Selphish

With Martin John Callanan, Alix Desaubliaux, Lauren Lee McCarthy
The exhibition reopens today with the works on 1st floor only, without that of !Mediengruppe Bitnik
Curators Thierry Fournier and Pau Waelder

Participants (in chronological order): Flora Bousquet, Margot Saint-Réal, Will Fredo, Aina Coca, Raquel Herrera, Sophie Fontanel, Claire Valageas, Azahara Juaneda, Flore Baudry, Franck Ancel and Alexandra Ehrlich Speiser.

Mécènes du sud Montpellier-Sète
13 rue des Balances 34000 Montpellier
Reopening from May 20th to August 22nd 2020, from sea to Sat 10am-6pm, free entrance.
Information: www.mecenesdusud.fr – www.selphish.me

Download the catalogue (pdf)

Selphish addresses the exhibition of oneself on the internet, through three new works that change every week to form the portrait of a new person in the audience.

In our daily interaction with the world through our digital devices, it’s all about us. When we are online, what we see is adapted to our personal profile, and what we share is tailored to present the best version of ourselves. The services we use want us to be extremely selfish. Inside our filter bubble, everyone shares our opinions and likes what we do or say, provided we also like what they post. Our online ego is therefore made of data, which build a portrait that can be quite apart from reality. Lawyer and researcher Bernard E. Harcourt coined the term “expository society” to refer the culture in which the constant need to expose the self facilitates a generalized surveillance, which does not even have to be imposed. How can an art exhibition question this “exhibition of the self” that takes place online? How can this project create a specific link between the exhibition space, the city, and social media? Can we reflect the short attention span of social media in the temporality of an art exhibition in a gallery?

Eleven participants agreed to have their Instagram profiles and Google tracks read (sometimes live) by the works that interpret them as images, text, screens, objects, prints, etc. Each week, the entire exhibition is dedicated simultaneously to a single person.

The artworks change simultaneously each week, using the posts from the same participant. Thus, during several days, the entire exhibition is dedicated to a single person, reflecting the way our “digital self” inhabits a customized social networking space, in which there is only room for developing one’s self-image. The title of the exhibition, Selphish, a play on words between selfish and phishing2, thus refers to the ambiguity of self-exposure on networks, between narcissistic gratification and submission to surveillance. With these “participants”, Selphish also proposes the singular status of being a protagonist in an exhibition, in a way interposed between the artists and the audience. In addition, participants can react their social network profiles during their week of exhibition and, by the same token, change the content of the exhibition. In the description of the artworks and the rest of the text, the term “exhibited participant” will be used to refer to the participant highlighted during the week dedicated to her3.

By displaying images of the exhibited participant on every installation, the exhibition also becomes a large-scale portrait, which is exclusively composed of images from social networks. In addition, it sometimes reveals information about digital traces, raising questions related to surveillance. The whole may resemble a large installation, in which the four artworks echo around the same person. Encouraging participants to organize encounters, the Mécènes du Sud gallery (which is also a window on the street) becomes a performative space in which digital identities are represented and transformed by the exhibition – and then, in a kind of loop, can be re-exposed in turn on social networks.

Visitors will have to observe the barrier gestures: a maximum of two people, with obligatory masks, hydroalcoholic gel offered at the entrance, physical distancing. You can also make an appointment on 04 34 40 78 00.

Production: Mécènes du Sud Montpellier-Sète
Coordination: Marine Lang, General Delegate, assisted by Mélia Berreur-Gély
Computer development: Maxime Foisseau and Alexandre Dechosal, Louis Rouffineau
With the support of DICRéAM, Ministry of Culture and Communication / CNC

The Watchers

Curator and apparatus Thierry Fournier
Works by Marie-Julie Bourgeois, Marine Pagès and Antoine Schmitt

Tokyo City View, 52nd floor of the Mori Tower, Roppongi Hills, Tokyo
Digital Choc Festival, Institut Français de Tokyo x Festival Media Ambition Tokyo
From February 23 to March 3, 2019, 10am-22pm

The Watchers shows three works of Marie-Julie Bourgeois, Marine Pagès and Antoine Schmitt, on the 52nd floor of the Mori Tower, overlooking the entire city of Tokyo. Each of them transforms the image of a camera that films the city live, and is displayed on a screen. The audience watches works that themselves watches at the landscape.

Each work proposes a specific relationship between near and far, surface and depth, space and horizon. Vanishing Points by Marie-Julie Bourgeois replaces the horizon and the sky of Tokyo with that of a real-time webcam located in Paris. Floating Bodies by Marine Pagès mask the entire landscape with a milky and translucent layer, except temporarily, where the spectator puts his finger. No Disc by Antoine Schmitt cuts out a large disc in the landscape image, that turns around itself in the curse of one hour.

Production: French Institute of Tokyo and Media Ambition Tokyo
Computer adaptation of the works: Mathieu Chamagne

Ces œuvres ont été initialement créées dans le cadre du projet Fenêtre augmentée conçu et commissarié par Thierry Fournier de 2011 à 2015 : en 2013 à la Friche La Belle de Mai à Marseille pour Marie-Julie Bourgeois ; au Château Royal de Collioure en 2014, pour Marine Pagès et Antoine Schmit.

Production de Points de fuite de Marie-Julie Bourgeois : Zinc et Bipolar, avec le soutien de La Friche Belle de Mai, Le Silo Ville de Marseille et Höfn. Production de Les Corps flottants de Marine Pagès et No Disc d’Antoine Schmitt : Bipolar, Union Européenne / FEDER, coproduction la Panacée et Château Royal de Collioure.

antiAtlas Journal

Art direction of an online research journal
www.antiatlas-journal.net

Digital, bilingual and in free access, the antiAtlas Journal opens an exploratory editorial space dedicated to a radical transdisciplinary approach to contemporary borders. As an extension of the antiAtlas of Borders project relying on a collaboration between researchers and artists, it experiments new methods of editing and of modelization of research. The editorial directors are Cédric Parizot, Anne-Laure Amilhat Szary and Jean Cristofol. Its content is available online (desktop, tablets and mobiles) and in PDF format.

Published online on 13 April 2016, the first issue, Arts-Sciences Explorations at the Border, brings together articles by Anne-Laure Amilhat Szary, Jean Cristofol, Anna Guilló, Nicola Mai, Sarah Mekdjian and Marie Moreau, and Cédric Parizot and Douglas Edric Stanley. The second issue, Fictions at Frontiers (2017), will provide an account of research and reflections put forward by the antiAtlas of Borders’ collective.

Content for later thematic issues will be obtained via calls for papers: the first of these, for antiAtlas Journal n°03, will be published online on 1 June 2016.

Design

Conceptualized and designed by Thierry Fournier and created with Papascript, the editorial and graphic layout for the Journal takes advantage of opportunities offered by digital publication for extending the experience of reading research articles. Its design of articles in wide “sheets” allows readers to access from a variety of levels: the text itself, and the network and landscape that the text creates through its iconography.

By opening up multiple proximities and circulations between text and image, it enables transversal trajectories and varying levels of perception that a linear organisation does not permit, though a linear pdf version will also be available. Very large images will extend beyond the screen: exclusive circulation within an image becomes one form of lecture, similarly to the way we move within a text.

Andrés Baron: Mirror Travelling

Personal exhibition
Cité internationale des arts, Paris
Curated by Thierry Fournier

March 16 to April 7, 2018
Galerie de la Cité internationale des arts, 18, rue de l’Hôtel de Ville, 75004 Paris

The Cité internationale des arts presents Mirror Travelling, Andrés Baron’s first solo exhibition in France, which brings together a collection of works created by the artist between 2016 and 2018: films, videos, prints, objects.

