Listening to Transparency





Shanghai Minsheng Art Museum, China Minsheng Bank, GRAME (National Center for Musical Creation/Lyon)


Consulate General of the Republic of France in Shanghai, Shanghai Minsheng Art Foundation, Beijing Minsheng Foundation for Arts and Culture, Beijing Minsheng Art Museum


Shanghai Cultural Development Foundation, Ministry of Culture (France), City of Lyon, French Institute of Lyon, Auvergne-Rhône-Alpes Region, Wallonie-Bruxelles International, Artecture Company, Vision Prosper


Lanci Industry

Exhibition Preface

Listening to Transparency

Listening to transparency is designed both as a path and as a scenography gathering more than forty art installations struck by luminous waves and sonorous vibrations. Listening to Transparency proceeds as a mere mega musical instrument, in which “the sound”, in sides with the visual aspects, stands as the backbone. All of the pieces presented execute a monumental musical score, alternating sounds, silences, and nearly-nothing-to-hear elements, as a “musical suite” marrying and magnifying the architectural fluidity of Shanghai Minsheng Art Museum.

The indiscernible slope linking the four levels of the museum epitomizes the passage from one state to the other: the continuous ascent is in line with topic of transparency which is manifested filterings of real world around us. These filters induce a particularly rich world of ties, variations and metamorphosis between the territories of sound and visual arts.

The use of glass and other kinds of materials–translucent, luminous and liquid devices produced unprecedented sensory combinations, generalizing, throughout the arts of the 20th century, a state of transparency. The image fixed upon the glass plate, then on the film reel, has freed imagination by developing a poetic of the treated plate, and has multiplied all sorts of process such as photogrammetry and rayography… If the optical qualities are more likely to generate these interpenetrations, transparency is also today at the heart of the vibrant world of communications and networks to the proliferation of virtual spaces.

The sound, which is purely vibratory and translucent space, appeals as the golden thread of the exhibition, to the transparency of the very listening, in which the sound reveals itself by the silence. Between tangibility and virtuality, immersive, silent or synaesthesial artworks hence stand alongside with the configurations in which the visual and sound develop according dissonant or autonomous trajectories. Other pieces, immobile and silent, appeal directly to the visitor’s sonorous imagination.

Inside those digital fluctuations, making the tangible reappear through its most varied hybridations and introducing sensitivity into virtuality are, together, away to recover balance in an increasingly evanescent environment. It is also contributing to, now, embody our vision of the world into the infosphere, i.e in an invisible and complex field of waves and interconnections: more and more "physically" transparent, less and less controllable.

Most of the pieces that succeed each other, keep alternating between light and darkness, immediacy and slow moments, sound wave and encounters with imperceptibility. They confront virtual fields, ecosystems, tangible realities and luminous resonances; they thread a path of potentials as well as a non-predictive itinerary, in constant variation, sprinkled with reflections and reminiscences, to silence … at the perception of ineffability. Listening to Transparency invites the visitor to transform himself into a “spotter of sounds”.


James Giroudon

James Giroudon was born in La Tour du Pin, Isère. He studied at the University of Lyon and is graduated from art history, sociology and education sciences. And he is a graduate of Pierre Schaeffer and Guy Reibel’s class at the National Superior Conservatory of Music in Paris. From 1982 to 1990, he taught at the Conservatory of Music in Saint-Etienne, where he created an electro-acoustic music section.

Sound Engineer

Christophe Lebreton

Sound Engineer, Computer Music Designer.

Musician and scientific training he joined the team GRAME—National Center for Musical Creation in 1989. He works for research and development of tools for creating, while confronted daily with the realities and diversity of contemporary productions: Great shows, international concerts, festivals Musiques en scène, sound installations, discographies...

Since 2003 he worked specifically on the motion capture and stage increased. He experiences what he calls “instrumental set design” and is interested in all arts where his research and developments are related.

Christian Rizzo, Iuan-Hau Chiang

Vidio Film 3D 6’58’’

In Fom1, the outline of the dancer is momentarily recognizable in a plume of smoke, but it dissipates when he begins moving again. A paradoxical choice for a choreographer, which Christian Rizzo himself highlights:“As a choreographer-dancer, I feel like I am being made to appear by the movement. In Fom1, movement becomes the element that causes me to disappear...”
At first glance, the instability of the design, the elusive character of the figure, and the absence of context are what we immediately notice. But the precision of motion capture reveals the body’s density: even if the ground is not visible, it exists through the weight of the foot pressing down upon it....
Out of this, a silhouette bursts forth and appears to blossom, sketching out a few dance steps, then disappears. Born out of a reflection on perspective and representing a space in Eastern and Western cultures, the film reminds us that there is no landscape without a human being. And, there is no landscape without a point of view.

