Archive pour la catégorie ‘live performance’

Chez VW, le battement d’aile de coccinelle ne manque pas d’air

Mercredi 15 novembre 2006

Le mapping serait-il la mutation numérique de la métaphore ?

Les tropes s’attrapent par paire, de nos jours binaires ou de paires en pairs chacun trouve un compte plus ou moins bon, relativement satisfaisant, et certains termes que l’on pourrait traduire par transposition, plaquage, nappage, cartographie prennent un sens singulier et néanmoins délicieusement révélateur.

Nombre d’œuvres qu’on tague numériques fondent leur dimension poétique sur l’art du mapping. Il n’est pas question ici de technologie, mais de transposition, au sens rhétorique et musical.

Quand les chaînes causales rejoignent les associations poétiques, le mapping trouve une place attendue et confortable. Les faits se plaquent l’un sur l’autre sans que pour autant l’excitation esthétique opère.

Projet :

C’est ainsi que le spectateur, esclave et maître du spectacle, voit l’image ciller au rythme de ses paupières qui trahissent l’ennui comme l’excitation. Quand les phases béantes de cette intermittence vomissent le flot mal digéré de la télé. Le zapping piloté par le papillon dans sa cage qui de l’aile coupe le flux continu de la télécommande qui dit quand et comment l’image suffit. Le battement devient nombre et les programmes s’enchaînent en plans débridés. Le montage asservi, à rien, sinon à l’alea du libre cours du corps sans sens, à la rythmique physique, pertinente au-delà des signes en suspens. C’est ici la chaleur qui pilote le lépidoptère. Elle nous dit qu’ailleurs, à Sydney, le soleil faiblit. Lui qui se reflète sur les lunettes miroir d’une pin-up qui se gratte d’aise face à l’image en ligne d’un bellâtre qui luit, s’en fout car il pense que l’art est affaire de loto.
Le hasard a ses lois que l’art ne connait pas. Toujours.

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SpeleoShow

Mercredi 1 novembre 2006

Spectacle Chorégraphique

Player : Marianne Descamps, Wolf Ka
Nous parlons du Pavillon Noir, centre chorégraphique d’Aix en Provence.

Le projet : Un spectacle chorégraphique dans le noir total. Les danseurs sont munis de casques de spéléologie. La lampe sur le sommet du casque est focalisable. Elle projette un faisceau tubulaire ou conique. Le spectacle se déroule en plusieurs temps.

Scène 1 : fumée. C’est le faisceau tubulaire qui est visible. Les rais de lumière définissent des espaces, explore la salle et le public, créent des surfaces, jouent la parallèle ou l’intersection. La chorégraphie contourne ces frontières de lumière, ces obstacles qui révèlent ceux qui les approchent.

Scène 2 : la fumée s’est dissipée. C’est l’impact de la lumière qui devient visible sur les parois de la cage de scène. Ces surfaces contiennent des zones blanches sur lesquels les points d’impact lumineux viennent s’écrire. Un tulle pourrait fermer l’avant scène pour recevoir la lumière comme dans Cent objets pour représenter le Monde de Peter Greenaway. Dans la scène 1 le même tulle pourrait retenir partiellement la fumée.

Scène 3 : les faisceaux lumineux s’élargissent pour devenir coniques. C’est l’orientation de la tête du danseur, expression de son regard, qui éclaire un autre danseur. S’éclairant l’un l’autre, les danseurs rendent visible la chorégraphie jusque-là strictement lumineuse.
Wolf évoque le fait qu’il a utilisé un caque comme ceci et qu’il ne serait pas étonnant que Preljocaj ou Frédéric Flamant aient travaillé en ce sens.

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COBA Coming Out Bag Art

Mercredi 1 novembre 2006

Performance Installation October 30th 2006

Isabelle mentioned Sylvie Fleury’s shopping bags. Without really understanding, I propose the creation of a self-installing device, to leave in museums.
It has the appearance of a bag that one carelessly forgets in an interesting room of a great museum. As a time bomb, a clock programmes the opening of the bag and it blows itself up in a structure that spreads out as an artwork taking part of the permanent exhibition. The wrapping unfolds; the basis contains a battery and a compressor. The cartel is stitched onto the artwork, mentioning: Blown-up, date, author.
In the case Blown-up was destructed by security services, several more items of the work and variants would of been anticipated.

