Update 3 / Body Sound Update 3 Body Sound Zebrastraat Gent 17 April – 20 June 2010

update_3 / body sound update 3 body sound Zebrastraat Gent 17 April – 20 June 2010

The exhibition, based on the Centre Pompidou’s New Media Collection, and the scenography by the Bureau des Mésarchitectures, is produced by the Zebrastraat on the initiative of the Fondation Liedts-Meesen Notes on the works

48 Vito Acconci Under-History Lessons

52 Céleste Boursier-Mougenot Schizoframes

56 Manon de Boer Two Times 4’33”

60 Anouk de Clercq New Technological Me + Art Award 62 Didier Faustino Liedts-Meesen 2010 Erase your Head / An Instrument for Blank Architecture 102 Perry Bard Man With a Movie 66 Mike Kelley / Scanner Camera: Esprits de Paris The Global Remake 70 Emmanuel Lagarrigue 104 Félix Luque Sánchez I never Dream otherwise than Awake Contents The Discovery 74 Chris Marker 106 Boris Debackere Appendices Ouvroir 128 / 63 / 39 Probe 7 Introduction 78 Bruce Nauman 125 New Media Collection, Alain Liedts 108 Peter Alwast Get out of my Mind, Get out of this Room Centre Pompidou, Paris Everything 17 Digital Daedalus 80 Noto aka Carsten Nicolai 132 Artists and works Stef Van Bellingen 110 Peter Beyls ∞ [Infinity] of “Update_3: Bodysound” Petri 20 “Body Sound”: and the New 82 Owada A Laboratory 112 Dominika Sobolewska Technological Art Award (Martin Creed, Adam McEwen, Christine Van Assche RGB (Red-Green-Blue) Liedts-Meesen 2010 Keiko Owada) 28 Music Exhibitions from Nothing 114 Go Eun Im 136 Submissions / Music Hall Seats SEE(N) New Technological 86 Ugo Rondinone to Sound Installations Art Award The evening passes like any other... 116 Christoph De Boeck Peter Szendy Liedts-Meesen 2010 Staalhemmel 90 Semiconductor 41 Scenographic Principles 143 Credits Brilliant Noise 118 Arthur Elsenaar The Bureau Face Shift 144 Fringe events program des Mésarchitectures 94 Mika Vainio “Update_3: Body Sound” Didier Faustino Three Compositions for Machines 120 Julien Gachadoat and Cláudia Martinho (Track 01) Gravity 146 Photographic credits Introduction

or the Zebrastraat project, the Fondation Liedts-Meesen has elected to pursue a development based on housing, economy and culture. This cultural element consists of readings and per- Fformances held on Thursday nights; of allowing young contemporary artists to exhibit their work in the Zebrastraat’s meeting area for a month, and of systematically providing 750 m2 of exhibition space to third parties for cultural manifestations that are compatible with the goals of the Fondation Liedts-Meesen. However, we would like to focus our artistic identity around the Fon- dation Liedts-Meesen biennial centred on Technological Art. There is a limited interest for diverse forms of artistic realisations, but it is growing. Contemporary art is just a small part of the spectrum although it is gaining importance. Nevertheless, contemporary art based around modern technological advances remains largely unknown to the general public. From its inception, the Fondation Liedts-Meesen has adopted this uncommon form of artistic expression. This is a conscious decision, which ties in with the Fondation Liedts-Meesen’s transgressive goals, because both the foundation and the Zebrastraat are aimed at the future, and because my professional career based on a scientific

7 / Introduction education pursued the use and development of new technologies in The knowledge of life and ecology are also a source of inspiration: information and telecommunications. Finally, this choice takes into account the fact that the means and the The Telegarden (1995) by Ken Golden (United States) is installed in the infrastructure available at the Zebrastraat do not allow us to best or Ars Electronica Center and allows gardeners from all over the globe to to equal classic, subsidized institutions. We have consciously cho- grow and manipulate living plants over the Internet. In Ecosystem sen a limited fringe of contemporary art, aimed at the future, which (2005) Nella Steil (Romania) delivers a burlesque performance through has seen significant growth in diverse fields of the arts. a combination of telecommunications, random number generators, virtual machine guns and domestic waste. Nomadic Milk Cameroon What is Technological Art? Version (2004) by Esther Polak (The Netherlands) is an investigation into the visual and narrative possibilities of a GPS (Global Positioning What is meant by Technological Art? A daring description, but by System) applied to the nomadic Fulani family in Cameroon. definition limited. It is undoubtedly easier to start from a new philosophy, or simply factor in the contemporary, ever-accelerating evolution. Of course, we find applications in the world of data processing, elec- In the past, artists had very few means to express their emotions, tronically managing and manipulating data, images and sound. commitments and values. What words, letters could not express, was supplemented by artistic Electronic Superhighway (1995) by Nam June Paik (Korea): The conti- talent, but durable expression came in the form of a two dimensional nental part of the United States is represented by 313 televisions, Alas- image of paint and canvas, or by sculpting wood or stone into three ka by 24, while Hawaii is represented by one television per island. dimensional objects. The visual arts were complemented only by mu- Joined by 50 CD players, approximately 60 VCR’s, 20 ventilators, a sic and theatre, with that crippling disadvantage that the artistic cre- video camera and scaffolding, the “borders of the States” are marked ations had to be repeated, to varying degrees of success. by steel and neon, and a 200 watt sound system. Paik’s work is strewn New forms developed: architecture, photography, cinematography, with waste products of mass media culture, but they do not stop re- broadcasting, multimedia... all of which broadened the boundaries of vealing images that bring wars and cultural crises to public attention. artistic expression, erasing limitations of the past. It is only natural Hello (1991) by Tony Oursler (United States): Oursler’s video images in that today, new materials such as steel, glass, plastic and fluids are this installation, which are charged with political resonance, but full of being used, along with new techniques. humour, are not shown on a monitor as might be expected, but instead, are projected on the surface of everyday objects or people. Messa di Better suited than a definition, a personal choice of examples is more voce (2003) by Golan Levin (United States), Zachary Lieberman (United appropriate. And so, one finds examples of various origins, based on States), Jaap Blonk (The Netherlands) and Joan La Barbara (United scientific truths from the past: States) is an audiovisual installation where a computer mouse is replaced by real voices, and where tone, intonation and resonance are Rivelatore Cromolinettico (1965) by Piero Fogliati (Italy): this work translated into computer instructions that created three dimensional consists of a vertically hung, taut elastic and a projection that evoke images on the screen. Je souffle à tout vent (plume, pissenlit) (1996) the illusion of a colour spectrum through vibrations. Le cube électro- by Michel Bret (France) and Edmond Couchot (Algeria): a dandelion or nique A et B (1967) by Piotr Kowalski (France): for the first time, di- a plume is blown away on the video monitor through interaction be- odes from electronics are integrated for decorative purposes, which tween a spectator and a pressure sensor. In this work, the image is results in an evolution in public attitude. Untitled (1 tetrahedron + digitally inscribed. This also means that from now on it can be de- 1 cube + 1 octahedron = 1 icosahedron) (1999) by Attila Csorgo formed using computer programs. The Gate (or Hole In Space) (2007) (Hungary): the kinetic structure is an example of mathematical propo- by Yves Bernard (Belgium) and Yannick Antoine (Belgium) is both an sitions and mechanical ingenuity. The artist constructs a moving installation and a collective performance platform, which functions model in order to come to a visual presentation. as an interactive portal between the real world and the universe of

8 / update_3 9 / Introduction Second Life. An image from the Second Life Gate is projected perma- new media, a classification is almost impossible, yet certain charac- nently in the real-life space; when a user comes to the Gate in Second teristics recur. Life he can actually be seen in the public space and vice versa. The creations have transgressive or universal properties: boundaries of religion, philosophy, economic background and geographical bor- Technological Art transcends boundaries ders are meaningless. This is due to the fact that the chosen media are universally distributed. Artists of this kind belong to a group that In the catalogue for Stippels en Pixels (2005), Stef Van Bellingen wrote: has become cosmopolitan thanks to the Internet. Technological Art “The mathematical orientation of artists during the Renaissance, with transcends boundaries with relative ease and must be open to di- the development of perspective being the single most salient feature, verse sensibilities. A work of Technological Art belongs to the cos- has defined the reorganisation of the different arts in that period. As far mopolitan culture, not to a tradition of minorities. as hierarchy goes, the digital world seems to resemble the Renais- sance, since mathematics bind several kinds of art together (for now). In the past, a painting or a sculpture had the ability to evoke emo-

This page Many works of art are made with the help of a computer and its tools. tions, to make an adolescent blush, but the interactivity was not re- Tatsuo Miyajima This does not mean that there are and continue to be no differences, ciprocal or was in any case very limited. In works of Technological C.F Lifestructurisme – but it is striking that these tools connect several disciplines.” Art, the spectator can intervene, directly or indirectly, in that which he no. 5 All this leads to unbridled forms of art, that sometimes turn into games, sees, hears, smells or feels. By moving around, blowing, screaming... 2008 gadgets, new communication media, computer material and virtual he can influence the result of the creation. Pages 11-12 creations. For the artist, the banks are becoming ever wider and Indirectly, he can intervene in the chemical, electronic or software- Nick Ervinck Warsubec vaguer. Let us hope he does not drown in this sea of creativity, free- based procedures, thus influencing the necessary degrees of free- 2009 dom and means. In this multitude of forms, colours and sound on ever dom to make interactivity complete and reciprocal. This was impossible in earlier forms of art, not even in music, film or broadcasting. There have been some attempts in theatre and architecture, but these have always been limited and usually not constructive. The large diversity and its resistance to being classified are characteristic of Technological Art, and may be seen as two of its properties. The designs are unlimited, every day media are being improved and innovated. New means and technologies are developed. In the majority of the works, originality and the uses of several parallel procedures or techniques are key. These means are being used in many different existing forms of art, after all. This combination of means and forms of art are at the basis of diversity.

Multimedia Award Liedts-Meesen

Parallel to the biennial of Technological Art, started off by Stippels and Pixels and “Update_1”, “Update_2” was combined with present- ing the Multimedia Award Liedts-Meesen. The first time the Award was presented, in 2008, was a success, with 70 submissions, 10 nominees, an audience award and a jury award. These prizes afterwards allowed for the presentation of these works in several locations all over the globe, which in turn led to widespread

10 / update_3 11 / Introduction

communication surrounding this award culminating in an Internet Exploding Camera (2007) was the work which won Julien Maire campaign spanning some hundred websites from across the world, (France) the Fondation Liedts-Meesen Multimedia jury award in finally producing 262 submissions from 47 different countries for the 2008. For Maire, the camera that exploded in the assassination of Technological Art Award 2010. Massoed has continued to record, producing a war movie during An international jury chose 10 nominees whose works will be exhib- the next six years. This vision, like the death of the mythical figure ited in parallel to the exhibition “Update_3: Body Sound”. The ten of Massoed, has brought the artist to producing the installation artists contribute diverse forms of Technological Art. Aside from three Exploding Camera, a destroyed medium capable of making a live Belgians, seven artists from abroad have been nominated. At the end experimental historic film, that sheds new light on the events of the of the biennial, a jury award as well as an audience award will once post-2001 war. The Audience Award went to several designs by Nick again be presented. The complete list of candidates is included in Ervinck. At the Fondation Liedts-Meesen’s request, Nick Ervinck in- this catalogue, as well as an introduction of the ten nominees, with a stalled the organic structure Warsubec in the Zebrastraat in 2009. description and illustration of their work. Warsubec (2009) by Nick Ervinck (Belgium) is the name of two identical, but mirrored, glossy framework constructions, sits on the roofs Fondation Liedts-Meesen’s art collection of the Zebrastraat. Characteristic is the fact that Ervinck did not produce an actual scale model of Warsubec, but designed it en- For over 20 years, the Fondation Liedts-Meesen has been expanding tirely on a computer. Warsubec is hybrid in every way: structure and its art collection, contemporary art in its diverse guises. Of course, sculpture, blob and box, function and form, fiction and reality. Life- some of it belongs to what has been described above as Techno- structurisme (3) (2008) by Tatsuo Miyajima (Japan) is a framework Julien Maire Exploding Camera logical Art. In the context of this catalogue, we would like to bring construction made of LED-units, referring to both spiritual as well as 2007 some noteworthy works of the collection to your attention: mathematical notions. There are three defining elements: constant change, the connection to everything and the everlasting existence of objects. The digital digits continue to change between 0 to 9 at a fixed rate.

For the past few years, the Fondation Liedts-Meesen has been pur- chasing digital art in the form of CD-ROMs and DVDs. In that context, we would like to mention Stria by Golan Levin, Poeros by Plum- age, Paintshape, Paintscape by Stephan Balleux, Orquideas by Ben Dierick, E-Volver by Driessens & Verstappen and Rem 13 by Liu.

Finally, we prefer projects that feature technology for our month- long exhibitions aimed at young artists wanting to present their work to a broad audience in the Zebrastraat lounge. In 2009 this concerned: Internet Mozaiek by Wim Vanhenden and Cinema Sonore by Stefan Martens.

A dedicated effort at Zebrastraat

The Fondation Liedts-Meesen has taken the first humble step in the chosen direction. Our name is no doubt more readily recognised in specialized and international circles.

14 / update_3 15 / Introduction The Fondation Liedts-Meesen means to continue to strive forward in this direction. We can already announce the 2012 biennial, which will again be accompanied by an award, presented for all kinds of artistic expression. Now more than ever, we must focus on candidates that stress the properties of Technological Art, interactivity, diversity of means and media, combinations of technologies and forms of art. In order to reinforce this bi-annual event, it seems fitting to organise fringe activities at the location and during the period of the next biennial, within a forum of lectures, colloquia and unique presentations. We would like to involve other sites than that of the city of Ghent for this purpose.

Every day, the Zebrastraat, under the guidance of the Fondation Liedts-Meesen, strives to uphold these key values of Technological Art, and to maintain them as a common thread for all the events held at the Zebrastraat. A dedicated effort will be made to ensure that young artists continue to be given the chance to exhibit their work for an entire month in the Zebrastraat lounge, within this atmosphere of Digital Daedalus innovative and rapidly evolving art, whenever quality and means are present to make it possible. Alain Liedts oes contemporary art still connect with today’s technological advances? And if so, where are these new forms of art exhibited? This question led to the inception of the “Update” Bien- Dnial, with its focus on artistic creations broadly categorised as “new media”. The Biennial has a dual purpose; on the one hand it dis- plays the organizer’s vision, on the other it exhibits a selection of works competing for the Technological Art Award, presented by the Fondation Liedts-Meesen at the Zebrastraat in Ghent. A unique housing accommodation, the Zebrastraat has living, meeting and culture as its keywords. Residents, or visitors using the Zebra- straat’s infrastructure, are met with a surroundings where state of the art technology is structurally embedded everywhere. In our day to day lives, this is a normal, even desirable condition. Many artists interact with new cultural conditions that have arisen from technological advances. Especially the digital technology develops at a pace that is hard to follow for some. Some opinion leaders claim it is the biggest generational difference since rock & roll. Because of an already extended portfolio of functions, a lack of financial vigour and an art historic conditioning, many museums face that selfsame alienation. And so, “Update” wants to literally contribute to giving an update on contemporary evolutions.

16 / update_3 17 / Digital Daedalus In the Zebrastraat’s central lounge, there is a sculpture by enriches traditional categories of art. Despite the temporary nature of Panamarenko. It clearly references the mythical figures of Icarus and the exhibition, “Update_2” leads to a permanent integration, as in Daedalus. The latter, with his ingenious machines and creative think- Nick Ervinck’s case. His participation and nomination in the new me- ing, can be seen as a forerunner of the type of artist featured in the dia contest led to the creation of a completely new architectural sculp- “Update” exhibitions. Like engineers, artists usually start from practi- ture on the Zebrastraat’s roof. cal problems, and yet there is a difference between engineers and The current edition is led by Christine Van Assche, chief curator of artists. The former must reach a practical solution, while the latter Centre Pompidou. A selection of works of art from that museum will may start from a practical problem, (s)he will always end up with a be enriched by loans from additional collections. The exhibition “Body “plastic” solution. Art does not need to be a practical, useful tool; it Sound” chooses to focus on auditory works. The provided architec- succeeds if it leaves a surprising mark on how we experience reality. ture of the exposition is possibly even more drastic than before. It is This reality is today’s reality, which is obviously divers and complex. exactly this flexibility which marks the engagement and care given to Means of communication such as letters and emails continue to co- allowing these new forms of art to come into their rights in a stimulat- exist, yet the letter can hardly be considered typical of the 21st cen- ing habitat. It shows, once again, how the Zebrastraat is building a tury, despite the fact that messages still tend to get delivered through place where contemporary art can be at home. that channel. To put it differently: the Stone Age did not end because Stef Van Bellingen we ran out of stones, but because other developments came to dom- inate human existence and culture. In contemporary society, information, and its processing, evolve from visual to auditory and even tactile components with astonishing ease. If we choose to discuss lineage, we should not only look at the past, but also at the future, which is what the “Updates” are aimed at. Cave paintings became canvas painting, photography, film or video, but the evolution continues beyond that. This journey of discovery is the Ze- brastraat’s creed, specifically manifested in the Biennial. A first sum- mary was made by Professor Jean-Marie Dallet of the European School of Visual Arts (Poitiers, France). The exhibition gave an over- view of art where instruments, machines and technology all played key roles. Icelandic pop star Björk’s video clip All is full of love, produced by the artist Chris Cunningham is exemplary. The evolution of the prosthetic creates possibilities of man becoming a little more machine, while machines become aware. These exhibitions have always gone hand in hand with special attention to the architecture of the exposition, and a redesigning of the Zebrastraat’s exhibition space. This was also the case for “Update_2”, which featured the first collection presentation. Peter Weibel, artist and director of Karlsruhe’s ZKM (Germany) selected several works from his museum to be presented at the Zebrastraat. His approach and genealogy stems from the performance art of the 1960’s and 70’s. Whereas performance uses a few rules that are executed, a computer works with numerical parameters. Despite a clear connection to preceding expressions of art, an exploration of contemporary technology

18 / update_3 19 / Digital Daedalus Accordingly, the Centre Pompidou has acquired, and continues to acquire audio works, whether they are in the form of spatial devices, cd’s or sound files by artists specialized in sound like Eliane Radigue or Mika Vainio, but also of multi-disciplinary artists such as Ugo Rondinone or Emmanuel Lagarrigue. Exhibiting sound means: creating relationships between the material space of the exhibition, the physical and mental “body” of the spec- “Body Sound”: tator or listener, immaterial auditory elements and the visual elements of the works, thus bringing together seemingly incompatible param- A Laboratory eters. Given that sound resounds in a space at the same time as it resounds in the body of a spectator / listener, to return to Jean Luc Sound fills the space where it resounds, all the while Nancy’s quote, in view of its expansionist and ubiquitous nature, it is resounding in me. [...] In the interior or exterior necessary to reflect upon the multiple connections between the ex- space, it resounds [...]. Jean Luc Nancy, in “À L’Écoute”. \ 1 ternal space, the place of the spectator / listener and his internal space and this sensory domain. ince La Monte Young (Dream House), Karlheim Stockhausen La Monte Young “Listening” Jean Luc Nancy writes, “is entering that spatiality by which (Symphony for 20 Rooms), John Cage (4’33”), Nam June Paik & Marian Zazeela I am, at the same, penetrated.” (Exposition of Music, Electronic TV), artists, be they visual art- Dream House The body of the spectator / listener is put to the test in the “Body 1962 – 1990 S ists or musicians, have been concerned with the spatial envi- Exhib. “Sons & Lumières” Sound”, whether he wants it or not, whereas when he only looks at a ronment devoted to their sound works and the “sensory” reception Centre Pompidou, 2004 work, he can maintain a relative distance. thereof by the listeners / spectators in the room. Exhibiting sound stems from an experimental enterprise or research laboratory. Evidently, contemporary art institutions are increasingly interested in this vast domain highly valued by artists. Several exhibitions have recently taken place; “Voices” by Witte de With of Rotterdam (1998), “Lost in Sound” at the Galego Centre of Contem- porary Art in Santiago de Compostella (1999), “Sounds and Files” at Vienna’s Künstlerhaus (2000), Sonic Boom at the Hayward Gallery in London, “Sonic Process” (2002) and “Sons et Lumières” (2005) at the Centre Pompidou, “Sound of Music” at Kortrijk’s Broelmuseum (2007). This list is far from exhaustive, and represents only a small part of the projects that research the intersection of sound and visual art. Today, artists have shown a growing interest in works that integrate sound. And the devices that put into effect these interactions are ever more present in the art world. Furthermore, and more importantly, the technologies used in the creation of sound works have certainly been democratised and broadcasting equipment has also been perfected. \ 1 Jean-Luc Nancy, To be sure, museums can no longer ignore audio works where a rela- “À L’Écoute”, Galilée Edition tionship is drawn between sound and more visual elements, as they 2002 did in the 1970’s and 80’s.

