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CRETEIL MAISON DES ARTS
As an active participant in the contemporary artistic creation, the Maison des
Arts et de la Culture de Creteil is a place where all manners and movements
of art are produced, displayed, and performed.
With over 300 performances a year, MAC’s policy starts from the principle
of contemporary art’s multiplicity: it helps fund and create projects that bring
together aspects of theatre, dance, music, and digital art — a veritable melting
pot for the most recent forms of artistic expression.
Indeed, MAC gives preference to exploratory modes of expression, lending
its support at every step in collaborative hybrid projects. During its regular
season, the MAC organizes multiple exhibitions and festivals, most notably
the international festival EXIT. In 2008, the MAC has added a third space for
performance and creation: the Satellite. This space is overseen by the Studio,
a space dedicated to the artistic creation and the production of digital imagery
for use in the performing arts.
PAGE 02
ALEXIS O’HARA SQUEEEEQUE L'IGLOO IMPROBABLE
DAAN BRINKMANN SKINSTRUMENT 2
ALVARO CASSINELLI SCORE LIGHT
GREGORY CHATONSKY DANCE WITH U.S - DANCE WITH ME
THIERRY DE MEY REMANENCES
THIERRY DE MEY / ANNE TERESA DE KEERSMAEKER TOP SHOT
emilie fouilloux let’s dance
PETER WILLIAM HOLDEN [SOLENOID B] AUTOGENE ARABESQUE
KANTA HORIO FROM POWER LINE, TO
BLANCA LI VEN A BAILAR CONMIGO
LAWRENCE MALSTAF NEMO OBSERVATORIUM
VOLKER MORAWE MOSHPIT AMP
NATACHA PAGANELLI KOLO
CHRISTODOULOS PANAYIOTOU GUYSGOCRAZY - SLOW DANCE MARATHON
VISUAL SYSTEM A DIGITAL EXPÉRIENCE #4
ADAD HANNAH, NIKLAS ROY INTERNATIONAL DANCE PARTY
PAGE 03
ALEXIS O’HARA
SQUEEEEQUE
L’IGLOO IMPROBABLE
An immersive environment, cosy as a children’s
fort, built from items discarded by society. A
sonic cocoon woven from the mutations of your
own voice, reverberating across walls and ceiling. An audio sculpture that evokes one of the
most ancient incarnations of the human habitat.
A speakerbox igloo. All materials are recycled,
collected from flea markets, recycling centers
and the web, reflecting an encyclopaedia of the
home stereo, spanning decades of design trends.
Each unit is imbued with the energy of the living
room it once occupied.
Speakers face inwards with four microphones,
placed inside, as the only audio source. This is a
space for people of all ages to echo their voices,
shedding inhibitions and forming instant and
ephemeral communities with fellow howlers.
Participants may play with the dynamics of audio feedback by pointing mics to the walls. Feedback is an issue, but it is an interesting issue.
Biography
Writing bios is boring. Here is what an arts
center in Austria has to say about me: “The androgen, Cimmerian-like, multi-talented, funny,
and dubious artist is a fixed star in the Montreal
cabaret and avant-noise scene. With pseudovirtuous verbally, gutturally and technically generated melodies Alexis O’Hara gets tangled up in
spontaneous sound and body battles expressing the general absurdities of life. In her performance “City of Sighs” Alexis O’Hara breathes
herself through the register of man’s arrogance
and absurdity. In the form of a living dynamic
sound sculpture she embodies wordless stories, a meditation of fear and longing, her voice
transformed, multiplied, interfered and alienated
by various forms of hi- and lo-technology, the
distortion of one’s subjective perspective illustrated through visual projections. Performance
poetry, sound art and interactive life art is what
O’Hara calls the genres that most closely define
her work. Her performances with clothes running on batteries have become legendary—now
she wires up with samplers and sends her voice
on hypnotic and lyrical journeys.” In a nutshell: I
make sound. Performances, recordings, installations. I also take pictures, make videos and make
incredible medicinal popscicles.
Une cabane stéréophonique. Un cocon sonique Construit de hautparleurs récupérés (marchés aux puces, éco-centres et grâce à la
collaboration de particuliers contactés par réseau internet), cette
installation reflète une encyclopédie de la chaîne stéréo, traversant
des décénies de modes et de design. Les haut-parleurs sont liés
en série et en parallèle. Des micros, placés au centre, alimentent
les murs. La structure curieuse invite les gens à former des petits
groupes éphémères le temps de jouer, chanter, gueuler en bandes.
Les «habitants de l’igloo» peuvent aussi jouer avec le dynamisme
des larsens sonores en pointant les micros vers les murs. Les
participants peuvent ainsi jouer l’igloo comme un instrument. Le
feedback n’est pas vraiment un problème, plutôt un sujet intrigant.
L’interactivité de l’Igloo est évidente. Cet espace convoque les enfants
de tous âges à se défouler, libérant leurs voix et se dépouillant de
leurs inhibitions. Ce projet est un hommage au génie impressionnant
et la richesse des traditions orales des peuples du Nord.
le son o hara : http://www.myspace.com/alexisohara (extrait radio latido)
http://www.flickr.com/photos/volcanohara/sets/72157617962129251/
http://www.dyslex6.com
http://www.myspace.com/alexisohara
PAGE 05
DAAN BRINKMANN
SKINSTRUMENT 2
Skinstrument is a musical instrument which works
using skin resistance as a parameter to generate
sound, it can be used simultaneously by two players.