Yann Orlarey

72 Impulse
Installation Installation sonore et lumineuse interactive, 6 structures autoportées, 72 barres de LEDs, 28 systèmes de modules percussifs 620cm×160cm×225cm

72/Impulse is undertaken as part of a collaborative effort between artists, developers and technicians.
A work immersive sound and light
The project of 72/Impulse is to create an interactive light and sound installation made of six large metallic frames. Each frame contains 12 LEDs modules of 40 cm in length for the light, and four percussive elements for the sound. When the installation runs, the lights and sounds produce a unique visual and sonic choreography, made of paths and movements. The system is autonomous, but the visitor can interact with it. Using a touch pad, he can create its own sound and light logic, and play with the multiple depth levels of the installation. The listener / viewer, immersed in the middle of this vibrating structure, can stay contemplative; he can move inside the structure or interact with the installation that in this case becomes an instrument to perform with.
An integrated technology
The technology of 72/Impulse is an integral part of the work. It is designed in a spirit of hybridization between the digital and physical worlds. Sounds are not synthesized neither reproduced through loudspeakers, but physically produced by the structure using digitally controlled electromagnetic percussions attached to the frames. Thus, 72/Impulse will explore the use of sounds extremely sleek, unadorned, designed as simple markers delimiting the space-time work.

Denys Vinzant

D’Ore et d’Espace
Installation Installation sonore, Crystal, resin, glass Dimensions variables

Work in progress, D’Ore et d’Espace, started in 2000 and till now, it includes many installations: D’Ore et d’Espace, Le Livre de Verre and Partitions Cristal. This modular Installation consists in more than two hundred scores written on the glass, and each exhibition is an occasion of a new creation, which proposes some “imaginative architectures” depending on the space that it occupies.
D’ore or d’ores, comes from Latin “hoc hora”, “in this moment”. Crystalline tones, “pearl notes”, sound streaming, the installation of Denys Vinzant presents an ensemble of scores written on the glass or stained-glass plates with golden ink. By the intermediary of transducers fixed on the plates, the sound propagates on the surface of the vibrating glass, playing like that the role of a membrane of loudspeakers. Hand-written, with a play of transparency, where audio and visual communicate together, these scores represent an integral digest of unheard music.

Iuan-Hau Chiang

Seeing Is Believing
Vidio 3D animation, projection mapping 7’07’’

We can regard each individual in the social community as a “point” and the connection and interaction between people as a “line”. A large quantity of connection and interaction will make up a “plane.” In the constant timeline, the appearance, stay, and disappearance of each individual are so short. We make “light” the bridge to connecting and communicating with other individuals. The connection between each other occurs at every moment. From the grand connection and interaction, the “transience” is repeatedly sparked to construct the existing space for both you and me and to piece up the weightless online world. The borderless virtual digital platform is carved with the trace we’ve tried to leave to prove that we once existed.

Iuan-Hau Chiang

Seeing Is Believing II
Vidio 3D animation, projection mapping 8’37’’

We can regard each individual in the social community as a “point” and the connection and interaction between people as a “line”. A large quantity of connection and interaction will make up a “plane.” In the constant timeline, the appearance, stay, and disappearance of each individual are so short. We make “light” the bridge to connecting and communicating with other individuals. The connection between each other occurs at every moment. From the grand connection and interaction, the “transience” is repeatedly sparked to construct the existing space for both you and me and to piece up the weightless online world. The borderless virtual digital platform is carved with the trace we’ve tried to leave to prove that we once existed.

Thomas Léon

Glass House - location scouting
Vidio Installation sonore et vidéo Blu-ray, son 5.1, en boucle 15’ 52’’

A sound and video installation inspired by Sergei Eisenstein’s notes for an unmade film called Glass House. The video explores the architectural sources of the Eisenstein project (both Expressionist and Modernist glass structures) while updating these sources through the introduction of contemporary or prospective architectural elements. The soundtrack evolves spatially, on six speakers, and is made from the recordings of a Cristal Baschet, an instrument developed in 1952, comprised of chromatically-tuned glass stems, rubbed by the interpreter and amplified by fiberglass and steel resonators. The soundtrack unfolds like a soundscape, finding resonance with the image and giving the viewer the impression of moving around within the sound, as if it were an architectural structure.

