UPDATE III: BODY SOUND
Scenography of sound works from the Media Collection of Centre Pompidou, Paris, France.
Curated by Christine Van Asshe.
Role: project leader, in collaboration with Bureau des Mesarchitecture, Paris.
Liedts-Messen Foundation, Ghent, Belgium.
For this exhibition, which is about giving "body to sound", the scenographic principle is based on a play of sensitive amplification of the sound perception, by the exacerbation or the neutralisation of the other senses. This experience of the sensitive is close to that of synaesthesia, a neurological phenomenon by which two or more senses are associated. Here, the experience of the "invisible" dimension of sound is sought not only by the listening modes but also by the psychophysical situation in which the body is (un)conditioned. This "invisible" dimension is materialised by a spatial device linked to a specific sensory listening for each work. A sequence of micro-environments invites the public to explore different perceptions of sound through its relation to materials, its listening positions and the displacement of its body in space. The path develops on 4 sequences:
The starting point is the installation "Get out of my mind, get out of this room," where the voice of Bruce Nauman resonates in a white cube. A dematerialisation of this same cube occurs throughout the path. First by erosion, a cube incorporates intimate alcoves for listening to the work of Vito Acconci. Then, by the disappearance of its visual limits, a glass cube amplifies by vacuum the silent dimension of the work of Manon De Boer, which echoes John Cage.
2. immersion | listening inside
Immersive environments submerge the body in an inner listening: the installation of Celeste Boursier-Mougenot's meditative sound sofa, the silky envelope levitated by an infinite loop of Alva Noto, and the shyness of the words of love of Anouk De Clercq whispered by the walls, which come in the proportions of the cube of the starting point, by Bruce Nauman.
3. silent geography | individual listening
The central space, in the middle of the path, materialises a silent geography. An immaculate tribune shows a void overexposed with white light and offers to listen to an amplified silence. Unlike a show room, here the audience finds themselves in a theatre of emptiness, for a sensory reset. Individual listening devices designed by Didier Faustino come to occupy the space of the tribune, in fragile and precarious balance. Exacerbating the sound dimension by canceling the vision, they offer an intimate listening to the works of Mika Vainio, Martin Creed, and Mike Kelley / Scanner. On stage background, the work on Chris Marker's Second Life and his world of networked avatars connects the body to a parallel reality.
4. sound objects | space listening
The path continues with installations of sound objects designed by Ugo Rondinone and Emmanuel Lagarrigue, who call the body to a listening on the move. Huge suspended pebbles of Ugo Rondinone slow down the rhythm of the body and place it in a timeless universe. Emmanuel Lagarrigue scatters a multitude of sound and light sources that carry the body in a drift of attractions and repulsions.
The path culminates in the audiovisual work of Semiconductor, where a horizon of projections and cosmic drones produce a material disintegration and refer to a spectral spatio-temporal dimension.