20 / update_3 21 / “Body Sound”: A Laboratory Making sound “corporeal” in an exhibition means rendering the spec- sometimes hard to define: the first of these (de-materialisation) draws tres of sound audible through different means and transmitting the attention to the “white cube”, a reference to the museum space of echoes, vibrations, timbres, resonances, waves, etc to the audience the 1960’s and 70’s and to anechoic rooms. This “white cube” is de- in their totality. constructed, work after work, until it is immaterial. Moving from spatial listening to bodily listening, from spaces spe- The second section (immersion / internal listening) looks for the inter- cially designed by the artists in order to achieve the exact conditions section between the visual and the auditory, through several proposi- necessary to transmit the work, to an internal space where listening tions by the artists, conditioning the spectator to share in common resonates within the body and spirit. Recreating a “grand body” in experiences, as a medium for experimenting. Nam June Paik the white cubic space, destined for the exhibition of visual works is The third part (silent geography) is “an empty theatre”, to cite Didier TV Experiments one of the objectives of this project. Faustino’s expression, in which the immaterial work from Chris Mark- (Mixed Microphones) / Sound Wave Input The Bureau des Mésarchitectures (Didier Faustino and Cláudia er’s “second world” and the artists’ / architects’ individual listening on two TVs (Vertical Martinho) have come up with a global physical, sensory and concep- devices stand side by side and interact. and Horizontal) / tual space for a collective and narrative experience for the entirety of The fourth division (spatial listening) proposes a phenomenology of Horizontal Egg the works, but also for the creation of individual receptive spaces. space, a sound vibration whose intention it is to progressively dis- Roll TV / Vertical Roll TV / Oscilloscope This is not a retrospective of sound art, nor is it a historical exhibition, solve the architectural space. Experiment / but rather a “laboratory” exhibition, mainly based on the works from The narrative trajectory of the exhibition guides the visitor / spec- Magnet TV / the New Media Collection of the Centre Pompidou, a collection that tator / listener by means of a common thread: that of an imposed TV Experiment (Donut) is constantly evolving and growing. Here, audio-visual works, multi- passage of sound in Get out of my Mind, Get out of this Room by 1963 – 1995 Nam June Paik Exhib. “Sons & Lumières” disciplinary works stand side by side with purely audio works. The Global Groove Bruce Nauman, transmitted in a traditional museum space (the cele- Centre Pompidou, 2004 works can be divided into four large categories, whose limits are 1973 brated white cube), specially conceived for this work created in 1968,

22 / update_3 23 / “Body Sound”: A Laboratory simultaneously attracting and rejecting the spectator. The tension be- sound of one’s own body, like in an anechoic chamber. We perceive tween the interior and the exterior is here so obvious that it reaches that celebrated silence from the point of view of the performer and a kind of paroxysm. “While not quite conceptual, Nauman’s work on Left page the listener. In order to prolong the “non-space”, the work is pre- sound and space gains mental connotations in the paranoid passive- Mathieu Briand sented in a transparent glass box, thus broadening the listener’s or ][SYS*11. MiE>AbE / SoS\ ] aggressive wordplay of his first acoustic installation”, writes Douglas [SYS*10.MeE / SoS\ BoS][ ] spectator’s vision beyond the first glance. Kahn \ 2 . Get out of my Mind, Get out of this Room is a completely 2002 Artists also experiment with the modes of sound creation where vi- empty room, where a sound recording tirelessly repeats the same Exhib. “Sonic Process. brations transcend the architectural boundaries, walls and ceilings, in text in different tones, progressively becoming more aggressive. Une nouvelle order to take part in a communal experience. In Schizoframes, Céleste géographie des sons” Vito Acconci, a sound poet since his début, has made several record- Centre Pompidou, Boursier-Mougenot invites us to meditate in front of a wall of sono- ings of sound performances, such as Under-History Lessons (1976), 2002 – 2003 rous images, generated by the auditory frequencies themselves in a o staged by the Bureau des Mésarchitectures in a fake cube made of This page 180 environment, allowing the sound to invade the spectators, seat- foam that incorporates the listener in reserved spaces. Vito Acconci’s Flow Motion ed on a sofa stuffed with loudspeakers, as well as the surrounding voice is itself the symbol of a bodily voice, a voice that little by little (Anna Piva, Edward space. Here, the experience of the work becomes “political”, in the \ 2 Douglas Kahn, unfolds in the space-time of the work. George) sense that the spectator / listener from now on participates in a shared “Plénitudes vides et Ghost Dance espaces expérimentaux. “Silence is not a deprivation, but an arrangement of resonances, like (Hallucinator mix) experience. La postérité des a perfect condition where one can here his own body resound”, writes 2002 ∞ [Infinity] by Noto aka Carsten Nicolai consists of 72 recordings silences de John Cage”, Jean Luc Nancy in “À L’Écoute”. In Two Times 4’33”, Manon de Boer Exhib. “Sonic Process. transmitted by small loudspeakers, repeating itself infinitely. They are dans le catalogue chooses this emblematic piece by John Cage where silence is con- Une nouvelle spread throughout a space designed by the Bureau des Mésarchitec- Sons et Lumières, géographie des sons” Centre Pompidou Editions, sidered to be a sound in itself, because it allows the non-intentional Centre Pompidou, tures, an acoustic labyrinth in homage to Robert Morris and Joseph Paris, 2004 sounds of the surrounding environment to be heard as well as the 2002 – 2003 Beuys, where the visitors hear without seeing, wandering endlessly.

24 / update_3 25 / “Body Sound”: A Laboratory Sound “helmets” were conceived by Didier Faustino, as a specific suspended loudspeakers, responding to one another, in a slightly place for listening to works by Owada / Martin Creed, Mika Vainio and surreal space, inviting the audience to meditate and dream. Mike Kelley / Scanner, with no regard for anything but the interior. The exhibition ends with Brilliant Noise, a visual and auditory 180o Me + by Anouk de Clercq is a metaphor for the electric body, disem- projection by Semiconductor (Ruth Jarman and Joe Gerhardt). Sci- bodied, reduced to the + symbol, walking in the space of the screen, entific images of the sun are reconstructed and given a rhythm ac- which here becomes the space of the room. The electronic sound by cording to particular frequencies and pure electronic sounds. Brilliant Anton Aeki mixes with a warm and sensual voice, and is transmitted Noise pulls the spectator into a cosmic vision / listening, where the in such a way that the spectator / listener is captivated by the inti- difference between sounds and images are eradicated, and space macy of the sonorous space. dissolves into a multitude of entropic effects. Two environments, entirely designed by the artists as phenomeno- Between the second and fourth sections there is a visual and auditory logical spaces, emit a hypnotic ambiance. Here, the walls dissolve voyage on the Second Life platform L’Ouvroir 123 / 63 / 39 by Chris into infinity. In the environment The evening passes like any other... Marker. “Guillaume”, the famous 3D cat, invites the Internet user to Ugo Rondinone offers the audience “an experience of the body as a participate in a number of collective experiences. “Now, I have my source of knowledge, thus making the spectator a participant in this island in SL”, Chris Marker writes on the site www.popotronics.fr. “I

Ugo Rondinone ‘performance poem’”, writes Gaby Hartel in the exhibition’s catalogue. have had gatherings with people from all corners of the world here. It The evening passes Sounds and a voice play on loudspeakers, hidden in enormous white is beyond doubt that we have achieved something completely new in like any other... rocks that hang inside a room delimited by a horizon of uncertain the history of communication. It is not quite reality, and yet... The tel- 1998 yellow. ephone, e-mail, even video conferencing do not abolish distance, Musée national d’art moderne, In the environment I never Dream otherwise than Awake the artist rather, they highlight our effort to overcome it. In SL, it has been erad- Centre Pompidou, 2001 Emmanuel Lagarrigue transmits sounds, melodies, music, from small icated. We are there and we are not there at the same time. Like my other cousin, Schrödinger’s cat, no-one had ever proven this.” The exhibition starts by “exhibiting the body of sound”, to pursue, throughout the exhibition, sounds as shared experiences of bodies that have become actors in collective works, in reality and – why not – in the virtual world. Christine Van Assche

26 / update_3 27 / “Body Sound”: A Laboratory Schoenberg, spent a few years in Cologne (Wolfgang Fortner had recommended him to the electronics studio of the West German Rundfunk, to which, however, he was not admitted) and Darmstadt.

\ 1 Some parts of this His letters to Wolfang Steinecke, the driving force behind the cele- text have been brated summer courses at Darmstadt (Messiaen, Boulez, Stock- published in a different hausen, Pousseur, Nono, Maderna taught there as well as organized form in Résonance, conferences), revealed the impact a meeting with John Cage had on no.12 (Ircam / Centre Georges Pompidou, Paik. On the eight of December 1958, he wrote to Steinecke: 1997) and in Espaces “Schoenberg wrote ‘atonal’. John Cage has written ‘a-composition’. (Les Cahiers de Me, I write ‘a-music’. To achieve this, one needs a normal piano, or l’Ircam, 1994). That a grand piano and a very bad ‘prepared’ piano and a scooter. [...] the value of an exposition in the broad sense The musicians read the paper, ‘speak with the audience’, push the constitutes a musical, grand piano around, knocking over a piano, which falls off the stage is what I am attempting onto the venue floor. The audience throws fireworks against the to show, by reading, stage, fires pistols, breaks glass. The scooter arrives from behind. most notably, Adorno and Benjamin On top of all that, plenty of toys, the weather forecast, some boog- in Musica Practica. ie-woogie, water, the sound of a megaphone etc., that is to say, functional sounds freed from their functions. Of course – it’s a very \ 2 Arrangements sad ‘a-music’ (musical art), a Schwitters sound. John Cage has and Phonographies from Monteverdi to James shown much interest in this idea”. Brown, “Esthétiques”, On the second of May 1959, Paik wrote to Steinecke again, to sug- L’Harmattan, 1997. gest an “anti-music” entitled Homage to John Cage for the summer The matter at hand then course of that year, which was never completed: is the exhibition in a strict sense (or at least, “I hope, or I believe (if you will allow it) that you give this serious (and Music Exhibitions more constrained in non-restorative) antithesis of ‘dodecaphonic mannerism’ a chance. appearance): that of the (Although I still really like Schoenberg and Stockhausen).” museum and the gallery. from Music Hall Seats to In a text on the subject of his Symphony for 20 Rooms \ 4, Paik pays \ 3 Reprinted in Nam homage to the “Stockhausen Idea” consisting of “allowing listeners Sound Installations \ 1 June Paik, Du Cheval to enter and exit as they please”. It is from this idea that the text à Christo et autres écrits, entitled On the exposition of music draws its conclusions: it consti- Lebeer Hossmann xhibiting music, is it possible? If so, what exactly is exhibited tutes “a step towards abandoning that form of blindness”, de- edition, 1993. under this designation of “music”? In fact, what do we expose nounced by Paik as a blindness which “most often” condemns the music to when we expose music to techniques, which might be \ 4 Among the “howling”, indetermination so exalted by so-called open works to consider considered alien to it, that is to say, exhibitions and installa- “electoral campaign none other but the performer: E discourse”, “birds”, tions, characteristic of the visual arts \ 2? “The audience has no other choice but that of listening or not listen- “female Italian presenter”, and other “railway station ing to music, a very antiquated liberty that he enjoyed, or was forced Nam June Paik: “I exhibit music” public announcements”, to enjoy even when listening to tedious music such as Brahms’ and also found here symphonies or ‘Tristan and Mélisande’”. as auditory material In 1962 Nam June Paik published a text entitled On the exposition Moreover, according to Paik, “if the performer were to rehearse if Stockhausen’s Gruppen of music \ 3 in the journal Décollage, edited by Wolf Vostell. Paik, and Cage’s Concerto only once, the degree and character of the indetermination no long- having studied musicology and written a master’s thesis on Arnold pour Piano. er distinguishes itself from that found in classical music, baroque,

28 / update_3 29 / Music Exhibitions from Music Hall Seats to Sound Installations Cat, Nam June Paik: \ 5 That cruising of the renaissance or medieval”. Adding, “That is why I have not composed Videa ‘n’ Videology space of the concert any undetermined music, nor graphic music, despite my large re- 1959 – 1973 exhibition which reunites spect towards Cage and his friends”. Published by the Everson sounds that are in Museum of Art, Syracuse, themselves changing and Stockhausen, then, cleared that path for Paik, which he followed in New York, 1974 shifting was one the first draft (spring 1961) of his Symphony for 20 Rooms, “where of the demands made the audience had the choice between at least twenty different sourc- by Mondrian, when es of sound, in which they were free to circulate” \ 5. Paradoxically he described the concert hall adapted to the (especially considering what Benjamin described about the exhibi- music of neo-plasticism: tion as a loss of a certain “here and now”), by exhibiting music of this “The place for kind (with or beyond Stockhausen – we will return to this point), Paik performing neo-plasticist attempts to render it as an absolutely unique and irreproducible per- music must satisfy new needs. The ‘hall’ formance by jumping over its Western history: “One single time”, must be completely every time. different from the The next step (and undoubtedly the last) on this path will soon consist traditional ‘concert hall’. of “letting the audience [...] interact and perform himself”. This step, [...] It will be possible to come and go without we introduce in Paik’s own words: disturbing others, “I have thus renounced the performance of music. I exhibit music. I to listen and to observe create all kinds of musical instruments, sonorous objects in order to comfortably.” (“Neo- exhibit them in a room where the public may play with them as they plasticism: Its realization in Music and in Future please.” Theater”, in The New Art The difficulty that catches up to Paik here in his euphoric line of The New Life, thought, step by step, is situated in the caesura between these two The Collected Writings phrases: “I exhibit music”, an astonishing phrase – impossible even – of Piet Mondrian, edited and translated by that is effectively replaced by “I exhibit instruments” or other objects Harry Holtzman and Martin that produce sound. S. James, Thames and Hudson, 1987, p.163; the original text was translated into French by Karlheinz Stockhausen: “The practice of Mondrian in La vie des a concert [...] is relayed by a practice lettres et des arts, August 1922.) And Mondrian corresponding to visiting a painting gallery.” added, not without a touch of humor, that he did On the exposition of music reversed the question of the open oeuvre not know whether it was or the indetermination to one of the place where music is situated. a church or a theater, The idea that “the position of the listener is no longer fixed”, and that that if it were a buffet he may “move around in situ and choose his acoustic perspective it must be an automatic one. Or rather, “Not freely \ 6”, that idea developed by Stockhausen, notably in Ensemble, a buffet at all, since we can be understood as a resistance to the unfolding of multiple and may leave this place complex paradigms of the open oeuvres in syntagm: without missing out on “The simultaneity of the compositions [Ensemble is in fact a collective anything: the compositions must be repeated, like ‘oeuvre’] demands that we listen to different ‘pieces’ at the same time, in modern cinemas.” and connect them. This ‘verticalisation’ of the perception of events

30 / update_3 31 / Music Exhibitions from Music Hall Seats to Sound Installations \ 6 Karheinz Stockhausen, as well as the relativisation of the definitive form (a ‘piece’, signed by Listening Point Texte. Vol. 3, DuMont, an individual), are also relevant in other domains other than that of p. 212. music.” \ 7 One may perhaps judge the metaphor of the museum to be ill-

\ 7 Ibid. A year later, in 1968, Musik für ein Haus continued in the same vein, suited to the idea of openness, when considering museums as in- by specifying the spatial conditions: stitutions and a practices of “collecting and imprisonment” \ 12. One \ 8 Ibid. p. 216. “The compositions of 14 different authors will be executed simultane- could see, like Valéry, “this abuse of space that constitutes a col- ously in four rooms, over several hours [...]. The optimal conditions lection \ 13”, one might think, according to another museum-musical \ 9 Ibid. p. 144 for Musik für ein Haus would be different sound-proofed spaces, metaphor by Valéry that “the ear could not handle listening to ten \ 10 Ibid. p. 154 spaced out next to and on top of each other, separated by a network orchestras at once” \ 14. But for music, one must understand this of corridors, without an obligatory order for the listener. Each lis- metaphor with regards to a contradiction revealed by Konrad Boeh- \ 11 Numerous other tener comes and goes as he chooses in his own time, and changes mer; which is that the majority of the “mise en espace” in a concert texts by composers might be cited as going his auditory perspective freely within the house. The instrumental- situation (including the most eccentric) reconfirm the existence of a in that direction. ists’ performance is more or less amplified in each room, by micro- kind of listening point (similar to a talking point), seen even to ac- Thus, Konrad Boehmer phones and loudspeakers. Each of the four rooms is connected to centuate the uniqueness, centrality and the specular character: writes, in an article the other three through loudspeakers. Not only do the performers “The internal multiplicity of musical structures, their several stratifi- entitled Raum-Formen: “By renouncing interact with one another, but they also react to the music from the cations, have lead these past years (especially in electronic music) the traditional concept other rooms. In a fifth room (Klangbox), all the music from the four to a praxis of execution where auditory sources (groups of loud- of authenticity, partitions rooms can be permanently heard, from four different loudspeakers. (Das böse Ohr, speakers), scattered in a space, separately broadcast (Ausstrahlen) have been composed DuMont, 1993, p.83). [...] Thus, the house in synchronized.” \ 8 the different layers of its structure. Here, still, traditional concert where the succession And that is why of formal sequences This idea for a “musical house” (Musikhaus) was also revisited in Boehmer proposes halls are dreadfully inadequate. If, for example, four groups of loud- happens in such a way Musik für die Beethovenhalle in 1969: a “simultaneous speakers are distributed over the four walls (or in the four corners) that their combination “A house where music can continuously be heard, a house made of performing of those of a room, the most advantageous position for the listener to be in becomes mobile. a complex of several auditoriums which are used separately or at versions in auditory is very close to the center. That position is however always occu- Performance only gives spaces, separated but one version of the same time for a composition; a sound labyrinth of spaces, cor- from one another, pied by the composer, who regulates the dynamics of each chan- the piece, not the piece ridors, balconies, bridges, mobile platforms, nooks and crannies, but which remain nel from a mixing table.” \ 15 in its totality. However, caves, ‘sound attics’ (Schallspeicher), ‘vibratoriums’, ‘sound-boxes’ accessible to the listener An interesting paradox, for we find ourselves thus with a listening the affirmative character (Klangboxen). [...] We must begin to try new forms of collective lis- by the shortest point, no longer decentralized, but radically re-centralized: the of each of these versions route”. (Ibid., p. 85, partially contradicts tening to music, contemporary forms. The ancient form is not put emphasis mine). surroundings would establish the composer as the principal sub- the project of mobile into question, it merely becomes one particular case.” \ 9 ject, around which the listeners convene. It is exactly the contrary construction from which Finally, when Stockhausen elaborated his project for the Interna- \ 12 These are the words of that situation that the museum represents as a metaphor of they originated [...]. tional Exhibition in Osaka (1970), he resolutely turned towards new of François Dagognet, passage. The performance in Le Musée sans fin, of several versions one architectural spaces for music; writing: Champ Vallon, 1993, after another also “Like this, the practice of the concert, as it has remained until p. 31. Alphabet, or How to Move fails because of their present – in terms of listening to spatial electronic music – would be from Passage to Route being too alike, or relayed by a form, which corresponds to that of a visit to a painting \13 “Le problème des strenuous to the memory musées”, in Pièces sur capacity of the listener [...]. gallery.” \ 10 l’art, Œuvres, p. 1291. Having barely established this metaphor and its efficiency in musi- This chain of contra- The ideal form of the concert would have become that of the muse- cal practice, we must nevertheless take into account an inflexion, a dictions can not be um. The museum, with its space open to all sorts of routes, would \ 14 Ibid. sort of inverse movement: that which transforms a passage into a solved, unless the praxis become a metaphor for a new musical concept of the open form. route. Yet, the route always supposes the existence of a common of performance \ 15 “Raum-Formen” changes as well as the Aiming to reduce the indecision, even to be rediscovered else- op. cit., p. 84. core to the multiplicity of deployed perspectives, even if it compli- form of the work.” where. \ 11 Emphasis mine. cates the analysis thereof.

