The Probe

Light projector, camera, screen, amplifier and speaker, computer, program, cables
L’Art dans les chapelles festival, Pontivy (FR), Notre-Dame-du-Moustoir, Malguénac, 18 July – 22 September 2020

Video capture (French version of the installation, with English subtitles) :

A projector turns on itself, slowly, exploring the space around it. It projects an intense rectangle of white light that it moves over all walls and objects. It also carries a camera, which films exactly what it illuminates. His image is shown on a large screen, placed nearby against a wall, like a painting: we see what he sees.

This apparatus speaks, in a synthesized voice, as if it was thinking aloud and trying to describe what surrounds it. It searches, stops at details, tries to understand space and objects, wonders about this place and its meaning but also about his own status and perception. Sometimes it seems to react to the presence of humans.

The Probe thus installs in a space the fiction of a non-human and living entity that inhabits it, like an artificial and panoptic force. The apparatus can also evoke the religious expectation that we have of technology, especially artificial intelligence, whose recurring motif is the surpassing of human capacities.

The language of the work calls up several registers, from surveillance devices to images of miraculous apparitions in classical painting, where the irruption of a ray of light often represents the emergence of the divine or a revelation. Here, the direction of the light is reversed: instead of coming from the outside, it emerges from the inside, as if the space had been turned upside down to become the theatre of an apparition and a questioning of the visible.

Coproduction by L’Art dans les chapelles
Engineering and programming Etienne Landon – thanks to Ben Kuperberg

Machinal

Solo show
Villa Henry, Nice
Curated by Isabelle Pellegrini
March 25 to April 28, 2018

Isabelle Pellegrini presents Machinal at the Villa Henry, a solo exhibition by Thierry Fournier that follows her residency for the creation of En Vigie, associated here with three other works.

Today, many images are no longer produced in immediate relation with the human eye, but are produced autonomously by machines and programs. Most of these “assisted visions” are deployed in the military or on the web (Google, Apple, Facebook…), the detection and anticipation of behavior often using similar means for security or commercial purposes. These “intelligent machines” analyze images but can also perform autonomous actions, as in the case of UAVs. In this context, how do we still define ourselves and where does our responsibility lie? What is our role when we are dealing with systems that not only extend our own aim but anticipate it, even replace it? Do we expect machines to look at our place – even to look at us and define us? What are we trying to see (or not see) through them?

Thierry Fournier’s approach frequently posits the fictional hypothesis that things (objects, landscape, network, machines…) would have their own life, by creating situations of displacement or confrontation with them. With the exhibition Machinal, he brings together four works in which our gaze is inseparable from that of these devices. The term “machine” here refers both to a thought that no longer pays attention to its object (or whose attention is absorbed and captured by devices, as on the Internet) – and the look produced by the machines themselves, autonomously: machine as one would say animal. The classical frameworks of the gaze as perspective and horizon are then redefined as a territory shared, even negotiated, between our own vision and that which devices deploy on the world and on ourselves.

En Vigie / Nice (2018) is a generative video where a program scrutinizes a landscape of horizon, deploying a cinematographic suspense that invites us to espouse its own logic. The installation Just in Case (2017) ironically imagines that a program would be legitimate to detect if we are indeed human, riveting us to the spectacle of its calculation and waiting for its verdict. With Penser voir (2018), a surveillance camera targeting a beach in Nice testifies by a synthetic voice of its inability to detect anything. The series of digital images Non-Lieu (2016) uses photographs of bombardments found on the web and replaces everything that makes it possible to identify the place with a background pattern. Through this set of four pieces, the exhibition proposes a more general reflection on the links and limits between humans and machines, our responsibility and our gaze.

Talk with Fabienne Grasser-Fulchéri

A talk was organised on March 24th with Thierry Fournier, Isabelle Pellegrini and Fabienne Grasser-Fulchéri, curator and art critic, director of the Espace de l’Art Concret in Mouans-Sartoux. Full recording (French):

Catalogue

Pandore Édition publishes a limited edition catalogue, including a text by critic and philosopher Céline Flécheux (L’horizon, Klincksieck, 2014; L’horizon, des traités de perspective au Land Art, P. U. de Rennes, 2009), an interview with Isabelle Pellegrini and documentation on the works.