When players touch one of the semi spheres
they become part of an electronic circuit
consisting of a tiny, imperceptible current.
When the players now start to touch each other
on the skin this circuit starts to generate sound.
The intensity of the touch determines the
modulation of the sound.
Biography
Daan Brinkmann is a media artist from the
Netherlands. His main preoccupation is creating
installation art. His installations are either
autonomous or interactional.
His interactional works are always based on the
expressive potential of the spectator’s body.
Rather than the empirical elements within such a
work being the artwork itself, they are often used
as a means to achieve a new kind of social experience.
His autonomous installations counterbalance
this approach. They strive to be in-depth explorations
where the perception of light, sound, space
and time becomes subject to itself.
In 2006, his work won the René Coelho Award at the
Dutch institute for Media Arts.
« Skininstrument2 » est un instrument de musique qui
utilise la peau comme générateur de son. Cet instrument
peut se jouer simultanément par deux personnes. Lorsque
les joueurs touchent l’une des demi sphères du socle, ils
prennent part au circuit électronique constitué d’un fin et
imperceptible courant électrique.
Lorsque les joueurs commencent à se toucher l’un et l’autre
sur la peau, ce circuit génère du son. L’intensité du toucher
détermine la modulation du son.
www.daanbrinkmann.com
PAGE 06
ALVARO CASSINELLI
SCORE LIGHT
“ScoreLight” is a prototype musical instrument capable of generating sound in real time
from the lines of doodles as well as from the
contours of three-dimensional objects nearby
(hands, dancer’s silhouette, architectural details, etc). There is no camera nor projector: a
laser spot explores the shape as a pick-up head
would search for sound over the surface of a
vinyl record — with the significant difference
that the groove is generated by the contours of
the drawing itself. The light beam follows these
countours in the very same way a blind person
uses a white cane to stick to a guidance route
on the street. Details of this tracking technique
can be found here.
Sound is produced and modulated according to
the curvature of the lines being followed, their
angle with respect to the vertical as well as their
color and contrast. This means that “scoreLight”
implements gesture, shape and color-to-sound
artificial synesthesia [4]; abrupt changes in the
direction of the lines produce trigger discrete
sounds (percussion, glitches), thus creating a
rhythmic base (the length of a closed path determines the overall tempo).
Biography
Alvaro Cassinelli was born in Montevideo
(Uruguay) in 1972. In 1990 he obtained both
French and Uruguayan Bachelor degree, and a
grant to pursue his studies in France. In 1996 he
obtained a Graduate Engineering diploma from
the Ecole Nationale Superieure des Telecommunications (ENST), in Paris. He completed the
same year a Doctoral Qualifying Degree (DEA)
in physics (laser and matter interaction) from
the University of Paris-XI/ENST/Ecole Polytechnique. In 2000 he received a Ph.D degree from
the University of Paris-XI Orsay for his work
on optoelectronic stochastic parallel processors
for image processing. Since 2001 he has been
working as a Research Fellow, Research Assistant and since 2006 as Assistant Professor at
the Ishikawa-Komuro Laboratory, where he is
actively involved in creation and development
of the new Meta-Perception Group. He has
been awarded several prizes as a Media Artist,
including the Grand Prize [Art Division] at the
9th Japan Media Art Festival and an Honorary
Mention at Ars Electronica 2006.
Alvaro Cassinelli est né à Montevideo (Uruguay) en 1972. En 1990,
il obtint ses deux diplômes d’études supérieurs en français et en
uruguayen, lui permettant de bénéficier d’une bourse pour poursuivre ses études en France. En 1996, il est diplômé en ingénierie par
l’Ecole Nationale Supérieure des Télécommunications de Paris. La
même année, il obtiendra un doctorat de physique pour son essai
sur les lasers et matières interactives, à l’école Polytechnique. En
2000, il a reçu un doctorat de l’Université de Paris-XI pour son travail sur les processeurs parallèles optoélectroniques stochastiques
pour le traitement d’images en temps réel.
Depuis 2001, il a travaillé comme chercheur puis comme chercheur
assistant et enfin depuis 2006 comme professeur assistant au laboratoire Ishikawa-Namiki-Komuro au Japon, où il est activement
impliqué dans la création et le développement du nouveau MetaPerception Group.
Plusieurs fois récompensé comme « media artist », il a reçu le grand
prix de la 9th Japan Media Art Festival et la mention honorifique au
Ars Electronica 2006.
http://www.k2.t.u-tokyo.ac.jp/perception/scoreLight/index.html
PAGE 07
GREGORY CHATONSKY
DANCE WITH ME (2007)
DANCE WITH U.S (2008)
Dance with me (2007)
The visitor enters in a dark room. He goes to the
only luminous point, a plexiglass box on a white
base in which there is a wire mini-jack. If he has
a MP3 player, he can connect it to the wire and
play his own music. Then he sees teenage girls
dancing following the rhythm of the music of
the visitor. They move arms and legs, slowly and
quickly according to the volume and the tempo
of the music. These videos were downloaded
on Youtube. These American young people recorded themselves with their webcam, danced
following a very close choreography, they were
inspired from each other, and posted the result
on Youtube. Now they dance for us.
