Ungrave

65 inch LCD screen, USB key, wood, program-generated video (1080p, 14h), 145 x 80 x 8 cm, 2020

On the ground, a very large screen shows the image of a tombstone whose inscriptions are constantly being rewritten, as if it had remained alive. Its first name, dates and epitaph are constantly erased and rewritten, often very quickly.

While the dead are those who, by definition, never respond anymore, Ungrave establishes the fiction of a zombie death, whose technology would have perverted the very principle and which would continue to bug ad vitam æternam, constantly questioning its existence and the best way to sum it up. The project evokes ironically the transhumanist ideology of an unlimited rewriting of life, where everything would still be possible, even after death. It is also a vision of hell, where traditionally the souls continue to wander and act, without never being able to get this over with or finding peace.

The name on the tombstone is alternatively John or Jane Doe. The date of death varies constantly, but the date of birth is always 2020, evoking a person who is somehow already promised to a “becoming-program”, in the Deleuzian sense of the term.

Produced with the support of Biennale Chroniques, 2020

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
Please note that the video shows the French version in a church, but the behavior and the text are aimed to be rewritten each time in situ.

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

Only Richard

Installation and film, 2018
Video (1:2.35 format, color, stereo sound, 1h40, loop), sound projection, dance floor, robotic arm, computer and program, wood, canvas, aluminum, 600 x 600 x 215 cm

The installation Only Richard is adapted from Richard II by William Shakespeare, who describes a king whose conviction to escape the laws of reality by his divine nature leads him to destitution and death. Richard here takes the form of a large robotic arm which dialogues on a set with a film including all the other characters – at the same time as he manipulates it: frame, blur, speed… Richard’s voice is interpreted by actress Emmanuelle Lafon.

The film was shot in a garden and a forest, with three actors and ten amateurs, mostly women. They face a subjective camera that is like Richard’s eye – replayed in the installation by the robot’s gestures. A confrontation then unfolds between the power and the people, the machine and the living, the divine and the profane. The project address multiple questions about power, technique and politics, gender, presence and absence in the world.

Video excerpts:

Credits

Translation: François-Victor Hugo (1872). Adaptation and direction of play Thierry Fournier and Jean-François Robardet. Performers: Emmanuelle Lafon (Richard’s voice), Pierre Carniaux, Eloïse Chabbal, Aurélie Claude, Charles Gonin, Mathieu Guigue, Sophie Jaskierowicz, Marianne Kaldi, Emilie Legret, Alexia Mérel, Claire Moindrot, Judith Morisseau, Tram Ahn Ngô, Sandrine Nicolas. Installation’s design with Jean-Baptiste Droulers, in dialogue with the Fresnoy, programming Etienne Landon and Mathieu Chamagne, sound editing and mixing with Marie Léon. Film production (2008-2009): Pandore Production, Ensad Nancy (Electroshop research and creation workshop), with the support of the Lorraine Region, the Chartreuse-CNES and the Dicréam / CNC. Production of the installation (2018) : Le Fresnoy – National Studio for Contemporary Arts.

Acknowledgements

L’Arcal Lyrique, Julien Arnaud, Avant-Rue Friche Théâtre, Franck Bauchard, Jean-François Chiama, Grégory Diguet and Bipolar, l’Ensemble Atopique, Juliette Fontaine, Antonio Guzman, Mains d’Œuvres, Florence March, Daniel Migairou, Giuseppe Molino, Frédérique Payn, Olga Pitarch, Benoît Résillot, Jean-François Robardet, le Studio-Théâtre de Vitry, Alain Fleischer, Eric Prigent and the whole Fresnoy team.

Nude

installation, 2017

Installation (2017)
Silicone moldings, leather, screen and electronic components, video (3’09”, HD, looped), led lights, plexiglas, steel, 180 x 60 x 80 cm

Nude forms a hybrid body made of anthropomorphic leathers for gloves, artificial silicone skins and a completely bare screen, like an organism of cables and translucent layers. Nude is also this color created by the fashion world, aiming at a “natural” appearance of the skins – but the white ones. The video projected on the screen is the first 3D mapped hand (and therefore the first skin) created in 1972 by Ed Catmull, future founder of Pixar. From the transformation of animals to that of bodies, the installation conjures up images of a human being each time recreated or emulated by technology. 

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

Oracles

series of UV prints on plexiglass, 2017

UV prints on plexiglas, acoustic foam, neon lights, 200 x 66 x 18 cm (2017)

Three text messages are generated on a smartphone with a protocol that consists in randomly writing a first word, which is followed exclusively by the device’s automatic next-word suggestions. While this process is aimed to eliminate any decision, it appears that the algorithm also includes personal expressions, without revealing to what extent. Something that could seem exclusively produced by a machine is actually already the result of an hybridization by a program permanently fed by the capture of human’s behavior.