32 / update_3 33 / Music Exhibitions from Music Hall Seats to Sound Installations It is exactly that reinterpretation of passage as route that we can see Stockhausen however, leaves the gates wide open for the imminent in progress in Stockhausen’s compositions after 1971. return of an orientation of listening, where the exhibitions are con- Alphabet, indicates Stockhausen \ 16, was conceived as a journey ceived as a route rather than a free passage. through the cellars of the Belgian Radio, connecting thirteen “situa- Paik, then, by cheerfully making the leap from exhibiting music to tions” where “acoustic vibrations [...] modulate a matter (or a ‘living exhibiting “sonorous objects” moves towards the installation. Instead being’)”. The majority of situations then were aimed at giving sound of reducing the confusion surrounding the nature of music, which body: “revealing the specters of sound” in Situation 3, “shattering the makes it impossible to exhibit, it draws attention to it once again. glass with sounds” in Situation 4, “transmitting the vibrations from an instrument to the body of a dancer” who thus becomes a living loud- So What is an Installation? speaker in Situation 6, etc. And the audience’s wandering is directed this time (Stockhausen states that there is a separate entrance and Despite what one may think, the word (“installation”) is far from self- exit), becoming a kind of journey of initiation: it is a matter of “refusing evident. The dictionary states that its primary meaning is “Relig. Sol- and keeping away thoughts through sound” in Situation 10, and of emnly establishing sth. or s.o. in its dignity. ex.: Installing a pope, a evoking the spirits of the dead with sound” in Situation 12, and finally, bishop.” It also mentions its etymology, from medieval Latin installare in Situation 13, of “praying with sound”. “to place in its stall”. Since the creation of the Ensemble at Darmstadt in 1967 up until that So what is a stall? Again, according to the dictionary: “1. Each of the of Alphabet in Liège in 1972, there is a notable reorientation. \ 17 Un- wooden high-backed seats that line the choir of a church, reserved doubtedly, it is not a coincidence that Alphabet, operating a reversal for the members of the clergy.” In regards to its etymology, it goes or conversion in regards to the preceding musical-spatial experiences, from the Old French word estal, meaning “stall, or table where mer- re-transposes precisely that notion of the interior to the auditory space: chandise is displayed at a public market.” the “leader” of the musical game (der musikalische Leiter) marks the “Installation”, then, means both the solemn establishment of authority \ 16 Texte, vol. 4, p. 193. time between “pillars of sound” (Klangsäulen), that must provide the (religious) as well as the display of merchandise, seemingly lawless music with an “acoustic frame”, Stockhausen writes \ 18; framing, that and governed only by chance (or the market). No doubt it is pointless \ 17 It can also be found in other works, notably is to say, by defining an internal space of levels, through alternating \ 19 Installation Art, to look for the initial use of such a word to describe a work of art. It in the project Sternklang, between the extremes of a “deep” sound and a very “high” sound. By Nicolas de Oliveire, is equally futile to attempt to present a rigorous definition of this word, Parkmusik for Berlin, making the passage a route (with a clearly marked entrance and exit), Nicola Oxley and Michael which seems to extend (almost) without limits to every contemporary in 1971: “Sternklang is Stockhausen, after having toyed with the framework of the concert; Petry (ed.), Thames oeuvre placed somewhere. a spiritual music (geistliche and Hudson, 1994. Musik), written for after having exhibited music by taking it out of its framework (under- “This first book on the The authors of Installation Art, the “first” book on that subject in gen- five groups of singers and stood as a place where it is meant to be heard), strongly reaffirms that subject”, read on page 7. eral \ 19, cautiously state in their preface, that the term is “relatively instrumentalists, very that framework is primarily a matter of melos, that it is governed first new” and that the process of establishing a “history of the installation” distant from each other and foremost by the laws of music (melos-centrism). In other words: \ 20 “It is really only may seem “curious”, considering its “relative youth”. However, they in terms of spacing. [...] in the last decade or so Sternklang is music after having wavered in its status, the framework of the concert once that it [the term of state that such a history could be established on the condition that it for concentrated listening again becomes a kind of function of the musical context in the strict installation] has been be more than a mere inventory of “similar forms” – assemblages, in meditation and sense. The passage, in Stockhausen’s work, did nothing but pass. used to describe happenings, land art, “arte povera”... – which would simply be “a his- immersion (Versenkung) a kind of art making which tory of modern art, no more, no less”. Their work, they claim, does of the individual of rejects concentration not strive towards giving a “definitive definition” of installation art ei- the All of the cosmos. So, on one object in favour Moreover, it is destined of a consideration of ther. The word has been in use to describe a “kind of artistic practice, to become other stars “Exhibiting music”, for Paik and Stockhausen, tends to break away the relationships between rejecting the focus on an object in favor of a focus on the connection in their place. from the principle of the enclosure and teleology in a musical oeuvre. a number of elements between several elements or the interaction between things and their (Ibid., p. 172-174). or of the interaction \ 20 It would be to restore sound to its “one single time”, to its here and between things and their contexts” for barely a decade. Indeed a non-definitive definition, \ 18 Ibid., p.196. now. contexts.” (p. 8) but it allows a field to be marked out, without being overly defining.

34 / update_3 35 / Music Exhibitions from Music Hall Seats to Sound Installations An artist like Ilya Kabakov writes: “Basically, I don’t know what an sounds of the construction onto a tape recorder. Before I sealed off installation is, although I have, for several years now, practiced it with the box, I placed a small loudspeaker inside of it. I left an opening in enthusiasm, even passion” \ 21. This means a singular extension of one of the sides in order to be able to connect a tape recorder to the the genre (if installations may be called a genre), for which the bound- loudspeaker. In this manner, the recorded sounds can be played back. aries are, at this point, indefinable, but which we can affirm nonethe- The measurements of the box are approximately 23 x 23 x 23 cm and less, as Kabakov does: the thickness of the walnut about 2 cm.” \ 22 “For me it [installation] heralds a new period in the history of art, of By recording the “accompaniment” of the production, by reproducing equal importance as the three big eras which have succeeded each it and placing its sonorous history at the heart of the object, Morris other throughout the centuries: the icon, the fresco and the painting. welds sounds of inadequacy or disjointedness to its hollow body: the In that genealogy, I believe, the installation will have its place by re- object precedes (or succeeds) itself; beyond its presence (solid, hard placing the painting, and absorbing it.” and closed), it dislocates itself. This is undoubtedly contrary to Mor- In order to find its place among the genres and their genealogies, the ris’s intentions, conflicting as it does with hisunitary designs (the box, installation must include them all, with its “capacity” which Kakabov as well as the sound of its fabrication); the dislocation is situated ex- recognizes as that “of attracting and assimilating, besides visual arts actly at the inexpressible point between the integrity or the dignity of (drawings, paintings, objects), other genres (literature, music, show), the object (its “installation” in the sense of solemn enthronement) and in short, becoming a Gesamtkunstwerk (the complete oeuvre) that its sonority. That which does not hold, that is to say, that which un- was dreamt of at the beginning of the century.” does the box itself, is the fact that the sound is neither real nor false it belongs to a different time. And What is a Sound Installation? Admirable music box! If it is not yet a sound installation (one could qualify it rather as a sculpture or an assemblage), this dislocation that What happens when we place a frequently used substantive next to works away at it, tends to make it explode to, according to the au- this unstable word “installation”? How should we understand that thors of Installation Art “reject the focus on an object in favor of a fo- phrase: “Sound Installation”? cus on the connection between several elements or the interaction Let us pay attention first to another meaning of “stall”, which was not between things and their contexts”, in the words of the authors of mentioned at first: Installation Art. Driven by the sound that disjoints it, the Morrisian “2. In a theater, separate numbered seats. Renting a stall. Stall in a music box already tends towards installation. Not only does it contain music hall, gallery or amphitheater. Stall ticket. Sell one’s stall.” its own history (if that history is truly its own), but also all the difficul- Thus, hidden in the heart of the word “installation” and its history, a ties which are characteristic of sound installations. They are just wait- tendency towards the theater, and the concert st/(h)all. Yet, the ety- ing to spread when the box opens (and that opening is a structural mology cannot erase the eminently paradoxical character of the element, as Morris explains.) phrase “Sound Installation”. To be sure, in an (obvious) sense, every installation is or can be sono- With Hidden Noise, \ 21 “L’installation totale” rous (the phrase “sound installation” has something of a redundancy, or the In-exhibitablity of Sound (Conference held particularly in the perspective of a “complete” installation). The en- at the Staatliche thronement or the display may, evidently, produce some noise or be Difficulties arise when we strive to understand the word “sonorous” Hochschule für Bildende \ 22 Quoted in Écouter Künste, Frankfurt), French accompanied by sound. In fact, it is exactly that production, as in par les yeux. as anything other than a simple qualification applicable to installa- translation in Et tous produce sound that Robert Morris attempted to retain in The Box Objets et environnements tions in general; and regard the installation as sound as installation. ils changent le monde, with the Sound of its Own Making (1961): sonores, catalog These difficulties are not “conceptual”, they are not to be shrugged off catalog of the second “The box, Morris writes, is made up from six pieces of walnut assem- of the exhibition at the as “theoretical”, or strangers to “realistic practice”: what sound in- biennial of contemporary Musée d’art moderne art, Lyon, 1993, p. 268 bled into a closed cube. I made it with the tools at hand: hammer, de la Ville de Paris, 1980, stallations (not mere installations with sound) make visible, or rather, onwards. saw, etc. It took me three hours. During this work, I recorded the p.106. audible, are exactly those difficulties. If they are not the theme of

36 / update_3 37 / Music Exhibitions from Music Hall Seats to Sound Installations sound installations, they are at least a kind of recurring and privi- for Merce Cunningham, connected audio transducers to small objects, leged motif, either implicit or explicit. which thus became resonators for sound signals giving them a spe- What are those difficulties? They can be summed up in an impossi- cific “voice” (in Tudor’s words). In Rainforest IV, those objects grew bility: sound does not show itself as such. In that sense, Morris’s box and thus had “their own presence within the room”, so Tudor could echoes Marcel Duchamp’s work entitled A Bruit secret (1916): describe that fourth version as “an environmental work”. And this time, “This ready-made, Duchamp explains during a conversation with not only do the several objects hanging from the ceiling (such as kegs, James Johnson Sweeney \ 23, is a spool of thread between two watering pipes, gas canisters,...) give “voice” to the signals that they squares of copper... Before I finished it, [Walter] Arensberg put some- receive, but the resonating nodes of the materials are detected by thing inside the spool; without ever telling me what it was, and I contact-microphones and re-transmitted into the surroundings. \ 25 never wanted to know. It was a sort of secret; it makes noise, so we What Viola claims he learned from Tudor, is an “understanding of called that ready-made “with hidden noise”, and we can hear why. I sound as a material thing”. And that search for the impossible (and will never know whether it is a diamond or a coin.” untraceable) materiality of sound seems to be one of the rare recurring What this title (With Hidden Noise) expresses, through a strange characteristics in sound installations, maybe even their only truly dis- sort of metonymy, is the in-exhibitability of sound. But when one tinctive trait. But it is an attribute, which is always hollow, empty. It is tries to decipher the title, to explain or to expose it, what hides is no in reserve. In reserve. longer the sound, but “something”: its source, the object that produces it. If then the sound is secret, it cannot hide itself like an ob- By Assumption (Entrances and Exits) ject. Sound withdraws into its own shelter. Although, as Duchamp says “something” instead of sound, it is not a metonymy like others 1. What is called an exhibition has, as its principle, the (theoretical) in- (perhaps it can no longer rightly be called metonymy): Duchamp finite series; the collection: the object is an example in a succession of asks without answering the question that is at the root of every examples, it represents by metonymy the reason behind the series; sound installation. that is to say, the principle of the exhibition-collection. The installation, Despite the fact that the sound itself neither hides nor shows itself, on the other hand, upholds a principle of closure, even if that principle sound installations show in a privileged way the basis for sound, the is overwhelmed by the reception of the work, owing to the presence of mechanisms that produce sound, the physical phenomena that are random contextual variations at the heart of the installation. In other linked to the propagation of sound. In this manner Sarkis, who con- words (in a formal way), an exhibition attempts a process of infinite ceived an “end of the century sculpture” for the exhibition L’ œil mu- cataloging through a collection which is in reality always finite; while sicien held in Charleroi that arranged “the entire oeuvre of Webern in an installation, despite the disturbance of infinite contextual variations, silence on tape” on several thousand bricks. Christian Marclay for has the possibility of closure. his part, covered the floor with empty vinyl records at the Shedhalle 2. Those principles of exposition and installation, imported into the in Zurich in 1989 (once they were trod upon, they could be played field of music (“exhibition of music”, “sound installation”), causes the

\ 23 Quoted in Arturo back). Takis, then, exposed the moment when a percussionist strikes basics of musical practice to move in two opposite directions: that of Schwarz, The Complete the resonating body, in all its purity. Bill Viola, finally, in his Hallway the “one single time”, never to be repeated; and that of permanence, Works of Marcel Nodes, exploited the heterodyne effect on very low frequencies to the availability of an object. Duchamp, Thames and render sound tactile (rather than audible) in nodes in a corridor. 3. And one is always lying in wait for the other. Hudson, 1969, p. 462. Viola’s sound installation dates back to 1973. He writes \ 24: “In 1973, \ 24 Bill Viola, I met a musician, David Tudor, and I participated in his project “Rain- \ 25 These quotations P.S. “Statements”, in Reasons forest”, which was performed in a number of concerts and perfor- and descriptions are taken for Knocking at mances throughout the seventies”. Rainforest existed in several ver- from texts featured It is without a doubt one of Viola’s earliest sound installation projects an Empty House. Writings on the website devoted 1973 – 1994, Thames sions, and in that evolution of the project, it is the musical instrument to David Tudor: that comes closest to a “sonorous” version of that “enigma”: worded and Hudson, 1995, p. 151. that becomes a kind of installation. A first version (1968), composed www.emf.org/tudor. very well by Lyotard on the subject of Buren:

38 / update_3 39 / Music Exhibitions from Music Hall Seats to Sound Installations “Problem: supposing that the presuppositions of a visual art exhibition are not visible, create an exhibition of visual art that exhibit these presuppositions.” \ 26 In the Footsteps of Those Who Have Marched Before is an installation (1973) where at least four contact-microphones re-transmit the footsteps of the visitors and mixes them with a recording of a pound- ing and resounding footfall: “That which returns” Viola writes, “is a decision of synchronization; people being either in sync or out of sync with the recording” \ 27. What also recurs – and as an irreducibly \ 26 Que Peindre ?, sonorous mode – is the passage itself. La Différence, 1987, In the Footsteps...: That title can be translated and understood as: “In p. 99. the footsteps of those who have already passed”. \ 27 Op. cit., p. 34. Peter Szendy Scenographic Principles The Bureau des Mésarchitectures

or this exhibition, where it is a matter of making sound “corporeal”, the scenographic principle rests on a game of perceptible amplification of auditory sensitivity by exacerbating or neutral- Fizing the other senses. This perceptual experience is close to that of synaesthesia, a neurological phenomenon where two or more senses are joined together. Here, the experience of the “invisible” dimension of sound, is explored not only through modes of listening, but also through the psycho-physical way in which the body is (de-) conditioned.

This “invisible” dimension takes form thanks to a spatial device linked to sensory listening, unique to each work. A succession of micro-environments invites the public to explore different percep- tions of sound through their interactions with the materials, their position when listening and the movement of their body within the space. The journey develops in four sequences:

1. [de-materialization] The point of departure is the installation Get out of my Mind, Get out of this Room, where Bruce Nauman’s voice resounds in a white cube. The de-materialization of that same cube takes place all along the journey. First through erosion: a cube that incorporates intimate

40 / update_3 41 / Scenographic Principles / The Bureau des Mésarchitectures alcoves where Vito Acconci’s work can be heard. Next through the disappearance of its visual boundaries: a glass cube whose empti- ness amplifies the silent dimension of Manon de Boer’s work, echoing John Cage.

2. [immersion | internal listening] Immersive environments submerge the body into an internal listening: the installation of the meditative auditory sofa by Céleste Boursier- Mougenot, the felt envelope suspended in an infinite loop by Alva Noto, and the timidness of the loving words whispered by the walls, by Anouk de Clercq; that come to inscribe themselves into the pro- portions Bruce Nauman’s cube.

3. [silent geography | individual listening] The central space, in the middle of the journey, materializes a silent geography. An immaculate stand reveals an overexposed void of white light, to a soundtrack of amplified silence. Contrary to a show- room, here, the public finds itself in an empty theater; a sensory reset. The individual sound devices, conceived by Didier Faustino come to occupy the space of the stands, in a fragile and precarious equilibri- um. Exacerbating the dimension of sound by nullifying the sense of sight, they offer an intimate listening experience of the works of Mika Vainio, Martin Creed and Mike Kelley / Scanner. In front of the stand, Chris Marker’s work on Second Life and his world of avatars and networks connect the body to a parallel reality.

4. [sonorous objects | spatial listening] The journey continues with Ugo Rondinone’s and Emmanel Lagar- rigue’s installations of sonorous objects, which call upon the body to listen in movement. Ugo Rondinone’s enormous, suspended sound rocks slow the body’s rhythm and its place within a timeless universe. Emmanuel Lagarrigue scatters a multitude of auditory and luminous sources that cause the body to drift between attraction and repulsion.

