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Le 15 décembre 2012 a eu lieu le premier KSAT Camp du cycle des secrets : Les murs murmurent // Speaking walls.
Les visiteurs étaient invités à s’inscrire sur la liste d’invités pour l’un des quatre horaires proposés afin d’assister au happening. Il leur était donné rendez vous. Arrivés, ils sont accueillis par l’équipe de KSAT qui leur distribue un programme. De l’autre côté de la rue, dans l’ancienne maison de l’éclusier du canal de l’Ourcq, on observe une apparition à la fenêtre. Alice Martins commence sa performance. Elle vient ensuite chercher les visiteurs à l’extérieur et les guident vers la maison. A l’intérieur, on pénètre dans un univers investi par les artistes. Une jeune danseuse habite les lieux et guide les visiteurs à travers toutes les projections et apparitions présentes dans les pièces pour finir dans celle du haut avec Giacomo Mercuriali au son/video. Le public aura ensuite le temps de découvrir les projections et installations par eux mêmes tout en discutant autour d’un verre avant que le prochain tour commence.
December 15th, 2012, the first KSAT Camp of the « Secret » cycle started : Les murs murmurent // Speaking walls.
The visitors were invited to subscribe to a guest list for one of the 4 possible timing of the tour that we offered to attend to the happening. They had an appointment. When arrived, they were welcomed by a member of the KSAT team who were distributing the program. On the other side of the road, in the former house of the lock keeper of the Ourcq canal in Paris, we can see an apparition by the window. Alice Martins starts her performance. She comes outside to pick up the visitors and guide them into the house. Inside, we enter in a universe reappropriated by the artists. A young dancer lives in the house and guides the audience through all the art installations and video projections through the house to end up on the top room with Giacomo Mercuriali doing the music/video. The public will then have some time to discover the art on their own while enjoying a drink and a tchat before the next round starts.
Voici toutes les photos de l’événement / Here below all the pictures of the event:
Lors de la préparation du précédent KSAT#5, j’ai eu l’occasion de rencontrer A2, un merveilleux groupe de danseurs frère et soeur, Alice et Adrien Martins , A + A = A2
Claire me les avait présentés et j’étais allée les voir au point FMR auparavant avec Mia et Lina de KSAT Suède quand elles étaient à Paris.
Quand on s’est rencontrées on a tout de suite accrochées puis on s’est retrouvées plus tard pour tomber en amitié comme on tombe en amour.
A + A = A1 dans une compagnie de danse à Barcelone + A2 en architecture à Paris. Alice est une danseuse à la recherche permanente d’une conscience entre le mouvement, l’espace et l’architecture. Elle a depuis rejoins KSAT et s’investit de façon régulière pour renouveler le format créatif.
Dimanche dernier nous nous sommes assises quelques minutes pour gribouiller sur un papier un rapide portrait d’elle.
Ne loupez pas Alice à l’événement secret KSAT#6 Camp#1 secret de ce week end à Paris!
While preparing the previous KSAT#5, I had the opportunity to meet A2, a marvellous combination of a brother and a sister that are dansors, Alice and Adrien, A+A=A2
Claire introduced me to them and I went to see them at the point FMR with Mia and Lina from KSAT Sweden when they were in Paris.
When we met we immediately clicked and later on we fell in friendship together like you can fall in love.
A+A= A1 in a dance compagnie in Barcelona + A2 in architecture in Paris. Alice is a dansor who’s constantly seeking for selfconcious space, movement and architecture. Since then she joined the KSAT team and gets involved regularly to take part of the renewal of the creative format.
Last sunday we sat down a few minutes to doodle on a paper a quick portrait of her.
- 3 steps of dance
- Where do you go to dream?
- Who were you?
- Who are you?
- Who will you become?
- Design 3 shoes to : dance, go out, eat
- A small love note?
Don’t miss Alice at the KSAT#6 Camp#1 secret event this week end in Paris.
Inscrivez-vous sur la guest-list pour participer à KSAT CAMP#1 le 15 Décembre 2012!!
Subscribe to our guest-list in order to participate at KSAT CAMP#1 on December 15th, 2012!!
Here is the link for the guest-list: http://eepurl.com/slytP
Facebook event: http://www.facebook.com/events/117446051751946/
LISEZ NOTRE COMMUNIQUE DE PRESSE
READ OUR PRESS RELEASE
See you there!