Dance with U.S (2008)
The scene, already employed in “Possibles Bodies” (2002), is connected to the American Stock
Exchange in real time. Fred Astaire dances to
the rhythm of the economy: the more volatile
the tradings, the more fluid the movements.
Biography
Born in Paris, Grégory Chatonsky currently resides in Montreal and Paris. He holds a philosophy master’s from the Sorbonne and a
multimedia advanced degree from the Ecole
nationale superieure des beaux-arts in Paris.
He has worked on numerous solo and group
projects in France, Canada, the United States,
Italy, Australia, Germany, Finland and Spain. His
works have been acquired by public collectors
such as the Maison Europeenne de la Photographie. In 1994, Chatonsky founded a net.
art collective, incident.net, and has produced
numerous works, such as the websites of the
Pompidou Centre and Villa Médicis, the graphic
signature for the Musée contemporain du Valde-Marne, and interactive fiction for Arte. He
has taught at the Fresnoy (national modern art
studio, France) and at UQAM’s school of visual
and media art. Chatonsky’s body of work, including interactive installations, networked and
urban devices, photographs and sculptures,
speaks to the relationship between technologies and affectivity, flow that define our time
and attempts to create new forms of fiction.
www.gregory.incident.net
Dance with me est constituée de 157 vidéos récupérées sur Youtube.
De jeunes américaines qui se sont filmées en train de danser sur la
même chorégraphie Rn’B. Si le visiteur est muni d’un lecteur MP3, il
peut le brancher sur l’installation. Les jeunes femmes dansent alors
sur la musique qu’il a choisie, elles en suivent exactement le rythme
et le volume.
PAGE 09
THIERRY DE MEY
REMANENCES Installation, 2010 / Création
TOP SHOT
Remanences (2010)
Video installation created in March 2010, Remanences reminds
several picturial references : Francis Bacon’s deformed bodies,
Yves Klein’s anthropometries, Mantegna’s draped, Henri Michaux’s
ideograms… Through a process of capture by thermal camera, the
dancers become ghosts. The hot parts of the body generate more
impressive picture, while cold parts, less irrigated by the blood flow,
appear to vanish. Evanescent body, moving shadows, the dancers
are living calligraphy, black lines on a white canvas.
Top Shot (2002)
Concept/film : Thierry De Mey
Choreography/dance : Anna Teresa De Keersmaeker
Music : Steve Reich (Violin Phase)/
violon : George Alexander van Dam
Production : Rosas (2001)
Anne Teresa De Keersmaeker’s solo to music by Steve Reich (Violin
Phase) was one of her first pieces as a choreographer. This wild
dance matches the music’s twists and turns and its sequence of
infinitesimal shifts. The trajectory of the dance, filmed from a high
angle, can be seen in white sand on a black floor: its course is made
visible, drawn like a mandala in the form of a rosace. For the Top
Shot installation, this footage is projected onto the floor, covered
with white sand, of the exhibition room.
Biography
Thierry De Mey, born in 1956, is a composer and filmmaker. The
intuition of movement and bounds is undoubtedly the guiding element in his work: « refusing to view rhythm as a simple combination
of intervals within a time grid, but instead as a system which generates momentums for falls and new developments » is the postulate
behind his music and films. A large part of his music production
is intended for dance and cinema. He has often been more than
a composer for the choreographers Anne Teresa De Keersmaeker,
Wim Vandekeybus and his sister Michèle Anne De Mey, offering his
precious collaboration in the invention of ‘formal strategies’ – to use
a favourite expression of his.
Since the foundation of PARTS, he has been the director of the choreographic composition programme; several of his students have
acquired an international reputation. Since July 2005, Thierry De Mey
is artistic director of Charleroi/Danses along with Pierre Droulers,
Michele Anne De Mey and Vincent Thirion.
Grâce à un procédé de captation par caméra
thermique, les danseurs sont spectralisés. Les
parties chaudes du corps impressionnent davantage l’image, tandis que les zones froides,
moins irriguées par les flux sanguins, semblent
s’évanouir. Corps évanescents, ombres mouvantes, les danseurs se font calligraphie vivante,
tracés noires sur une toile blanche.
Conception et réalisation : Thierry De Mey
Création et interprétation : Manuela Rastaldi,
Silvana Suarez Cedeño, Volodia Lesluin
Assistante à la chorégraphie : Manuela Rastaldi
Caméra : Julien Lambert
Mixage son : Xavier Meeus
Production : TechnocITé, le manège.mons /
CECN et Charleroi / Danses, centre
chorégraphique de la communauté
française de Belgique
Lien CECN :
Ce projet de Thierry de Mey
est coproduit par le manège.mons
dans le cadre du projet européen
Transdigital et par Charleroi/Danses,
centre chorégraphique de la
communauté française de Belgique,
partenaire du CECN2.
www.charleroi-danses.be
PAGE 11
EMILIE FOUILLOUX
LET’S DANCE
Select your favorite music, plug your Ipod and
dance sway your hips, forgeting yourself on the
soul of the music hidden on the “dancing box”,
you will be video-recorded and will become a
new performer of “Let’s Dance”. Your personal
show will be projected, silently, amoug the previous participants, outside on a large screen
like a huge constellation of dancers.