The journey comes to an end with the audiovisual work by Semicon- Left page ductor, where a horizon of projections and cosmic drones produce Didier Faustino a material disintegration and return to a spectral spatial-temporal Erase your Head / dimension. An Instrument for Blank Architecture 2010 Didier Faustino and Cláudia Martinho

42 / update_3 43 / Scenographic Principles / The Bureau des Mésarchitectures Exhibition floor plan

8/ Emmanuel Lagarrigue I never Dream otherwise than Awake 2006 Zebrastraat Zebrastraat Ground floor 1/ First floor 9/ Bruce Nauman Semiconductor Get out of my Mind, (Ruth Jarman Get out of this Room 4/ Joe Gerhardt) 1968 Brillant Noise 2/ 2006 Vito Acconci 10/ Under-History Lessons 8/ Didier Faustino 5/ 1976 Erase your Head / 3/ An Instrument for Manon de Boer Blank Architecture 10/14 Two Times 4’33” 2010 2008 3/ 11/ 4/ Chris Marker Céleste Ouvroir 128 / 63 / 39 10/13 Boursier-Mougenot 12/ Schizoframes Mike Kelley / Scanner 2003 (Robin Rimbaud) 10/12 5/ Esprits de Paris 2/ Noto aka 2001 Carsten Nicolai 7/ 13/ 6/ ∞ [Infinity] Owada 11 1997 (Martin Creed, 6/ Adam McEwen Anouk de Clercq Keiko Owada) 9/ Me + Nothing 2004 1997 1/ 7/ 14/ Ugo Rondinone Mika Vainio The evening passes Three Compositions for like any other... Machines (Track 01) 1998 1997

44 / update_3

45 / Scenographic Principles / The Bureau des Mésarchitectures Notes on the works This auditory work was realised for an inaugural exhibition for the opening of a new art gallery on Long Island, New York, situated in the classrooms of an old school building. Vito Acconci The installation consists of the rough recon- stitution of a classroom, through loudspeak- Under-History ers that transmit reminisces of a lesson learnt by heart. From one of the loud speakers, the Lessons artist’s voice is clearly heard, expounding on the main points of the lessons, like a ito Acconci is a part of the generation of teacher; while from the other loudspeaker, artists from the 1960’s who have tried to Vito Acconci is heard consciously repeating radically redefine the form and direction the lessons like a good pupil. The artist’s dif- Vito Acconci Next page Under-History Lessons Vito Acconci V of art, by going beyond painting and ferent voices respond to each other during (Early Audio Works) Open Book conventional sculpting, abandoning the es- the recitation, thus tracing out a history of in- 1976 1974 tablished aesthetics. He turns his body into a doctrination. means of experimentation through photogra- In this work, Vito Acconci employs his voice, phy, video and sound recordings. His work is through different tracks and tones, using provocative, and often destabilizing in the persuasion and good cheer which is both way it evokes a reaction from the spectator, cynical and ironic. The sound mixing tech- by submitting him to mentally and some- niques that are used allow the artist to re- times physically uncomfortable situations duce the bias of his voice and its effects. that cause a resurgence of primary emotions. Through repetition and pronunciation, he The presence of the spectator as a witness plays with the musicality of words, and gives and a voyeur is incorporated into the work. the work a disturbing quality. Under-History Lessons is a part of a pooling In this conceptual auditory piece, Vito of works, entitled Early Audio Works of which Acconci, both teacher and student at the Running Tape, an auditory performance set same time, recites a series of twelve short in Central Park, New York, is a notable piece. non-conformist lessons, going from lesson While Vito Acconci is running with a micro- no. 1 “Let’s Believe We’re in This Together” phone in hand and a tape recorder on his over “We are suckers” and “Don’t give any- belt, he counts his steps out loud, while thing away” to lesson no. 12, “Let’s be Op- breathing loudly into the microphone. The pressed”. The artist suggests an unusual artist captures the reactions of his body to point of view on the ideological basics of the physical and mental effort that such an education and the teaching methods which endurance exercise demands; transforming hide a purpose other than the purely didactic. his voice and breath. The recording becomes He critiques education that assumes an un- a testimony to Vito Acconci’s discrete inter- inviting learning, based on knowledge, rather vention in the urban space. than understanding. A kind of brainwashing In Under-History Lessons, Vito Acconci once where words lose their meaning. again uses his voice in a different context. Priscilia Marques

48 / update_3 49 / Vito Acconci Under-History Lessons

All they have is indications, which are all integrated. In their own right, the chair or the sofa are central elements that invite taking possession of that place, to install oneself at leisure, thus welcoming the perceptual and sensory proposition. Céleste Boursier- Mougenot adores the hidden potential of Céleste Boursier- new media, and revisits some of its flagship protocols, such as the closed circuit installa- Mougenot tion, the Larsen effect or the principle of feedback. Schizoframes is the generic title of Schizoframes a series of audiovisual installations, started This page and in 2003, that explore the possibilities of feed- following pages pon entering the room which houses back video. Here, projected images are gen- Céleste Boursier-Mougenot the work Schizoframes by French erated by a process that has its origin in Schizoframes artist Céleste Boursier-Mougenot, video art. A camera is placed opposite a 2003 U one is struck by the sight of specta- monitor on stand-by, which reproduces the tors lounging on a big white sofa. Seeing images filmed by said camera. Abstract and their abandoned bodies and peaceful faces, hypnotic signs appear, infinitely changing an urge to join them and observe what is be- and morphing, at different rates. As for the ing shown on the opposite wall is felt. Once music that accompanies the life and loss of installed on that large couch, the spectator those forms, heavily charged Zen, humming feels strange vibrations in his or her body, vi- and clear, is obtained by transduction of im- brations which seem to sound in unison, with ages and audio frequencies. A video signal is sweeping abstract forms tending towards converted into an audio frequency and treat- the psychedelic, and triple projection. Is the ed to generate sub-base pulses, broadcast artist trying to send us back to the sixties? Is by loudspeakers, integrated into the sofa. he enjoying himself by reactivating the syn- The system is a whole, each manifestation is aesthetic works of Monte Young? Céleste a translation of another. The works of this Boursier-Mougenot is a trained musician, artist all share this principle: what you see, is who started his career in theatre, where he what elaborates the music. Schizoframes is was the composer for the theatre company heir to the experiments of Monte Young, in “Side One Posthume Theatre”, led by chore- the sense that it can not be reduced to a ographer and stage director Pascal Rambert. principle, nor to the sound it creates or Since 1994, he has developed into the field records. The works exists as a phenomenon, of visual arts, introducing his own auditory like a living organism which is self-regenera- experiments through complex installations. tive, subject to danger; depending on the He has not, however, lost his sense of dram- person experimenting with it, who is both aturgy. In each of his works, the artist devel- coiled up and projected there, who shows ops a taste for the mise en scène and reflects his birth and conditions his present. on ways to make the visitors pause over it. Florence Parot

52 / update_3 53 / Céleste Boursier-Mougenot Schizoframes

In the first epigraph, while the camera focus is set on the pianist, the spectator is spatially embraced by the potentially romantic, blus- tering rainy day filling Cage’s quiet intervals. In the second epigraph as the image begins to pan, the spectator is deprived from the typical illusion of the “moving image” natu- rally followed by an audio track, thus bringing the very nature of cinematic sound-image hierarchy into question. The juxtaposition of the toned, yet almost static shot and the moving, silent scene dem- onstrates how the image turns flat, when his muted public. By diligently registering stripped bare of the mimetic sounds that our each of the attentively pondering listeners, Hollywood heritage grants. The visual realm de Boer highlights the starring role of the is no longer bracketed by an emotionally parallel audiences; the attendees immortal- suggestive flow of noise and the space is no ized on celluloid in addition to the actual cur- Manon de Boer longer felt – although it is now carefully de- rent public. picted. Simultaneously, the film’s second run evokes Two Times 4’33” Inspired by Chris Marker and Marguerite the spectator’s memory of ambient sounds Duras, in particular the latter’s endearing use of life, priorly heard through the leaking qui- soloist settles at a grand piano with of voice-over and tone, de Boer often focus- etness of the composition, adding his or hers his rear to a panoramic, rain-wet win- es on unsynchronized and elaborate sound imaginary sounds to the screened (numb) dow. He repeatedly clicks a chess exemplified in Resonating Surfaces (2005) – tableau vivant. Through an almost compul- A watch, stays silently concentrated for her portrait of the Deleuzian psychoanalyst sory longing for mimesis, the viewer over- an interval while hearing the storm outside, Suely Rolnik whose recounting voice contin- comes the muted distance to the rough, No- and releases the tension momentarily with a uously discords with the imagery screened. vember day displayed. The recollection of new tick marking a “pause”. After about five This approach crystallizes in the musical tril- past audio sensations melts with the specta- minutes the whole scene replays meticu- ogy Presto, Perfect Sound (2006), Attica tor’s presence. lously, except the contextual soundtrack – (2008), and Two Times 4’33”. This point, where remembrance and (re-)con- apart from the clicks – is now left out, pains- In the latter, the dual re-interpretation of struction meet, is negotiated by the soon-to- takingly articulated as the camera makes a Cage’s piece by celebrated contemporary in- be anachronistic, yet pregnant colorscale of gentle turn passing the audience to capture strumentalist Jean-Luc Fafchamps creates a the 35mm rushes. Via the analogue medium, the muted, windy outdoors. strong focus on the spectator. The concert is, de Boer pushes re-enactment by not only re- The precise simplicity of Manon de Boer’s in the second take, stripped bare of contex- viving the modernist music piece from the film universe and her slow editing of the ana- tual sounds and the intimate (bodily) silence 1950’s, but also merging the nostalgia of the logue rushes is striking. In Two Times 4’33” of the beholder in the screening room thus representational time on celluloid film with (2008) she re-enacts John Cage’s seminal becomes the focal “music” at play. The cam- the contemporary time of its spectator. The piece 4’33” (1952) – a three interval “silent” era’s eye is no longer kept on Fafchamps – in- present day resonance of postwar avant- composition – twice. Each performance is stead it confronts the film audience (breath- garde thus becomes unavoidably actual. filmed in one long take. No cuts. ing, moving, coughing, or whispering) with Rheal Dall

56 / update_3 57 / Manon de Boer Two Times 4’33” Manon de Boer Two Times 4’33” 2008

58 / update_3 59 / Manon de Boer Two Times 4’33” (2003). Thus, she created this delicate and sober video, describing a love story with few technical or visual means. In a few minutes she tells the universal story of a romantic meeting through very abstract forms. This Anouk work defies the classic images of love sto- ries such as those we see in Hollywood films de Clercq where everything is shown. The artist prefers to leave room for the spectator’s personal Me + interpretation, which she achieves through rudimentary graphic elements. “Me +” is a Anouk de Clercq nouk de Clercq constructs imaginary white inscription on a black screen, where Me + 2004 universes through the use of dig- “Me” which represents the artist, quickly dis- ital technologies. She creates land- appears, leaving the symbol “+” floating in A scapes and architectures that are ev- space. The symbol splits in two, and the sec- er-changing, making them much more than ond “+” symbol comes to woo the first. Next, invented three-dimensional spaces; they are they circle each other, gravitating towards mental landscapes, exploring new visual one another, disappearing in symbiosis until approaches. Anouk de Clercq presents her they finally meet. work in different forms, from large-scale pro- The sound is dealt with in the same way as jections to tiny screens, from huge immer- the images, Anouk de Clercq creates sound sive spaces to more intimate ones. Space is landscapes. For Me +, she collaborated with essential to her work, whether it be monu- Anton Aeki, a Belgian musician, with whom mental (Kernwasser Wunderland, 2004), very she has worked for ten years. The treatment small (Me +) or virtual, on the Internet (Typo- of the sound respects the idea of creating space, 2005). The choice of black and white an atmosphere, which is at the same time allows the artist to work with nuances of grey as intimate as a room and yet immense like and with shadows, to remain within univers- the universe. A text, read out loud, mingles es which are always neutral, in which she can with a minimal soundtrack, giving an impres- confront different forms of art. Indeed, in this sion of space. The text, written by Anouk de way, she assembles text, music, architec- Clercq, is whispered by the artist herself but ture and visual arts. In her minimalist works, her voice is modified to achieve a unisex tim- Anouk de Clercq always leaves room for the bre. A neutral voice in order to better tell a interpretation and identification of the spec- universal story of love, open to imagination tator. Her subtle and imaginary universes are and interpretation. Thanks to the influence of invitations to think, comment and react. the text and the electronic music on the two Me + was created for an exhibition where dimensional image, the rudimentary graph- artists were invited to present a self-portrait. ics and animation reveal themselves as be- Anouk de Clercq chose to present a very ing very expressive and suggest a narrative, intimate work, in contrast to the monumen- a universal story in an infinite place. tality of her prior works, such as Building Priscilla Marques

60 / update_3 61 / Anouk de Clercq Me + Didier Faustino Erase your Head / An Instrument for Blank Architecture

rase your Head is a mobile listening device, adaptable to the space which it occupies. A tripod that is equipped E with a balancing system and is gener- ally used by a land surveyor to document landscapes and topographies, here, becomes an instrument dedicated to the exploration of mental landscapes. The device has been modified with a padded helmet, which is fit- ted on top of it, thus making it possible to Next page Didier Faustino listen to sound works. Erase your Head / Its use requires the intervention of the spec- An Instrument tator, who must grab hold of it in order to as- for Blank Architecture sume the listening position. The spectator, 2010 then, accepts isolation from the world for a Pages 64-65 while, in order to access new sensory territo- Didier Faustino Silent Room ries, his personal heterotopias. 2009 Didier Faustino

62 / update_3 63 / Didier Faustino Erase your Head / An Instrument for Blank Architecture

onward, he worked with a scanner to divert extracts of phone calls and radio broadcasts, in order to capture and mix them immedi- ately at the time of their occurrence. The auditory work which they have designed together is built around recordings of silences and urban sounds, made at several spots Mike Kelley / Scanner in Paris that were witness to historic and es- Esprits de Paris oteric events. Their starting point was the 2001 premise that these places preserve a memo- Next page ry of these events, but also of well-known Mike Kelley / Scanner Esprits de Paris people that lived there; a premise which led (installation) them like a mysterious guide through Paris, 2002 bringing them to Serge Gainsbourg’s old Exhib. “Sonic Process. home, as well as that of Tristan Tzara, past Une nouvelle géographie des sons” the address where Lautréamont died and to Centre Pompidou, the tomb of Jim Morrison. designed to enter into contact with a world of 2002-2003 Esprits de Paris references the Electronic unknown dimensions through use of ambient voice phenomena, the recording experiments music. Moreover, the auditory buzzing, repe- Mike Kelley / attempting to record the voices of spirits, titions, characteristic of the use of machines, held at the end of the 1950’s by Friedrich is often used in minimalist music, mainly syn- Scanner Jurgenson, Swedish artist and medium, and onymous with fantasy. Konstantin Raudive, Latvian psychologist The places chosen by Scanner and Mike Esprits de Paris and pupil of Carl Jung. They tried to commu- Kelley were simultaneously recorded on vid- nicate with the dead by using electronic de- eo and digital sound recorders. Attempting 2001 vices such as the telephone or the radio as a to amplify the properties of recordings, the medium, with the disembodied voices mani- artists left the lens cap on the video camera sprits de Paris was conceived for festing themselves through rumbling on the and disconnected the microphone from their the exhibition “Sonic Process” pre- tapes or broadcasted radio waves. The re- digital sound recorder. At the end of the sented in 2002 at Centre Pompidou. cordings of Konstantin Raudive were unused recording, the blank signal is amplified by E That exhibition examined the devel- until William Burroughs reinterpreted them in the artists, resulting in a recording of white opment of electronic music in the past ten his essay It belongs to the Cucumbers (1976). noise, an obstreperous sound that contains years, and the effect thereof on the visual The ten thousand recordings that Raudive all the frequencies of the auditory spectrum. arts. American artist, Mike Kelley, famous for made did not gain scientific value, but they The transmission’s volume is exaggerated to his installations that blend together sculp- did influence the work of artists such as Gen- such an extent that the smallest sigh or whis- tures, video and sounds, collaborated on this esis P-Orridge and The Smiths. Mike Kelley per is accentuated. Thus, all the anomalies piece with Robin Rimbaud, alias Scanner, for his part, has been interested in experi- detected on tape are looped, treated in the a musician and visual artist, who elevated ments on tape since the middle of the 1970’s, same way that the voices recorded by ambient music to the ranks of conceptual when he was making noise music and “mu- Konstantin Raudive were, provoking a mysti- art, using auditory elements in his installa- sique concrète”. He assimilated the study of cal and wondrous effect. tions and performances. From his first works emitted sound with the bias of a machine Priscilia Marques

66 / update_3 67 / Mike Kelley / Scanner Esprits de Paris

murmuring a song. They come from sus- Emmanuel pended speakers, which are reminiscent of mouths, hanging from the vocal cords, seem- Lagarrigue ing to answer one another and striking up a conversation. I never Dream Unlike other works, the artist did not use pre- existing sources of sound, taken from films otherwise or books. He asked people close to him to allow him to record them humming a song of than Awake their choice. He then divided the music into several slots and lightly reworked them, This page and f the works by French artist Emmanuel composing a melody for each one, in order following pages Lagarrigue often borrow from cinema or to make them into something unrecognisa- Emmanuel Lagarrigue literature, I never Dream otherwise than ble. It is a very personal work, hence the title, I never Dream Awake borrows only from the imagination thanks to the collaboration of his friends that otherwise than Awake I 2006 of the artist. Emmanuel Lagarrigue himself confided a piece of the unconscious to him, says that he does not dream, or rather he thus allowing I never Dream otherwise than does not dream unless awake. Have we Awake to be an intimate experience, where come to assist him in one of his dreams? the spectator himself can project his own This vast audiovisual installation brings us emotions. into a dreamlike world where each word that The melodies spread through the room and might qualify it seems to come from the arrive at our ears without us ever being able aquatic lexical field. A blue light, coming to identify the true source, like hushed whis- from a line of neon lights on the ceiling, pers, lullabies told by sirens. These unstable reveals the road that is to be travelled and voices that come from everywhere are united the horizon which may not be passed. Wire through a soft and clear sound recording in- structures, hanging from the ceiling, de- stalled in the periphery that allows it to unify scend like sea algae from a fictional surfa- everything, as did the luminous surroundings ce. In some of the electrical sockets, some of a “Blue Velvet”. loudspeakers resembling sea-shells are pla- Emmanuel Lagarrigue is not a trained musi- ced. The strange sensation of being submer- cian, he studied art philosophy. What he is ged in an aquarium overtakes us. Is the art- interested in most in all his auditory works, is ist trying to drown us, to drag us towards an not so much the music, as the words that are abyss in order to release us and prepare us thus formulated, the language and shared to listen? He does not want us to observe experience. He considers himself a minimal- the work in its totality at first glance. ist artist rather than a visual artist of sound. He encourages moving around, and the Our apprehension is expected, in order to possibility of getting lost. Advancing into put together the work’s story. If he did not the work, the spectator is stopped by voi- wish to sink us, he certainly succeeded in ces, sometimes close by, sometimes far submerging us. off; sometimes female, sometimes male, all Florence Parot

70 / update_3 71 / Emmanuel Lagarrigue I never Dream otherwise than Awake

He defines himself as an artisan producing Sergei Murasaki: Fantasy, onirism. The sen- “handiwork”, collections of documentary im- timent of permeability between reality and ages and literary commentaries. It is thanks virtual reality […] to these montages that he is the guardian of Les Inrockuptibles: This island, the objects our collective memory. With the “Petite we find there, the museum… Are you the Planète” collection, published by Éditions du creator or the proprietor? Seuil, he proceeds in the same manner by Sergei Murasaki: No, I have never been the offering a layout inspired from cinemato- proprietor of anything. A group of Viennese Chris Marker graphic montages. The image overrides its friends are in charge of its administration. role as illustration. They’re great, by the way. Ouvroir Using different formats – gelatine-silver pho- Les Inrockuptibles: How do you understand tography, digital photography, video, film and the way in which this virtual space and its 128 / 63 / 39 archival images – he gives the commentary users invented a life for themselves, an econ- an essential role thanks to a voice-over which omy, a virtual commerce of body and cur- ioy’s world: a ghost-world, delivers his personal reflection on the con- rency? these people who we know temporary world, like in Sans Soleil (1982), Sergei Murasaki: The commerce aspect nothing of, whose appearance with its montage which combines documen- bores me as much as in RL. Besides, I don’t is clearly a lie, but where it is tary and fiction accompanied by philosophi- understand it at all. But seeing as though I \ 1 Excerpt from Guillaume- “B in-Egypt’s interview, precisely so easy to lie that certain perverse cal commentary. already don’t understand the economy of the conducted by Poptronics, souls, I am sure of it, feel malicious pleasure Driven by new aesthetic practices and ad- real world… “Pop’lab Sao Paulo in telling the truth, knowing they will not be vances in technology, he created Immemory Priscilla Marques extension”, October 2009. believed. Now, I have my island in Second (1998), an interactive CD-Rom in which he Life. I meet with people from the four corners intertwines fictions and archival images. Re- of the earth. And it is a fact that we are ac- cently, Chris Marker has become interested complishing something absolutely new in the in real life simulation on the Internet website history of communication. It is not quite real- Second Life. There, he created his avatar, ity, and yet… The telephone, emails, even Serguei Murasaki, and his island, Ouvroir video-conferencing do not nullify distance, (Workroom), so-called in reference to l’Oulipo but rather they highlight our efforts to over- (Ouvroir de Littérature Potentielle). He spoke come it. In SL, distance is abolished. We are in these terms during a live interview in Sec- there and not there at the same moment, like ond Life: my other cousin, Schrödinger’s cat. Never Les Inrockuptibles: How did you come to before had it been attempted.” \ 1 exhibit on Second Life? The author of numerous films such as La Sergei Murasaki: Curiosity, at first. Then it Jetée (1962) and Level Five (1996), Chris becomes addictive. Marker is also a writer, poet, photographer Les Inrockuptibles: In what way? and ethnologist. Through his documentaries Sergei Murasaki: Have you read The Inven- and his cinematographic essays, he is the tion of Morel by Adolo Bioy Casares? […] witness of his time and throughout his career Well, it is exactly the world from his master- strives to capture social, political and cultural piece that we find in SL. revolutions. Les Inrockuptibles: Could you elaborate?