Exhibition photographs

En Vigie: video excerpt

En Vigie / Nice, generative video, with sound, looped, 31′, 2018 (extrait)

En vigie

Series of generative videos, 16/9e, 20’, with sound, on loop
LCD screen, usb key, sound, 2018

En Vigie (The Lookout) is a series of generative videos, which establishes a paradoxical relationship between looking and waiting. A landscape chosen by the sea or a large river is filmed in a fixed shot. The image is then interpreted by a program: each movement is highlighted, like a firefly. All these movements control the movement of a reading head in an orchestral crescendo, which never ceases to vary and whose climax never occurs.

Through this situation of artificial cinematographic suspense, the landscape and the horizon become the object of a shared gaze between human and machine, which questions our physical limits but also the contemporary forms of augmented surveillance – of which the Mediterranean territory is particularly invested.

The series includes three autonomous videos: En Vigie / Strasbourg (2017), En Vigie / Nice and En Vigie / Venise (2018), each lasting approximately 20′, on loop. En Vigie / Nice is presented as part of the solo exhibition Machinal, Villa Henry, Nice, from 25 March to 28 April 2018, accompanied by a catalogue with a text by Céline Flécheux and an interview with Isabelle Pellegrini.

I quit

installation, 2017

Installation (2017)
series of videos found on Youtube (32′), video player and projector, bathroom mirror, headphones, variable dimensions.
In Heterotopia, solo show, Musée d’art et d’histoire de Saint-Denis, 16-07 – 06-08.

The installation projects in the exhibition space a series of video testimonials by people in the US who have left the social networks… and which paradoxically publish it all on Youtube. The abandonment of an experience described as superficial but providing also of a social recognition, and the resulting anxiety provoke a proselytizing discourse of “recovered life”, which evokes both the born again and the collectives of dependent persons, raising the quasi-religious dimensions of these attachments.
 
The device consists of a video projector and a bathroom mirror that projects the image to the ceiling or height of the room, as if their image came from outside our space. The videos are in English. An audio headset allows to listen to them individually.

List of videos URL:
Amy M – Why I quit Social Media – https://www.youtube.com/watch?v=TgdCdd6ShLA
BrookeAlexia – Deleting my social media https://www.youtube.com/watch?v=O3Ed9vwhsRU
Cora Handley – Why I Deleted Most of My Social Media And Cut Off Most of My Friends – https://www.youtube.com/watch?v=-l0ZAd8D4Ao
D-Span – Why I quit social media and what it did! – https://www.youtube.com/watch?v=ljsxyN_rzok
Elessa O’Neil – Why I Really Quit Social Media – https://www.youtube.com/watch?v=gmAbwTQvWX8
Hans Jordan P – Why I quit Social Media – https://www.youtube.com/watch?v=80SVzi7BEnI
Haters Keep Up – Jay Junior – The Time I quit Social Media: Experiment – https://www.youtube.com/watch?v=P1wlWT_2DNI
Iggy Azalea – Just Quit Social Media! – https://www.youtube.com/watch?v=DmN3_1n0ZKw
Infinite Stars – Why I Quit Social Media – https://www.youtube.com/watch?v=iHNhDE8NVvI
Ismael Millan – Why I quit Social Media!!! – https://www.youtube.com/watch?v=tCACOqaWZJ0
Koi Fresco – I’m Leaving Social Media… (Why You Should Too) – https://www.youtube.com/watch?v=hTbN68qvjwI
Lexi Dacrel – I Quit Social Media – https://www.youtube.com/watch?v=jEIy-Z6pqsA
Mischa Janiec – Why I Quit Social Media – https://www.youtube.com/watch?v=Rr6qaThFx4Y
Nikki Sharp – Why I’m Quitting Social Media – https://www.youtube.com/watch?v=n7YXOJo-78o
Paullikespasta – Why I Quit Social Media Response – https://www.youtube.com/watch?v=o2_JbfRKXdo
Set Sail – Why I’m quitting Social Media For A Month – https://www.youtube.com/watch?v=IRbGesLcTMU
Sleeping Is For Losers – I quit Social Media – https://www.youtube.com/watch?v=5XukglIWwNk

The Promise

installation, 2016

Series of prints (2016)
Installation version: print on canvas, modulated lights, 1500 x 370 x 250 cm

By displaying typical messages of advertising and the web in a static form, The Promise highlights expectations of control on the self and the world, and the suspension of the attention that results. Here, the installation displays three giant texts in three windows, lit by pulsations, their large scale addressing pedestrians and traffic.