Pascal Frament, Jean-François Estager, Henri-Charles Caget

Ici Même Le Temps Des Traces Longtemps
Installation Installation sonore et visuelle, dispositif de projection panoramique sur écran phosphorescent, son, 6 points de diffusion 35’, 1500cm×120cm

Ici même, le temps des traces longtemps, is an installation which offers possibilities of experimentations to the public, a sound and visual paradigm. The images, fugitiveor pervasively present, are developing and recover slowly, revealing their transitory character. They are like a long ribbonof landscapes and quiet horizons.
The sound is diffused in multitracks and comes up fulling all space with its movings. Used in that manner, they amplify the look by listening. They are natural, acoustic and immediate, without necessarily reveal the nature of their source. Structured in six points of projections, they put the spectator in a state of extreme attention
The balance finds in between the sounds and the images built a new space-time, a mental geography. It remains the visitor to let themselves be impregnated by the states that causes this device to bring it to its completion status.

Denys Vinzant

Partitions manuscrites «Vint l’Unicorne aux Sabots de Nuit»
Installation Série de 7 tableaux comprenant 14 Partitions 30cm×40cm

“Vint l’unicorne aux sabots de nuit, à l’oeil de miséricorde; ainsi vint-il et nous l’avons consigné dans le livre du sommeil.”
Roger Kowalski –A l’oiseau à la miséricorde

Denys Vinzant

Partitions manuscrites «Filigranes d’Argent»
Installation Série de 5 tableaux avec 5 partitions 30cm×40cm

Similar to beads on a string, notes strung on curves drawn by the computer according to the play of the instrumentalist. These curves, more or less wide according to the gesture (or vice versa) will create multiple figures. The grain of the “chiselling” varies from about 50 to 20 milliseconds that is to say 20 to 50 notes per second. As the “wire” of the goldsmith, the lines are intertwined, each new note depending on the line that will trace the computer, itself induced by the previous note. So, the note does not arrive at time determined by writing, but through movement.

Dania Reymond

Greenland unrealised
Vidio Vidéo HD, couleur, son, images de synthèse animées 10’

“Greenland unrealized is a single video tape in computer graphics. The project is to translate in this media a non-realized Antonioni Scenario. The synthetic image is the opportunity to be interested in the “non-story” of film. This is to achieve a kind of archive that does not deny the virtual state and unfinished project Antonioni but instead strengthens and welcome.
The scenario Antonioni described the last days of a community living in an idyllic country and having to cope with the sudden arrival of glaciation. The filmmaker makes much of this state of transformation undergone by the landscape.
It is not for me to make the film by Antonioni but to stage it as a virtual project in a virtual medium. The image works to restore a frozen landscape in computer graphics and also shows all stages of its development…”

Deng Yuejun

Installation fer, piles photovoltaïques, puces personnalisées, haut-parleur 5w diamètre 12cm, épaisseur 8cm

0 samples 100 people pronouncing the vowel 0. Sounds will be recorded into 100 custom chips imbedded in 100 photovoltaic insects named 0. Flocks of insects will make 0 sounds when they get sunlight. The loudness and length of sounds of 0 varies to the intensity of sunlight, thus forming an orchestra of 0.

Deng Yuejun

Somniloquy 2015
Installation fer, LED, moteur série de 35 pièces 100mm×100mm×100mm/pièce Dimensions variables

Somniloquy 2015 is an extension of somniloquy series, also a new work in shadow study. Shadow belongs to a two-dimensional world. It is untouchable but our feelings for shadows are no less real. I always wanted to use the dynamics of shadows as an expression of art. In this work, I put LED lights into the breathing squares to constitute a color matrix, simulating the ecological dynamic of the interplay of insects’ community.