74 / update_3 75 / Chris Marker Ouvroir 128 / 63 / 39 Previous page and these pages Chris Marker Ouvroir 128 / 63 / 39

76 / update_3 77 / Chris Marker Ouvroir 128 / 63 / 39 Only sound occupies this space, through Bruce Nauman two loudspeakers concealed in the walls. Get out of my Mind, The auditory work starts by the sound of Get out of this Room 1968 Bruce Nauman footsteps, followed by two exclamations by the artist, tirelessly repeated, ranging from Get out mild to menacing in tone. The voice of the artist is more or less distinct, of my Mind, sometimes firm and comprehensible, sometimes hushed, inaudible, like a repeated mur- Get out mur “Get out of my mind, get out of this room”. The artist orders the spectator to of this Room leave the room, and consequently the work. This is in contradiction to the demands of a ruce Nauman is fascinated by the work of art, which is realized to be contem- ambiguities and imprecisions of lan- plated, and depends on the spectator. How- guage. He has been influenced by ever, Bruce Nauman’s message clearly in- B the works of Samual Beckett and vites the public to flee the work. His voice is philosopher Ludwig Wittgenstein since the all the more hostile because it is invisible beginning of his career. In the majority of his within the system and plays with different works, whether they are auditory or visual, rhythms and tones to reinforce the weight of made with neon-lights, he uses words and his words; the artist wails, groans, roars and frequent repetitions to question the nature of mutters. He also uses his breath to accentu- art and notions of body and identity. He turns ate the oppressive aspect of the work, remi- language into a powerful tool to manipulate niscent of the Mégapneumes of poet and and control the spectator. In his performance filmmaker Gil J. Wolman, created in 1950. Body Pressure (1974), Bruce Nauman invites Those auditory poems were realized by re- the spectator to follow a list of actions to car- placing the words by sighs uttered in differ- ry out. They press different parts of their body ent respiratory cadences. against a Plexiglas wall, while striking differ- Get out of my Mind, Get out of this Room ent poses. As the descriptions of the artist was conceived when Bruce Nauman was are followed, the exercise is transformed into hugely in demand by American and Europe- a dance which is almost erotic. an galleries, which caused him a lot of stress. In Get out of my Mind, Get out of this Room, Symbolically, the space created in Get out of the artist addresses the spectator by giving my Mind, Get out of this Room is that of the him an order, demanding an answer. The artist’s body. It is a mental space in which spectator has no choice, neither to accept the spectator is invited, but as soon as he nor to refuse the order. Throughout this work, enters, he is asked to leave. The work deals Bruce Nauman underlines the degree of con- with notions of attraction and repulsion trol that he can achieve over a spectator by through the bias of language, capable of in- toying with their disorientation. They enter fluencing our mind and our judgment. into a closed space, confined, lit, and empty. Priscilia Marques

78 / update_3 79 / Bruce Nauman Get out of my Mind, Get out of this Room oscillations and tone generators and by making them evolve in time and space. Through these procedures, he renders sound palpa- Noto aka ble, almost like matter which surrounds us. Carsten Nicolai tries to get beyond the exist- Carsten Nicolai ing distinctions in the perception of the human senses by creating scientific phenomena ∞ [Infinity] in the form of frequencies of sound or vision, perceptible to the hearing and sight at the arsten Nicolai is a German visual same time. artist and musician, creating audi- The sound experiences which he has created tory works published by electronic under the name of Noto allow him to develop C music labels Raster-Noton and Mille a language that is wholly his own, composed Plateaux. His artistic approach is a cross- of acoustic codes and visual symbols. In section of science and contemporary music 1997, he created an auditory work entitled practises. Throughout his auditory installa- ∞ [Infinity] which was spread across the city, tions and his music, he exploits the limits in railway stations, airports, galleries, bou- and creative potential of codes, crypted for- tiques and on local radio, for Kassel’s Docu- mulas and other logical systems that struc- menta X. Seventy-two tracks of forty-five ture our world. In order to do this, he bases seconds each make up the work. These himself on solid knowledge and surrounds “spins” as the artist calls them, are derived himself with engineers, scientists or musi- from several sources of communication, cians for his projects and expositions. such as telephones, fax, radio waves and He has collaborated with musicians such as modems that are then reworked by the artist, Ryoji Ikeda and Mika Vainio. Carsten Nicolai sampled and looped. It is that circular rep- is also a member of the band Signal along etition that gives the work its title, giving it with Frank Bretschneider and Olaf Bender. a sense of the infinite. The resulting sounds He signs his music productions with the that are produced are familiar to a contem- pseudonym of Noto, when the focus is on porary environment throughout which they sound as a physical phenomenon, while he are spread, their signalling function usually uses Alva Noto when he is attempting a more turned into an injunction to a user. They are musical approach, integrating arrangements sound signals of communication, charged and rhythms. with information or awaiting response. In Interested by the principles of Cymatics, a ∞ [Infinity], the message that they are trans- procedure that renders sound waves visible, mitting is no longer meant to be recognizable in a coordinated manner, he often accompa- to the auditor. It is transformed into a compact nies his minimalist sound compositions with mass of sounds, taking part in the construc- bright visuals generated by software that he tion of a musical environment. The different himself designed. sounds then underline the density of sound Noto (Carsten Nicolai) His music is composed of digital sounds in our contemporary environment. ∞ [Infinity] which are reworked and modified with looped Priscilia Marques 1997

80 / update_3 81 / Noto aka Carsten Nicolai ∞ [Infinity] this principle of complementarity, his auditory works often stem from visual works and vice versa, for example in I Like Things, or Everything is Going to be Alright (sic). He also designs auditory installations, such as Owada Work No. 189. Thirty-Nine Metronomes Beat- ing Time. One at Every Speed (1998) in which (Martin Creed 39 metronomes, placed on the floor, each beat a different time. In 1994, he formed a Adam McEwen band, Owada, with two friends. Martin Creed was the singer and guitarist, Adam McEwen Keiko Owada) the percussionist and Keiko Owada the bass player and backing vocal. He had already Nothing written and composed pieces before forming the band, but Owada allowed him to perform n 1997, Owada produced its first album, them. The band soon split, as it was too far Nothing, under the label of composer removed from Creed’s artistic aspirations, David Cunningham. Conceived as a mini- who continued to develop his own musical malist work, it consisted of 23 songs, projects as singer and guitarist in the context I This page and composed and written by Creed. The artist’s of his exhibitions. work follows the example of the conceptual In the album Nothing, the titles of the pieces following pages Owada and minimalist art of the 1960’s and 70’s, also revealed the lyrics of the song (1,2,3,4), Nothing such as that of Sol Lewitt. When creating a its characteristics (Short g, 0’06”) or the con- 1997 work, Creed avoids taking an aesthetic di- text of recording (30 Seconds with the Lights rection. His approach relies on the question Off). In the same vein, the piece X consists of of the consistencies within a work of art and the letters of the alphabet from A to Z and the relationships it forms with those around it. 1-100 of the list of numbers sung in order. In His works take on several shapes, all the Circle, the artist evokes the world of art and while remaining restrained. The artist often refers to artists who are distinguished within uses materials available at the place of exhi- the field of conceptual art. bition: the air in Work No. 200, Half the Air The album is a mixture between dada and in a Given Space (1998), the light in Work pop music. The lyrics revolve around repeti- No. 227, The Lights Going On and Off (2000), tion, counting and reciting, but reduced to which won him the Turner Prize in 2001, as the strict minimum: few notes and no super- well as walls, doors and sound. To describe fluous words. Creed wanted the guitar to be his reasoning, Martin Creed likes to quote as pure as possible, and chose not to use Michelangelo, saying that a sculpture is al- reverb or distortion. Through this neutral ap- ready present in a block of marble. It’s just a proach, the sound is finer, purer. It is that ab- question of getting it out. sence of musical aestheticism that gives the Martin Creed considers sound and music a album its name. continuance of his approach to visual arts. In Priscilia Marques

82 / update_3 83 / Owada Nothing 84 / update_3 85 / Owada Nothing seem as alien as they do familiar. They present themselves to the visitor like impres- sions of déjà-vus and sensations which are indefinable and yet familiar: in front of the visitor are balls, walls and columns of smith- ereened mirrors, or else, as here, highly suggestive spaces with huge pebble-like stones from which wafts a voice, and which, flying in the face of all physical probability, seem to be in mid-air beneath the ceiling. Rondinone confidently sketches snippets of experience that are both subjective and archetypal: dreamlike realities. By urging visitors to touch, look at and listen to, this art gives priority to their instinctive perception. So the visitor experiences his / her body as a source of knowledge, and becomes a participant in this kind If it so happens that in other works we are of “performance poem”. witnesses to an inner quest (as in Roundelay, In Rondinone’s titles we already sense the 2003), in this one we come on stage like real poetic and nostalgic suggestion of his works. protagonists. We walk along this brief circuit And like the men and women who, in the sub- that leads us in repeated circles around three title, float past the awareness of the lyrical “I”, pebble-sculptures as if they were mermaids – we too slide into this square installation space. but at the same time in ourselves as well. An artificial dayglo yellow horizon surrounds The unusually large scale of the stones ide-

\ 1 ...Men and women the three huge river pebbles painted dazzling ally slows down our progress, and little by float alone through Ugo Rondinone white which hang from the ceiling. In order to little we are floating rather than walking. The the air. They drift past pass them, we involuntarily slacken our step private and enigmatic character of this white my window like and hesitantly, and slightly disorientatedly, world surprises and bestirs us to fill the the weather. I close my The evening eyes. My heart is a approach the four small white video monitors space with our own reality. We know this moth fluttering against passes like any on which spectacular scenes are being trans- procedure full well in the interference of his the walls of my chest. mitted in a continuous loop. Here, too, levity black-and-white photos, the trembling of his My brain is a tangle \ 1 reigns: we see a car that is forever crossing neon poems and his target paintings, and of spiders wriggling and other... roaming around. the screen, a snowy landscape, a clothed the use of immaterial music and voices which A wriggling tangle of he artist as sleeper, dreamer, or else man’s body adrift in the water, and a naked create an atmosphere. Those who let them- wriggling spiders. as a clown, prostrate on the ground – woman jumping tirelessly into the air. The selves be surprised, and drawn for a moment (Still Smoking, Part IV), in his works Ugo Rondinone often rhythm of the images is accompanied by a into Rondinone’s work feel throughout their 1998. ventures into the uncertain terrain of sentence that also goes round and round: bodies that conviction held by Mallarmé: “To Pages 88-89 T emotions. The ground vibrates with his un- “What could be better, nothing is better.” In name an object is to get rid of three-quarters Ugo Rondinone dulating lines, voices coming from unexpect- the almost hypnotic magic of this linguistic of the enjoyment of the poem. [...]; to sug- The evening passes like any other… ed sources sing in the visitor’s ears, and the music, the scenes give the impression of be- gest it – there’s the dream.” 1998 installations are made up of objects which ing universal memories. Gaby Hartel

86 / update_3 87 / Ugo Rondinone The evening passes like any other...

made in the context of a residency pro- gramme initiated by the British Art Council at the Department of Space Sciences of the University of Berkeley, California, in collaboration with NASA, giving them access to a multitude of solar pictures taken by orbiting satellites. With the help of astronomers, the artists went through countless gigabytes of archives, and compiled some of these digital scans in order to compose a video animation on the oscillations of the sun. Brilliant Noise may be perceived as a documentary, without Semiconductor taking into account the audio recordings and the montage. Through a process of audio Brilliant Noise data processing, the artists have used images to control the fluctuations of sound; ac- ike the terrifying basis of an engraving cording to the brightness of the image the by English artist and poet William Blake, sound varies, crackles, buzzes and falters the audiovisual work Brilliant Noise before harmonising. The sound material first L pulls us towards cosmic confines. Two provides natural radiation from the sun. The English artists, Ruth Jarman and Joseph interaction between sound and image is per- Gerhardt, collaborating since 1996, are the fect and allows for an elaborate fiction of driving force behind this “UFO”, working un- sound and visuals, with each burst of par- der the science-fiction name “Semiconduc- ticle energy coating a sound in colour; a tor”. Originally, this collaboration was meant ground noise which is almost constant for musical purposes, and Semiconductor throughout all of the sequences, revealed as began by creating Sound Films where the terrestrial or extra-terrestrial interference, is connections between sound and image were illustrated through a white grain. The com- systematically explored. They bring up the pilation of images itself is “chronological”, structural relationships between music and driven by the spectral frequencies of the data architecture, transform sound tracks into documents. It is a universal natural history, visual materials and explore the idea of ab- interpreted by the artists, wishing to make us stract moving landscapes. Since 1999, they conscious of the sublime chaos of our cos- have worked on digital animations in order to mos. Semiconductor delivers to us a fused transcend the constraints of time, trying to landscape, made of geysers of fire that move explore the physical world beyond the hu- and disappear by the grace of astral winds man experience through that bias, thus hop- and the artists’ audio-visions. The spectacle ing to question our actual existence on Plan- that takes place in Brilliant Noise is extraordi- This page and et Earth. In Brilliant Noise the artists propose nary, and will seduce romantics that exalt in following pages Semiconductor an astral symphony to us, re-enacting some mysterious forms and turbulent landscapes. Brilliant Noise of the sun’s finest moments. This work was Florence Parot 2006

90 / update_3 91 / Semiconductor Brilliant Noise 92 / update_3 93 / Semiconductor Brilliant Noise Vega from the band Suicide and dancer Cindy Van Acker. Mika Vainio In September 1997, he participated as composer and performer on the album Three Three Compositions for Machines, recorded at a performance at the Korzo Theatre of Den Compositions Hague. Auditory work by Mika Vainio, Char- lemagne Palestine, minimalist music com- for Machines poser and visual artist, and Peter “Pita” Reh- berg, founder of the Austrian label Mego, (Track 01) was ordered by the industrial, electronic and experimental music label Staalplaat, based ika Vainio is a Finnish musician, out of Amsterdam, for the Masterclass Festi- composer and producer. Since val, a festival meant to bring artists from dif- 1994 he has been a member of the ferent disciplines together. Those pieces M experimental electronic music duo were composed and performed on the inven- Pan Sonic, together with Ilpo Väisanen. The tions of Christof Schlaeger, German com- formation feeds off of different musical poser and for many years inventor of ma- sources, from concrete music to hip hop, chine-instruments which he reunites with an over reggae to 1980’s industrial. Their music orchestra. Indeed, his auditory sculptures is characterised by a sound composed by are set off against a scenic space in order to cold loops, essentially made possible by create computer controlled visual and musi- drum computers, synthesizers and other cal installations. transformed appliances. Mika Vainio has composed and performed In order to experiment with other forms of with “Rustler”, a wind device, taking its name creation, Mika Vainio has also recorded al- from the German word “Rauscher” (noise). bums under his real name or under pseudo- This auditory machine, whose purring evokes nyms (Ø, Kentolevi, Philus, Tekonivel) and motors and pistons, produces white noise, constructed installations. For example, Onko droning, bells and sound evoking the whis- is an album comprising of a recording of a tling of a flute, gives Vainio’s piece a fascinat- performance which took place in the Nether- ing and dramatic character. Pita, for his part, lands in 1996. used the instrument named “Schellebaum”, Mika Vainio’s work is recognizable by his a strange and imposing apparatus, made Mika Vainio analogue recordings, evocative of the mini- of metal and covered with little bells. Three Compositions malist productions which preceded the start Charlemagne Palestine, finally, presents a For Machines (Track 01) of techno music. He manages to create composition made with the “Siren”, an instru- 1997 moods and original musical universes with- ment that produces variations on tones. The Next page out using sound processing software. Mika album also contains a track with a recording Mika Vainio Vainio has worked with different labels, nota- of the audience’s applause after the last per- Performance at Korzo The Hague, bly Touch, Wavatrap and Sähko, and has formance at Korzo. The Netherlands collaborated with musicians like Björk, Alan Priscilia Marques September 27, 1977

94 / update_3 95 / Mika Vainio Three Compositions for Machines (Track 01) 96 / update_3 97 / Mika Vainio Three Compositions for Machines (Track 01) New Technological Art Award Liedts-Meesen 2010 Jury Peter Beyls Peter Weibel Belgium Director of ZKM Karlsruhe Petri