Oracles exists in two editions: English and French

Exhibition views : Thierry Fournier, Axolotl, duo show with Laura Gozlan, 2018

Exhibition view : Thierry Fournier, Heterotopia, solo show, 2017

Just in case

animated gif, installation, 2016

Online version: animated gif (7″), square format, 2015
Installation version: video (12h, 1080p, 16/9, no sound), USB key, LCD screen, steel stand, 170 x 75 x 75 cm, 2017

A screen wonders if the person who observes it is human (“checking you are human….”). It hesitates, it calculates, a wheel turns. Finally, it stops and thanks. Then it starts again, ad infinitum.

Borrowing the language of the captchas, « Just in case » sets up a fictional situation where an apparatus would have become legitimate to detect alone who would be human or not. For a very brief moment, we may think that the screen is actually observing us – besides, does it compute when we are not there? For this entity repeats indefinitely its process, we quickly understand that it plays alone. So, after considering for a brief moment the dystopian hypothesis that a machine could become legitimate to evaluate us, one can continue to watch it, as the uncanny spectacle of an autonomous life form.

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.

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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

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Luce Moreau, L’Horizon des évènements 2 : Gauche-droite, 2014

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

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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.

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.

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

Thierry-Fournier-Ce-qui-manque_02
Armand Behar, Une prière pour les candidats au voyage

Thierry-Fournier-Ce-qui-manque-Gozlan_01
Laura Gozlan, Remote Viewing

Thierry-Fournier-Ce-qui-manque_01

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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Thierry-Fournier-Ce-qui-manque-publication_9678

Thierry-Fournier-Ce-qui-manque-publication_9679

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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Thierry-Fournier-Fenetre-augmentee-Marseille-P1150638

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.

Noli me tangere

installation, 2013

installation, 2013

A wall of speakers and a microphone generate a huge saturated sound feedback whose intensity is increasing as the visitors approach them. Each gesture modulates the sound, involving a specific perception of our own presence, as well as the sensation of a living being standing in the room.

Thierry-Fournier-Noli-me-tangere_7953

Thierry-Fournier-Noli-me-tangere_7963

See you

installation, 2008-2012

Installation, 2008-2012
French title : A+

In an urban space, a large steel stele shows a screen that broadcasts exactly the image seen behind it, like a window – but constantly delayed by 24 hours. The public is in turn actor and viewer of the same scene, between those who pass in the image and those who observe them. A future and a past face each other, through a screen.

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,

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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.

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.

Pariétale

Museographic installation – Large interactive multi-user table, 2010

Museographic installation – Large interactive multi-user table, 2010

This table was created for Nestploria Center for Digital Interpretation at the Gargas Caves, one of Europe’s primary sites of prehistoric “negative hands”. Based entirely on touch, the intuitive design confronts visitors’ hands with the imprints left by prehistoric man on cave walls 27,000 years ago.

Discover and copy the gesture

Approaching negative prehistoric hands with a tactile device provided an opportunity for a particularly stimulating historical coming together. The table is treated as a “frame” that visitors can slide along a very large image of the cave walls. Doing so, they discover 16 prehistoric imprints in context. When you touch one of them, an interactive window appears: composition and application of color, technique, historical hypotheses, examination of detail with a dynamic magnifying glass. Visitors can also make their own handprint, next to the prehistoric hand. Through touch, visitors are permanently connected to the original prehistoric gesture. The device can be used by 12 people simultaneously.

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Navigate to scale 1

All images (walls, prehistoric and visitor imprints) are drawn on a 1 to 1 scale. The table’s large dimensions allow visitors to experience the real dimensions of the cave walls. These two directions – tactile exploration and a life size scale – materialize these multimillenia old imprints and allow the almost unthinkable exploration of the cave itself.

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Digital engineering

Because of its very large size (4.80 x 1.20 m), this apparatus brought together a team of engineers, programmers and technicians gathered by Thierry Fournier in collaboration with the EnsadLab research laboratory from the École Nationale Supérieure des Arts Décoratifs de Paris (“Sensitive Surfaces” stream).