Each develops its own body language as his
education, social background, his taste or his
age. Let’s Dance is choreographed by an inventory of voluntary people experience.
Sélectionnez votre titre favori pour danser, vous déhancher et vous
abandonner aux rythmes de la musique et à l’abri des regards. Vous
serez filmés et deviendrez l’un des interprètes de « Let’s Dance ».
Votre performance sera alors projetée parmi celle des précédents
participants, à l’extérieur, semblable à une immense constellation de
figures dansées. Chacun développe son propre langage corporel selon
son éducation, son milieu social, ses goûts ou son âge. L’isolement du
danseur dans la boîte à danser et la sobriété du décor de la captation
mettent en évidence la singularité de chacun. « Let’s Dance » est un
inventaire chorégraphié des visiteurs volontaires de l’expérience.
Biography
After leaving the Ecole des Beaux-Arts in Marseille
in 2004, she is alternately video-manager,
designer exposure, assistant director for film. A
short film on which she signed the picture for
the Centaur Theatre gets the special jury prize
at the Festival of Adana in Turkey in 2008. Emilie has done several art installations and
films shown in festivals, collectivvee exhibitions
or personal one. Let’s dance was born for the
Exit festival, produced by le studio / La maison
des arts de Créteil. The movie “danseurs” was
exhibit in the Justine Lacroix galerie in Marseille
and selected in the Festarte festival in Rome in
2006. The installation “Variations subliminales”
was presented at “l’espace culture” of the town
of Marseille in 2004. The multimedia performance “125gr” was produce for the “dansem”
festival in 2004. The installation “Mémoramdum” was presented in “la Gaîté lyrique” in
2003 (new center for multimedia arts).
CONCEPTION : EMILIE FOUILLOUX
PROGRAMMATION : JULIEN DELMOTTE
PAGE 12
PETER WILLIAM HOLDEN
[SOLENOID ß]
AUTOGENE
ARABESQUE
[SoleNoid ß] Eight tap shoes are set in a symmetrical circular pattern. These shoes are in turn attached
to simple robotic structures which utilize pneumatic actuators and solenoid valves. This enables the shoes to move in a multitude of ways.
Each different movement generates a different
tone and these sounds are sequenced to produce an auditory performance.
The installation has two distinctive modes:
1. Automatic – A computer controls the movements of the installation producing a 3 minute
50 second, contemporary acoustic performance.
2. Manual – Interactive where members of the
public can control the movement of the shoes
via a keyboard interface.
[SoleNoid ß] Huit claquettes sont installées dans un système symétrique circulaire.
Ces chaussures sont attachées à de simples structures robotisées qui
utilisent des actuateurs pneumatiques et des valves solénoïdes. Ce
système empêche les chaussures de bouger dans tous les sens. Chaque mouvement différent génère une sonorité différente et ces sons
sont séquencés dans le but de produire une performance auditive.
Cette installation a deux manières de fonctionner :
1. Automatique - un ordinateur contrôle les mouvements de l’installation
produisant une performance acoustique contemporaine de 3 min 50.
2. Manuelle/interactive - Les spectateurs peuvent contrôler le mouvement des chaussures via une manette.
audio-visual installation (under construction)
Shoes, Industrial Computer,
Compressed Air Components
4.5m x 4.5m x 0.5m
www.peter-william-holden.com/installations/solenoid/solenoid.html
PAGE 13
PETER WILLIAM HOLDEN
[SOLENOID ß]
AUTOGENE
ARABESQUE
AUTOGENE
Busby Berkeley choreographed dancers to
mimic the motions of machines and modern
inventions. “AutoGene” is the flipside of this .It’s
a simple aesthetic looking robot composed of
eight modified umbrellas mounted in a circular
pattern. A cocktail of air hoses and electrical
cables join these umbrellas to a central computer which enables “AutoGene” to produce a
choreographed dance to music which erodes
the machines mechanical qualities and transforms the mundane umbrellas into magical
animated objects.
AUTOGENE
Busby Berkeley a chorégraphié des danseurs pour imiter les mouvements des inventions et machines modernes. « AutoGene » est
l’interface de cette expérience. Il s’agit d’un simple robot composé de
8 parapluies modifiés attachés à un système circulaire. Un mélange
de tuyaux d’air et de câbles électriques relie ces parapluies à un ordinateur central qui permet à « Autogene » de produire une danse
chorégraphiée sur la musique qui met en valeur la qualité mécanique
des machines et transforme les banals parapluies en objets magiques
animés.
physical animation
Umbrellas, Steel, Industrial Computer,
Compressed Air Components
4.5m x 4.5m x 0.8m
www.peter-william-holden.com/video/autogene_wmv_mail.html
www.peter-william-holden.com/video/autogene_mov_mail.html
PAGE 14
PETER WILLIAM HOLDEN
[SOLENOID ß]
AUTOGENE
ARABESQUE
ARABESQUE
In his recent work, Peter William Holden has concerned himself not
only with the sculpting of three dimensions but also with a fourth:
the dimension of time. I have attempted to create work that evolves,
adapts and regresses. Work which falls somewhere between conventional notions of pictorial art and a kind of performance. “Arabesque” is the natural continuation of this exploration — a real time
animation.