Wang Fujui

Electromagnetic Soundscape
Installation Installation sonore, Câbles, barres aluminium, appareil audio, dispositifs électroniques personnalisés Dimensions variables

The discoveries regarding the using of electricity precipitated the Second Industrial Revolution. Electricity ran through cities like blood in the veins in human bodies, converting dashing, invisible electromagnetic waves into sounds through coils and shaping electromagnetic soundscapes of the cities.
There is an interactive installation in the main exhibition space, which deconstructed the recorded electromagnetic soundscape. Audiences need to hold a special instrument and walk into the electrified aluminum frames hung from the ceiling, a metaphor of buildings in the city, in order to hear the electromagnetic soundscapes Fujui Wang had recorded.

Pierre-Laurent Cassière

Schizophone II
Sculpture Prothèse acoustique, Plastique, néoprène, feutre 15cm×20cm×50cm

This sculpture is an acoustic prosthesis altering one’s listening habits of the sonic environment. It reveals how our ears are continuously used not only as communication devices but also as orientation tools.
Improved version of the 2006 first Schizophone, the two plastic cones focus on sounds coming from each side of the listener. By both amplifying sounds and splitting perception of left and right ears, the instrument creates a strange stereophonic effect on the soundscape and reveals soft sounds usually unheard. By its unusual way of moving and adopting specific listening postures, the user modifies its attitude and relationship to space.

Pierre-Alain Jaffrennou

La Chute de l’Ange
Installation Installation plastique et sonore, eau, vasque de verre, laser, dispositif électronique, son spatialisé

The installation is immersed in the dark. On a rectangular stele made of rusty metal, lays a large basin of glass filled up with red liquid. From the top of space a fine rectilinear laser beam of pure light plunges into the center of the basin.
From time to time, a drop - kind of sparkling ruby - operates a vertiginous fall into the very fine ray of the beam. The installation is only illuminated by the light beam within the liquid. Light steam seems to rise from the basin and glitters at the junction of the beam. A sound environment similar to noises of wings and falls of drops of water crosses the space. At some more musical moments, dark or luminous sequences, disturbed by breaths, come up with the silence revealed by the rare sound environment.
Lastly, at unforeseeable moments, the fall of the drop creates a singular sound event, of strong resonance. Along that path of light, the liquid going from a dark to a bright red, looks like a kind of heart or lung which is back to life again after all these fatal moments. The viewer can remain long minutes in contemplation, listening, waiting for another fatal moment.

William Anastasi

Vidio 1’57”

It shows William Anastasi and hispartner Dove Bradshaw performing a dailyritual playing piano and singing, performing music piece by Cole Porter. William Anastasi filmed himself through a mirror.

Pierre-Alain Jaffrennou

Musica Mobile 1: Seventh Sky
Installation Vidio Installation vidéo et sonore (2010) ; création version pour casques (2015) 16’40”

Musica Mobile is a musical concept implemented from an electro-acoustic diffusion set up of eight loudspeakers surroundingthe public or by a headphone listening reflecting this spatialization. This latest version is presented in Shanghai Minsheng Art Museum. This device brings into play a space-time vision of the sound events which is expressed at the same time by a dynamic in the space generated by the diffusion setup, extreme swiftness in the trajectories of the sound and by amazing effects of sound transmutations.
Musica Mobile1: Seventhsky is incarnated in eight microtonaux virtual pianos, eight virtual pianos microtonal, held by pianists virtua ltoo. These bored playing a somewhat common place as music. For some mysterious reason, gradually, things go wrong and pianists, as if struck madness, engage in an incredible marathon...

Julie Vacher

Formose Phonique II
Installation Vidio Installation vidéo et sonore, Full HD, 16:9, quadriphonie 14 ’

Formose Phonique II is an immersive installation with shifting landscapes. The voice of an old lady guides a young girl in the search for a stone. Back and forth between the video and the soundtrack, the scenery comes to life between physical and metaphysical space. The essence of the video originates from applied arts, or the mnémotechny, appearing in the invisible cities by Italo Calvino. Therefore, the reconstitution of a mental space allows us to learn a discourse, an exercise leading to the transformation of an object into idea or image and vice versa. Here, the search of the object finds his resolution in the acceptation of its dematerialization. This poetic undertone evoking our 2.0 reality quickly became a metaphor for my own discovery on the island of Taiwan.
The installation was carefully crafted in relation to the spatialization of sound itself. The video was edited using a quadraphonic soundtrack which projects a narrative base consisting of the voices of two women. The latter intertwine and merge with the former recordings to create an active perceptual space. Hence, with this new version of Formose Phonique, I operated a displacement from the cinematic space to the exhibition space.

