Data : Salon XIX

27 March 2013


"Solo", a performance of 3 different works given by Ensemble Allogène, explores the way in which an individual appropriates an inhabiting space. The film "Soundwalk", by Andrés Salas, explores Vancouver's soundscape from the ears of Canadian-German composer Hildegard Westerkamp (1946). Andrés rediscovers the paths where Westerkamp recorded 40 years ago her soundwalks, and superposes them with contemporary images of Vancouver. The film also introduces the voice of Westerkamp herself, recorded in conversations with Andrés. In Alvin Lucier's "I'm sitting in a room", Daniel Áñez will record his own voice with a microphone into a recorder. This recording will be played again in the room, and recorded again with a microphone. This process is then repeated indefinitely. In every successive recording, the clarity of the voice will be lost, and the natural resonant frequencies of the room will get stronger, until we will only hear these resonances, articulated by the rhythm of the original text. Finally, Daniel Leguizamón's [n] will present Émilie Girard-Charest playing the cello 5 times at the same time: four on video and one live. Organized as an improvisation scheme with fixed form, [n] proposes sounding and non-sounding activities for a soloist in which she is free to introduce whatever activities she would like to do best. The piece explores the relationship of the soloist with herself, to her environment, to the passing of time, to her tastes and likings and to the link between all these spaces.

"16/11/11 - 27/03/13" by Benjamin J. Allard and Maximilien Bianchi, is an interactive project that looks to the past of communications technology in order to find remnants of the rapport entertained between the human and the technological archive. The artists' goal with this work is to create a space for the co-existence of the cultural baggage associated with three sound technologies: the radio, the telephone, and the tape player. In order to achieve this, Bianchi and Allard utilize the rhetoric inherent to a laboratory, whereby the spectator may become an archaeologist and reconstitute their own historical interpretation of the technological devices presented. Leaving the spectator to interpret the work as they see fit, the artists wish to re-articulate our knowledge of technology so that we may explore our affective connection to these technologies. This process was inspired by an anti-humanist attitude, seeking to reduce the space typically occupied by humans in their self-representations. The artists believe that our history is not merely influenced by human actions. They wish to better understand the impact of technology in culture. This is why they give technology a unique voice, as represented by three archaic devices, enabling it to enter into a dialogue with the spectator.


27 March 2013