With its roots in Mary Shelly’s “Frankenstein” and the alchemist’s
laboratory, the installation presents itself as a mechanical flower: a
simulacrum of nature. Life sized human body parts, impaled upon
steel, move and sway and dance. The limbs, translucent and livid,
bare their internal robotic mechanisms to the gaze of the viewer.
The wiring itself is an aesthetic expression deliberately integrated
into the installation to bring chaotic lines of abstract form to contrast with the organized symmetry of the body parts.
The lifeblood of this organism is air and when activated this air
flows invisibly, bestowing movement to these mechanisms and its
presence is only betrayed when exhaled loudly from the valves attached to the serpentine air hose.This combined with the rattle of
relays and the tandem clattering of pistons to produce a hypermodern accompaniment to the music of Strauss.
Part cinema, part theatre, “Arabesque” can be viewed form a multitude of angles, revealing a kaleidoscope of beautiful shapes and
patterns created from the human form.
Mechanical kaleidoscope
Composite Plastic, Steel,
Industrial Computer,
Compressed Air Components
4.5m x 4.5m x 1.5m
ARABESQUE
Dans mes récents travaux, je me suis intéressé
à travers la sculpture non seulement aux trois
dimensions, mais aussi à une quatrième : la dimension de temps. J’ai essayé de créer un travail
qui se développe, s’adapte et régresse. Un travail qui se situe quelque part entre les notions
conventionnelles de l’art pictural et une sorte de
performance.
« Arabesque » est la naturelle continuation de
cette exploration, une animation en temps réel.
Biography
He was born in a decaying industrial town in northern England in 1970 and from an early age he became fascinated with
moving imagery, transformation and technology. Home computers of the 1980’s gave him a glimpse into the wonderful
world of applied mathematics, with codes capable of generating fantastic patterns and noises. While around the same
time Electro and Hip-Hop with its synthesized sound captured his soul and introduced him to the complex dance routines
of break-Dance; hence acquainting him with the beauty of choregraphed physical movement. These and countless more
experiences are incorporated in his installations in a collage of movement, light and sound.
www.peter-william-holden.com/video/arabesque_wmv_mail.html
www.peter-william-holden.com/video/arabesque_mov_mail.html
PAGE 15
KANTA HORIO
Biography and presentation
Kanta Horio studied acoustics and sound art at the Kyushu Institute
of Design in Fukuoka, Japan. He presents audio performance using physical phenomena with electronic devices, kinetic objects, and
assorted self-built gadgets. In recent presentations he has explored
installations too. He has performed widely both internationally and
throughout Japan. Alongside his performance activities, he organizes
some unique events such as “dorkbot tokyo - people doing strange
things with electricity”. He also works as a developer of electronic
devices and develops the project with musical instrument company.
Kanta Horio is part of a new generation of live electronic musicians
in Japan who aren’t afraid to experiment. Electricity, magnetism and
mechanics are Kanta Horio’s specialities, and his audio-visual concerts
can be described as poetic lab-experiments in Physics and Acoustics.
In Tokyo, Kanta is a forefront figure of the local experimental music and
electronic arts scene, and runs Dorkbot-Tokyo among other things.
http://kanta.but.jpVISUAL
Kanta Horio a étudié l’acoustique et l’art des
sons à l’institut de design Kyushu, à Fukuoka
au Japon. Il présente des performances audio
qui utilisent les phénomènes physiques avec
des appareils électriques, des objets cinétiques,
assortis de gadgets de sa propre conception.
Kanta Horio est largement reconnu dans le
monde entier. Tout au long de ses performances, il organise quelques évènements uniques
comme « dorkbot Tokyo – les personnes font
des choses étranges avec l’électricité ».
Il travaille également comme développeur d’appareils électroniques et conçoit un projet musical avec l’Instrument company.
PAGE 16
BLANCA LI
VEN A BAILAR CONMIGO
For the “White Night” in Madrid in September
19, 2009, Blanca Li made “Ven a bailar conmigo” (Come dance with me), a choreographic
stroll, audiovisual and interactive.
Nearly 800 000 people were in the streets of
Madrid and assisted to that popular dance lesson. For this installation, Blanca Li has created
simple choreography accessible for everybody
with just the objective of dance !
Conception: Blanca Li
Vidéo: Charles Carcopino
Vidéo Assistant: Simon Frezel
Sound: Tao Guttierez
Blanca Li participait avec la réalisation de « Ven a bailar conmigo »
(Viens danser avec moi) à un parcours audiovisuel et interactif dans
la rue pour la nuit blanche madrilène qui réunissait plus de 800 000
spectateurs improvisateurs.
Qui ose dire qu’il ne sait pas danser ?
Pour EXIT et VIA, Blanca Li propose de donner des cours de danse
sous l’égide de professeurs virtuels apparus sur des écrans géants.
Même pour quelques minutes, tout le monde devrait pouvoir se lancer sur la piste ! Blanca Li a créé des pas de danse courts et simples
pour petits et grands amateurs qui pourront passer en revue tous les
styles de danse imaginables.