Born in Bogotá (Colombia) in 1986, Andrés Baron lives and works in Paris. Relying mainly on photography and film but also on the production of objects, his practice has as a characteristic not to dissociate subjects according to mediums, but on the contrary to cultivate their circulation between different spaces of representation. Portraits whose looks and corporeality are very present, sometimes borrowing from the stereotypes of magazines, natural elements (landscapes, fruits, skies…) constitute the recurring motifs of a look that multiplies vision situations as if to pierce their intensity. The photograph of a landscape, then folded on the edge of a table, becomes the object of a filmed performance. The image of a pear cut on a white background is reinjected into a photograph, held by a woman who reactivates its promise of sensuality… In these circulations, the passage from fixed to movement is also played out, from an object to its flat representation and then to its arrangement in a space, through the recurrent figures of the fold, the rotation, the cropping and the mirror.

However, the variation of situations does not only provoke a change in the perception of the subjects: it is the very space of the shooting that is involved each time, through a specific work on the frontality of the poses, spaces and looks which, associated with a constant presence of the flatness of the image (whether filmic or photographic), can sometimes evoke the characteristic forms of art prior to perspective. Moreover, Andrés Baron’s works are structured by a set of aesthetic choices (slowness of the planes, frontality or circularity of the camera movements, stretching of the music, luminous clarity, juvenility of the models, genre ambiguities, camera faces) which accentuate the “presentation” of these bodies to the image. In this sense, through their frontal or circular devices, their absence of narration and their deliberate artificiality, the films 36 rue d’Ulm, Mirror Travelling, Printed Sunset or Bettina and white background open a field of great ambiguity, where the filmed subjects always seem aware of the representations in which they participate and the codes that animate them.

Thus, although using the apparently classical forms of 16 mm film, video and photography, Andrés Baron’s work testifies to a relationship with the image well after these mediums, reconfigured by screens and networks and aware of their surface effects: always facing the image, but constantly escaping it.

Thierry Fournier, January 2018

*

Andrés Baron

Born in Bogotá, Colombia in 1986
Lives and works in Paris
www.andres-baron.com

Training

DNSEP (congratulations of the jury) École Nationale Supérieure des Arts Décoratifs, Paris 2016
La Cambre, Brussels, Photography (4th year) Belgium 2014
BA, Visual Arts, Pontificia Universidad Javeriana, Bogotá, Colombia 2011
Personal exhibitions
Mirror Travelling, Cité internationale des arts, Paris, cur. Thierry Fournier, 2017
Formas Arcaicas y Familiares, Sala de Proyectos, Universidad de los Andes, Bogotá, 2011

Group exhibitions

62nd Salon de Montrouge, Montrouge, France 2017
Tropisms, Paris, France, 2017
HSR, Galerie du Sauvage, Porrentruy, Switzerland 2016
Notes and exercises, Trademart Brussels, Brussels, Belgium 2014
Caso du Livre, Salle d’expositions de La Cambre, Brussels, Belgium 2013
Bogotá Gruppenausstellung, Baustelle Kalk, Cologne, Germany 2013
Dibujos, Sala de exposición de la Universidad Javeriana de Bogotá, Bogotá, 2011
Peri

Collection Artem

Creation of a public art collection in an art school
Thierry Fournier & Jean-François Robardet
Ecole nationale supérieure d’art et de design de Nancy, Artem

Created and coordinated by Thierry Fournier and Jean-François Robardet (artists and curators), the Collection project is part of the Artem Alliance, which brings together the École nationale supérieure d’art et de design de Nancy, Mines Nancy and ICN Business School. It is led by the Artem Collection workshop, coordinated by the two artists, which brings together 15 students from the three schools. The workshop invites all art school students who so wish (4th and 5th year) to present their work to them and selects some of them for a group exhibition. An independent acquisition committee then meets with the artists and selects four works for purchase by Artem. These acquisitions are financed by Artem, Artem Entreprises and ENSAD Nancy.

Collection Artem makes it possible to support the work of young artists from the beginning of their careers, to make Artem’s action sustainable, while building a fund that can be valued in the long term. It introduces into an art school a reflection and debate on the support mechanisms that young artists will later face.

Collection 2018

On February 16, 2018, the works of Juliette Hippert, Clara Sobieski and Alexandre Villevandre were selected to be part of the Artem Collection, the first public collection in an art school in France, at the École nationale supérieure d’art et de design de Nancy.

The works were chosen by an independent acquisition committee composed of Maude Maris and Stéphane Thidet (artists) and Raphaëlle Friot (Artem coordinator, Secretary General Artem-Nancy), from a pre-selection exhibited in February 2018 with works by Pierre André, Quentin Gaudry, Mathilde Gérard, Juliette Hippert, Élodie Paupe, Cécile Pétry, Rémy Pommeret, Louison Rivière, Clara Sobieski, Tiphaine Stainmesse, Marianne Thibault, Marina Uribe and Alexandre Vilvandre. 

Artem Collection 2018 Workshop : Thierry Fournier, Jean-François Robardet (artists and curators, coordinators), Mathilde Arnal, Alix Bardy, Victoria Clemens, Nabila Halim, Fabien Karp, Pauline Quille, Gil Zinck (ENSAD), Benoît Fergelot, François Fotré, Hirvin Pena-Pitra (Mines Nancy), Mathilde Borges, Léa Coudray, Alice Devès, Manon Fontaine, Jade Nguyen-Choleau (ICN Business School)

École nationale supérieure d’art et de design de Nancy
1 place Charles Cartier-Bresson 54000 Nancy
www.ensa-nancy.fr

Facebook, Instagram, Twitter: collectionartem

Data on view

Group show, La Terrasse, 2016

[French title : Données à voir]
Group show, La Terrasse, Centre d’art de Nanterre, October 7th – December 23th, 2016. Curated by Sandrine Moreau and Thierry Fournier
See the press release (French) and the introductory text (English)

With Martin John Callanan, Marie-Pierre Duquoc, Hasan Elahi, Öyvind Fahlstrom, Ashley Hunt, Mark Lombardi, Philippe Mairesse, Claire Malrieux, Julien Prévieux, Ward Shelley, Ali Tnani et Lukas Truniger. Publications and editions by James Bridle, Bureau d’études, Eli Commins, Albertine Meunier, On Kawara, Jacopo da Pontormo et Erica Scourti. Performance by Magali Desbazeille. La Terrasse window: The Promise, work in situ by Thierry Fournier.

The exhibition Data on view brings together a selection of international artists and works that offer interpretations of public or personal data through drawing or code: graphs, drawings, network installations, sculptures, publications… These works are addressing various stakes, sensitive and poetic but also critical or political. They question in particular what we expect from data, and how these expectations are likely to define our vision of the world.

Between drawing and programming, a single process emerges: one which consists of an individual reappropriation by the artists of a world of data that runs through the whole of contemporary society, in order to offer a critical interpretation. Here, drawing and code share a common approach to the trace: diagrams of systems of political or social relationships in Öyvind Fahlström’s, Ward Shelley’s, Mark Lombardi’s or Julien Prévieux’s drawings, individuals’ digital footprint in Hasan Elahi’s work, Claire Malrieux’s or Ali Tnani’s generative representations of the present and of utopias, Martin John Callanan’s works which questions systems of representations, etc. The machine joins the hand in mapping the world that surrounds us.

