Órganon

Solo show
Université Paul Valéry, Montpellier
September 18th to October 23rd, 2020
Series of drawings on iPad, fine art printings on vinyl, variable dimensions

The Órganon exhibition is unfolding on the campus of the Université Paul-Valéry with a series of 32 drawings created on iPad, printed on vinyls of varying sizes and installed outdoors: suspended in trees or buildings, laid on the ground, etc. This series is also an exhibition protocol, which emphasizes the specific qualities of a campus.

Their creation on tablet uses tools derived from analog mediums (pencil, airbrush, oil or wash shapes) transformed by digital processes. In Greek, the word Órganon refers to an organ, tool, instrument or logical sum. Here he evokes entities with ambiguous bodies, human or artificial bodies, which are beginning to proliferate on the campus.

The Watchers

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

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

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

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

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

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

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

Sous-ensemble

installation, 2015

installation (2015)

In a space similar as a recording studio, the presence of the visitors makes appear, one by one, the sounds of the instruments of a symphony orchestra during its tuning – until a complete reconstitution when a group is present. However, this warm-up never stops: the sound is held in a perpetual suspense, appearing and disappearing according to the visitor’s behaviors.

Created with the collaboration of the Lille National Orchestra. Engineering and artistic collaboration: Jean-Baptiste Droulers. Computer programming and spatialization: Mathieu Chamagne. Captation apparatus: Alexandre Saunier. Production: Bipolar – Mathieu Argaud. Executive production: SmartFR – illusion & macadam. Coproduction: Pictanovo Interactive Experiences Grant, Lille3000, Lille National Orchestra. With the support of Le Fresnoy, National Studio for Contemporary Arts and DICRéAM (CNC – Culture and Communication Ministry).

Orchestra photograph © Ugo Ponte 2015

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.

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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.

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.

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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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