These days, as you approach the Galerie Florence Leoni in Paris, you are greated by a young, fragile and almost austere looking woman who stares you down and refuses to let you in on her secrets. She looked at me from the window thursday evening and drew me into the warmth of the gallery, where a vernissage was well on its way, and where I met her maker, the artist Mélissa Boucher.
From afar Boucher’s piece entitled Chloé looks like a bigger version of a straightforward portrait photo, as you know them from passports, drivers licences etc., but when you really look at it you quickly realize that you are in fact facing a videoinstallation. The photospell is broken by the girl’s random and natural movements that makes it appear as if she is waiting for something to happen while she stares into what used to be the camera, but is now the audience. You get the impression that she is waiting for her photo to be taken. She seems to pose herself as you would do in a photobooth waiting for the flash to go off, and this is, as I found out by talking to the artist, exactly what she is doing. The work captures the waitingprocess before a supposed photography is taken, and the video thereby seems to project an almost blank and ungarded side of the blueeyed girl. It is an approach that seems to capture a sort of nothingness. A blankness of expectation that occurs the moment before something actually happens. The same blankness that appears on most passportphotos, where you never quite get the timing right and therefore end up looking like an emotionless serialkiller. Not that this girl looks like a serialkiller, but she does look secretive. The artist mentions her looks as a rememberance from the paintings from the past, her outfit and the color of her hair.
The moment of anticipation is captured by Mélissa Boucher in a short video-loop that repeats itself every couple of minutes and which at times slows down to an almost undetectable slowmotion. Two effects, the looping and the slowmotion, that works together to create a moment frozen in time. Standing in front of the film, it does, in fact, feel a lot like standing in front of a photograph. Boucher thereby seems to have transfered the portraitgenre to the medium of the videoinstallation in a way that preserves, what I would call, the inherent quality of a photograph; its silence. She reenacts the way that a photograph captures a moment suspended in time, without a knowable before and after, and thereby taps into the enigmatic quality of a good photograph. In short, she leaves you wanting to know more. Like the physical presence of a photograph, Bouchers piece seems to underline an absence of information and to preserve a stubborn silence in face of the many unanswered questions. Unevitable questions like: Who is this? What is she thinking? What is she doing? What will she do? It seems like Boucher, who has previously worked with photography, is trying to transfer the inherent silence and the intriguing unknowabelness from the still media of the photography to the normaly more informative and noisy media of the video. She extends the momentariness of a photograph to the videoinstallation where the intriguing, but unknowable, subject is stuck in the videoloop. A loop that, along with the choice of an interesting subject, makes you want to know more, as many good photographs often do…
Another facet to the work is it’s placement in the gallery that seems to dictate the way the audience approaches it. I discovered this when I first stepped up to see the work, which I assumed was a still picture, and ended up obscuring it completely with the outline of my head. I thereby quickly discovered that I was standing in front of a projector and realized that I was in fact facing a projection and not a photograph. The obviousness of the projector might seem a bit obtrusive, especially as it makes one fifth of the gallery off limits if you don’t want to hide the work with your head or other bodyparts, but it is not an accidental placement. The obviousness of the projector is, as Boucher explained, a way to point out the connection between the photographylike video and the projector. That is, to underline the fact that it is a projection and not a photograph, which therby underlines the whole idea of the portrait gone video.
The projectorplacement forces you to see the video from any other angle than the one you would normally use; standing right in front of it. Instead you have to see it either from the sides, from behind the freestanding projector or as a last option; from the outside. The latter being an option as the work is projected on a sort of glassplate, which enables the freezing smokers to see the work as well. Which is also what creates the before mentioned effect of being welcomed to the gallery by the enigmatic girl in the video. An enigmatic quality of the silent projection that Boucher herself describes as « les paradoxes du visible ». A phrasing that I like, as it revokes the general idea I got of the video, where curiosity and the frustation of not knowing something collides with the visual and very direct presentation of the very thing that seems to be hidden and unknowable.
Mélissa Boucher’s play with the visible and the unknowable is also very prominent in another of her intriguing videoinstallations, that will be premiered at the KSAT CAMP # 1 on the 15th of December!