Around these questions and through the relationship to drawing, Data on view offers a historic journey that takes us from the seventies to international contemporary artists, several of whose pieces are exposed here for the first time in France, such as Martin John Callanan’s or Hasan Elahi’s. The exhibit also presents a set of publications and artists’ books devoted to these concepts.

It is complemented by documentation of films and web sites that address the stakes of citizen appropriation of data: in parallel to the artists’ actions, citizens act upon the representation of data and on its appropriation. As for films such as those produced by Laura Poitras on Edward Snowden, or by Mareike Weneger on Mark Lombardi, they illustrate de breadth and the violence of the political stakes this particular field raises.

The Self and the World

collective feature film, research project, 2015

Two collective feature film and an exhibition, 2014-2015
Nancy Art College – ARTEM

Conception and direction Thierry Fournier and Jean-François Robardet, original idea Thierry Fournier. With Mathilde Bénard, Simon Boutelou, Elina Chared, Lucile Doos, Isis Gondouin, Lise Guerder, Oualid Hariss, Anaïs Juin, Heather Krasker, Bora Kwak, Ming-Ying Lu, Rostom Nakmouche, Su-Min Park, Antoine Py et Fan Wang (2015), Aurélie Ayub, Marine Calamai, Anne-Sophie Dautheville-Guibal, Bao-Vi Defaux, Alix Desaubliaux, Sarah Guermonprez, Qijia Hu, Dori Lee, Jean-Christophe Louviot, Paul-Edouard Puyo (2016).

The Self and the world is a collective film formed by a series of shorts created by the students. What is addressed to the world in our everyday life? And in which terms the world could address to ourselves? Each short is composed in split-screen facing these two point of views. The project suggests a link between collective cultural practices and the individual use of digital images and smartphones.

The Electroshop research and creation workshop explores since several years forms of the digital in art: works, curating, publishing, etc. Its projects are shown in several public contexts: Ballet de Lorraine, Musée des beaux-arts de Nancy, NaMiMa, editions with Pandore and Art Book Magazine, etc.

The Self and the World (film 2015)

The Self and the World (film 2016)

TheSelfandtheWorld_0931

TheSelfandtheWorld_0898

TheSelfandtheWorld_0900

Exhibition at NaMiMa gallery, Ensad Nancy, May 2016

Displays

Research group, EnsadLab (ongoing)

Research group, EnsadLab / Ensad, Paris (ongoing)
Coordination : Thierry Fournier with J. Emil Sennewald, art critic, journalist and researcher
http://displays.ensadlab.fr
Twitter: @displayslab

The research group Displays – created and coordinated by Thierry Fournier (artist, curator and researcher) with J. Emil Sennewald (critic, journalist, lecturer and researcher) – aims to question and experiment with the exhibition forms in a post-digital context, that is pervaded by the presence of digital technology and the Internet throughout both culture and practices. This evolution has already transformed artworks, collaboration modes, curatorial practices, art criticism, art education and outreach, audiences, and how they look at art. It also entails an acknowledgment of digital materiality and of its processes, after a historical period marked by an ideology of dematerialization. Furthermore, a certain porosity has set in between practices – for example, between those of artists, curators and audiences, in the case of curation – a practice that involves reinterpretation and exchanges, which attests to the conversational status of media.

Our research takes all of these issues into account, and addresses the way in which they modify the thinking behind, and the practice of, exhibitions, as far as the different actors’ roles are concerned, but also with regards to the objects involved and the spaces and networks these exhibitions invest. Our approach consists in a research through the exhibition, which is treated as an experimental situation that involves a set of actors, objects, production and valorisation modes, spaces and temporalities. The exhibition is seen here as a moment within a process, rather than as the result of one, and is considered “experimentable” and debatable by the different stakeholders (artists, audiences, art and museum curators, critics…), in view of a critical approach of their interactions.
This program is based on three main issues that concern the very form that exhibitions take, as well as the relations that exist between them and their context. These issues are briefly outlined below, along with the lines of research and of creation that they may give rise to:

1. What. How do an exhibition’s objects evolve, from exhibited objects and works of art towards gestures, performative situations, experimentations and production processes? How do e-publications (which are themselves evolving processes, no longer merely publications) and mobile environments contribute to new curatorial forms? How are questions related to reproducibility and simulation brought up? Can experiences of co-creation conducted in a museum setting also apply to art exhibitions?

2. Who. How do relations with audiences evolve, and who designs exhibitions? How do viewer expectations and practices evolve? How does the distribution (or reclaiming) of roles among artists, curators, critics, exhibition planners and designers develop? How can these be related to the context of institutional critique? How can we experiment with audiences? What part does interactivity take today in curatorial forms? What are the stakes involved? What are the goals and stakes of participation, particularly of social networks in museums and exhibitions?

3. Where. How are exhibition spaces and venues evolving? Now that audiences are largely accessing art and culture online, what bearing does this have on the distinctiveness of the exhibition experience? What shapes are exhibitions taking in a dialogue between real space and the network? How can the collective space of the exhibition be connected to the individual practice that is unique to the web and mobile devices? How can we put forward a critique and create the conditions for emancipation from the rationale of the attention economy? How can we qualify and critique relations between museums, online exhibitions and data bases?

Photograph: Laura Gozlan, Remote viewing, 2014

Augmented window 05, Montpellier

curating, in situ installation, edition, 2015

Group show, in situ installation, edition
Curating Thierry Fournier
La Panacée (Montpellier, FR), March 9-30, 2015
Montpellier Opera (ipad version), April 5 – December 30, 2015
iPad edition available on App Store.

Works by Luce Moreau, Marine Pagès, Antoine Schmitt and Thierry Fournier.

The Augmented window project proposes an interactive window on a landscape as a collective exhibition protocol. A specific vantage point on a landscape is filmed continuously by a camera. Several artists and authors are invited to create works that take this landscape as their point of departure: videos, interactive works, drawings, recordings, interviews… These contributions are laid over the camera footage, and transmitted live on a large tactile screen, which is set up vertically. To discover the works, viewers browse this “window” into the image’s spatial depth. The Augmented window project offers a collective interpretation of a landscape, by bringing together approaches that are usually dissociated (art, humanities, documentary).

This fifth and final Augmented Window group show is based on the landscape of the Place de la Comedie in Montpellier (FR). The three artists – Luce Moreau, Marine Pagès and Antoine Schmitt – were already invited within the fourth exhibition in Collioure in 2014. Luce Moreau questions primarily the representation of landscape and the vision instruments through a practice that combines photography, video and site-specific installations. By drawing and site-specific installations, Marine Pagès addresses the human use of space and time. Developing a digital-only practice by programmed works, Antoine Schmitt creates figures of behavior and movements that question the relationship between living and machine.

Thierry-Fournier-Fenetre-augmentee-Montpellier-01

Thierry-Fournier-Fenetre-augmentee-Montpellier-02

Works

Thierry-Fournier-Fenetre-augmentee-Montpellier-Moreau
Luce Moreau, L’Horizon des évènements 2 : Gauche-droite, 2014

Thierry-Fournier-Fenetre-augmentee-Montpellier-Fournier
Thierry Fournier, Plus un geste, 2011-2014

Thierry-Fournier-Fenetre-augmentee-Montpellier-Pages
Marine Pagès, Come di, 2014

Thierry-Fournier-Fenetre-augmentee-Montpellier-Schmitt
Antoine Schmitt, City of gold, 2014

Credits

Conception and curating Thierry Fournier / IOS programing Olivier Guillerminet / IOS video player Olivier Guillerminet and Jonathan Tanant / technical consultant and Max-MSP programing Mathieu Chamagne / Mac Os and Max-MSP programing Guillaume Evrard / streaming Thomas Lucas / engineering Jean-Baptiste Droulers / set Grégory Jacquin / translations Clémence Homer and Anna Lopez Luna / production, distribution and communication Bipolar – illusion et macadam, Mathieu Argaud and Marielle Rossignol.

