Dépli

installation, 2013

Installation, 2013
In dialog with the movie Last Room by Pierre Carniaux

Artist Thierry Fournier teamed up with director Pierre Carniaux to create together a diptych, composed of the interactive artwork on iPad Dépli and the film Last Room, both based on the same footage in Japan. The project proposes a new form of cinematographic writing that engages the viewer’s gaze, status and practice.

The film Last Room combines stories shot in hotel rooms with a collective history surrounding the abandoned island of Gunkanijima. It deals with the relationship between the collective and the intimate, the spoken word and the landscape.

Dépli enables viewers to navigate through the film’s shots and space-time, using a tactile interface. A “playable” cinema, in which the viewer reclaims, through his gestures, part of the cinematographic writing. Developed on iPad, Dépli can be experienced individually at home or collectively, in an exhibition context or in a movie theater – after or before the film. The film’s space-time is treated as a seamless on-going matter in which the spectator navigates, through a tactile interface that involves him physically. This navigation can be felt as the path of a body and a gaze : moving within temporality, sliding or mixing from one shot to another, playing variations of the shot’s speed… Using an interface on tablet, Dépli can be showed and played in movie theaters, exhibitions or at home.

Fournier-Depli-11

Publications and prizes

In March 2013, Shellac and Pandore have published a collector box
In 2013, Shellac et Pandore Édition published trilingual special box Last Room / Dépli including the film DVD, the Dépli iPad application and a critical book dedicated to the project, with texts by Philippe Avril, Nicolas Feodoroff, Jean-Pierre Rehm, Anne-Lou Vicente, Pierre Carniaux and Thierry Fournier.

Depli-publication_8014

Last Room / Dépli was selected by Hors Pistes Festival (Centre Pompidou, Paris), ZKM Karksruhe within the “10 best art apps” competition and exhibition in 2013. It received the “special jury prize for interactive cinema” at Festival du Nouveau Cinéma (Montréal Canada) in 2013. See also special issue of Archée online art magazine dedicated to the project.

Programing Olivier Guillerminet and Jonathan Tanant. Production: Lux scène nationale de Valence – Pandore – DICRéAM – Scène nationale d’Evreux Louviers.

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.

Open Source

installation, 2008-2011

Installation, 2008-2011

The installation is made up of an ellipse-shaped, shallow translucent basin of water, in front of which stands a multitouch interface. It enables the audience to draw a word or make a sketch directly with their hand, as if in the condensation on a window pane. Once a drawing is finished, it appears on the surface of the pool and drifts about with the others. The oldest sketches gradually fade out and make way for new ones.

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.

Thierry-Fournier-Hotspot_2954

Thierry-Fournier-Hotspot_3028

Usual Suspects

installation, 2011

Interactive installation, 2011
Camera, computer, real time program, projection or screen

A program frames in a red rectangle any moving person or object. The device is extremely sensitive and reacts to any movement: passers-by but also objects, leaves, light reflections, etc. Using a CCTV system rendered absurd by the indiscriminate nature of the machine, the installation stages the fictionalisation of reality shared by the “surveillance society” and blockbuster films: law enforcement as a spectacle.

Limbo

installation, 2011

Installation, 2011
Camera, computer, real time program, IR lights, projection, variable dimensions.

Limbo confronts the audience with spectral shapes that seem to be generated by their own movements, but in a different space and temporality. Blurred and saturated, reversed, delayed and extremely slow, these white shadows look similar to the humans, as they seem irreducibly foreign.

Thierry-Fournier-Limbo_5475

Thierry-Fournier-Limbo_7077

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.

Thierry-Fournier-Point-dorgue_5937

Thierry-Fournier-Point-dorgue_5867

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

Reanimation

interactive performance for a dancer and spectators, 2008

performance for a dancer and spectators (2008)
Samuel Bianchini, Thierry Fournier and Sylvain Prunenec

Reanimation is both an installation and a performance: a dancer and spectators share the same apparatus. A dark and square playground is divided in two parts by a screen, on which is projected the image of a dense fog. On both sides of the screen, the dancer and the spectators face one to each other. The fog is quite opaque, but the presence of the spectators provokes the apparition of black and moving shadows which allow to see thru them. The dancer explores this shared space and this variable conditions of visibility. He is in constant relationship with the public and the music, which is completely generated in real time by his movements. In this active confrontation, the performance is the result of the spectator’s behavior, as well as of the dancer’s.

Thierry-Fournier-Reanimation_4245

Thierry-Fournier-Reanimation_4229

Thierry-Fournier-Reanimation_07

Coproduction École nationale supérieure d’art de Nancy, Atelier de recherche et de création ElectroShop, Alliance Artem, Espace Pasolini Théâtre international (Valenciennes), with support from Région Lorraine, Groupe ICN and SFR-Cegetel. Photographs Samuel Bianchini and Thierry Fournier.

Residency

performance, 2008

performance, 2008
Series of performances Outside Lectures (Conférences du dehors) with Emmanuelle Lafon.