Before start reading, you should get into 1024′s typical workday playlist and listen to those beats:
[Press here if you are annoyed and you want to read directly the end of the tale]
I met Cinzia more than a year ago, it was spring and the architecture firm I was working for was celebrating the launch of a new project on the top of the Cité de l’Architecture. In this “so cliché” landscape, with the Tour Eiffel standing right behind us, and a wonderful sunset shading the atmosphere, I was sipping Gallia beer and being introduced to her. She told me about her job and the gist of her speech (elaborated by my brain and chewed out here) was “well, we’re doing great parties!”. Which was kind of cool anyway, but I soon figured out that this was not the only thing 1024 architecture achieved nowadays..
Change of location. A bunch of months later, I was speaking with a friend of mine who apparently attended the “coolest show ever”. Interested by the topic, I asked for more and I found out that he was talking about the event taking place at La Grande Halle de La Villette organized by We Love Art + The Creators Project (presenting Miss Kittin, LFO, Jackson among others).
And guess who were the magicians behind that itinerant BoomBox that made the crowd go crazy and dance like they mean it? Oh, really? 1024 architecture you say… Uhm, reminds me about something.
A Short definition of BoomBox courtesy of Wikipedia: “Boombox is a colloquial expression for a portable cassette or CD player with two or more loudspeakers. Other terms known are ghetto blaster, jambox, Brixton briefcase or radio-cassette. (…)”
Hell yes, I wish I was there. 1024 built a big reproduction of an enormous K7 Boombox structure sized 16x8m, where they eventually projected their super visuals through one Playstation 3 controller device especially modified for this particular use.
This was the first time I heard about Video Mapping.
Apparently I was the only one not up-to-date about this super contemporary technology, now widely developed, but à l’epoque of 1024’s first steps it was still a pretty experimental practice.
1024 architecture even developed a program designed to simplify the hard work required for “mapping” objects and projecting stuff on them, they invented MadMapper (launched in 2011 and developed in collaboration with Garage CUBE – a swiss crew who previously released the well known program for mapping Modul8)
Video Mapping; a definition for dummies (like me): “The basic idea is: take a projector, point it at a physical volume like an object or an architectural element, and then map an image onto it.” (courtesy of www.madmapper.com)
1024 architectural path was an evolution of experimental ideas in-between the milieu of architecture, installation, vj-ing, live performance and ephemeral structures.
1024 was founded in 2007/2008 by Pier Schneider and François Wunschel, members of a previous existing collective named EXYZT (b. 2003, which included five architects founders and now spread to a number of about 30 individuals) that, in between other great projects, was invited by Patrick Bouchain in 2010 to invest for more than three months the Franch Pavillon at the Xth Venice Biennal, with the installation of Metavilla.
So, my statement about these guys shortly switched from “what the #?*$& is this video mapping?” to “Yum, this might be pretty interesting”.
Returning back to my relationship with lovely Cinzia, I finally received the invitation to attend the first 1024 architecture show of my life. Exciting.
It was to the occasion of the big Parisian annual rendez-vous of Fete de la Musique that 1024 was invited to realize a light installation on the notes of Four Tet, Caribou, Jamie XX. Particular remark: the location was the big hall of Grand Palais invaded by the colored joyful piece made by Daniel Buren “Excentrique(s)” (part of 5th edition of Monumenta). 2nd Particular Remark: everybody was supposed to wear white to obey to the classy rules of “Bal Blanc”.
The show was mind-blowing, the location contributed the most, the music was cool and the light installation did its best to solve technical problems related to the complicated association with Buren’s intervention.
When I returned back home early in the morning I could definitely say “Well, these guys know how to party”.
The thing that 1024 does is not just to create happenings that amaze people with their cool lighting effects and great background rhythms, their aim reaches deeper in the research of a spectacularisation of architecture and forms.
The public is the actor of the creative process, the characteristic big scale of their installations diffuses a common sense of participation to a unique event. The architecture animates a debate which interacts with the human senses, opening up to a metamorphoses and digressions caused by technologic interferences. Their live shows are vibrantly powerful and diffuse a stunning and ephemeral visual shock.
Later on, back in July 2012, they were performing the experimental piece Euphorie. The piece was born from the collaboration between François Wunschel and Fernando Favier; a musican.
Euphorie is the first part (initially presented in 2010) of a trilogy of experimental enactments realized through basically low-tech tools and which considers not only the visual experience of mapping but also the interaction between sound and images, movement and live performance. Euphorie is a 40min. long digital-theatrical experience and again a platform for developing new forms of exchanges between the static and dynamic, public and performer, music and its visual translation.