Produced by illusion & macadam / Bipolar and granted by European Union, with support by Région Languedoc-Roussillon, Ville de Montpellier, Conseil Général des Pyrénées Orientales, La Panacée, Opéra Orchestre national Montpellier Languedoc-Roussillon and ZINC, Marseille.

Flatland

Catalogue (2014)

Digital catalogue dedicated to the Augmented window project, 2014
Editing Thierry Fournier and J. Emil Sennewald
Distribution Pandore Edition

Texts by Jean Cristofol, Céline Flécheux, Thierry Fournier, J. Emil Sennewald. Programming Stanislas Schoirfer. English translations Clémence Homer.

Flatland is a digital catalogue devoted to the Augmented window project. It stems from a dialogue and a close collaboration between artist and curator Thierry Fournier, art critic and journalist J. Emil Sennewald, and developer Stanislas Schoirfer. From its beginnings, the catalogue was conceived for tablets. This choice is the result not only of the Augmented window project’s very logic and medium, but also of a willingness to explore how the tablet as a substrate contributes to the critical approach: beyond the mere aspect of mobility, how do the practices it generates create new relationships between meanings / relationships of meaning.

Together, the authors defined the project’s editorial direction, its interactive design and its visual identity, which uses Bartok, a new font created by Sarah Kremer, throughout the publication. Flatland accompanies Pandore Production’s edition of Augmented window for the iPad, as a free-standing application. This double publication enables the user to take part in a permanent dialogue, on a single substrate, between the catalogue and the experience of the works. Flatland, therefore, focuses more on the project’s critical and transversal aspects.

A new vision of space

Flatland is the title of a novella published by Edwin Abbott Abbott in 1884, “a politico-graphical allegory, somewhere between Lewis Carroll, Jonathan Swift and George Orwell”. Described as a forerunner of sci-fi literature, an exercise in geometry and a sharp critique of Victorian society, a digital edition of the book has just been released for tablets. The fact that it is now licensed for free distribution is not the only reason behind this new edition. As the author himself states in the introduction of his satire, he wants “to contribute to pushing back the frontiers of imagination”. That he chooses to do so by dealing with the notion of space is not without significance. It is perhaps the main reason behind the renewed interest [in this notion] sparked by Flatland’s digital version.

We are currently at a major turning point in the field of publishing, one that follows the turn taken by images (“iconic turn”) and space (“spatial turn”); so that today, we as artists, authors and editors, face a dynamic space that is no longer limited to the physical confines of the Renaissance’s monocular perspective. Today, space is the perforated space of houses linked to one another by cables. It is a space shaped by images. It is also a screen, which we stumble upon. Behind it, an augmented “space” opens up: “the physical space, layered with dynamically changing informations”. Identified in the 60s by Lefèbvre or Flusser, dynamic space has become subject matter for artists who ask themselves how, by what means, and through which structures space is augmented.

Practices of discernment

One cannot approach space without questioning the means that are used to represent it. These means – images, architectures, symbols appliances – constitute its very body. It is up to us – artists, critics, editors – to offer a practice of space; discernment to break with the logic of consumption, view its consequences with a critical eye, model its landscapes. In the face of the great movements of media concentration, this occurs in a dispersed way: by focusing on specific points, one can, in a way, identify the terrain of this augmented space, so that one might approach it in an enlightened manner.

Another critique view

This is where the art critic steps in. Having chosen as a starting point the “accomplice critic” method – which reacts in form and content to artistic stakes, follows the artist’s rationale, research and conclusions, while thinking about the conditions of their possibility – I asked myself the question what the best form would be form in order to answer a digital artwork already created on a tactile screen. Very soon, it became obvious that the critical ability to transcribe a visual experience was no longer enough. The text had to be conceived of differently – as code and as image – in order to engage with what it was that the tool – i.e., the tablet – makes available. The Flatland project intellectually and manually challenges the art critic’s faculties. New roads open up to use such an apparatus, such as for example the introduction of quotes to orient reading towards other material, to open the space around the text and make it dynamic. New forms of the critic’s work emerge as a consequence, conscious of the stakes associated to these devices. As digital publications emerge, the critic’s old substrates – the book, the catalogue, the art review – are reconsidered.

One of the reasons behind Flatland lies in a practice that raises questions regarding substance while using tools that are codified by the industry; that is confronted with the reality of the screen that opens both the gaze and the field of action onto new fields; in short, one that contributes to pushing back the frontiers of the imagination.

Augmented window 04, Collioure

Group show, in situ installation, edition, 2014

Group show, in situ installation, edition
Curating Thierry Fournier
Royal Castle of Collioure (Eastern Pyrenees, FR), July 24 to October 15, 2014.
iPad edition available on App Store.

Works by Luce Moreau , Marine Pagès Antoine Schmitt and Thierry Fournier.

The Augmented window project proposes an interactive window on a landscape as a collective exhibition protocol. A specific vantage point on a landscape is filmed continuously by a camera. Several artists and authors are invited to create works that take this landscape as their point of departure: videos, interactive works, drawings, recordings, interviews… These contributions are laid over the camera footage, and transmitted live on a large tactile screen, which is set up vertically. To discover the works, viewers browse this “window” into the image’s spatial depth. The Augmented window project offers a collective interpretation of a landscape, by bringing together approaches that are usually dissociated (art, humanities, documentary).

The fourth Augmented window group show is set in front of a very radical landscape, presenting nevertheless endless variations of movement, color, depth and activity. The four artists explore and question the paradox of this view and its implications for the viewer. The project is deployed both as site installation and on tablets.

Thierry-Fournier-Fenetre-augmentee-Collioure-01

Works

Thierry-Fournier-Fenetre-augmentee-Collioure-Moreau
Luce Moreau, L’Horizon des évènements, Ciel / mer

Thierry-Fournier-Fenetre-augmentee-Collioure-Pages
Marine Pagès, Les Corps flottants

Thierry-Fournier-Fenetre-augmentee-Collioure-Schmitt
Antoine Schmitt, No Disc

Thierry-Fournier-Fenetre-augmentee-Collioure-Fournier
Thierry Fournier, En vigie

Credits

IOS iPad Programming: Olivier Guillerminet IOS video player: Olivier Guillerminet Jonathan Tanant, technical consulting and programming Max-MSP Mathieu Chamagne, Mac OS Programming: Guillaume Evrard, Android programming: Henry Bernard, Jonathan Tanant, streaming: Thomas Lucas, engineering Jean-Baptiste Droulers, technique: Grégory Jacquin, translations: Clémence Homer and Anna Lopez Luna. Administration, production, distribution, communication: Illusion & Macadam – Bipolar (Mathieu Argaud Gregory Diguet Lise Mullot Marielle Rossignol)

The Augmented window project is produced by illusion & macadam / Bipolar co-funded by the European Union. Europe is moving in Languedoc-Roussillon with the European Regional Development Fund. The project has won the Digital Cultures and ICT of the Languedoc-Roussillon call and received the support of the City of Montpellier and the General Council of Pyrénées Orientales. Coproduction and welcome by the Panacea, Centre for Contemporary Creation of the City of Montpellier, Le Royal Castle of Collioure – General Council of Pyrénées-Orientales. With the support of Zinc and La Belle de Mai, Marseille.