Biography
Born in Grenada (Spain), Blanca li is choreographer, director, dancer and actress. She studied
dance in New York and founded her contemporary dance company in Paris in 1993.
www.blancali.com
PAGE 17
LAWRENCE MALSTAF
NEMO OBSERVATORIUM
White particles are blown around in a big
transparent cylinder. Visitors can take a seat
on the armchair in the middle of the whirlpool
or observe from the outside. In the eye of the
storm, it is calm and safe. In this spectacular
meditation machine, one can follow the patterns, focus on layers of 3D pixels or listen to
its waterfall sound. One could call it a training
device, challenging the visitor to find peace in a
fast-changing environment.
Biography
Born in 1972 in Belgium, Lawrence Malstaf
lives in Norway and operates between the
visual and the theatrical. With a background
in industrial design and theater, he mades installations and performance art with a strong
focus on movement, coincidence and unstable
order. He made a series of sensorial rooms for
individual vistors and also large-scale mobile
environments dealing with space and orientation. He won the Witteveen+Bos award for art
and technology (Nl) and the Golden Nica at Ars
Electronica (Au).
L’installation « nemo observatorium » de Lawrence Malstaf, a emporté le golden nica dans la catégorie interactive art, elle permet
d’en faire l’expérience de manière intime, de se retrouver au cœur
du cyclone. Le visiteur se place au centre d’un cylindre transparent
et appuie sur un bouton. Des bourrasques sont alors déclenchées qui
font voltiger à haute vitesse des petites bulles de polystyrène, dans
un mouvement qui est trop rapide pour être suivi. La personne à l’intérieur décide de la durée du tourbillon. De l’extérieur, cela ressemble
au chaos, mais à l’intérieur, la sensation est tout autre, souvent de
calme mais quelquefois d’euphorie ou de peur. « nemo observatorium » et « shrink » sont en quelque sorte des métaphores de la
notion d’adaptation a l’environnement des êtres humains : si on tente
d’être en symbiose avec son environnement, de s’adapter même à
des situations qui ont l’air à première vue peu plaisantes, l’expérience
sera plus positive que si l’on y résiste.
La notion de contrainte n’est pas présente de la même façon dans
tout son travail. Lawrence Malstaf est issu autant du design industriel
que des arts de la scène (il est notamment l’auteur de nombreuses
scénographies, par exemple avec Meg Stuart ou d’autres chorégraphes). Cette dernière travaille beaucoup avec la contrainte, ce qui l’a
influencé. Certaines de ses pièces créaient un environnement dont
l’artiste contrôlait tous les paramètres, des sortes de ‘‘boites noires’’
où il suffit de peu pour déclencher quelque chose d’intense. Pour ses
travaux les plus récents, il cherche à créer des situations plus ouvertes, ou plusieurs visiteurs peuvent interagir entre eux.
www.arte.tv/fr/Echappees-culturelles/cultures-electroniques/2849116.html
PAGE 18
VOLKER MORAWE
MOSHPIT AMP
The MoshPit Amp is an automata that converts headbanging movements into metal music. Through style and intensity of your head
banging, you are the conductor of a virtual
metal band consisting of four instruments: vocals, bass, drums and guitar. you can control
the volume as well as the pattern of each instrument to create engaging musical arrangements. If you mosh really hard you can trigger
a guitar solo for the ultimate rock experience.
Your performance in front of the amp will additionally be supportet by a lightshow with
smoke, flash and pyrotechnics. You simply approach the MoshPit to activate the amp. The
music will instantly begin and lights will create a stagelike setting. If you are a true metalhead you can’t resist and will start headbanging – and the music will instantly turn up. As
you mosh on, you can change the individual
volume levels of the four instruments through
your headbanging style and intensity. You can
see how far you have pushed the level of each
instrument on the four MoshMeters. Mosh the
volume of one or more channels to the max,
and you can trigger new musical patterns like
another guitar riff, diabolic vocals or a different
drum track. If you mosh really hard you can
unlock a guitar solo supported by light effects,
smoke and pyrotechnics.
On top of that, if your headbanging performance is truely excellent, the mosh master will
mosh with you in sync to the musical eruption,
encouraging you to take your headbanging not
only to a new level, but to a whole new world!
Welcome to a new metal-lennium!
The MoshPit est une machine qui convertit les hochements de tête
en musique métal. En fonction du style et de l’intensité des mouvements de tête, vous allez devenir le chef d’orchestre d’un groupe de
musique virtuelle, basse, guitare, voix, batterie. Vous contrôlerez le
volume et créerez les arrangements pour chaque instrument.
Si vous « moshPitez grave » vous atteindrez l’expérience rock ultime.
Comme lors d’un vrai concert, vous aurez le soutien d’un véritable
light show, fumée, flash et pyrotechnie… Le jeu deviendra de plus en
plus sophistiqué.
Biography
Born in 1970 in the north of Germany, grown
up in an sheltered small town close to the city of
Bremen which is famous for its coffee and beer
production. Passing through several schools,
job training as space electronics technician,
participant of second-chance education, hit
producer, design student, from 1999 to 2004
student at the Academy of Media Arts Cologne.