Manon de Boer

Two Times 4’33’’
Installation Installation sonore et visuelle, 35mm, couleur, 4:3, dolby surround 10’

De Boer invited the Brussels-based pianist Jean-Luc Fafchamps to play John Cage’s eponymous composition 4’33” twice in front of a live audience in a studio space of the P.A.R.T.S. (The Performing Arts Research and Training Studios) in Brussels. Once, with one single still take, the camera films his execution of the ‘silent’ musical composition, complete with the three punctuations indicated on Cage’s simple line score at 1’40”, 2’23” and 30”, which the otherwise still and absorbed Fafchamps interprets by striking a timer. The first part is married to its synchronously recorded ambient sound, which is played in Dolby surround when the work is projected. For the second part of her film, De Boer cut all sound, interjecting only with the timer’s clicks into the 4’33” filmed performance. The camera travels in a long pan that begins where the first section does, at Fafchamps, but then moves steadily along every member of his audience and finally travels outside the studio door to show a parochial landscape at the edge of the city center cut through by telephone wires and animated by wind-blown bushes. None of this is heard. Viewed in a cinema setting, the second performance, and the second part of the projected film rely on the ambient silence of the live audience. (Monika Szewczyk)

Dominique Blais

Installation objet, Casques, lecteur audio, échantillons sonores, bois laqué 40cm×40cm×200cm

Infini is a combination of two identical headsets. Both headsets were dismantled and then reassembled with one of their respective earphones turned around; they were then juxtaposed so that each pair of earphones nuzzles together in perfect symmetry. Tucked away, an audio player broadcasts a soundtrack composed from VLFs. The intertwining of the two headsets allows fragments of the sound material contained in the earphones to filter through imperceptibly. Using equipment usually intended for a privileged form of individual listening, the work covertly contains the latest samples of natural radio frequencies—inaudible to the naked ear—captured by the artist at the North Pole. The form obtained by the combination of these vintage devices is reminiscent of the symbol for infinity, a loop twisted in on itself, in which we can imagine sound particles moving and lasting forever and ever.

Luc Ferrari

Presque rien n°2 - Ainsi continue la nuit dans ma tête multiple
Vidio Musique sur bande, Extrait Sonogramme INA 3’39’’

Description of a night landscape as the soundman trying to identify with its microphones, but the night surprises “hunter” and enters his head. It was then a double description: the inner landscape alters the outer night, and the component adds its own reality (imagination of reality); or, one might say, psychoanalysis of his night landscape?
One of the main features of Presque rien is storytelling, not in the sense of telling a story but to make visible the time that something happens at one place. Unlike soundscapes where the place is perceptible, the elements he uses and he designates as his daily life, encourage, by the concept of a minimum story and not a factual history, a time travel; it is chance of everyday sounds consisting of a substance belonging to the everyday actions that builds over time. The intention to tell is there, but remains unclear.

Luc Ferrari

Vidio Musique sur bande, Extrait Sonogramme INA 3’39’’

Heterozygote was composed at the GRM in 1963-64. It was the time of the research and systematic experiments on sound objects. Heterozygote was the opposite. It occasioned a conflict between Ferrari and Schaeffer. How could be reconciled search of abstract criteria that Schaeffer continued with concrete sounds, and the work that used with such apparent casualness the “anecdotal sounds”?
“One day I left for reasons I will not explain, with a tape recorder that was not mine. I have traveled, not too far but far and I recorded things in life.... Thus was born Heterozygote was the first piece of a genre that I called anecdotal piece. That is to say that I wanted to try making a language laying both musically and on the dramatic plan.” (Ferrari, 1964)
“Me now, I do not make the distinction between abstraction and concreteness, realism (...). For me, the “problem” is: work with things which have their own logic.”(Ferrari, seminar GRM 1997)

Li Yuhang

My Friend
Installation Installation/un papier sonore 1’36’’

In this work, there is a meeting between the sound and the visual, however this meeting is not synchronized, the sound makes the text losing, and the text brings back the sound. The form and the content are a mix of two different aspects. In opposition to an imaginary based on repetition, this causes a doubt and an unexpected result. The effect of this improvisation represents a potentiality of transparency. This sound paper is material and immaterial. The meeting between the sound and the visual is both materialization and dematerialization. These processes rely on the presence of the public; the interactivity brings out everything in this little paper, in a minimalistic way.