Ce qui manque

Curating, workshops and publication, 2014

Curating and publication, 2014

Curated by Thierry Fournier
Works: Armand Béhar, Laura Gozlan, Gwenola Wagon & Stéphane Degoutin.
Group show, June 6th-22th 2014, La Panacée, Montpellier

In partnership with the University of Montpellier 3 Paul Valery, School of Panacea offers an annual art experience to a group of students, creating an area of transmission and sharing of knowledge that complements and enriches the teaching methods academics in a research and experimentation.

In 2013-2014, La Panacée entrusted the curating to Thierry Fournier, artist and curator, who proposed the project What is missing . He invites Armand Béhar, Laura Gozlan, Gwenola Wagon and Stéphane Degoutin to create three in situ works. It offers students to participate in the whole process of creating this exhibition of his works and a publication devoted to the project. What is missing stakes include notions of utopia and evolution, and the critical conditions of emergence for collective projects.

The project unfolds around a sentence, a protocol and a common device. It asks a question deliberately left open. Facing a contemporary situation of “post-democracy” and the takeover of the culture industry, an issue concerns the conditions of joint projects that can be expressed here as well as reminiscence, utopia or alternate history. It concerns both desire, tension between individual and community, and the possibility of a common real or fictional space.

Exhibition and works

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Armand Behar, Une prière pour les candidats au voyage

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Laura Gozlan, Remote Viewing

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Stéphane Degoutin and Gwenola Wagon, Umwelt rat réseau

Publication

Performed at the end of each week of residence, a publication describes the process, consisting of 4 large sheets folded A1, which will be screened during the exhibition.

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Credits

Production by La Panacée, Center for contemporary culture, Ville de Montpellier. In partnership with Direction de la Culture et du Patrimoine – Ville de Montpellier and Université Montpellier 3 – Paul Valéry. Coordination for Université Montpellier 3 by Claire Châtelet (Department of Performing Arts), Julie Denouël, Laurent Fauré, François Perea et Arnaud Richard (Department of Language Studies). Thanks to Franck Leblanc.

Augmented window 03, Marseille

curating, in situ installation, edition, 2013

Group show, in situ installation, edition
Curating Thierry Fournier
Panorama, Friche La Belle de Mai, Marseille, May 11 – Dec 30, 2013
iPad edition available on App Store

Works by Benjamin Laurent Aman, Marie-Julie Bourgeois, Grégory Chatonsky and a collective formed by Christine Breton, Jean Cristofol, Thierry Fournier and Jean-François Robardet.

The Augmented window project proposes an interactive window on a landscape as a collective exhibition protocol. A specific vantage point on a landscape is filmed continuously by a camera. Several artists and authors are invited to create works that take this landscape as their point of departure: videos, interactive works, drawings, recordings, interviews… These contributions are laid over the camera footage, and transmitted live on a large tactile screen, which is set up vertically. To discover the works, viewers browse this “window” into the image’s spatial depth. The Augmented window project offers a collective interpretation of a landscape, by bringing together approaches that are usually dissociated (art, humanities, documentary).

The third Augmented window exhibition frames the landscape of Marseille’s northern neighborhoods, the camera being aimed at the Silo d’Arenc. Its point of view is turned away from the downtown area’s large urban projects, and towards a landscape that is free of any monuments and is undergoing a complete transformation, on the sidelines of the [Capital of Culture] program’s official events – as an example, since the exhibit’s opening in May 2013, a skyscraper was built in the middle of the image… The installation is exhibited at the Friche la Belle de Mai / Panorama.

With Dead Drops, Benjamin Laurent Aman films the burial of 5 wrapped objects in different spots Marseille’s landscape. Marie-Julie Bourgeois’ Vanishing points replaces the city’s skyline with those of nine distant cities, broadcast in real time. The collective formed by Christine Breton, Jean Cristofol, Thierry Fournier and Jean-François Robardet, produced Ultima Thulé, four views onto the landscape of the northern neighborhoods, in which the viewer’s gesture must closely follow his gaze. Finally, with A l’image, Grégory Chantonsky establishes as the device’s backdrop the words of a machine that reproduces a couple’s conversation as they tirelessly offer comments about the landscape.

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Works

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Benjamin Laurent Aman, Dead Drops, 2013

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Marie-Julie Bourgeois, Points de fuite, 2013

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Grégory Chatonsky, À l’image, 2013

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Jean Cristofol, Thierry Fournier et Jean-François Robardet, Ultima Thulé, 2013

Publication on tablets

Augmented window 03 in Marseille is published on iPad simultaneously with this catalogue, and can be downloaded on App Store. The interactive application gives the possibility of experimenting the artworks on the landscape, transmitted live in streaming

Credits

Production : Zinc, Marseille Provence Capitale de la Culture 2013, Le Silo Ville de Marseille, avec le soutien de Höfn et de Hôtel du Nord.

Augmented window 02, Prats-de-Mollo

Curating, in situ installation, edition, 2012

Group show, in situ installation, edition
Curated by Thierry Fournier
Prats-de-Mollo / Fort Lagarde, July 2012 – July 2017
iPad edition available on App Store

Works by Christelle Bakhache and Clément Feger, Jean Cristofol and François Parra, Juliette Fontaine, Thierry Fournier, Simon Hitziger, Tomek Jarolim and Jean-François Robardet.

The Augmented window project proposes an interactive window on a landscape as a collective exhibition protocol. A specific vantage point on a landscape is filmed continuously by a camera. Several artists and authors are invited to create works that take this landscape as their point of departure: videos, interactive works, drawings, recordings, interviews… These contributions are laid over the camera footage, and transmitted live on a large tactile screen, which is set up vertically. To discover the works, viewers browse this “window” into the image’s spatial depth. The Augmented window project offers a collective interpretation of a landscape, by bringing together approaches that are usually dissociated (art, humanities, documentary).

The second Augmented Window exhibition frames the mountain landscape in front of Fort Lagarde, in the Eastern Pyrénées mountains, at the Spanish border. In Gypaetus Politicus, Christelle Bakhache and Clément Feger use the particular case an endangered bird to address the spatial representations of political regulations. Jean Cristofol and François Parra crossed the landscape of the window in its entirety, in order to create La Borne 514, a series of recordings that deal with the question of borders and the way they contribute to the organization of space. With Ós and Sisyphe, two pieces – one of which is interactive – that associate drawing and layering over the environment, Juliette Fontaine brings together the landscape’s time frames, the painting and the viewer. Simon Hitziger created Hike in Crystals, a series of videos composed of elements collected during a solitary hike up the Costabonne peak; he works on differences of scale, fragility, and the alterations in state that occur in nature. With Abcisses and Exergues, two series of generative or interactive videos, Tomek Jarolim connects the landscape’s color, the digital device of the window, and the viewer’s gestures. Jean-François Robardet works on the notion of defense and the blood contained in the landscape with the series Night Shift, which associates six interactive drawings and a video. Thierry Fournier created three series of three videos, three photographs and one interactive installation, Anachrones, I’m not there and Deep House, that both deal with the paradoxical relationships of projections, specters, and willingness to control, that we maintain with nature.