Major field of study: multisensoric interfaces in
game context.
www.fursr.com/details.php?id=94&pid=93
PAGE 20
NATACHA PAGANELLI
KOLO DANCE
Novisad is a city close to the Danube near the
Hungarian boarder. Novisad has been bombed
by NATO, eager to halt the fighting in Kosovo.
Since some tensions remain between minorities
after the war including the Hungarian minority.
Kolo is a Westernized version of a traditional
dance originating from the Serbian Vojvodina.
The video Kolo/Dance spreads a spectacular
enchantment which could remind some minimalist version of the choreographic inventions
of the time of Russian Ballets...
It makes appear in the style of kaleidoscope the
fiction of one popular vitality stemming from
the Nature, realizing at the same time as it reveals the utopia which animated the attempts
to establish a national spirit on the reconstruction of folk traditions.
Installation vidéo réalisée par Natacha Paganelli
et produite par Méroé Films.
Réalisée à la suite d’une résidence en Serbie, soutenue par le ceaac de
Strasbourg, l’installation vidéo « Kolo Danse » de Natacha Paganelli
déploie sur une musique de Matthieu Chauvin une féerie théâtrale
qui pourrait faire penser à quelque version minimaliste des inventions
chorégraphiques du temps des Ballets russes…
Avec une grande économie de moyens transcendée par un subtil
travail de montage, elle fait surgir à la manière d’un kaléidoscope,
la fiction d’une foisonnante vitalité populaire. A travers une Nature
recomposée, elle dévoile par la métaphore, l’utopie d’un esprit national, socle des traditions folkloriques.
Biography
Born in 1972, Natacha Paganelli lives and works
in Strasbourg. Graduated of the School of Decorative Arts of Strasbourg in 1998, she received
the congratulations of the jury.
www.paganelli-lang.com
PAGE 21
CHRISTODOULOS PANAYIOTOU
GUYSGOCRAZY
SLOW DANCE MARATHON
Guysgocrazy 2007
double channel video installation with sound and
framed photo. http://www.christodoulospanayiotou.
com/GuysGoCrazyVideo.php5)
The double video installation “Guysgocrazy” was
produced in collaboration with the Prague-based
pornographic company under the same name which
organizes large-scale orgies.
The empty studios were filmed before and after one of
their events. A group photograph depicting the
participants concludes the installation.
Slow Dance Marathon2005
performance (documented in video and photography).
http://www.christodoulospanayiotou.com/
SlowDownVideo.php5
For the performance «Slow dance marathon»
a 24-hour long human chain is formed by
unknown volunteers who slow-dance to
the music of well-known love songs.
Every time the performance is repeated one
more dancing day is added.
« Guysgocrazy » présente, sur deux écrans, un
studio de l’industrie pornographique gay avant et
après le tournage d’une party. Les traces laissées
dans le lieu témoignent de l’action évoquée.
« Slow Dance Marathon » retrace les différents
moments éphémères, la dramaturgie d’un slow
à travers une succession d’expériences decouples
de danseurs.
Christodoulos Panayiotou, artiste chypriote cherche à travers sa pratique artistique à reconstruire
des moments oubliés ou silencieux de la culture et
du quotidien. Il interroge les codes et les pratiques
sociales, ainsi que la relation du spectateur à la
mémoire et à l’absence. Il utilise des médias aussi
variés que la photographie, la vidéo ou le son.
www.christodoulospanayiotou.com
Biography
Christodoulos Panayiotou is born in 1978, in Limassol, Cyprus.
He lives and works in Berlin, Germany. Christodoulos Panayiotou
is an artist who incisively explores the complex interconnections
between our most innate desires and their cultural constructions.
From fighter planes and fireworks to yesterday´s confetti and
songs whose we are almost embarrassed to know the lyrics by
heart, Panayiotou crafts concise videos, objects and ephemeral
situations that reveal a playful wit and an eye for the sex appeal and abstract beauty of our everyday world. At once ironic yet
tender, analytic but deeply felt, his work is that of a savvy cultural
consumer who is not afraid — every now and then — to fall for the
very romantic myths and pop productions he so deeply probes.
PAGE 22
VISUAL SYSTEM
A DIGITAL EXPÉRIENCE #4
Using the present-day city of Shanghai as
its conceptual springboard, A Digital Experience represents the combined work of Visual
System, a collective created in 2007 that sets
out to chart the city of the future by gathering digital artists, designers, composers, as
well as the general public. Like a subway map,
the exhibit’s city “plan” delineates the flow of
electricity, energy, and humanity, all by way of
contemporary digital art. “A Digital Experience”
immerses the viewer in a network of poetic and
interactive works that are both linked to one
another and function as stand-alone pieces.
About Visual System
The Visual System (VS) collective was born from
a meeting between Valère Terrier, filmmaker,
and the city of Shanghai. The first time Valère
visited Shanghai, he was both deeply shocked
and impressed by the overall feeling the city
expressed as a ‘city of the future’, teeming with
20 million inhabitants. The creation of VS was
prompted by the launch of the eArts Festival of
the 2010 World Expo. VS‘s mission is to explore
and promote the young digital creation generation and explore the role of digital media in
the cities of the future. In order to realize this,
VS participates in onsite creation projects, and
also follows the diverse range of digital disciplines that its artists and the festivals put forth.