Jean-Marie Dallet Nominees Dominika Sobolewska Professor and Poland Perry Bard Commissioner of “Update_1” RGB (Red-Green-Blue) Christine Van Assche USA Philippe Van Cauteren Chief curator Man With a Movie Camera: Go Eun Im Director of SMAK Gent New Media The Global Remake South-Korea During the third Centre Pompidou, Paris SEE(N) biennial for Françoise Meesen Félix Luque Sánchez contemporary Fondation Liedts-Meesen Art Yan Spain Christoph De Boeck technological Organiser of the exhibition Chapter I: Belgium Dirk De Wit art, “Update_3”, E-Arts Festival, Shangai The Discovery Installation Staalhemel Director of BAM, at the Zebrastraat Flemish Institute for visual, Nick Ervinck Boris Debackere Arthur Elsenaar art platform, the audiovisual and media art Artist, winner of the Belgium The Netherlands New Technological “Update_2” public award Probe Face Shift Art Award Stef Van Bellingen Ten works were will be awarded Consultant for Julien Maire selected Peter Alwast Julien Gachadoat by an international Zebrastraat-artistic leader Artist, winner of the from a total of Australia France jury VZW Warp “Update_2” jury’s award 262 submissions Everything Gravity more than once, infinite versions of the film are possible. Man With a Movie Camera was selected because of Vertov’s intentions as a filmmaker to document daily activities. The film, subtitled An Excerpt From the Diary of a Cameraman, traces a day unfolding from sunrise to sunset using footage shot in a number of cities, often using the same shot more than once. For the remake, Vertov’s archive becomes the database, 3 cities translate to the world, the cameraman is everyone and the camera ranges from cellphones to HD video. To achieve global collaboration non-western Reina Sofia Museum Perry Bard foreign correspondents Madrid. Her project Man With a were commissioned Man With a Movie Camera: Movie Camera: to spread the word on The Global Remake their continents. won Honorary Mention The Global In creating the database in the Digital Remake version, Vertov’s Communities category experiment marches into at Ars Electronica ’08, Perry Bard’s Man the 21st century raising was presented at With a Movie Camera: issues about the nature Transmediale ’09, File ’09, The Global Remake of media production / Media Forum at is a participatory video distribution in the age of Moscow International shot by people around youtube. Film Festival ’09, the world who are Doclab at IDFA ‘09 and invited to record images Perry Bard (1944) is an has been installed interpreting the artist living in New York. in museums and galleries original script of Vertov’s She works individually and and shown on public Man With a Movie Camera. collaboratively on screens worldwide. These images can interdisciplinary projects For more information, visit then be uploaded to for public space. www.perrybard.net dziga.perrybard.net, where She has exhibited video software developed and installations Perry Bard Previous page specifically for this project internationally, in New York Man with a Movie Bernd Linterman, archives, sequences and at the Museum Camera: Joachim Böttinger streams the submissions of Modern Art, P.S.1 The Global Remake Globorama as a film. As people Museum, Sao Paolo Internet project, 2005 – 2007 can upload the same shot Biennial, Montreal Biennial, 2009

102 / update_3 103 / New Technological Art Award Liedts-Meesen 2010 of generating apparently complex behaviours. But, what is its degree of intelligence? Is it a tool for communication? How autonomous is it? Is it alive? Does it exist? The work also addresses feelings like the irrational fear of “the other”, of the foreigner, of the barbarian, from which the image of the humanoid, of the Félix Luque Sánchez robot, of the unidentified (1976) is a Spanish born object is derived. digital artist currently Accordingly, the installation living in Brussels, who has Félix Luque renews an age-old cultural presented his work Sánchez foundation, questioning in Spanish contemporary the limits of our notions of art institutions such Chapter I: artificial intelligence as the CCCB, LABoral, The Discovery and cutting across our MACBA, “Mercat de collective imaginary les Flors” and Metrònom, The installation of science fiction. This as well as at Shanghai’s Chapter I: The Discovery popular “subculture” is island6 Gallery. He consists of a sculpture a perfect framework has received several digital representing an for art expression with new art grants such as the unidentified object in the technologies, for it Audiovisual and Musical shape of a dodecahedron precisely questions the Grant for Young Creators and a number of role of science and from Phonos (2002 – 2004) videos re-staging the technology in the definition and the Digital Art moment of its discovery. of the human. grant from the Ministry The sculpture is a Chapter I received a of the French Community polyhedron-shaped piece, production grant from the of Belgium (2008). a regular dodecahedron French Speaking Félix Luque Sánchez has whose edges are Community of Belgium worked at the Audio fluorescents lamps. (digital art commission) Visual Institute of the As the viewer gets closer, and was produced Pompeu Fabra University the machine detects the with support from LABoral of Barcelona, teaching movement and tries to Centro de Arte y in the Digital Art Master. engage in communication Creación Industrial and He is also active as by generating a light through an artist residency a sound designer as well and sound code. The at iMAL. Félix Luque as being a software sculpture responds to Sánchez is responsible for and electronics developer presence, demonstrating the concept, software for artists, museums a will to communicate. and electronics, with the wand private institutions. The resulting interaction dodecahedron design For more information, visit and behaviour are by Damien Gernay, Iñigo www.othersounds.net an imitation of artificial Biloa responsible for intelligence. They are the 3D video and Nicolás Félix Luque Sánchez expressed as extremely Torres manning the video Chapter I: The Discovery simple rules capable camera. Installation, 2009

104 / update_3 machine for condensed experiences and emotions. Probe is an interactive installation in which the relationship between the viewer and the screen is central. KMSKA, Probe The position of the an installation dealing viewer determines the with the relationship creation of generative between the viewer and sound and image that the screen, and the physically take the viewer research project, The on an audiovisual cinematic experience trip. Probe is an Auguste (lectures and publication). Orts production and is He collaborated with produced with the support Brecht Debackere on the of the Flanders Audio- live cinema performance visual Fund, with sound Rotor (performed and image design at several international by Boris Debackere, media festivals, vvvv’s Sebastian Gregor (www.rotorscoop.net) and responsible for the is currently working on software design and the a new performance Vector Boris Debackere V2_Institute for the (www.vectorscoop.net). Probe Unstable Media supplying Boris Debackere also did the sensor application. the programming and Probe – noun, an sound design for Marnix unmanned exploratory Boris Debackere (1977) de Nijs’ installations spacecraft designed is an artist, lab manager Run Motherfucker Run to transmit information at V2_Institute for (2004), Beijing Accelerator about its environment. the unstable media (2006) and Exploded Cinema is a virtual in Rotterdam and staff Views (2008). He did the capsule with a projection of the postgraduate sound design for Noud screen as a window, program Transmedia. Heerkens’ feature film which gives access to As a media artist his main The Last Conversation. an audiovisual trip through interests are the The composition and time and space. possible integration of sound design for Herman As soon as the film starts, different expression forms, Asselberghs’ films the projection surface with an emphasis a.m. / p.m. (2004), Proof becomes invisible. on electronic sound and of Life (2005), Capsular It becomes the magic image. Most recent (2006), Futur Antérieur window of the cinema work and research is (2007), Altogether (2008) capsule that engages the concentrated on trans- and Black Box (2009) whole body through lating and transforming was by his hand as well. the eyes and ears, and the cinema concept For more information, visit abducts it to another into other forms like live www.mydsp.net/probe/ time and space. The film cinema and audiovisual machine transforms installations. His Boris Debackere reality by generating work includes Vortices Probe mental activity in the a reactive installation, Interactive video viewer: cinema as a dream Exposition gorge(l) at the projection, 2009

106 / update_3 107 / New Technological Art Award Liedts-Meesen 2010 materials and structures, Within the landscape, each with strong convex mounds play like associative qualities. giant mirrored fish-eye A new wooden framework lenses and distort real-time of a domestic house video of a suburban is silhouetted against street, and the muted a bright sky, and its colour of this “real” armature can only partially footage contrasts with contain a full glowing the Pantone-esque moon whose sphere palette of the software protrudes easily past the modelled objects. cage of one wall. Water seeps across the Day and night coexist and floor but with a convex undermine temporal meniscus, behaving distance. This cratered like mercury. As cameras different generations moon is, in turn, spliced turn and move through of images and footage with a screen showing this set, candy coloured through different a film where the camera tubes spill a milky liquid objects and regimes circles an unattended onto the floor, a visceral of representation, and microphone set-up embodiment of excess and invoke questions in a small park rotunda everything in the scene. about “institutions”: public at night. A soundtrack In Everything a white, space, gallery space, of a gospel preacher can glowing, and content-less the spectator, new media, be heard singing out billboard announces its and painting. Peter Peter Alwast like a disembodied ghost, own vacancy, and against Alwast finished his MFA Everything perhaps to a small and the equivalences of at Parsons School of disinterested audience, representation, both visual Design, New York in 2002. Everything (2008) is pictured at nightfall and auditory, we could Since then he has a synchronised 3 channel at the rear of this quaint see this billboard as exhibited in New York, 3D / video animation. It structure. Cut-out the ultimate “empty sign”. Australia and Germany. brings together seemingly rectangles within the This pixel and code In 2008 Peter was disparate visual forms screen reveal yet landscape represents our the inaugural recipient of like film, photography, further scenes behind. world of solids while The Premier of Queensland abstract painting, and By setting different disrupting it. It is a collision New Media Art Award, graphics. Across three forms of visual language of objects, materials hosted by The Gallery projections, presented side mise-en-abîme, and spaces, a simultaneity of Modern Art in Brisbane, by side, the work or as video within video of mediated images which Australia. Alwast was enacts a kind of story- within a computer collapse and fragment also awarded a Samstag board presentation model and so on, each other. Scholarship in 1999 and where 3D space is viewed a complicity with forms an Oscar Kolin Fellowship through the three of “hybrid media” Peter Alwast (1975) (Parsons School independently looped is made paramount. The was born in Warsaw, but of Design, New York). His works. In various parts unlikely melding is currently based work is held in private of the work, however, of objects in Everything in Currarong, Australia and public collections in each frame aligns invokes the active and New York. His Australia and New York. momentarily to reveal presence of a grey conceptual practice For more information, visit a vast panorama non-space. It operates employs diverse media www.peteralwast.com and unified view. The like a green-screen forms including film, constructed human on a film set where CGI video, computer graphics, Peter Alwast set of Everything presents effects can insert nearly painting, and drawing. Everything a collision of objects, anything seamlessly. His installations fold Video projection, 2008

108 / update_3 inspiration from distributed aspects of digital media, thinking in the fields including computer Peter Beyls of cognitive science, the a complex FM audio assisted composition Petri flocking model devised synthesiser conditioned real-time systems design, by Reynolds and by the data, therefore, interface design, personal The present proposal the discipline of artificial the evolutionary process expert systems and, expresses faith in chemistry. In addition, echoes in the sounds in general, the application the idea that rewarding Petri takes its name from produces by the of artificial intelligence human-machine inter- the shallow Petri cell installation as a whole. for artistic purposes. action may emerge from culture dish commonly Petri is implemented He also pioneered the use Peter Beyls the articulation of used in the field of as two parallel processes: of cellular automata Petri human originated influence microbiology and builds one written in Java, in the field of computer Interactive installation, over an otherwise on previous research one written in Super- music. Beyls explores 2007 – 2009 autonomous process. viewing human-machine collider, both interact computer programming as This approach is in interaction as interfering through OSC (Open a medium for artistic eminent conflict with most with colliding molecules. Sound Control). Human expression and develops commonly observed Petri is built as inter-actors may develop generative systems in interaction protocols that an interactive, adaptive a degree of sensitivity music, the visual arts and guarantee accurate audiovisual installation. and fractional under- hybrid formats. His control over a given The dynamics of the standing of what is actually approach views computers process. This project views program are visible by way happening inside the as cognitive partners spontaneous bodily of a large-scale video population of interacting in the process of artistic behaviour of a human projection. The external particles. However, creation and borrows interactor as complemen- physical world is they may never develop methods from the science tary to the internal connected to the internal a complete under- of A.I. His work was widely behaviour of an artificial virtual world through standing of the installation shown and performed world. This parallel, computer vision. Petri in its entirety, even at conferences like synthetic universe is tracks locations of change given repeated visits. Siggraph, ICMC, Imagina, thought of as a distributed in the external world – This particular mix ISCM and ISEA. Beyls system consisting such changes attract of meaning and mystery was guest lecturer at of a population of basic particles. A human acts as a source of the University of Quebec, entities called particles. inter-actor acts as a rewarding human-machine California Institute of Particles interact locally catalyst; when within one’s interaction; the idea the Arts, Queens University using very simple rules. ranges of influence, of interaction itself is Kingston and Osaka However, when considering particles reproduce extended into a profound, Arts University. Beyls the population as according to a four-gender machine mediated teaches theory and history undivided, simple local format. When outside, aesthetic experience. of New Media at KASK, interactions give particles are engaged in University College Ghent, rise to interesting, complex a process of competition, Peter Beyls (1950) coordinates research global behaviour that therefore, at any time, is a Belgian born artist / at the KASK Interaction could not be anticipated the number of particles composer working Lab and currently by the systems designer – is variable. Particles with computer media since lectures on Sound Art at emergence is said to also interact locally while the early seventies. the St Lukas Hogeschool happen implicitly without dissipating energy. He studied music and Brussels. He is also a the need for global Particles hold parametric computer science member of the evolutionary explicit human-engineered data that is considered at EMS, Stockholm, the computing team at the guidelines. Emergence genotype and is Royal Music Conservatory, Interdisciplinary Centre for is a key concept in the thus subject to genetic Brussels and University Computer Music Research, study of complex manipulation in the College London. University of Plymouth, UK. dynamical systems, and process of reproduction. Beyls published For more information, this project takes Every particle holds extensively on various visit www.beyls.org

110 / update_3 colour. Going through the maze of cubes, viewers observe the colours permeating and mixing. The phenomenon is a result of interplay among spending the 2008 / 09 the boxes and the academic year working small windows cut out in as an assistant in professor them. The resulting colour Marek Jakubek’s painting compositions observed and drawing atelier. by the viewers are different Dominika Sobolewska for different cubes. works in the contemporary Moreover, by changing art and design field. the angle of vision through Her main activities are the square hollows, based on combining the observer is guaranteed experiences connected to to discover new colour design, with characteristic compositions. This means of contemporary method – watching images artistic expression. The Dominika frame by frame through artistic actions centre Sobolewska little holes in the walls of around an idea of creating a box – to a certain a dialogue between a work RGB (Red- extent resembles the of art and an audience. Green-Blue) process of film making. Implemented objects often The specially-prepared occur as small architectural RGB (Red-Green-Blue) kaleidoscope is intended forms constructed in a way is a spatial arrangement to reinforce this analogy. that provokes onlookers of nine cubes made By looking through into a deeper interaction. of transparent material its tube, we have an Ms. Sobolewska has won in the three primary opportunity to explore the numerous contests and colours – red, green and observed fragments scholarships, for example blue – and appropriate of images in an even receiving a prize awarded lighting, making deeper way. We notice the by Gazeta Wyborcza it a light-mixing maze. intricacies of colour in the category of Fine Arts Produced by Wroclaw’s in symmetrical reflections at wARTo 2009, for WRO Art Centre Found- as well as other interesting a project called Interactive ation (www.wrocenter.pl), manifestations. Playground, which was RGB is a large-format exhibited at the WRO Arts interpretation of the Dominika Sobolewska Centre, the Centre of additive method of colour (1980), graduated from Contemporary Art in Toruñ mixing, based on the the Faculty of Interior and the Zacheta National physiological mechanism Design and Designing, Gallery of Art. of human-eye reception. of the Eugeniusz Geppert For more information, visit In a sense, it also Academy of Art www.dsobolewska. refers to the beginnings and Design (ASP) in 2005, carbonmade.com and of media, when the specialising in interior www.wrocenter.pl RGB model was first design. She currently used in analogue works in the Academy Dominika Sobolewska technology. The principal as an assistant in professor RGB (Red-Green-Blue) idea of the exposition Krzysztof Wołowski’s Website and installation, is to play in search of interior design atelier, after 2008

112 / update_3 113 / New Technological Art Award Liedts-Meesen 2010 There is a fan with a white bar placed in front of a mirror the size of 1m x 1m. A film in which the actors look at the audience is projected on the fan. The speed of the fan and illumination of the lighting constantly adjusts to changes in the audience’s position. has held residencies When the audience enters, at the Amsterdam Royal the space is light and Academy of Visual the white bar does not yet Arts in 2008 and 2009, turn, so he or she can as well as at the University see his or her own image of Luxembourg’s reflected in the mirror. 7th Asia-Europe Art When coming closer to the Camp – Art Workshop for work, the room gets Visual Arts / Asia-Europe dark and the fan starts Foundation. In 2004, turning, revealing the film Go Eun Im was awarded of the actors who the Photo, Film and watch their viewer. Since Exhibition award at Seoul’s the mirror reflects the World Culture open. film images back onto the Two years earlier she Go Eun Im opposite wall, the received first prize in the SEE(N) audience becomes third Kyenggido and surrounded by the actors’ YTN visual Competition Our visual focus as gazes. held at Seoul. Her an audience always tends work has been exhibited towards the actor Go Eun Im (1981), born in Casino Luxembourg in a film. While seeing the in South Korea, lives (“Moved, mutated film, the audience should and works between Seoul and disturbed identities”. try to forget the fact and Amsterdam. She Art Workshop for that they are watching received her education Visual Arts, 2009) and something in order to at the Graduate School at Amsterdam’s Royal concentrate on it, and then of Communication Academy of Visual Art the actor becomes the and Art (MFA in Media (“Rijksakademie OPEN”, object of the voyeuristic Art) of the Yonsei 2009), as well as gaze of the viewer. University, Seoul. Go Eun screened at events such How can the gaze of the Im is interested in the as VIDEOHOLICA audience communicate archaeology of illusionist in Bulgaria (2008) and the with that of the actor? This technologies that International Video question is the starting renew our perception. Show “Dis-ease” held in point of the work SEE(N). In her work, she observes South Africa (2008). “The actor as audience”, the border between For more information, visit “the audience as two things: the present www.imgoeun.kr actor”, the locations of the and the past, seeing and subject and the object being seen, subjectivity Go Eun Im of the gaze keep shifting and objectivity, reality, SEE(N) in SEE(N). the ideal and so on. She Installation, 2009

114 / update_3 as its elements are struck in shifting rhythms and combinations, transforming your being there into macroscopic dimensions. The work creates a space of reflection both on and by the operation of your mind. This double bind could then be described as a thinking that is trying to catch the moment Christoph of its own generation. The impossibility of De Boeck this absolute transparency Staalhemel leaves the visitor chasing his focus and the Staalhemel (Steel Sky) machine stealing it from is an interactive installation him. with 80 steel segments suspended at regular Christoph De Boeck ceiling height. As the approaches sound as visitor walks through the a visual and tactile space, metal pins tap medium. In his installations rhythmic patterns on the sound turns out Boeck is also co-artistic steel plates, activated to be a tangible presence. director of Deepblue, an by the brainwaves of the The spatial organization interdisciplinary production visitor who is wearing of sound sources, the structure. Within this a portable EEG scanner. choice of materials in structure he has written, This immersive and media and the method for in collaboration with responsive environment sound transmission Heine Avdal and Yukiko confronts the viewer with are all part of De Boeck’s Shinozaki, concepts an acoustic representation permanent research for performances as well of the electrical brain into how sound relates as developing spatialised activities that can be to an environment and installations for data measured at the scalp. to human presence. and audio for them. Their All of our mental and The dynamic spatialisation best known work is physiological processes of sound confronts You are here (2008), which are controlled by a myriad the visitor with the idea distributes objects and of transitory circuits in of acoustic energy text amongst spectators an invisible, obscure place as an artistic object and by means of archive in the crown of our even as a visual principle. boxes. head. The most frequently His previous works For more information, visit recalled of these include Closer (Deepblue, www.deepblue.be networks constitute our 2003), Time code matter I self-consciousness. (2005) and Time code Christoph De Boeck This intimate topo- matter II (2007), both Staalhemel graphy is mirrored in the in collaboration with Yves Interactive Installation, overhead steel matrix De Mey. Christoph De 2009