Works

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Christelle Bakhache and Clément Feger, Gypaetus politicus

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Jean Cristofol and François Parra, La Borne 514

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Juliette Fontaine, Sisyphe

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Thierry Fournier, Anachrones

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Simon Hitziger, Hike in crystals

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Tomek Jarolim, Abcisses

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Jean-François Robardet, The Night Shift

Credits

Production Région Languedoc Roussillon et Pandore. Production déléguée Pandore et / Bipolar

Umwelt

Research project – Ensad / EnsadLab, 2012

Research project – Ensad / EnsadLab – Diip program, 2012
Led by Thierry Fournier
Team: Clémence Homer, Tomek Jarolim, Dominique Peysson, Benoit Verjat.

Umwelt is a project about mixed-media note taking (HD manuscript, keyboard, drawing, hypermedia, tags …) to be used in all types of environments: travel, scouting, rehearsals, design or work sessions, and architecture design, fashion, comments, field work in social sciences, musical notation, etc. It is therefore aimed as much for professional use and private, general or specialized, documentary or fictional. It is based on several dimensions: handwritten practice, structuring memory, environmental integration, interoperability.

Cohabitation II

research workshop and curating, 2012

Research workshop and group show, curated by Thierry Fournier and Jean-François Robardet
Exhibition at NaNiMa gallery, École nationale supérieure d’art de Nancy (FR), 2012

Works by Alice Adenis, Romain Hantz et Jérôme Gonzales / Anne-Sophie Banach, Laureline Maudet et Guillaume Cadot / Wei Chang, Charlotte Moreau et Se Won Hwang / Benoît Henry / Brice Mantovani / Xiao-Jun Song et Guilhem Mariotte / Marianne Villière, students of Ecole nationale supérieure d’art de Nancy, Ecole des Mines de Nancy and ICN Business School.

The Cohabitation project stands a protocol in which each work proposes a relationship with the audience and the other works as well, in the same room. Two editions were created in 2011 and 2012, gathering 16 works created by the students of the Electroshop research and creation workshop, directed and curated by Thierry Fournier and Jean-François Robardet. It hostes students from three universities : the École nationale supérieure d’art de Nancy, ICN Business School and the Ecole des Mines de Nancy.

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Works

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Alice Adenis, Romain Hantz and Jérôme Gonzales

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Anne-Sophie Banach, Laureline Maudet and Guillaume Cadot

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Wei Chang, Charlotte Moreau and Se Won Hwang

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Brice Mantovani

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Xiao-Jun Song and Guilhem Mariotte

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Marianne Villière

Credits

Photographs © Thierry Fournier 2012
With support from Région Lorraine – research grant

Augmented window

curating series, installations and editions, 2011-2015

Curating series, in situ installations and editions, 2011-2015
Curated by Thierry Fournier

Augmented window proposes an interactive window on a landscape as a collective exhibition protocol. A specific vantage point on a landscape is filmed continuously by a camera. Several artists and authors are invited to create works that take this landscape as their point of departure: videos, interactive works, drawings, recordings, interviews… These contributions are laid over the camera footage, and transmitted live on a large tactile screen, which is set up vertically. To discover the works, viewers browse this “window” into the image’s spatial depth. The Augmented window project offers a collective interpretation of a landscape, by bringing together approaches that are usually dissociated (art, humanities, documentary). The concept of “augmented reality” is hijacked in this case, in a deliberately minimal sense: the main point is the confrontation between the works, the authors, and their points of view, through a protocol that also includes in situ residences, meetings, publications, etc…

From its very beginnings, the project was designed to be created successively in several locations. Each window constitutes a specific exhibition, devoted to a specific site, with a new group of artists invited to work with the chosen site: Montpellier in 2015, Collioure in 2014, Marseille in 2013, Prats de Mollo in 2012, Paris in 2011.

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Download the iPad editions on App Store:
Augmented window 04 Collioure
Augmented window 03 Marseille
Augmented window 02 Prats

Download the project catalogue Flatland on App Store.

Augmented window 01, Paris

curating and in situ installation, 2011

Group show and in situ installation
Curated by Thierry Fournier
Centre Pompidou, Paris, 2011

Works by Céline Flécheux (philosopher and critique), David Beytelmann (historian and philosopher), Pierre Carniaux (filmmaker), Benjamin Laurent Aman, Félicia Atkinson, Ivan Argote, Marie-Julie Bourgeois, Juliette Fontaine, Thierry Fournier, Marie Husson, Tomek Jarolim, Jean-François Robardet, Marcos Serrano, Antoine Schmitt (artists), Christelle Bakhache and Clément Feger (researchers at Sciences Po Medialab).

The Augmented window project proposes an interactive window on a landscape as a collective exhibition protocol. A specific vantage point on a landscape is filmed continuously by a camera. Several artists and authors are invited to create works that take this landscape as their point of departure: videos, interactive works, drawings, recordings, interviews… These contributions are laid over the camera footage, and transmitted live on a large tactile screen, which is set up vertically. To discover the works, viewers browse this “window” into the image’s spatial depth. The Augmented window project offers a collective interpretation of a landscape, by bringing together approaches that are usually dissociated (art, humanities, documentary).

Augmented Window premiered at the Centre Pompidou at the Futur en Seine festival, between June 17th and 26th, 2011. The exhibition was located at the top of the escalators, on the sixth floor, with the window pointed towards Paris and the Halles district. 16 artists and authors produced 158 artworks. This first edition enabled to experiment with each of the project’s dimensions: on the one hand, its structuring dimension, as a protocol that structured the curatorial approach, the work with the artists, the types of pieces they proposed, and the work protocol, and on the other, the physical dimension of the object itself.

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Works

Benjamin Laurent Aman, Football Season is Over,

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Ivan Argote : Sans titre, 2010 (réédition) / Jobs

Felicia Atkinson, Ardents Abris

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Christelle Bakhache and Clément Feger, Flux, prix et surveillance

David Beytelmann, Interview

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Marie-Julie Bourgeois : Points chauds

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Pierre Carniaux : Vous êtes ici

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Céline Flécheux : Fenêtre et horizon (interview péripatéticienne)

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Juliette Fontaine : Les Invisibles / J’ai rêvé la nuit verte / Nuages flottants,

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Thierry Fournier : Panopticons, Fictionnalismes, Usual Suspects

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Marie Husson, Vertigo

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Tomek Jarolim, Monochromes

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Jean-François Robardet : The Belly Dancer

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Marcos Serrano, Direction home

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Antoine Schmitt, No-control Tower

Research

The project gave the frame of a research coordinated by Thierry Fournier, who put together a group of designers, graphic designers and developers that worked in collaboration with Ensad’s Ensadlab (Diip program / Sensibles Surfaces axis) and Sciences Po’s Medialab. Artists researchers Marie-Julie Bourgeois and Tomek Jarolim were later invited to participate to the Prats-de-Mollo 2012 and Marseille 2013 exhibitions.

Credits

Production : Ile de France Region / Cap Digital, Languedoc Roussillon Region, Pandore Production, executive production by Pandore Production and Aquilon.

Cohabitation I

group show and research workshop, 2011

Group show and research workshop, 2011
Curated by Thierry Fournier and Jean-François Robardet
Exhibition at Musée des Beaux-arts de Nancy (FR), 2011

The Cohabitation project stands a protocol in which each work proposes a relationship with the audience and the other works as well, in the same room. Two editions were created in 2011 and 2012, gathering 16 works created by the students of the Electroshop research and creation workshop, directed and curated by Thierry Fournier and Jean-François Robardet. It hostes students from three universities : the École nationale supérieure d’art de Nancy, ICN Business School and the Ecole des Mines de Nancy.