It was wow to say the least.
But 1024 does not only mean ephemeral performances, they’re also engaged in different kind of projects. Guess what, in October 2012 they even realized a scenography for the exhibition French Touch hosted by Musée des Arts Décoratifs in Paris. The aim was to expose various French graphic designers and illustrators that, in parallel with the slow spread of frenchie music around the world, contributes to diffuse the signature of this French wave.
Also this time our heroes couldn’t miss a respectful after-party, where we were kindly invited to move our fancy feet on Silencio dancefloor.
And we’re arriving at the end of the tale.
On November 27th 2012, the second part of Euphoria was performed for the first time at MAC in Créteil as a part of the NEMO Festival program. The piece was named Crise (the third part, still a work-in-progress will be named Recession, but we’ll unfortunately have to wait over 2 years to see the light) and was speculating about businessmen’s bottled-up utopias, ancestral failing fears and anxiety for future risks and breakdowns.
François and Fernando, the two “actors on stage”, employed mixers, DMX-MIDI devices and unusual bizarre retro-futuristic objects to animate this piece involving lights, sound and projections.
The show was impressive and the awareness of the public was remarkable. Personally (and based upon my own presumptions) I didn’t expect such a crowd attending a show taking place unhappily out of “Parisian’s boundaries”. But in spite of this, the show was a success and the backstage was even cooler. Happy people, friendly people, people like Michel Gondry, people-champagne and people giving stupid descriptions like me.
After all, this is a description based on my personal interest in following 1024’s work and their experimentations:
1024 (and their external collaborative projects) keep on generating new forms of overtures to create through a manipulation of traditional temporality and interaction between technologies and human receptivity. Eliminating the traditional boundaries concerning the limits of the different independent tools they’re using, they establish innovative forms of fascination generated through art installation.
Nevertheless, in my mind they will still be “the party makers”.
Keep on going.
Cinzia has just started her collaboration with KSAT, joining the scenography team for KSAT events. We’re happy to welcome her on board!
Thanks to Cinzia for introducing me to this vibrant world, and for the fun.
Thanks to 1024 architecture for the permission to use those images and diffusing those words. Cheers!
Last Monday Marty and I introduced the first secret location to all the artists of KSATCamp#1. We all met up and exchange crazy plans. We were all very enthusiastic. There was Melissa who was the first one to arrive, Helena and Autumn bumped into each other in front of the place. Autumn had some trouble finding it, indeed, it’s not easy to find your way out there. Then Erminio arrived followed by the whole team of scenography, Marguerite, Regis and Cinzia. Alice made a fresh entrance as always and started to talk about her personal ghosts stories and it made Erminio laugh. Hélène arrived followed by Kaheena then Giacomo and Yasmin (yes we met a new Yasmin(e)). This is the whole team briefly introduced to you here. These names might not be familiar to you yet but we are going to introduce them to you in the upcoming weeks. Be prepared for some great fun next December 15th!
Lundi dernier, Marty et moi avons présenté le premier endroit secret du premier KSATCamp aux artistes. Nous nous sommes tous rencontrés et on a échangé des plans ambitieux. Nous étions tous très enthousiastes. Il y avait Melissa qui est arrivée en premier, Helena et Autumn sont tombées l’une sur l’autre devant l’endroit. Autumn a eu quelques difficultés à trouver l’endroit, pas simple de guider les gens au bon endroit. Puis Erminio est arrivé suivi par toute l’équipe de scénographie, Marguerite, Regis et Cinzia. Alice, fraîche comme à son habitude, a fait son entrée et a raconté ses histoires personnelles de fantômes et ça a fait rire Erminio. Hélène est arrivée suivie de Kaheena puis Giacomo et Yasmin (oui nous avons rencontré une nouvelle Yasmin(e)). Voilà toute l’équipe brièvement présentée ici. Ces noms ne vous disent peut être encore rien mais nous allons vous les présenter dans les prochaines semaines. Soyez prêt pour du fun le 15 décembre prochain!
Dead skin, toenails and dustwolfs ended up being on the menu last saturday when I lured two friends, visiting from Denmark, to the Backslash gallery‘s vernissage with tales of wine and art. The Backslash gallery was this evening celebrating its second birthday with the opening of the exhibition « Family and Friends ». An exhibition that summarizes the lifespan of the small gallery with a potpourri of the works of the different artists that have been showcased there throughout the years and some that have been invited as a guest artist for the event. The classical, but not too stern-looking, white-cubish space of the gallery contains many interesting pieces, but our attentions were especially drawn to the works of the french artist Lionel Sabatté. Works that can be labeled among other things as brilliant conversation starters.