116 / update_3 117 / New Technological Art Award Liedts-Meesen 2010 are deployed for each side of the face, calling out the identification numbers of the activated muscles. Acoustics play an important role in merging the phonetic sounds coming from the left and right into newly perceived but non-existent utterances. Face Shift has recently been acquired by the Stedelijk Museum in Amsterdam, The Netherlands, for their person into rendering permanent collection. involuntary expressions. Ellen Zweig is responsible As the human face for the videography in Face is externally controlled by Shift, while Remko Scha a digital computer provided the necessary instead of the neural brain, Max / MSP programming. it can be made to perform more accurately Arthur Elsenaar (1962) and consistently is a performance artist and which results in unusual facial hacker from and surprising facial The Netherlands. Since movements. The externally 1993 he has been controlled human exploring the intimate face has become a site relationship between for computational Arthur Elsenaar electricity and the human expression inheriting the Face Shift body. He is also qualities of the the originator of Electro- digital controlling agency. Face Shift is a live Facial Choreography. Currently he is finishing performance piece, first ARTIFACIAL is an art his Ph.D. research laying performed at the and research project that the computational Slought Foundation investigates the foundation of electro-facial Philadelphia USA in 2005, computer-controlled choreography, a and is a demonstration human face as a cross-disciplinary field of algorithmic facial medium for kinetic art and bridging art, science, choreography. This piece develops algorithms medicine, kinesiology and is a play on the mirror for facial choreography. technology. Elsenaar’s symmetry of the face, By means of an award winning work has in which both sides of the innovative computer- been shown throughout face are controlled controlled electrical Europe and the United by identical algorithms, muscle stimulus system States. but one is executed developed by the For more information, visit slightly faster, over time author, small precisely www.artifacial.org creating visual shifting controlled electrical patterns from symmetry impulses are employed Arthur Elsenaar to asymmetry. Two to trigger the facial Face Shift DECtalk voice synthesisers muscles of a live human Video/ life screen, 2005

118 / update_3 119 / New Technological Art Award Liedts-Meesen 2010 Julien Gachadoat (1975) graduated with a Master’s degree in Microelectronics from Bordeaux. He lives and works in Bordeaux (France) as a programmer and researcher in 2Roqs studio he co-founded with Michaël Zancan and Frederic Lespine. Growing up with Julien the demo-making scene in the early 90’s on Gachadoat 16-bit computers rapidly Gravity made him aware of programming languages Gravity is an interactive as a principal tool real-time installation of visual creation. Since merging architecture, then, Julien has been telephony and typography. using code as an artistic It aims at creating material, creating a poetic dialog between installations merging architecture and the mathematics, design, public by re-interpreting graphics and sounds. mobile phone messages In parallel, Julien sent to it. teaches visual and The words making up interactive programming, the messages are inscribed using open-sources in geometric forms tools Processing and and then dropped from Openframeworks. the top of the projection. Regularly conducting Obeying the laws workshops in of physics, they stack and France and around orient themselves, the world (Ireland, thus creating a structural Brazil, Lebanon), and spatial “exquisite he also teaches corpse”, owing to the courses in schools shape of the building and of fine arts such the projection. as the Toulouse school The spectator becomes of fine arts or an actor in this l’Atelier hypermedia monumental work. (S)He d’Aix-en-Provence. takes part in personalizing For more information, visit the messaging, www.v3ga.net playing with the syntax, punctuation and Julien Gachadoat word length, or simply Gravity responding to other Interactive project sms, messages. 2009

120 / update_3 121 / New Technological Art Award Liedts-Meesen 2010 Appendices New Media Collection Centre Pompidou, Paris

ven before it was called New Media, the Centre Pompidou’s New Media Collection was being constituted when the museum opened in 1977, through the acquisition of performances Eand video installations. This corpus of works, which is part of the collection at the Centre Pompidou / Musée national d’art moderne (65,000 works of art), has amassed works from 1960 to the present day, that is to say, a half- century of creation. Totalling 1,700 works of art that include 110 multimedia installations, 1,600 videotapes, audio tapes, CD-ROMs and websites mostly created by visual artists or artists from other fields, it denotes a singular writing and vision. The New Media Collection is one of the most important in the world due to the number of works acquired and to the artistic scope covered. It testifies to a half-century of image and sound history, reflect- ing the great contemporary art movements, from performances to body art, from minimal art to conceptual, post-conceptual and post- colonial art. Even if at the beginning, the artists came from the western regions (Western Europe, North America), today, they come from all over the world: Eastern Europe, South America, the Balkans, Asia and Australia, and soon, Africa. They enable us to have a global vi- Next page sion of our world in movement. Espace des collections Its international character, the wide range of the trends represented, Nouveaux Médias et Film, MNAM, and its historic as well as contemporary coherence, make it a muse- Centre Pompidou um collection of the first order.

125 / New Media Collection, Centre Pompidou, Paris

Left Pierre Huyghe The Third Memory 1999 Shooting

Right Ugo Rondinone Roundelay Exhib. “David Claerbout” 2001 – 2002 Centre Pompidou, 2007 Shooting

Bruce Nauman Mapping the Studio II with Color Shift, Flip, Flop & Flip / Flop 2001 Exhib. “Le mouvement des images” Centre Pompidou, 2006

128 / update_3 129 / New Media Collection, Centre Pompidou, Paris At the beginning, the museum turned its attention to Fluxus (Joseph Beuys, Nam June Paik, Ben, Robert Filliou), performance art (Abra- movic / Ulay, Valie Export, Carolee Schneemann, Joan Jonas, Charle- magne Palestine…), and actions stemming from minimalist and conceptual movements (Vito Acconci, Dan Graham, Sanja Ivekovic, Bruce Nauman, Dennis Oppenheim, Gina Pane, Richard Serra, Law- rence Wiener…). Artists such as Stephen Beck, Gary Hill, Thierry Kuntzel, Nam June Paik and Bill Viola experimented with the medium, magnetic tape, furthering reflections on this new medium at the time. The New Media Collection was interested in European video history of the 1970s and 1980s through artists from the cinematographic culture such as Jean Luc Godard or Thierry Kuntzel, who first experimented with video in television laboratories, or through artists from other disciplines such as Jean Christophe Averty and Armand Gatti. The years 1990 – 2000 saw the arrival of video and sound works coming from geographically diversified cultures such as the Asian and African continents, but also from Northern Europe, the Balkans and the Middle East in which the Musée national d’art moderne was interested from very early on (Jennifer Allora and Guillermo Calzadilla, Ko- ken Ergun, Mona Hatoum, Sanja Ivekovic, Isaac Julien, Zineb Sedira…). As well as video and multimedia works, the Musée national d’art moderne collects sound works produced by visual artists (Céles- te Boursier-Mougenot, Emmanuel Lagarrigue, Ugo Rondinone) or works close to the visual arts’ pursuits (Martin Creed, Carsten Nicolai, Pauline Oliveiros, Kristin Oppenheim, Eliane Radigue…). From top to bottom This collection is presented in the Centre Pompidou’s hangings and “Screening Vidéo et après: exhibitions, and in international itinerant exhibitions. In the contem- David Claerbout” Centre Pompidou porary hanging at the Centre Pompidou, the “Espace Nouveaux Mé- October 1st, 2007 dias” offers free access to all of its video tapes, sound works, CD- “Screening Vidéo et après: ROMs and websites. Tania Bruguera” An online trilingual catalogue, “The New Media Encyclopaedia” cur- Centre Pompidou rently contains 15,000 pages, 700 video extracts, 3,000 pictures, in- April 24th, 2006 terviews and conferences with artists. “Screening Vidéo et après: The cycle of screenings, Vidéo et après, organised by the Centre Johan Grimonprez” Pompidou, proposes a monthly animated glimpse at this collection. Centre Pompidou June 5th, 2007 The programmes focus on different themes: thematic sessions, artists’ monographs, or even evenings linked to specific cultural “Screening Vidéo et après: Pipilotti Rist” events. Centre Pompidou Christine Van Assche Chief curator of the New Media Department February 20th, 2006

130 / update_3 131 / New Media Collection, Centre Pompidou, Paris Mike Kelley / Scanner [Robin Rimbaud] Mike Kelley Owada Born in 1954 in Detroit, (Martin Creed, Michigan, United States Adam McEwen Chris Marker Céleste Lives and works in and Keiko Owada) Born in 1921 in Boursier-Mougenot Los Angeles, California, Martin Creed Neuilly-sur-Seine, France Born in 1961 in Nice, United States Born in 1968 in Wakefield, Lives and works in Paris, France Scanner United Kingdom France Lives and works in Sète, Born in 1964 in London, Lives and works France United Kingdom Ouvroir 128 / 63 / 39 in Alicudi, Italy Lives and works in 1 flat screen 59’’, and in London, Schizoframes Anouk de Clercq London, United Kingdom 1 Mac Pro 19’’ United Kingdom 2003 Born in 1971 in Ghent, Second Life Platform, Adam McEwen Mixed media installation Belgium Esprits de Paris colour, sound, interaction Born in 1965 in London, Limited edition 1/1 Lives and works 2001 United Kingdom 3 video projectors, in Brussels, Belgium 1 CD, stereo sound, 60’13’’ Bruce Nauman Lives and works in 1 video and Compound Annex Me + Born in 1941 New York, United States audio multiplexer, Records Edition, 2003 2004 in Fort Wayne, Indiana, Keiko Owada 6 amplifiers, Collection Musée national 1 video projector, United States Born in 1966 12 loudspeakers, d’art moderne, 8 loudspeakers, Lives and works in Kanagawa, Japan 1 hard drive, 1 sofa, Centre Pompidou, Paris, 2 amplifiers, 1 equalizer in Galisteo, New Mexico, Lives and works in polyurethane foam, France 1 video, PAL, black United States Kingston upon Thames, 1 video, PAL, 4/3, and white, sound, 5’, United Kingdom black and white, Emmanuel Lagarrigue Get out of my Mind, Courtesy of the artist stereo sound, 34’15’’ Born in 1972 Get out of this Room Nothing Gift of the Société in Strasbourg, France 1968 1997 Eric Duyckaerts des Amis du Musée Lives and works Limited edition 1/1 1 CD, stereo sound, 36’24’’ Born in 1953 in Liège, national d’art moderne, in Paris, France 1 bulb with porcelain lamp Piano Edition, 1997 Artists Belgium Centre Pompidou, socket, 2 loudspeakers, Collection Musée national Lives and works in Nice, I never Dream otherwise and works of PAC, Collection 1 amplifier, 1 CD, (loop) d’art moderne, France than Awake Musée national d’art Collection Jack Wendler, Centre Pompidou, Paris, Update_3: 2006 moderne, Double Vie et Chris United States France Sound installation Body Sound Centre Pompidou, Paris, Marker Limited edition 1/1 France Performance on Noto [Carsten Nicolai] Ugo Rondinone + 1 artist’s proof April 16, 2010, 7 pm Born in 1965 Born in 1963 in Brunnen, 12 audio files on CD-Rom, Vito Acconci Manon de Boer in Karl-Marx-Stadt, Switzerland 8 structures Born in 1940 in New York, Born in 1966 Didier Faustino German Democratic Lives and works in with 12 loudspeakers, United States in Kodaikanal, India Born in 1968 in Republic New York, United States 30 lengths of silver electric Lives and works in New Lives and works Chennevières-sur-Marne, Lives and works in Berlin, and in Zurich, Switzerland cords, 21 fluorescent York, United States in Brussels, Belgium France Germany small rulers with blue The evening passes Lives and works Under-History Lessons Two Times 4’33” tubes, various audiovisual ∞ [Infinity] like any other. Men in Paris, France and 1976 2008 equipment 1997 and women float alone in Lisbon, Portugal 1 CD, stereo sound, 1 video projector, Gift of the Société 1 CD, stereo sound, through the air. 21’25’’ 4 loudspeakers, Erase your Head / des Amis du Musée 68’29’’ They drift past my Electronic Arts Intermix 1 amplifier An Instrument for Blank national d’art moderne, Raster-Noton Edition, window like the weather. Edition, 2001 1 video, PAL, colour, Architecture Centre Pompidou 1997 I close my eyes. Collection Musée national stereo sound, 12’30’’ 2010 Collection Musée national Collection Musée national My heart is a moth d’art moderne, Courtesy of the artist 3 headphones with tripod, d’art moderne, d’art moderne, fluttering against Centre Pompidou, Paris, and Jan Mot Gallery, 6 loudspeakers, 3 mp3 Centre Pompidou, Paris, Centre Pompidou, Paris, the walls of my chest. France Brussels, Belgium Courtesy of the artist France France My brain is a tangle

132 / update_3 133 / Artists and works Félix Luque Sánchez Born in 1976 in Spain Lives and works in Brussels, Belgium Peter Beyls Born in 1950 in Belgium Chapter I: Lives and works Christoph De Boeck The Discovery in Ghent, Belgium Born in 1972 2009 in Antwerp, Belgium Installation Petri Lives and works 1 color TV, 1 DVD player, 2007 – 2009 of spiders wriggling Antwerp, Belgium 4 high quality speakers Interactive installation and roaming around. 80 W 1 Apple Mac Pro Staalhemel A wriggling tangle Courtesy 4GB RAM, 2009 of wriggling spiders. Félix Luque Sánchez 1 projector 1920/1200 Interactive Installation (“Still Smoking” Part IV) pixels, 1 amplifier, 2 computers, IntelCore 1998 Boris Debackere 2 loudspeakers, 1 USB 2 duo processor Mixed media installation Born in 1977 in 640/480, 1 spot 220 V 2,5 Ghz, 2 GB Ram, Limited edition 2/2 Roeselare, Belgium Courtesy Peter Beyls 1 Internet cable 3 fibre-glass rock Lives and works in Courtesy with 18 loudspeakers, Artists Brussels and Rotterdam Dominika Sobolewska Christoph De Boeck 4 white monitors, Born in 1980 4 videos, PAL, 4/3, 1’30’’, and works Probe in Poland Arthur Elsenaar 1 CD, 3’ (English), 2009 of the Lives and works Born in 1962 colour, stereo sound Interactive video in Poland in The Netherlands Collection Musée national black and white, New projection Lives and works d’art moderne, stereo sound, 9’38” Projectors, speakers, RGB (Red-Green-Blue) Technological in The Netherlands Centre Pompidou, Paris, Collection Musée national loudspeaker, amplifiers 2008 France d’art moderne, Art Award Courtesy Website and installation Face Shift Centre Pompidou, Paris, Liedts- Boris Debackere Red, green and blue spots 2005 Semiconductor France Courtesy Video / life screen (Ruth Jarman Meesen 2010 Peter Alwast Dominika Sobolewska 1 DVD projector, and Joe Gerhardt) Mika Vainio Born in 1975 1 screen, 1 projector Ruth Jarman Born in 1963 in Helsinki, in Warsaw, Poland Go Eun Im Courtesy Arthur Elsenaar Born in 1973 in Fareham, Finland Perry Bard Lives and works Born in 1981 in United Kingdom Lives and works Born in 1944 in Canada in Currarong, Australia South-Korea Julien Gachadoat Lives and works in in Berlin, Germany Lives and works in and New York, Lives and works Born in 1975 in France London, United Kingdom New York, United States United States between Seoul, Lives and works Three Compositions Joe Gerhardt South Korea and in Bordeaux, France For Machines (Track 01) Man with a Movie Everything Born in 1972 in Oxford, Amsterdam, 1997 Camera: 2008 Gravity United Kingdom The Netherlands 1 CD, stereo sound, The Global Remake Video projection 2009 Lives and works in 9’39’’ 2009 3 LCD projector SEE(N) Interactive Project sms London, United Kingdom Staalplaat Edition, 1997 Internet project 1920/1200 pixels, 2009 2 projectors, 1 computer, Brillant Noise Collection Musée national 1 projector, 1 Mac mini, 3 Mac mini, Installation 2 screens, 2006 d’art moderne, 1 online screen, 3 Internet cables, 1 projector, 1 Mac mini, 1 amplifier, 1 mixing 2 video projectors, Centre Pompidou, Paris, speakers 2 network cables 1 light 220 V, 1 amplifier console 2 Béta, PAL, France Courtesy Perry Bard Courtesy Peter Alwast Courtesy Go Eun Im Courtesy Julien Gachadoat

134 / update_3 135 / Artists and works Aschheim Deborah Daniela Perego United States of America Beyer Monika B. Italy Earworm (palimpsest) Germany C / kiss me Vom Ichen- Asselberghs Herman Caines Suzanne D’Avigdor Jessica Koordinatensytem Chutiwongpeti Sarawut Belgium Canada Germany zum hilfreichen Thailand Black Box Romance in China ID_ZOmE Submissions / Feststellung der Without title E / Aubrecht Ruben eigenen Existenz Callanan Martin John De Boeck Christoph Ciccarese Arcadio New Austria United Kingdom Belgium Ebner Jorn Beyls Peter Germany Murphy’s Law A Planetary Order Staalhemel Germany Technological Belgium Geister / Ghosts (Terrestrial Cloud Globe) (sans femme Audeoud Fabienne Petri De Clercq Anouk Art Award Cigon Ana et sans aviateur) France Callander Alan Belgium Bianchini Samuel Slovenia Liedts-Meesen making a hit – United States of America Oops wrong planet Edden Jane France One more kick as an art piece grey to white United Kingdom 2010 Potential Flag De Paris Enrico Tommaso Cirio Paolo Mass Mouvement Audry Sofian Cantoni Rejane, Italy Bock Reinhard Italy Canada Crescenti Leonardo Chromosoma Eldagsen Boris Germany The Big Plot A / Accrochages Brazil Germany SMOKN CHIMNZ De Wilde Frederik SOLAR Cleary Anne, SPAM The musical A Yuri Belgium B / Bolansée Marie Julia Connely Denis Switzerland Carlson Beatrice Numer1cal Recipe Series Elsenaar Arthur Belgium Ireland Without title Bahmermann Bill France [NRS] The Netherlands SALT Pourquoi pas toi? United States of America Aoteazebra Face Shift Abreu-Canedo Rafael Debackere Boris Dreams of the Garden Bolewski Christin Colle Cecile, Brazil Carmen Sober Belgium Engelen Kim Germany Nuhn Ralf CEO Symphony No 5… Bard Perry South Africa Probe The Netherlands Shan-Shui-Hua Germany manipulating Canada Girls who wear glasses Superior (mountain-water-painting) Digital Communication Dementieva Alexandra labor into reproducing Man With a Movie shouldn’t take chances – Belgium Enns Clint dominance Camera: Bookchin Natalie the plank Colmenares Guerra Laura Drama House Canada The Global Remake United States of America Spain Al-Madani Nedda Caspary Robert Prepare to qualify Testament Lungs [the breather] Demming Stefan Russia Barnet, SE & Mushkin, Canada Germany Erber Laura Retrospection Hillary Bourgeois Marie-Julie, The Geography of Time, Conner Alexander Camping Ensemble Brazil United States of America Jacobsen Luiza Space, Memory and United States of America Alwast Peter Own name Mario’s Furniture France Dreams Without title Derr Robert Ladislas Australia Tempo United States of America Ergenzinger Kerstin Everything Barri Tarik Ceolin Mauro Constantine Ferreo Chance Germany The Netherlands Braga Ana Italy Belgium / Canada / Greece Antunes Rui Studie zur Sehnsucht / II (for projectors France “ContemporaryNaturalisn@ What is time? Di Bella Giuseppe Portugal Study for Longing / Seeing and 8 speakers) sem titulo Gent” silicon-based Italy Sra da Graça Cortella Clémence lifeform Sighting Campaign Healing Essvik Olle Barron Stephan Bresani Bruno France Arnholt Chad Sweden France Brazil Chepelyk Oksana Petites Persistances Dierckx Ben United States of America Rationalization and o-o-o The container of Ukraine Belgium Interior / Exterior conservation of flowers, the impossible love Genesis D / Bamboo Shoot Counterpoint Belasco Rogers Daniel and the management United Kingdom Bulnygin Dmitry Cho Seoungho Damm Ursula Dong Quynh of nature and romance ArthurX You, me and Russia South Korea Germany Switzerland in an age of technology The Netherlands everywhere we go Housewife Horizontal Intuition 1-4 Without title Karaoke Night Crazy Old World for Even Tirtza Greenpeace, Acoustic Bernhard Hans Burkhardt Daniel Cho Yi-kyung Daniel Sharon Doyle Wayne Israel / Germany with Grand Piano Switzerland Germany Korea United States of America New Zealand Once a wall, or Ripple Flora Theater, Delft The Sound of eBay TIDE Las Meninas Blood Sugar 5M!L3 (SMILE) Remains