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Works

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Mathieu Sarrasin and Sylvain Spanu, Beat Box

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Mélanie Jayantha, Laura Kwan, Florence Pewzer, Marie Rollin, Eden

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Aurélia Lucchesi, Hautbois

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Thierry Fournier, Set-up

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Kathy Denise, Coralie Forissier, Jenny Partouche, Specola Beccata

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Jean-François Robardet, Sperling

Echolalie

collective for curating, production and critique, 2006-2007

Collective for curating, production and critique. Founded in 2006 by Thierry Fournier (artist), Gérald Gauguier (author), Steven Hearn (producer), Marie Husson (artist), Myriam Marzouki (author and director), Daniel Migairou (producer), Isabelle Pellegrini (author), Valérie Pihet (Sciences Po / École des Arts Politiques) and Jean-François Robardet (artist).

This collective project was dedicated to production, curating and critique, exploring the transferts between visual arts, performing arts and writing. In 2007, Écholalie invited five artists, authors and researchers for a series of conferences: Miguel Benasayag (philosopher and psychoanalyst), Samuel Bianchini (artist), Céline Flécheux (philosopher), Per Hüttner (artist) and Bruno Latour (philosopher, anthropologist and sociologist). The collective has also curated the Open 2007 exhibition and performances on May 27th 2007 at Lelabo (Paris), in collaboration with CITu (Laboratories of Paris 1 et Paris 8 universities):

– Samuel Bianchini : “Diaporama #1 – Audience at work: niform, interactive installation” (projection)
– Manuel Coursin and Théo Kooijman : “Le Son des choses n°8 – Egoutte-moi” (performance)
– Emma Dusong : “La Corde” (performance)
– Juliette Fontaine : “Erotiques” (drawings)
– Thierry Fournier, Juliette Fontaine and Judith Morisseau : “Seul Richard – Overture” (performance)
– Thierry Fournier and Emmanuelle Lafon : “Outside lectures – Episode 1” (performance)
– Marie Husson : “WWW.” (photographs)
– Pascal Kirsch, Bénédicte Le Lamer and Florent Manneveau : “Guardamunt 34′” (performance)
– Myriam Marzouki, Christophe Brault and Clémence Léauté : “United Problems of Coût de la Main d’Œuvre” (theater, excerpt)
– Jean-François Robardet : “Powertool” (drawings)

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Electroshop

Research and creation workshop, Nancy College of Art, 2004-2016 (translation in progress)

Research and creation workshop
Nancy College of Art / Artem, 2004-2016
Led by Thierry Fournier and Jean-François Robardet

Translation in progress

Cet atelier de recherche et création a été initié par Samuel Bianchini en 2000, rejoint par Thierry Fournier en 2004 qui en a repris la coordination en 2007 avant d’être rejoint à son tour par Jean-François Robardet en 2008. L’atelier fait partie du dispositif ARTEM, spécifique à Nancy : une association entre l’École nationale supérieure d’Art, l’Ecole des Mines de Nancy et ICN Business School, dont le campus commun ouvrira en 2017. Comme les autres “Arcs” Artem, l’atelier accueille donc des étudiant-e-s des trois écoles, au niveau master.

Axes de recherche

Electroshop traite des pratiques numériques en art, en proposant au fil du temps des terrains d’expérimentation différents. Il explore notamment la question des dispositifs interactifs, dans le contexte d’installations, de créations scéniques ou performatives. Cette recherche se caractérise par trois directions principales : la notion de geste, la relation entre spectateurs et interprètes, et les mutations de la notion d’écriture. La question de l’interactivité dans un contexte scénique (théâtre, danse, performance) est nécessairement liée à la relation entre le corps et le geste de l’interprète ou du spectateur, et leur environnement. Le terme de geste est alors à comprendre dans son sens le plus large, de l’action corporelle à l’acte de langage : tout mouvement humain qui peut être « capté » par un dispositif réagissant en temps réel à ses variations. Les objets de la recherche portent donc sur l’invention de ces dispositifs, la conception du geste dans ces conditions, et la production de représentations multimédias à partir de la relation entre geste et dispositif en temps réel.

Les dispositifs interactifs peuvent donc concerner tout aussi bien les spectateurs que les interprètes, qui peuvent non seulement partager le même espace, mais aussi entrer en interaction avec les mêmes dispositifs. Les questions ouvertes par cette direction sont nombreuses : enjeux d’une mise en scène ou mise en jeu du spectateur, relations entre installation et performance, exploration des différences de pratique des dispositifs par les spectateurs et par les interprètes.

Enfin, l’invention de formes interactives renouvelle profondément la notion d’écriture (texte, chorégraphie, partition musicale) dans la mesure où celle-ci n’est pas fixée linéairement en amont, mais résulte d’une relation réciproque entre protagonistes (public et/ou interprètes) et dispositifs. Se posent alors des questions liées aux enjeux d’une écriture scénique, de l’élaboration d’une temporalité spécifique, et de l’invention de protocoles de production textuels, gestuels, spatiaux, sonores et musicaux.

Méthodologie

Ces projets sont soit des œuvres des artistes coordinateurs auxquels les étudiants sont invités à participer, soit des projets individuels ou collectifs d’étudiants. Dans les deux cas, on déploie une recherche-création par projet qui implique les étudiants sur l’ensemble de la conception et de la réalisation d’une œuvre, sous l’autorité de l’artiste coordinateur. Un tel principe permet d’installer une dynamique d’excellence par l’articulation de la recherche et de la pédagogie, la première faisant levier pour la seconde. Des créateurs professionnels, avec des étudiants, initient, conçoivent, expérimentent, réalisent, dirigent et rendent public un projet artistique. Impliqués sur toutes les phases et registres de la création, les étudiants font l’expérience complète d’un projet d’envergure, pluridisciplinaire, collectif et techniquement prospectif. Tous les étudiants sont invités à participer à la totalité du processus de recherche et création, quelle que soit leur filière d’origine, sans spécialisation de leur intervention.

Diffusion et valorisation

Chaque création donne toujours lieu à une diffusion publique. La finalisation, l’exposition et la diffusion dans un contexte professionnel des œuvres développées dans le cadre de l’Arc inscrit ainsi l’ensemble du processus de travail dans une logique de valorisation et de diffusion de la recherche :

– par une diffusion des créations de l’Arc auprès de contextes professionnels et de publics élargis, faisant connaître les travaux de recherche auprès d’une large audience. Depuis 2004, dix œuvres et expositions ont été réalisées dans le cadre de l’Arc Electroshop. L’ENSAN intervient pour tous ces projets comme coproducteur principal, en partenariat avec plusieurs institutions publiques et privées.

– par des actions régulières de publication sur différents supports. L’ENSAN intervient pour toutes ces publications comme coproducteur et/ou coéditeur (Les Éditions du Parc).

Historique des créations et diffusions

– En 2000-2001, création de l’exposition Hôtel des Beaux-Arts, Hôtel des Beaux-Arts, Nancy.

– En 2002-2003, création de l’exposition Promotion Artem au Centre commercial Cora Houdemont.

– En 2004-2005, première version de la création interactive pour danseur et spectateurs Réanimation, performance interactive pour danseurs et spectateurs de Samuel Bianchini, Thierry Fournier et Nathalie Simon. Diffusion publique le 5 juillet 2005 au Ballet de Lorraine. Partenariats : Centre chorégraphique national Ballet de Lorraine, SFR-Cegetel.