Thierry de Mey

Silence must be!
Vidio Oeuvre musicale/visuelle, Rétroprojection sur papier calque, lettre de gestes sur mur 7’

In this play for solo leader, Thierry De Mey continues its research on the movement at the heart of "Musical fact" ...The dancer turns to the audience, takes the beating of his heart as a pulsation and starts to decline increasingly complex polyrhythm; ... 3 out of 5, 5 out of 8, approaching the golden ratio, it traces the contours of a silent, indescribable music...

Matt Coco

Installation Papier découpé, structure en métal et PVC, stryroglass Dimensions variables

Fantôme is an installation based on the bursting of an image of a landscape deployed on 30m of a roller paper.
Here it’s an image of Fukushima after the tsunami of March 2011. This image found on Internet, was treated by dissociation of colors, thus creating an abstraction of the event. The forms were drawn and cut out one by one.
The title comes from this technique which consists in hollowing out a form and to keep only the full one. The remaining matter, hollowed out, is called “fantôme”.
A collaboration is started with a contemporary dancer, Benoît Caussé, who works first with the constitution of a mental sound tapestry resulting from the forms of the score. The sound is a missing part but which frames these various proposals. A possible fiction and fantasized left to those who look at.

Matt Coco

Quelque part avant la danse
Vidio Vidéo muette, noir et blanc 18’46’’

Each act of perception is partly an act of creation. When we see, close to us, the branches of a tree shivering, we hear, in us, the breath of the wind. He calls this, the music of the eyes. My deafness, he says, was difficult to detect, by me and by others because, from the beginning, my eyes had started in an unconscious way to translate movements into sounds. (David Wright)
What we call our conscience of the present, the present moment, is a permanent oscillation between memory and anticipation, memories and desires, nostalgia and expectations. To remember, implies at the cerebral level a certain recombining, starting from the mobilization of traces multiple, discrete, parceled out, distributed in many networks of nervous cells dispersed through various areas of our brain. (an extract from subtitles)

Michel François

Walking Through a Line of Neon Lights
Installation Néons brisés Dimensions variables

Walking through a line of neon lights consists in a carpet of white neon lights, perfectly aligned and broken in the middle. From 2004 to 2010, Michel François used many times this artistic principle and in particular in 2005–at the Flemish cultural center De Markten in Brussels, where his artwork became an object of a performance: in front of the audience, the artist was moving on the neon alignment, breaking them under his feet. This work is interesting both by its aesthetic and symbolic aspects. But first of all it is a visual pleasure to observe the material that changes its states, forms and plastic qualities under the feet of the walker: the smooth surface area of glass makes some room to some piles of splinters and dust that leaves a white line in the middle of the path. The neon is also here used to express another idea – the idea of distortion of everyday objects that the artist explains by himself: “objects have lost their function... a definitive obliteration, objects have this memory, but we do no longer use them.”

Dominique Blais

Untitled (Blacks Disks)
Installation Grès d’Utah, moteurs, filins métalliques Jeu complet de 13 éléments 1 disque diam. 36 cm 3 disques diam. 28 cm 9 disques diam. 23 cm

Dominique Blais’s installation invites the visitor to wander in a sound landscape through an archipelago of sandstone records.
Started in 2008, Sans titre (Les Disques) is spread for the first time on the scale of the entire exhibition space. The terra cotta circles are spread for the majority on the ground while some of them are suspended to engines and brush against the static elements. A game of subtle harmonic frictions is created, like a “hypnotic ballet”, a sound poem in random stanzas.
His installations often borrow their materials to everyday objects of light and sound scattering, a material usually camouflaged, but chosen by the artist to place it at the centre of the devices, giving it a strong sculptural presence. Through these receptors, in action or not, Dominique Blais creates scenarios where visible and invisible, audible and inaudible make a dialogue. With a great formal quality, his works attempt to tame intermediate states that, while sharpening our perception, disturb our senses and invite us to listen carefully to things that surrounds us. (Véronique Baton)

Dominique Blais

Untitled (White Disks)
Installation Grès C, moteurs, filins métalliques Jeu complet de 28 éléments 14 disques diam. 23 cm 14 disques diam. 27 cm