Installation created within the group show Data on View

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.

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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.

Ex/if

Series of videos, 2014

Series of 3 videos, HD 16/9 (5’06, 1’43, 0’50), 2014

The EX/IF short videos series were filmed in Japan. They relate situations where the human and urban environment behaves itself like an organism or a machine: the abstract urban flow of Tokyo filmed at night from the top of a tower (#1, Mori), a tennis training with a crowd where each player shouts the description of his action (#2, Service), a panoptic device on a building roof, where the accumulation of CCTV and surveillance sensors seems to be compensated by ambient music (#3, Cool). To account for the spontaneous nature of these phenomena, the videos are rendered without any editing, hence their title which refers to the raw metadata format of digital images.

Thierry-Fournier-Veilles-03

Thierry-Fournier-Veilles-01

Precursion

network installation, 2014

In situ and network installation, 2014

The installation Precursion questions the relationships between democracy, communication and spectacle. A program randomly assembles: video footage made in the surroundings of the exhibition; news feeds in real time; and excerpts of blockbusters’ musics. It generates an infinite video, by combining these three elements. The resulting layering of meanings – sometimes comical, sometimes tragic – highlights a general storytelling shared by TV, reality shows and the blockbusters, that are always centered on the imminence of events or even disasters : the attention economy at work. The work always implies a 2-days session on location to shoot the videos.

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Precursion was created within a residency in digital arts at Maison Populaire (Montreuil, FR) in 2014. Photograph by Emile Oroumov.

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.

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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.

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

Thierry-Fournier-Fenetre-augmentee-Marseille-Aman
Benjamin Laurent Aman, Dead Drops, 2013

Thierry-Fournier-Fenetre-augmentee-Marseille-Bourgeois
Marie-Julie Bourgeois, Points de fuite, 2013

Thierry-Fournier-Fenetre-augmentee-Marseille-Chatonsky
Grégory Chatonsky, À l’image, 2013

Thierry-Fournier-Fenetre-augmentee-Marseille-Collectif
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.

See you

installation, 2008-2012

Installation, 2008-2012
French title : A+

Placed in a street, a video screen displays exactly what can be seen behind it, as if it was a window – except that the video is displayed with a constant 24h delay. A coexistence of two temporalities into the same perspective creates a “temporal depth” and an impossible closed circuit for onlookers. Alternately actors and ghosts of the same scene, those who pass in the image and those who observe them coexist without ever communicating, unless they come back at the same place exactly 24h later.

Thierry-Fournier_A+_7746

Production Lille3000 and Pandore Production, executive production Bipolar. With the sipport of Le Cube.

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

Thierry-Fournier-Fenetre-augmentee-Prats-Bakhache-Feger
Christelle Bakhache and Clément Feger, Gypaetus politicus

Thierry-Fournier-Fenetre-augmentee-Prats-Cristofol-Parra
Jean Cristofol and François Parra, La Borne 514

Thierry-Fournier-Fenetre-augmentee-Prats-Fontaine
Juliette Fontaine, Sisyphe

Thierry-Fournier-Fenetre-augmentee-Prats-Fournier
Thierry Fournier, Anachrones

Thierry-Fournier-Fenetre-augmentee-Prats-Hitziger
Simon Hitziger, Hike in crystals

Thierry-Fournier-Fenetre-augmentee-Prats-Jarolim
Tomek Jarolim, Abcisses

Thierry-Fournier-Fenetre-augmentee-Prats-Robardet
Jean-François Robardet, The Night Shift

Credits

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

Anachrones

series of videos, 2012

Series of videos (2012)
Cloud (2’25”), Mountain (3’36”), Run (2’25”)
Fenêtre augmentée, Prats-de-Mollo (66), 2012 – 2017

Anachrones addresses the relationship between landscape, human and time: not through the manifestation of the natural elements, but at a very large scale, that would evoke the origins of the Earth, as well as events that may happen in a distant future. His figures are a-temporal: they may be fictional, or take place in a parallel universe.