From afar the works of Lionel Sabatté, exhibited at the gallery, looks quite traditional and almost more scientific than artistic; three frames with pinned butterflies on a white background. But as you look closer you quickly realize that the insect bodies have been replaced by what appears to be tiny human skeletons. Tiny bones and skulls made of nailclippings and human skin. A fact that is not pointed out by any plaque at the gallery, but which makes the works a sort of exploration, where you have to establish the artistic materials yourself. A task that we completed, when we found a skeleton thigh with a fingerprint on it. Whereafter our discussion quickly turned pragmatic and was infused with bad humor, as we wondered where the nails and the skin had been procured. The seemingly gloomy pieces do in fact seem to invoke humor, despite the fact that they are created by the stacking of mortality and fragility connotations, such as pinned butterflies and skeletons, and executed with literaly dead materials. The absurdity of the use of nail clippings and peeled of skin as artistic materials creates an interesting contrast to the representation of bones and death. A contrast that destabilize the works and keep them from becoming too serious and too literal, which would have pushed them dangerously close to being clichés because of the overwhelming use of memento mori connotations. This means, that even though the artist uses instantly recognizable images in a very tradition way, he still makes sure that they suddenly become somehow distorted or more foreign when you look closer and discover the materials. The images that easily could have fallen into bad pathos and a reminiscent chanting about memento mori therefore appears interesting and the mini-sculptures seem too offer a new view on the old « we are all going to die sometime » theme, without being reminiscent or repetitive.
It is especially Sabatte’s choice of unusual materials that render the pieces interesting and induces discussion. A tactic that are also to be found in his latest project where he, as he jokingly explained, have made wolfs of dust. The juxtapositioning of odd materials and traditional motifs continues in this series of work, where the image of the wolf is contrasted by the ephemeric quality of dust. The main movement in Sabatte’s works seem to be an interaction between context and construction. An interaction which gives the initially easily recognisable works an unpredictable and interesting quality. A quality that is to be found in many of his works, where he, in different ways and in different mediums, seems to invoke the relationship between the expected and the unexpected. The friends might have come for the wine, but they ended up stayed for the nailclippings and the stories of dustwolfs.
Some more of Sabatte’s works, that also examine the relationship between motif and material:
Lionel Sabatté was invited by the Backslash gallery and is represented by Patricia Dorfmann‘s gallery
An annual not-to-miss event for emerging art press and printed image lovers. This time Paris Offprint Festival was hosted by l’Ecole des Beaux Arts. Previous events took place at Le Bal et à l’Espace Kiron in Paris. Numerous publishers met up in the big and charming hall of Beaux Arts to exhibit to the public their realizations. A full overview of various practices is offered; from the traditional art catalogues to independent and self published issues, from collective publishing book to institutional publications. Saturday, November 17th, a series of lectures were organized about « art publishing » with speakers from different backgrounds and countries. Most of them being artists and others theorists. In a chronological order of appearance: Rafael Rozendaal (brazilian-dutch interactive web artist), Richard Kostelanetz (american author and critic), Alberto de Michele (italian artist and curator), Paul Armand Gette (french photographer, sculpor, director and writer), Lorenzo de Rita (italian inventor).
Here below you can have a glimpse on how the Beaux Arts Pavilion organised the setting of the event.
Rumor says that the next KSAT issue will be about Secrets. We need yours, or the one of your neighbour or your friend. We accept any type of secret in any type of format. Send it to firstname.lastname@example.org or just write it below.
You can write as many as you want at any time of the day, no one will know your identity but yourself.
- Peace out -
P.S : This is the continuity of the game we started at the last KSAT event to give everyone the opportunity to participate.
La rumeur court que le prochain KSAT sera sur les Secrets. Nous avons besoin du tien, ou de celui de ton voisin ou ton ami. Nous acceptons tout type de secret à n’importe quel moment de la journée, personne ne connaîtra ton identité sauf toi.
- Paix à toi -
P.S : Ceci est la continuité du jeu commencé lors du dernières évènement KSAT afin de conner la possibilité à tout le monde de participer.
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