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Design and realization

Design and Art Direction: Thierry Fournier
Scientific Committee text: Jean Clottes, Christina San Juan Foucher, Pascal Foucher, Yannick Le Guillou, Yoan Rumeau
Engineering, technical management and collaborative design: Jean-Baptiste Droulers
Computer programming and collaborative design: Mathieu Chamagne
Construction: Gregory Chombard
Museum collaboration: Transfaire / Nahali Grenet
Coordination scenic Pauline Mercier
Photographs: Gilles Cohen and Yoan Rumeau
Translations: David Beytelmann and Damien Bright
Project produced by the Community of Communes of Saint-Laurent de Neste edited by Josette Durrieu
Production: Orphaz
In collaboration with the research program DRII (“Sensitive Surfaces” stream) of EnsadLab (National School of Decorative Arts Laboratory)
Student: Marie-Julie Bourgeois, Anahita Hekmat, Tomek Jarolim, Antoine Villeret.

Infocus

installation, 2009

Installation, 2009

A series of fixed-focus photographs of the body are taken with an extremely short depth of field, the position of the operator being the only variable parameter. Almost entirely blurred, these photographs are projected with a slide projector on autofocus mode, thus unable to stabilize itself. A slight movement results from this permanent oscillation. The apparatus associates three instabilities and focusing concerns: from operator, the projector and the spectator.

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Frost

performance, 2008

Performance, 2008
Thierry Fournier (apparatus and performance) / Jean-François Robardet (sculpture and text). Part of the Outside lectures performances series.

The journey done by a performer with a microphone on a polystyrene sculpture, becomes the sound metaphore of a polar landscape and architecture. The sculpture faces a bass amplificator on which the microphone is plugged, at the limit of the feedback, its sound transformed by a program into grans, rumblings and cracklings. The sound is permanently modulated by the performer’s gesture who modulates and excites the resonances in the sculpture’s holes. A gesture and a dance result of these actions, searching a balance between motion, sound and protection against the sound threats of the apparatus.

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Photographs by Samuel Bianchini.

Outside lectures

series of 7 performances, 2008

Series of 7 performances and curating, 2008
With Emmanuelle Lafon

These seven performances were created with five invited artists: David Beytelmann, Juliette Fontaine, Noëlle Renaude, Jean-François Robardet and Esther Salmona. Each of them adresses a relation to an outside, by the way of a specific protocol and apparatus : following a TV flow word by word (Close Circuit), interview about immigration with a french/argentinian philosopher, absurd lecture about homeless people, landscape described in real time thru the phone, sonic simulation of a catastrophe (Frost), etc. The performer and the audience share the same space, in a global apparatus that is reconfigured for each venue.

This “theatre of operations” is part and parcel of an overall approach questioning the relations between writing, visual arts and performance: apparatus, relations with the audience, critical choice of performance venues.

The series Outside Lectures is composed by the performances: Closed circuit, Foreign Office (guest author David Beytelmann), The Right Distance (guest author Noëlle Renaude), Ready mix (with Esther Salmona), Residency, Frost (with Jean-François Robardet), Sentinel (guest artist Juliette Fontaine).

Closed circuit, performance, with Emmanuelle Lafon, Lelabo, Paris, 2007

Thierry Fournier | Circuit Fermé 2

Thierry Fournier | Circuit Fermé 1

Thierry Fournier | Conférences du dehors 4

Thierry Fournier | A domicile 3

Thierry Fournier | A domicile 2

Thierry Fournier | A domicile 1

Thierry Fournier | La Bonne Distance 2

Thierry Fournier | Sentinelle 4

Thierry Fournier | Ministère de l'extérieur 2

Thierry Fournier | Sentinelle 1

Thierry Fournier | Ready mix 1

Thierry Fournier | Ready mix 2

Photographs by Frédéric Nauczyciel and Alexandre Nollet.

The Screens

music and sound installation for the theater, 2002

Original title : Les Paravents
Music and sound installation for the theater
Les Paravents by Jean Genet / Stage direction Frédéric Fisbach, 2002

Monstruous theater play taking place during the algerian war, involving 96 characters, many parallel narrations and simultaneous scenes, The Screens were directed in 2002 by Frédéric Fisbach who chose to display the casting between three actors for the 3 main characters and japanese bunraku puppets for all the others. The bunraku company is Youki-za, one of the oldest in Japan, founded at the XVIth century. Puppet’s voices were played live by two other actors.

The Screens seems to be a proposition for a total theater – a feast as Genet said – where the text accompanies a poetic action which takes place either on stages or screens. The Screens carry a dream or a vision of the theater which could be simultaneously a comedy and a solemn feast, dedicated to the living and the dead. A poem for the stage reviving the politics, in the sense it offers a vision of the world to the public” (F. Fisbach)

The music for live electronics, the voice’s amplification and transformation and the spatialization of every element was played live on stage by Jean-Baptiste Droulers.

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