The circular motion of Febuary 21st 2006, voted by Interior Ministry of France, lays down the law on how to legally arrest conditions for illegal immigrants. Given they’re under arrest only on the outside, it thus legislates on what may be considered as a domicile or not: courtyard, yacht, operating theatre… A videoprojection displays the text of the circular motion like credits at the end of a blockbuster film, with its typical music. The performer faces the projection and repeats the text. Her behavior changes progressively, transforming itself towards an attack of the apparatus. The whole situation points out the warlike fiction suggested by the text, which gradually contaminates the performer’s mind, to the point of an extreme violence.

Thierry-Fournier-A-domicile_3453

Thierry-Fournier-A-domicile_21

Thierry-Fournier-A-domicile_2922

Residency starts with the music of an American war film, all brass and drum rolling, that could be Independence Day or Medal of Honor: a ceremony stirring patriotic fictions from their slumber.

The set-up including laptop, amplifier and videoprojector starts up by itself, blasting out the music and projecting an image, a recording of the performance room itself. The performer comes closer, and finds themself faced with a screen, a teleprompter, and so takes the microphone and begins to read the scrolling text. Their face appears as a close-up on the videoprojection, the camera’s point of view is that of a computer filming its user—except that the face is entirely pixellated, like the privacy protection used on TV talk-shows.

The scrolling text also appears on the video projection, superimposed on the face, at the same time as it appears on the teleprompter’s screen. It’s made up of excerpts from the ministerial circular released on February 21st 2006 by the Interior Ministry, detailing the conditions of legal arrest for foreigners in breach of national borders and migration laws, stipulating the steps necessary to effect apprehension “on public streets, at government or police shopfronts, at home or within housing complexes.” (Circular NOR : JUSD0630020C – Crom.06.5/E1-21.02.2006).

Given that most such arrests are to take place outside, this circular is distinct in that it therefore legislates on all spaces considered to be a dwelling or not: apartment, building corridor, pleasure craft (yacht), abode destroyed by fire, operating theater, etc. It’s in this sense that excerpts were selected to underline this distinctness.

The performer thus carries out their reading of the text, in a literally “closed circuit” arrangement, as if the whole set up—composed of computer, microphone, amplifier and projector—composed all of the content, its transformation and its very own fiction. The text is processed like the opening credits to a blockbuster that might have stimulated its author’s imagination; it progressively contaminates the performer to the point of extreme violence. The actress’ voice slowly deepens and lowers as the text lists the possible arrest locations, and the calm balance is broken when, with a monstrous Darth Vader voice, she literally attacks the amplifier with the microphone, the audio feedback creating extremely violent sounds of fragging and explosion. After a short, intense attack, the music leaves the fields of battle to take on characteristics befitting redemption, that telltale register of a war film finale, and the spoken delivery of the circular ends with its two last moments: the statement that an operating theater is an acceptable location of arrest, and the list of administrative recipients for the circular.

Step to step

installation, 2008

Installation, 2008

A video shows a fitness lesson, given by a coach with techno music and costume, facing a low white pedestal in a room. A soon as a visitor puts a foot on the plinth, the speed of the video begins to slow down, until getting completely freezed if the spectator climbs on it. The sound is reacting as well, the voice remaining comprehensible but slowing down until its extreme limit. A general and paradoxal loop is established between the coach and the audience : the “double bind” of an impossible imitation, and the never-resolved transfer of the artwork between the image and the spectator’s body.

Thierry-Fournier-Step-to-step-02

Thierry-Fournier-Step-to-step-20

Thierry-Fournier-Step-to-step-06

Feedbackroom

installation, 2007

Interactive installation, 2007

Surrounded by a white blinking light, a microphone is placed on a stand, at the center of a complete dark room. As the visitors enter the room, bold and saturated feedbacks began to appear, reacting to their slightest movements, and increasing strongly as they approach the microphone. Each gesture modulates the sound, provoking for the visitors an increasing perception of their own body, as well as the sensation that a dangerous living thing is haunting the stage. The only visible forms are white, vibrating and pixellized shadows projected on the floor, around the microphone and around every spectator getting in the space. These pixelated forms are the negative shapes of the visitor’s camera caption from the ceiling: literally, they are the generators of the sound.

In this dark electric atmosphere that evokes punk music and science fiction, the visitors become both the instigators and the “willing victims” of a wild phenomenon that eludes them: a paradoxal situation of fear, self-exhibition and play.

Thierry-Fournier-Feedbackroom_7608

Thierry-Fournier-Feedbackoom-Outlab-03

Coproduction Ecole nationale supérieure d’art de Nancy / Atelier de recherche et création Electroshop / Alliance Artem. A documentary film about Feedbackroom has been released in DVD by Éditions du Point d’exclamation and Éditions du Parc / ENSA Nancy, 2009.

The Life of Things

installation, 2007 – video, 2009

installation (2006) and video (2009)

Created initially as an installation, following the invitation of Technisches Wien Museum for its permanent collection, the video The Life of Things (Das Leben der Dinge) presents interviews of nine people discovering ten objects that have not been indexed, so that the history of those objects is controversed and for what the museum conservators do not know what to do with. Within a museum of science exhibiting a catalogue raisonné of objects and practices, The Life Of Things questions collective representations that objects are provoking when they become part of a collection, while we see nine people portrayed at the moment they are facing curiosity and uncertainty.