One deploys a mountain of smoke that grows and fades, the second a cloud that rises from the horizon to dissolve in a valley: the third raises two living forms on a mountainside.

Thierry-Fournier_Anachrones-Cloud

Thierry-Fournier_Anachrones-Mountain_1

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,

Thierry-Fournier-Fenetre-augmentee-Paris-Argote
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

Thierry-Fournier-Fenetre-augmentee-Paris-Carniaux
Pierre Carniaux : Vous êtes ici

Thierry-Fournier-Fenetre-augmentee-Paris-Flecheux
Céline Flécheux : Fenêtre et horizon (interview péripatéticienne)

Thierry-Fournier-Fenetre-augmentee-Paris-Fontaine
Juliette Fontaine : Les Invisibles / J’ai rêvé la nuit verte / Nuages flottants,

Thierry-Fournier-Fenetre-augmentee-Paris-Fournier
Thierry Fournier : Panopticons, Fictionnalismes, Usual Suspects

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Marie Husson, Vertigo

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Tomek Jarolim, Monochromes

Thierry-Fournier-Fenetre-augmentee-Paris-Robardet
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.

Hotspot

installation, 2011

installation, 2011

The installation fills the entire exhibition space as well as exterior display surfaces. Crushed underfoot, glass debris smashes as spectators cross the exhibition floor. Amplified and distorted, these sounds are mixed with sound bytes from disaster films. Meanwhile, media coverage broadcasts breaking news and current affairs reports to the street outside, it too under surveillance via video and sound recordings, mapping, etc. A derisive theater of operations, the exhibition creates an interface between these worlds of observation and surveillance: inside and outside, mutually threatening, where the spectator is both observer and protagonist. The storytelling of fear in experimentation.

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Set-up

sound installation, 2011

Sound installation, 2010-2014

Set-up is a sound installation that gives orders to exhibition visitors, in the tone of service and security messages: “Everything’s going to be alright”, “Everybody down!”, “If you’re young, rebel against older people”, etc. Playing on the ambiguity between artwork and service messages, Setup suggests a fantasy of control of the spectators, to which the apparatus addresses itself, as if to visitors of an amusement park or an hostile environment.




The texts include quotations proposed by Jean-François Robardet.
Voice: Juliette Fontaine.

Fermata

installation, 2009

Installation, 2009

In a gallery’s window, a camera films the street. Its image is projected on a large screen behind it. As soon as one or more visitors enter the room, the video’s speed is disturbed by their movements and gestures. If the visitor stops, the image is frozen but a vibration, which reacts to the slightest gesture, lives on. While image and sound are frozen, the camera goes on recording the image of the street: if the visitor moves again, the video starts up again, speeded up, and becomes gradually synchronized with the real time outside. Passers-by see themselves in a mirror controlled by other observers, who are themselves part and parcel of the scene seen through the window. The illusion of a power over time becomes the springboard for a generalized loop of exhibition and collective interaction.

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Point d’orgue was created in 2009 within the frame of a residency at Kawenga (Montpellier, FR).

Stories Machine

sound installation, 2004

Sound installation, 2004
Objects design: Zarko
Landscape design: Pascale Langrand and François Schelameur

The Garden of the Navel is a collective project based on an imaginary mythology that ironically names Pougne-Hérisson (a hamlet of 200 inhabitants) as the homeland of tales, where “all stories come from, and where they should come back”. The Stories Machine is an interactive sound installation which composes a soundscape with the stories that the visitors leave themselves. Several microphones are placed in the garden, in which visitors are invited to leave a story of their own, lasting anything from a few seconds to a few minutes, that will then be stored by the installation. As soon as it has been recorded, each story lives its own life and occupies the space. The lifetime of a story is unlimited: it is always heard immediately after it has been recorded, but it may reappear weeks or months later. The space of the Garden develops and grows with time: it is nurtured, visited and searched by the visitors themselves, like a talking landscape, organic and unpredictable.

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