Dominique Blais’s installation invites the visitor to wander in a sound landscape through an archipelago of sandstone records.
Started in 2008, Sans titre (Les Disques) is spread for the first time on the scale of the entire exhibition space. The terra cotta circles are spread for the majority on the ground while some of them are suspended to engines and brush against the static elements. A game of subtle harmonic frictions is created, like a “hypnotic ballet”, a sound poem in random stanzas.
His installations often borrow their materials to everyday objects of light and sound scattering, a material usually camouflaged, but chosen by the artist to place it at the centre of the devices, giving it a strong sculptural presence. Through these receptors, in action or not, Dominique Blais creates scenarios where visible and invisible, audible and inaudible make a dialogue. With a great formal quality, his works attempt to tame intermediate states that, while sharpening our perception, disturb our senses and invite us to listen carefully to things that surrounds us. (Véronique Baton)

Xiao Yu

Je pense que trop de volonté… n°3
Vidio Noir et blanc 25’45’’

The artist presents a kind of external energy influences human perception: the image of a bamboo broken slowed considerably shows concretely this kind of “invisible power”. This is an invitation for the visitor to focus on forces outside each phenomenon.

Stéphane Borrel

Installation Installation participative dans un éco-système audio-numérique 275cm×450cm×140cm

The work is conceived as a forest of Smartphones that communicate between themselves, hearing each other and responding, lighting up autonomously like fireflies. The audio material used is recorded laughter. The installation creates rhythms by playing fully with this happy, human, touching and even strange material.
The concept is to provoke musical behavior through electro-acoustic networks and with the help of digital audio apps. The objects communicate through acoustic sound via low speakers and microphones integrated in the smartphones. This constraint determines a musical ecosystem that reacts according to the spatial distribution of the phones and the quality of the acoustic environment. The very presence of a new body inside the installation can modify its stability and evolution.
With their personal smartphones and having downloaded the Smartland app, the members of the audience can participate and interact in harmony with this musical ecosystem. Smartland -Divertimento must be viewed as a garden of the post-digital era.

Dominique Blais

Installation Installation sonore, 16 micros, 16 trépieds, câbles, carte son firewire, programme informatique sur DVD, Mac-mini Dimensions variables

L’Ellipse is a device composed of sixteen microphones on tripods in a distorted circle, tilted spatially in the manner of an ellipse. Diverted from their original function (as receivers) and connected to the outputs of a computer’s soundcard (not shown in the exhibition space) that broadcasts the audio material, microphones are used ‘vice versa’ as loudspeakers in order to reconstitute an audio clip circulating inside the device and tracing an ellipse in mid-air. The computer program opens sixteen channels in succession, with a speed that accelerates and decelerates (and so on), giving the impression that the sound particles are moving, thereby creating an orbital path in space. By reversing the process of sound diffusion—through the use of recording equipment instead of speakers—the device disconcerts the viewer, a feeling compounded by the repetitive and hypnotic nature of the specialized audio material. The installation’s static appearance contrasts with the kinetics produced by the sound pulses making it possible to simulate the motion of a circle with variable speed. Viewers are literally invited to circumnavigate the work—in so doing, they follow the frequencies’ progression as they walk around the device.

Pierre-Alain Jaffrennou

Green Sounds
Installation Installation interactive pour smartphone et multimedia

The project of the GreenSounds installation is to let visual and sonic universe of parks and gardens transparent and to show it through a site of exhibition by means of technological devices.
This artwork is a metaphorical and virtual recreation of natural environment, a kind of relocation and a transfer of audio and visual landscapes: the central motif is Animots, which is a permanent installation that functions in the heart of the park of Gerland in Lyon from December 2000.
Animots consists of a sound diffusion, which comes from multiple points of the green space of the park. At different moments, the realization of acoustic compositions is based on three different typologies of sounds. The first type is characterized by natural mimetic sounds, which can be heard in parks, gardens or in countryside. On the contrary, the second category is based on sounds of cultural nature: the sounds of instruments, voice or synthetic tone. Finally, the third one is shaped of ambiguous sounds of nature and culture that question the listener.
Unlike Animots that exists and lives its life in a micro-world, quite independently from the living creatures in the Park, GreenSounds is an interactive installation influenced by the visitors who can listen and manipulate it. It is his own smartphone that becomes the gestural interface and the device manipulating the installation. From a downloaded application, a visitor can add or replace sound streams, derived from Animots, by the creation of new kinds of sound with his own gesture, varying the interpretation of spatiality and velocity by himself. In parallel, a visual echo of the Gerland Park is proposed in a video form with a colorful atmosphere.