Thierry-Fournier-The-Life-of-things-DSC03726

Thierry-Fournier-The-life-of-things-DSC03728

Thierry-Fournier-The-life-of-things-DSC03731

Thierry-Fournier-The-Life-of-things-DSC03741

Siren

installation, 2005-2010

Installation, 2005-2010
Samuel Bianchini and Thierry Fournier
with the voice of Maryseult Wieczoreck

A white dot on a black screen is following the spectator movements while he/she is using a computer mouse in front of it. Without activity, the installation diffuses the sound of human breath, barely audible. When the dot moves, the voice of a woman appears: static, then beginning to grow and increasing rapidly with the hand actioning the mouse. As the spectator’s gesture develops or focuses on a point, speeding up or slowing down, the sound unfolds and develops itself. The voice shifts from breathing to whispering, from singing to shouting, from the tiniest details to burgeoning vocals. The voice is reacting to the gesture and requests it. The sound gradually gives a shape to an acoustic body that reveals itself through the tactile exploration – although its interpretation remains offered to the audience.

Sirene-lille-01

Ce qui nous regarde

installation, 2005

installation, 2005
Emmanuel Berriet and Thierry Fournier

The installation Ce qui nous regarde proposes a space in which the audience leave traces of its passages and movements, asking words and images and being questioned at their turn. In front of a large panoramic screen showing of a large number of words and questions, the presence and the movements of the spectators triggers the apparition of several videos trating the subject of development. The project proposes an hybrid form between cinema and interactive installation.

Thierry-Fournier-Ce-qui-nous-regarde-DSC01603

Thierry-Fournier-Ce-qui-nous-regarde-DSC01836

Thierry-Fournier-Ce-qui-nous-regarde-DSC01846

Electric Bodyland

sound installation, 2003

sound installation, 2003

Electric Bodyland is an interactive sound installation. Each movement of the spectators generates a navigation within an electronic musical piece which is composed, mixed and spatialized in real time. Individually or collectively, the spectators play their own composition of a sound sculpture which is to be explored continuously, from the inside and in an empty space.

Thierry-Fournier-Electric-bodyland_08

Thierry-Fournier-Electric-bodyland_10-hd

Created in the frame of a residency at the Synthese Festival 2003.

Shadow of a doubt

installation, 2003

installation, 2003
Original title : L’Ombre d’un doute

Shadow of a doubt is a “controversy room”: a set of points of view about science, media and politics is confronted with the audience presence and actions. The silhouettes of visitors are projected in real time on the wall, under the form of white “ghosts”; they follow them and reveal videos of interviews, TV archives and philisophical texts read by actors. The relationships and proximity between sequences are constantly modified by the interaction between the visitors in the room. Each person faces two simultaneous collective experiences: one that is talked about in the video sequences, and one that builds up continuously, improvised by the visitors, in the installation area.

People interviewed are activists and association members (François Desriaux, Christophe Gérard, Anne-Laure Morin, Christophe Noisette), philosophers and sociologists (Marc Augé, Bernard-Marie Dupont, François Ewald, Pierre Lascoumes, Isabelle Stengers), a farmer (Hervé Touraquet), civil servants and politicians (Bernard Bachelier, Alain Claëys, Martin Hirsch), and researchers (Olivier Godard, Pierre-Henri Gouyon, Guy Riba, Jacques Testart).

Thierry-Fournier-Ombre-dun-doute_02-large

Texts excerpts that actors read are by Giorgio Agamben (Moyens sans fins), Gilles Châtelet (Vivre et penser comme des porcs), Gilles Deleuze et Félix Guattari (Qu’est-ce que la philosophie ?), Georges Didi-Huberman (Ce que nous voyons, ce qui nous regarde), Bernard Kourilsky et Geneviève Viney (Rapport au premier ministre sur le principe de précaution), Bruno Latour (Du principe de précaution au principe de bon gouvernement), Maurice Merleau-Ponty (L’oeil et l’esprit), Francis Ponge (Le Parti pris des choses), Armand Robin (La Fausse Parole), Clément Rosset (Principes de sagesse et de folie), Isabelle Stengers (Sciences et pouvoirs – la démocratie face à la technoscience), Paul Watzlawick (La Réalité de la réalité : confusion, désinformation, communication), Ludwig Wittgenstein (De la certitude).

Related to: Outside Lectures, The Life of Things, Ce qui nous regarde, Feedbackroom

The Moult of the angel

online dance performance, 2001

Online dance performance, 2001
Isabelle Choiniere and Thierry Fournier

The Moulting Angel is a live and online performance, in which two dancers interact in two distant places, exchanging music and images generated by their movements. The project explores the projections and transformations of the body through a network. Each site performs a mix of both interventions in a constant dialogue. The musical generation is based on a set of microphones, explored in various directions (gestural capture, sound recording, relationship between space and body, etc.).

Thierry-Fournier-Mue-de-lange_01