by sending a video recorded by webcam as a response to the questionnaire. It is a question of opening up a crack in the system that the Amazon platform provides. The installation brings together the varied “free time” videos of each user.
The objective of this research is to reveal the remarkable experiments that consider the appropriation of intimate time as an element that generates dividends; and produces as a counterpoint the capability of experimenting and producing systems that generate non-productive time, lost time, extra time, suspended time.
This project has been developed as part of the Artistic Residence Vidéoformes 2013, in partnership with the Association Videobrasil: Programa Videobrasil de Residência - 17° Festival Internacional de Arte Contemporânea, SESC_Videobrasil
Consulat de France in São Paulo | Service de Coopération Culturelle
Drifting Dream is a search for the extension of the emotional space in the city. A couple sleeps all day long on a mattress floating on the water of a river. Depending on the natural flow of the river, the work reviews new transitional spaces and possible movements for high-density dreams.
Gabriel Mascaro (1983) 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.
The book, “XVII-VIXI” received the creative grant “Brouillon d’un rêve” from SCAM in 2012 and the installation received support from the L'École Supérieure d'Informatique, Électronique, Automatique (ESIEA) through the ARNUM Laboratoire directed by Claire Leroux.
Emmanuelle CLAEYS, a student at EISEA is in charge of programming and technical production of the project.
XVII-VIXI is an interactive installation created from 5 pages of a book for which I am the author.
- I swim in a trance and find my animal instinct - a new way of being in the world in a corporal exuberance - I am even able to hear the imperceptible noises of the city, my feet abandon themselves freely and my feeling, during this action, overflows to such a point that my elegant pain becomes pleasure. I’m in a state of inebriation and transform myself into tiny algae and become one with the primitive water - in unison in the belly of my mother, I exist.
The half-aquatic texts of the book, in a kind of notebook, resonate in the changing room, often room 17 of the pool on rue Pontoise in Paris. I write them there, I go home, I paint, I write some more, the next day I return to the pool, sometimes another, and the cycle begins again.
The installation is made up of five tables. A closed box is on each of them. When a visitor approaches, a voice is heard who invites the visitor to open the boxes one by one and begin an intimate and poetic journey. Each box has an atmosphere, an identity, and content that is distinctive and they interact with each other thanks to artificial intelligence.
Inside the box, a page of the book presenting a text and a drawing is found. While the visitor is asked to observe all of it, a voice begins to read the text and the drawing comes to life. The spectator has the possibility of scanning the “QR code” which is found next to each text and connect to the Internet in order to see the translation in different languages.
Through its layout and sound effects, this interactive book asks questions about our existence, sending us back to our human condition. Through its sensory experience, the installation will soak into the spectators, giving them the means to appropriate it and to keep it going in a different way.
Are we actors/spectators of life?
Triny Prada, Franco-Colombian artist, lives and works in Paris. She works on the fragility of life, pointing out some society issues as food problems and their consequences on populations. Her motto : "We are born, we die… in the meantime…!".
Her videos, paintings, installations, sculptures and culinary-performances are reflecting this obsessive idea of the "line that separates life from death".
After artistic studies, Triny Prada continued her training at the Conservatoire des Arts et Métiers in Paris and experimented open-source softwares like Pure Data to realize installations where the interaction
between man and machine is operating in real time, especially through the "multi-touch" technology.
Her works were presented all over the world and recently at the Cube (Issy-les-Moulineaux, France, 2012), at the Human Frames Festival (Werkstatt der Kulturen, Berlin, 2012), at the Festival Signes de nuit, Paris, 2012), at the Hong Kong Contemporary (2012), at the Museo Epicentro, Messina (Sicilia, 2011), at the Museo de Arte Contemporaneo Simon Bolivar, Santa Marta, Colombia, 2011), at the Artist Art Fair (Istambul, 2010), at EMAF (Osnabrück, 2009), at VIDEOFORMES (Clermont-Ferrand, 2007-2008), at Traverse Vidéo (Toulouse, 2007), at the International Incheon Women Artists' Biennale (South Korea, 2007), at the Museum of Modern Art of Cartagena (Colombia, 2008-2009), at Audiovisiva (Milano, 2008), at the Fair Play (Berlin, 2007).
Triny Prada will be shown at the Palazzo Bembo during the 55th Biennial of Contemporary Art in Venise 2013.