– En 2005-2006, création de l’installation 30×30 – Poursuite de Samuel Bianchini, en dialogue avec la proposition chorégraphique 30×30 de Paul-André Fortier. Présentation publique à Nancy, place de la Gare et tour Thiers le 6 mai 2006. Partenariat : Centre chorégraphique national – Ballet de Lorraine. 30×30 – Poursuite a également été exposée à la Ménagerie de Verre (Paris) dans le cadre du festival « Les Inaccoutumés » à l’invitation de Philippe Quesne. Partenariats : Vivarium Studio, Ménagerie de Verre, CiTu.

– En 2006-2007, création de l’installation Feedbackroom de Thierry Fournier, successivement exposée à l’ENSAN en juin 2007 puis dans le cadre de l’expo-labo OUTLAB organisée par le CiTu à la Bellevilloise (Paris) en novembre 2007. Partenariats : SFR-Cegetel, CiTu, CIDMA, La Bellevilloise, Pandore Production.

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– En 2007-2008, création de la version finale de la création interactive pour danseur et spectateurs Réanimation avec le danseur et chorégraphe Sylvain Prunenec, créée dans le cadre du festival Next à l’Espace Pasolini (Valenciennes). Partenariats : Espace Pasolini – Jeune Théâtre International, avec le soutien du Groupe ICN et du Groupe SFR-Cegetel. En mai 2009, Réanimation est donnée au festival international Rencontres chorégraphiques de Carthage (Tunisie), organisées par Syhem Belkodja et Philippe Baudelot.

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– En 2008-2009, création scénique Seul Richard conçue et dirigée par Thierry Fournier, avec l’ensemble des étudiants de l’Arc. Seul Richard est finalisé ensuite en résidence de création au Théâtre de la Mauvaise Tête (Marvejols, Lozère) puis à la Chartreuse de Villeneuve les Avignon – Centre national des Écritures du Spectacle, ou sa création a lieu en octobre 2010. Avec Emmanuelle Lafon (actrice), Jean-François Robardet et Juliette Fontaine (co-auteurs scénographie et musique).

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– En 2009-2010, projet Cohabitation I, création d’œuvres par les étudiants et projet curatorial. Expositions en juin 2010 à l’École nationale supérieure d’art de Nancy puis en février 2011 au Musée des Beaux-Arts de Nancy.

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– en 2010-2011, création de l’installation Hotspot de Thierry Fournier à Contexts, Paris, en collaboration et co-coordination avec Jean-François Robardet.

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– en 2011-2012, Cohabitation II, création d’œuvres par les étudiants et projet curatorial, exposition en avril 2012 à la Galerie NaMiMa, Ensa Nancy.

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– en 2012-2013 Coédition I, création collective d’une édition numérique sur iPad relatant les processus de recherche des 3 ateliers de Andrea Keen / Etienne Pressager / Lauren-Marie Joubert (Marcher), Justin Morin (Do it yourself) et Julien Prévieux (Art de la conjecture).

– en 2013-2014 Coédition II, création du catalogue sur iPad ALUM consacré à 40 artistes diplômés de l’Ensa Nancy (Marion Auburtin, Jean Bedez, Thomas Bellot, Etienne Boulanger, Thomas Braichet, Morgane Britscher, Emilie Brout & Maxime Marion, Dominique Cunin, Cristina Escobar, Elise Franck, Caroline Froissart, Virginie Fuhrmann, Jochen Gerner, Jérémy Gobé, Marco Godinho, Sébastien Gouju, Harold Guérin, Sylvie Guillaume, Paul Heintz, Simon Hitziger, Victor Hussenot, Marie Husson, Guillaume Janot, Marie Jouglet, Yonsoo Kang, Geoffrey Kayser, Benjamin Laurent Aman, Sophie Lécuyer, Heewon Lee, Aurélia Lucchesi, Mayumi Okura, Cécile Paris, Dominique Petitgand, Emmanuelle Potier, Rares Victor, Jean-François Robardet, Vivien Roussel, Aïda Salahovic, Emilie Salquèbre, Atsuki Takamoto, Sarah Vaxelaire).

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– en 2014-2015 création de The Self and the world, long-métrage collectif composé de 15 courts créés par les étudiants de l’Arc. Première projection publique à l’IECA Nancy le 5 mai 2015.

Publications

– Publication Hôtel des Beaux-Arts, Édition ENSA Nancy 2001.
– Publication Promotion Artem / École nationale supérieure d’art de Nancy, projets des Ateliers de recherche et création Artem, Édition ENSA Nancy 2003, avec le soutien de la Communauté urbaine du Grand Nancy et du Ministère de la Culture et de la Communication
– DVD Poursuite de Poursuite coédité en 2008, dans la collection Import, par Les presses du réel / MFC – Michèle Didier, co-édité par l’ENSAN / Les Éditions du Parc
– DVD Feedbackroom édité en 2009 aux Éditions du Point d’Exclamation, co-édité par l’ENSAN / Les Éditions du Parc.
– Publication R & C – Recherche et création, présentant un ensemble de projets de recherche en art, dont les axes de recherche de l’ENSAN. Ouvrage dirigé par Samuel Bianchini, co-édité par les Éditions Burozoïque et l’ENSAN / Les Éditions du Parc, paru en version e-book chez Art Book Magazine en mars 2012.
– Publication du catalogue sur iPad ALUM co-direction éditoriale par Thierry Fournier et Jean-François Robardet, coédition Art Book Magazine / Pandore / Ensa Nancy, 2014.

Pandore special issue – Juliette Fontaine

publication, 2003

Special issue #1 of the Pandore magazine – 2003

The work of Juliette Fontaine gathers several domains: drawing, films, performances, installations, sound pieces. She has participated to Pandore since the beginning: Worstward Hô, sound piece written after a Samuel Beckett’s text, was published with the issue #2.

Listen to the album:

La Folie du coucou

Breath

Alice chez le chat Balthus

Alice rit

It’s my name

Alice and the rabbit hole

Ping-Pong
(Juliette Fontaine / Thierry Fournier)

Poèmes respirés

Ricochets

Fenêtre sur et seuil
(texte Juliette Fontaine / sample Frédéric Darricades / voix Catherine Jackson)

Petites épilepsies illusoires – They come

Petites épilepsies illusoires – Elles viennent

Petites épilepsies illusoires – Il n’y a rien

Petites épilepsies illusoires – Que ferais-je sans ce monde sans visage

Petites épilepsies illusoires – Chant triste

Petites épilepsies illusoires – It’s different and the same

Petites épilepsies illusoires – The absence of love

Petites épilepsies illusoires – Elles viennent autres

La Chant des baleines

Other issues of Pandore: #0 to #4 | #6 and #7 | #8 | #9

Pandore

curatorial project and audio magazine, 1997-2004

Curatorial project and audio magazine, 1997-2004

Nine issues have been published between 1997 and 2004. It proposed to a wide range of authors (artists, writers, scientists, film and stage directors, musicians or composers, journalists, etc.) to communicate a sound recording in relationship with their current work and/or preoccupations. All the recordings are edited one after the other, in the chronological order of their arrival, without any cut, remix or reordering. Pandore published also a special issue dedicated to the sound works of the visual artist and author Juliette Fontaine.

Listen to extracts of the 9 issues : issues #0 to #5 | issues #6 and #7 | issue #8 | issue #9 | Special issue Juliette Fontaine

Interview of Thierry Fournier by Arnaud Laporte, France Culture (Multipistes program), April 24th, 2003 (in french):

Trailer (1998):

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