Gregory Chatonsky

Vidio 5’03’’

The Web was introduced during the last century as something immaterial, “in the clouds”. But the network is made of a heavy material infrastructure, cables from one continent to another and data centers that concentrate Internet data. Horizon is an endless traveling in photographs found on the web representing the corridors of these data centers. These images show a classical albertinian perspective. The eye moves it while remaining paradoxically immobile.

Michel François

Retenue d’eau
Installation Sacs plastiques, eau, nylon Dimensions variables

Some clear plastic bags filled with water are connected in cluster and hanging above the ground. The artwork involves the physical tension of the sculpture (empty/fill, lightness/heaviness, compression/release). ... Michel François seems to catch something in flight that is by nature elusive as the elements, and to freeze the delicate moment just before the fall.

Michel François

Retenue d’eau noire
Installation Sacs plastiques, encre noire, nylon Dimensions variables

Black Water Retainment is the black and opaque version of Water Retainment. This sculpture is made of plastic bags filled with black ink accumulated and suspended to form a sphere together. This suspension in space is also a temporal suspension, sculpture appears as the assemblage of repeated gestures testifying to fragile and precarious moments, and expresses a pessimistic vision of the future of the world.

Pascal Frament

Sculpture Objet, Dispositif électromagnétique, silicone, peinture 30cm×30cm×20cm

A heart put on a pad beats with a calm regularity, beyond hazards and attacks.

Pascal Frament

Les miniatures - Les Habitants (première partie)
Installation Série de dispositifs frigorifiques, figurines miniatures Env. 20cm×20cm×30cm

The surfaces on which the characters are placed are kept at low temperature. Gradually, the water vapor in the atmosphere is transformed into ice. Slowly but inexorably the frost engulfed the inhabitants.

Pascal Frament

Les miniatures - Punctum Temporis
Installation Dispositif électrique incandescent, verre Env. 20cm×40cm×20cm

Awakened, we evolve on a daily basis in a Present that resembles Eternity. The device tries here to make palpable this paradox, mobilizing our senses, acting as an amplifier of consciousness.

Pascal Frament

Les miniatures - Le pavillon des vidéos
Installation écran vidéo, structure, figurine, Env. 20cm×15cm×15cm

The pavilion is a projection room, miniature. Museum in the Museum, the visitor is invited to enter by the look, to flee the world and thus share the contemplative experience of the miniatures there.

Pascal Frament

Les miniatures - Ceux qui sont là 01
Installation Vidio Installation vidéo, Projection vidéo, coupe de porcelaine Env. 15cm×15cm×20cm

On a common object, a white porcelain cup, a man seems to seek an answer to the presence of visitors and itself, by asking us about our presence in the world.

Pascal Frament

Les miniatures - La Génie de la Lampe
Installation Projection vidéo, dispositif électronique, générateur de brouillard Env. 30cm×20cm×20cm

The conjunction of light and matter gives body to the Genius who lives inside this installation.

Pascal Frament

Les miniatures - The Great Substitution
Installation Dispositif électrotechnique, générateur de fumée, figurines Env. 30cm×30cm×20cm

One of the first effects of cinema used by G.Méliès is seen here reactivated to put into perspective the existence proper to every life.

Pascal Frament

Les miniatures - The pavilion of videos, Drive-in
Installation Projection vidéo, bois, cuir, aluminium, figurines Env. 60cm×80cm×60cm

Like the "Video Pavilion" series to which it belongs, the "Drive-in" invites the visitor to pull himself out of himself to slip mentally into the skin of the two characters who watch the projection.

Pascal Frament

Les miniatures - Les Habitants (deuxième partie)
Installation Dispositif frigorifique, figurines 30cm×30cm×12cm

The surface of about 4 cm2 on which the figurines are placed is brought to the temperature of -20°C. Little by little, the forming ice “absorbs” the characters.

Pascal Frament

Les miniatures - Those who stay there 02
Installation Vidio Installation vidéo, Dispositif optique, vidéo projection, boucle vidéo 200cm×100cm×50cm

This silent face returns for the second time in the course of the Museum; it is an alter ego that floats on the wall and by the look of which the visitor then becomes subject of observation. Thus the exhibition ends. By reversing the roles of looking and looking, the installation unfolds by symmetry a new space where the visitor can now return.