Each year, VS offers a select group of digital
artists the possibility of participating in the VS
Artist‘s Residency Program held in Shanghai
over three weeks. In addition, through its video
blog, VS provides the public with a window into
the digital creation universe.
www.adigitalexperience.com.
VS est un collectif créé en 2007. Ses projets sont guidés par une
réflexion sur la place des médias numériques dans la ville du futur.
Dans ce cadre le but de VS est de présenter, à Shanghai, des réalisations de la jeune création numérique et de suivre l’évolution
de cette nouvelle génération d’artistes. VS rassemble des artistes
numériques issus de disciplines variées (image, son, arts plastiques,
programmation, design, architecture) pour les faire collaborer sur
des projets de création in situ. La notion participative est fortement
présente dans leurs travaux, et appelle le public à faire partie de
la création.
Shanghai, lieu en permanente transformation qui dessine les
contours des références internationales de demain est un exemple
de ville nouvelle. C’est la raison pour laquelle elle s’est imposée aux
yeux de VS comme le terrain de création idéal.
Depuis 2008, VS a mis en place un blog vidéo www.adigitalexperience.com permettant de suivre jour après jour les aventures du
collectif lors de ses projets à travers la mise en ligne quotidienne de
vidéos d’une minute.
Parallèlement à cette résidence, depuis 2009, le collectif a réalisé
différentes expositions en France et dans le monde avec à chaque
fois des projets qui se veulent novateurs, participatifs et ludiques.
Le programme « A Digital Expérience… » est développé par VS et
la Fondation Jean-Luc Lagardère sous l’égide de la Fondation de
France.
PAGE 23
ADAD HANNAH
NIKLAS ROY
INTERNATIONAL DANCE PARTY
The interactive machine International Dance
Party is a complete plug ‘n’ play party in a box.
NO EXTERNAL DJ REQUIRED !!!
The machine comes as a large, non-suspicious
looking flightcase. Internally, it is equipped with
cutting edge radar sensing technology, an ear
blasting state of the art 600W sound system,
tons of psychedelic light and laser effects, and
even a professional grade fog machine.
Through its dance activity radar, the International Dance Party detects and evaluates motion input from surrounding people in realtime.
Several sophisticated transforming mechanisms let the flightcase turn into a powerful
and boosting party machine, once the visitors
start to dance within the machine’s range of
perception.
The audience controls the complexity of the
generated music and the intensity of the light
effects directly by the energy of its dance action. When there is no audience, or when the
audience is not active enough, the machine
stops its performance and transforms back into
a transport crate.
Une discothèque compacte et mobile Aucun DJ extérieur requis.
La machine à dance party se présente comme un grand ‘‘flight case’’
tout équipé : un véritable sound-system de 600 Watts, des rampes
de lumières psychédéliques, des effets laser et même une machine
à fumée ! A mesure que les spectateurs se mettent à danser, la machine est instantanément re-boostée, les décibels et les effets vont
crescendo… Après la fête, la machine redeviendra aussitôt une simple
caisse de transport.
Biography
Adad Hannah was born in New York in 1971. He has lived in Montreal since 2001. He has exhibited at the Musée national des beaux-arts du Québec (2008), the Musée d’art contemporain de Montréal (2008), Zendai MoMA, Shanghai
(2009), Ke Center for Contemporary Art (Shanghai 2008), the Vancouver Art Gallery (2007), the National Gallery of
Canada (2006), Ikon Gallery (Birmingham 2006), the 4th Seoul International Media Art Biennale (2006), Casa Encendida
(Madrid 2006) and Viper Basel (2004). In 2004 he won the Toronto Images Festival Installation/New Media Award, and
the Bogdanka Poznanovic Award at Videomedeja 8. His work has been funded by the Canada Council for the Arts, the
Conseil des Arts et des Lettres du Québec, the B.C Arts Council, the Vancouver Foundation/Contemporary Art Gallery,
the Quebec Delegations and Canadian Embassies in Madrid, Seoul, and New York. He has produced works at museums
including the Montreal Museum of Fine Arts, the National Gallery of Canada, the Vancouver Art Gallery, the Rodin Gallery
(Seoul), and the Prado Museum (Madrid).
Niklas Roy, born in 1974 in Nuremberg, Germany, is a Berlin based artist, designer and engineer. After working as a
3D animator and visual effect supervisor in the film business, Roy studied at the University of the Arts in Berlin. During
that period, he founded Royrobotiks, a single member collective, which focusses on building artistic robots and machines
and devices. His work has been shown at Ars Electronica (Austria), Siggraph (USA), Microwave (Hongkong), Transmediale
(Germany), VIPER (Switzerland), Emergences (France), LABoral (Spain), *.artlabs (Romania) and many other festivals and
museums around the world, often winning prizes for its inspired inventiveness.
www.internationaldanceparty.com
PAGE 25
CONTACTS
PROGRAMMATION
Charles Carcopino
& + 33 (0) 1 45 13 19 12
[email protected]
DIFFUSION
Géraldine Creamer
& + 33 (0) 01 45 13 19 16
[email protected]
REGIE GENERALE
Emilie Fouilloux
& + 33 (0) 01 45 13 19 12
[email protected]
CRETEIL MAISON DES ARTS