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Back Frame

Lundi 30 octobre 2006

Player: FIAC 2006
Medias wish to build an image of the world further authentic than supernatural, reality shows bring a global vision to a single one, single and apparently common, of which the general vision an the media-related alchemy changes into extraordinary considerations.
Until the middle of the 19th century, the means of painting tended to transpose the extraordinary by conferring it a tangible substance.
When reversing this proposition, and considering the following, Back Frame, that is a small device integrating the cartel beneath certain painting, less or more important, in a museum; it is composed of a video camera and a transmission kite, such as WiFi.
Therefore, results a new artwork, in the homes…where a screen of the size of the museum paintings, receiving the image of the painting watchers and whom seem to be appreciating, your inside living. They even sometimes close up, to admire details (the cartel readers, in fact).
Each artwork item is titled:
Les Arnolfini, Back Frame
La Joconde, Back Frame
L’enlèvement des Sabines, Back Frame
La Femme qui pleure, Back Frame

If it is the artist who influes on the vision of the watcher, the final artwork should be signed of his name, and the conclusion would be that the eye of the watcher is formed by the artist himself.

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For whom are these snakes

Lundi 23 octobre 2006

Pour qui sont ces serpents?

(show)

October 15th, 2006

On stage, the actors. They appear backlit Ted, silhouetted. The back of the stage is a screen an hanging above, are long like, elastic shapes of which the motion reminds the one of snakes. Amongst the auditors, some handle small devices (cellar phones, PDA). The latter know the image on the screen is the one filmed by the video cameras, the snakes’ eyes. The devices film on request of the actors, sometimes in close-up, on their lightened side. Based in the controls set, the cutting off is made according to the shots, guided by an audience that want to see more and more, closer. The succedance of images are real-time mixed.
Amongst the actors, video (snakes) constitute a scopic permanent thrill, testifying their over exposition, creating a proximity unfound in theatre. Their video-sights denunciate, at the same time, the anxiousness of being seen, the fear of being ignored, the to eye contact with the audience.
The paradox is also issued, at this time they share the space of the room, and the spectators can find themselves watching the actors on screen although they can see them on stage, partially hidden by their silhouette in action.

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The Line

Lundi 23 octobre 2006

The Line

Live performance, body art, photography
8th October 2006

Ten or so persons share the same tattoo : a line which seems to cut across their bodies, in the same way as it does on a photograph where they can be seen standing together naked.

The flesh of each of them carries a fragment of the work, which only takes on a meaning through the juxtaposition of the tattooed bodies, possible over a short period of time.

A variation : the line will be drawn only on selected collectors, who would accept to have their flesh marked by a fragment they must display as photographic proof of a diagonal line cutting across bodies.

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Quiet ! (show)

Lundi 23 octobre 2006

witten : 6 octobre 2006

Silence!
Performance

Live performance, interactive staging, mobile art, locative

6th October 2006

It takes place in a room. Theatre in the round. On the stage, a play is being performed. A classic (Romeo and Juliet?) : it needs to be huge. The references must be obvious. It can be seen but not heard. The actors play, they wear costumes, but we cannot hear the text. It is as though the sound had been turned off.

The picture is a somewhat blurred, underexposed, of poor quality and covers the back of the stage. A face, close up to the lens, apparently photographed using a cell-phone.

In the audience, we can hear a voice corresponding to the picture. The telephone conversation interferes with the play. Sometimes they blend together. Most of the time, the two soundtracks, that of the telephone and that of the theatre, just ignore each other. The people in the audience try to listen, but find it difficult.

It turns out that in the audience, some members are talking on the phone, mumbling, as though not disturbing anyone. Others sometimes tap them on the shoulder, as though to say: ‘Could you stop talking, we’re trying to listen’. It takes a certain time to understand that the picture on the stage is that of the people in the audience, who apparently consider that projecting their life has become an emergency, compared to the play, an emergency that, involuntarily, they share with the audience.

In other places, at the same time, in the café, in the street, in a rather old-fashioned flat, throughout the play, speakers are having a conversation that becomes more and more coherent … it is the story of that very moment that is being acted out on the stage.

The play does not only take place in the audience. The audience can also be invited to places where they can have a conversation with impolite spectators.

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