136 / update_3 137 / Artists and works Liess Jockel Myrto Karanika Gwiazda Henry Germany Greece United States of America Kojima Kenji Toxic waste Strings Claudia and paul paul Jensen Skotheim Rudi Japan López-Hernández claudia and paul claudia Norway RGB Music «Subway Myskja Kristoffer Gina Victoria and paul claudia and paul Goldfish is meant for dying Synesthesia» Marcin-Nadja Verena Norway Colombia Germany Rule 30 Gwinner Florian Hladilova Helena Jochum Richard Koksal Serhat Playing, playing… Singing in the rain F / Germany Czech Republic United States of America Turkey I find my inner child N / Inside The Signage Without title Without title 2 / 5 BZ Marcovici Michael Filimowicz Michael Lorenz Alexander Austria Najjar Michael United States of America Hoerler Karin Jones Tomiko Köpke Oliver Germany H / Rattraders.com Germany Stepping on the light Germany United States of America Germany Ich lehre euch The sublime brain Hagin Witz Christine Matrjoschka Draw Forth, Cast Aside memo-transcription Marit Liesbeth Fishbone Doug Luksch Manu [of sherin + michael] Switzerland Belgium United Kingdom Hoffmann André Joseph Chris Kroker Paul Mukul Patel Stop and go Landscape, Lipstick Nicole Heidtke, Untitled Hypno Project Germany United Kingdom / Canada Germany United Kingdom / Austria Stefan Baumberger Hansen Lundehave Lars How I learned to love NRG Warning, Cyberleiber Only! Love, Piracy, and Maubrey Benoit Flowers Bee Germany Germany the past’s future the Office of Religious United States of America / The Netherlands Kuzman Selena ink Closer to God, K / Weblog Expansion France Jetztzeit Hunger Francis Slovenia closer to you Performances with Noguchi Kumiko Germany Kahlen Timo Two Channel Video Luque Sánchez Félix Fourmond Thomas Electroacoustic Clothes Japan Harb Hazem History Exhaustion Germany Installation F’(X) = O Spain France inter-selection Palestine Bags of Bees (#2), Chapter I: The Discovery Mbarkho Ricardo Reflet Hwang Eunjung Empty Spaces and sound sculpture L / Lebanon South Korea O / Friedrich Verena Erosion Factors M / Visuels numériques Future Creatures Katastrofsky Carlos, Languérand Germany du Liban Oblak Nika, Hart Claudia Kargl Michael France Mackey Christine TRANSDUCERS Novak Primoz United States of America I / Austria 16777216 colors Ireland Meir Salomon Slovenia Furudate Ken Empire Objects of desire Viewing the garden The Netherlands Ido Yurie Lanz Eric Box 2,0 Jo Kazuhiro at Ostend Waves 3 Haugen Bjorn Erik Japan Kaufmann Andreas M. Switzerland Ishida Dais Ollier Ted Norway Sand Switzerland Crescdendo Maclachlan Rod Mercado Marcello Noguchi Miz United States of America Transfer STUFFED SILENCE United Kingdom Italy United Kingdom / Im Go Eun Lasserre Grégory, Average Cinema Exchange Das Kapital Teil 1 Japan Hellberg Gustav South Korea Keller Patrick Anaïs met den Ancxt (The Capital part I) Onitsch Cornelius The Sine Wave Orchestra Sweden SEE(N) Switzerland France / Belgium Madan Emmanuel, Austria Privileged Situation- Perpetual (Tropical) Akousmaflore – Thomas McIntosh Mike Laufer Tammy Isola Margherita criminal background G / utopian vision Sunshine Végétaux musicaux Canada / Germany Israel Italy sensibles et interactifs Coincidence Engine One Red circle Ostrowski Matthew Gachadoat Julien Hernandez Jesus palestine now – Kelly Deborah United States of America France Cuba a second life project Australia Le Meur Anne-Sarah Maggi Valentina Miller Brad Spectral city Gravity 24 National Hours Tank Man Tango: a France Italy Australia (In memoriam J / Tiananmen Memorial Beyond-Round Without title augment_me Goto Suguru Hertrich Susanna Jane Jacobs) Japan Germany Jacobs Aernoudt Khan Alexandre Zafar lemeh fortytwo Magrin Alberto Minchev Georgi augmented body Reality Checking Device Belgium France Italy Italy Bulgaria P / and virtual body II Permafrost pique-nique ou picnic Possible cities Without title Non-oxygen Higashino Tetsushi Palencia Joaquin Grossmann Julien Japan Jacobs Laure-Anne Klimesova Lenka Lemmens Peter Mahéo Sandrine Miyasaka Naoki Gasgonia France FTHTTH Belgium Czech Republic Belgium France Japan The Philippines Kokin (…) Slendro Loopgraaf / Trench Future Kiss desktop landscapes Fields La perception inutile Canciones Sin Ojos Hirakawa Norimicha Guichard Thomas Japan Janssen Wim Knaub Thorsten Lenssens Geert Mangalanayagam Nina Moors Astrid Paludan Jon France a circular structure for Belgium Germany Belgium Sweden The Netherlands Denmark Plages the internal observer Gardentoy geen titel speed@TV / speed ad TV Without title r_u_sure? iMountain

138 / update_3 139 / Artists and works Vanhenden Wim Parental Guidance Rouquette Isabelle Belgium United States of America France We Are The World Realistic Weather Radio Serazin Marc commondit (like we say) France Sorge Dirk Verdonck Sylvie Park Douglas Rubil Jelena Borne Germany Belgium United Kingdom Serbia What Happened Cage Without title Serrano-Rodriguez René Testing TV Test to Our Parents? Mexico Verhaegen Hans Paskali Irena Ramos Sandra Russo Karen Blow Speter Nathalie Belgium Macedonia Cuba Israel France PM Resolving Space / Entropidoscopios Sharabani Sasi Target 090313977 Light Skin Raum überwinden Israel Vermang Els Reeh Ute Untitled Srinivasan Anjali Belgium Passa Chiara Germany S / Wolf Doron India SwarmDot Italy Visual Therapies Shi Danqing Israel Sahner Katrin object dialogue / T / over the limbo China Vollenbroich Dirk He went to the fields Rehak Jakub Germany speaking to Cinderella Lunar Mission Taguti Anna Germany Peraica Ana Czech Republic Chroma the quiver vessel Wolfert Sara Russia Housemusic Croatia Fjodor Sinha Debashis Sweden Saiz Manuel Steiner Malte Signs and Directions Victims Symptom Canada / India Sharing is Caring Map Revital Cohen Spain Germany W / (PTSD and Culture) he sat on the Tarke Bah Armstrong Israel Public Display deStatik Wright Alexa glittering precipice Cameroon Wagenaar Eelco Pokrywka Agnieszka Without title of Affection United Kingdom Stellino Gabriela A day shall come The Netherlands Poland Smits Helmut Conversation Piece Rivera Gonzalez, Salomon Meir Italy unfold The End The Netherlands Taruishi Naho Carlos Manuel The Netherlands Belebte Bilder Wright Judson Dead pixel in Google-Earth Japan Wald Dagan Polli Andrea Colombia Waves 3 United States of America Stokes Heidi Corner Projection Israel United States of America Reflejo de la Calle Snopek Alda Clouded Samocha Ram United Kingdom Series No.2 WWWW – World Ground Truth Belgium Rodrigo Daniel Israel One person Street Wide Web Wald HUGR Templin Andreas Y / Porvatkin Denis Spain Open ends Strakovsky Dmitry Germany Wan Annie On Ni Russia fashion death Sober Carmen Yamashita Mai, Sanvincenti Davor United States of America as if to nothing Hong Kong SAR, China Illustrations of Life South Africa Kobayashi Naoto Roma Pas Croatia … as if a forest Where’s the Chicken? girls who wear glasses Thomaes Monique Japan Preusz Angela The Netherlands Without title shouldn’t take chances - SunSook Hwang Belgium Weber Jeff Infinity Germany No Yes No No Scharp Fiene the plank South Korea observatory / movement Luxemburg Virtuelle Paintings Yanor Lee Roosegaarde Daan Germany Father’s Father’s in time and space Photo-Synthetic Generator Virtu IV Sobolewska Dominika Israel The Netherlands stroke Poland Suomi-Väänänen Maarit Thyes Myriam Wetzel Miriam Small Songs Puntari Anja Liquid Space 6.0 Schöpfer Nora RGB (Red-Green-Blue) Finland Switzerland Germany Finland Young-Hae Chang Rosenberger Tobias Austria Up And About Again Flag Metamorphoses o.T. (schwarz / weiss) XXX Sokolova Anna, Heavy Industries Germany Flow Yushko Oleg Surbir Shanghay Tortarolo Alessandra Widrig Daniel, South Korea The An-Archic Device Q / Schüchler Ulrike Russia Germany Italy Shajay Bhooshan BLACK ON WHITE, Ross Hannah Germany UNDERSTAND / FEEL Ich bin die passage of the moon Germany GRAY ASCENDING Qiu Ping United States of America THE RED DRESS festgelegte Form Binaural China Soltysik Mariusz Im(amongst) Perfection (I am the defined form) V / Z / Doublehands drum Sederowsky Dana Poland Wiersbinski Paul Rossi Eleonora Sweden Vague Astronaut Szabó Eszter Van Katwijk Joke Germany Zainal Zubin R / Italy Special Announcements or How to get Lost Hungary The Netherlands Victory of the sun Malaysia Forward / rewind Edition Four (In outer Space)… People hereabouts Duality Rakowski Wadim Winter Sarah Russia Roth Tim Otto Sengmüller Gebhard Soon Winnie Szejnoch Kamila Vanderschaeve Lieve Germany Zellen Jody Archaeology Germany Austria Hong Kong Poland Belgium Please fasten your United States of America of the doubt Chromology A Parallel Image 5-stars’identity Holy Machine foam seatbelts The Unemployed

140 / update_3 141 / Artists and works Thanks Internet website New Media We would like Encyclopaedia to thank all the artists www.newmedia-art.org Fondation participating Liedts-Meesen in this exhibition:

Exhibition Interface “Body Sound” Alain Liedts Vito Acconci Chairman Céleste Boursier- Christine Van Assche Etienne Sandrin Françoise Meesen Mougenot Chief curator of Concept Magali Liedts Manon de Boer New Media Department, and coordination Lawrence Liedts Anouk de Clercq Musée national d’art Bruno Gonthier Advisors Eric Duyckaerts moderne Computer programmer, Didier Faustino Stef Van Bellingen Sylvie Douala-Bell Head of Mike Kelley / Scanner Artistic advisor We extend our sincerest Assistant curator and the IT Department [Robin Rimbaud] gratitude to the Jury project developer Emmanuel Lagarrigue Michel Fernandez of the 2nd New Media NV Zebrastraat Chris Marker Vahid Hamidi Graphic designer Award Liedts-Meesen Bruce Nauman Audio-visual advisor & concept Alain Liedts Foundation: Noto Alain Dubillot Maria Rachita Chairman [Carsten Nicolai] Peter Weibel Iconographer Researcher Isolde De Buck Owada Director ZKM Karlsruhe Maria Rachita Arts coordinator [Martin Creed, Adam Jean-Marie Dallet Researcher Administration Mieke Van Boven McEwen, Keiko Owada] Professor and curator Sennen Codjo and production Coordinating team Ugo Rondinone Update_1 Registrar Semiconductor Alexia Szumigala Carl Divry Ine Bruggeman Philippe Van Cauteren [Ruth Jarman Denis Chalard Administrator, Coordinating team Communication Director Smak, Ghent and Joe Gerhardt] Restorer Musée national d’art Marnix Verstraeten Zebrastraat Mika Vainio Françoise Meesen Astrid Lorenzen moderne Architect Werner Van Thanks also to Fondation Liedts–Meesen Restorer Catherine Duruel Luc De Kerpel Craenenbroeck Laurence Braunberger Dirk De Wit Corinne Castel Head of the Collections Architect Communcation Jean-Noël Escande Director BAM – Institute Coordinator Department Zebrastraat Update_3: Potteau Labo Cléa Hance for Visual, Audiovisual and Chris Marker / Michel De Clercq Body Sound Jacques Hourrière Technical production Lou Svhan Media Art Second Life Head of the Restorations Stand-by Sébastien Enciu Stef Van Bellingen Department Max Moswitzer Production We thank Advisor Zebrastraat / Centre national Technical advisor Annie Boucher Karen Nordberg Catalogue all the nominees for the Artistic leader vzw Warp Second Life Head of the Registrar 2nd New Media Award d’art moderne Translations Atelier Félix Müller Christine Van Assche Department Liedts-Meesen Foundation: et de culture Jasper Schelstraete Chantal Grossen Chief curator of Georges Pompidou Scenography Laurie Szulc Translations Graphic concept Perry Bard the New Media Collection, Félix Luque Sánchez Alain Seban Head of the Audio-Visual Sofie De Saeger and lay-out Centre Pompidou, Paris Bureau des Boris Debackere President Department Communication Jasper Schelstraete Art Yan Mésarchitectures Peter Alwast Didier Coudray Update_3 English translations Organizer E-Arts Festival Agnès Saal Didier Faustino Peter Beyls Video-graphic laboratory Shanghai General Director Cláudia Martinho Florence Bovy Silvia Sabino Dominika Sobolewska Alfred Pacquement and Mathieu Herbelin Eric Hagopian Communication Rewriter Go Eun Im Nick Ervinck Director of the Tony Matias Audio-visual operator Update_3 and proof reader Christoph De Boeck Artist Musée national d’art Maÿlis Puyfaucher Alain Péron Lawrence Liedts Karen Nordberg Arthur Elsenaar Julien Maire moderne Guillaume Viaud Audio-visual operator Technical support Proof reader Julien Gachadoat Artist

142 / update_3 143 / Credits In 2007, he was invited to the Belgian Pavilion at Venice’s Biennial, where Sunday 9 May – he constructed a Thursday 13 May 2010 performative environment. 6 – 8 pm He has also written KASK Lectures Hegel ou la vie en rose, L’Arpenteur, Gallimard, “Sound and 1992, and Théories, Image in Art” tentatives, Léo Scheer, 2007. An anthology of The lectures, organised his videos made between by the Academy of 1989 and 2007, was Fine Arts Ghent, are a part Fringe events published by Art Malta. of the “Update_3: His conference-per- Body Sound” exhibition. program formances are improvised Consequently, the Update_3: around themes that subject of the lectures inspire his imagination, just is related to the focus Body Sound as it is the case for of the exhibition. There will his work in Ghent, where be a wide variety of the double and the contributions, from media Friday 16 April 2010 double life feature as the artists such as Peter 7 pm main themes. Does Beyls, Jerry Galle, Erik Performance the notion of an avatar, Nerinckx, Laura Maes, Eric which imposes itself Moniek Darge and more on the Internet as a ‘super who apply typical Duyckaerts pseudonym’ carry interdisciplinary methods, Double with it a more ancient musical composers significance, which exploring the visual Vie et Chris he is carefully trying to aspects of music and Marker restore? The theme instruments, and ties in with his visits to the researchers studying the Eric Duyckaerts was island which Chris mechanisms involved in born in Liège in 1953. Marker created in Second the experiencing of image He lives in Nice and Life. and sound. teaches at Villa Arson. “The presence of works His work humorously in a virtual environment Thursday 17 June 2010 articulates around visual alters their status. Are 8.30 pm arts and exogenous we visiting them, or are we Lecture knowledge, such as pretending to visit? iMAL Lecture science, law, mathematical Why am I this clumsy with logic, etc. He is also my avatar? I have Organised by Yves Bernard engaged in an exploration entitled my work: Double of iMAL (interactive of forms of analogy and Vie et Chris Marker Media Art Laboratory): interlacing. He frequently (Double Life & Chris The Centre for Digital uses video and Marker), hoping to attach Cultures and Technology, conference-performances myself to the particulars located in Brussels, as a medium, but of those different themes is a European and he does not hesitate to with liberty, and, if possible, international meeting place Eric Duyckaerts employ all of the more delicacy”, Eric Duyckaerts for artists, scientists Kant traditional media. writes. and creative people. Video, 2000

144 / update_3 145 / Music Exhibitions. From Music Hall seats to Sound Installations Pages 58, 59 © Galerie Jan Mot, Bruxelles. Page 95 Photographic Page 61 © Staalplaat, Amsterdam. © Anouk de Clercq. Photo Petra Noordkamp. credits Coll. Centre Pompidou. Page 67 © Mike Kelley, Compound Page 96, 97 Annex Records. © Photo Petra Noordkamp Page 10 Coll. Centre Pompidou. © Lisson Gallery Page 24 Page 100, 101 Photo Hervé Véronèse and Shiraishi. © Mathieu Briand. © Bernd Linterman, Sonic Process, Pages 68, 69 Joachim Böttinger. Pages 12, 13 Centre Pompidou, 2002. © Mike Kelley and Scanner. Globorama. July 2005 © Fondation Liedts-Meesen Photo Sonic Process, Photo Pieter Huybrechts. Pages 126, 127, 131 Georges Meguerditchian Centre Pompidou, 2002. © Coll. Centre Pompidou. Page 14 Photo Page 25 Photo Bertrand Prévost © Julien Maire. Georges Meguerditchian © Flow Motion. Sonic Pages 128 l., 129 l. Page 21 Process, Centre Pompidou, Pages 71, 72, 73 © Coll. Centre Pompidou. © La Monte Young 2002. Photo © Emmanuel Lagarrigue Photo and Marian Zazeela. Georges Meguerditchian and Galerie Alain Gutharc. Georges Meguerditchian Coll. Musée d’art Coll. Centre Pompidou. Pages 26, 88, 89 contemporain de Lyon. Photo Marc Domage Page 128 r. © Ugo Rondinone. Coll. Marcel et David © Coll. Centre Pompidou. Coll. Centre Pompidou. Pages 75, 76, 77 Fleiss, Galerie 1900 – 2000, Photo Philippe Migeat Photo Philippe Migeat © Chris Marker Paris. Sons & Lumières, and Second Life. Page 128 r. Centre Pompidou, 2004. Page 30 © Sperone Westwater Photo © Everson Museum Page 79 Gallery, New York. Georges Meguerditchian, of Art, Syracuse, New York. © Bruce Nauman. Bibliothèque Kandinsky, Tova Press, New York, Page129 r. Page 81 Centre Pompidou 1997 (re-issue). © Coll. Centre Pompidou. © Carsten Nicolai and Photo Peter Moore Photo Page 22 Rastermusic / Noton. Jean-Claude Planchet © Nam June Paik Pages Coll. Centre Pompidou. Studios Inc. 42, 44, 45, 63, 64, 65 Photo Page 131 Coll. Musée d’art © Bureau des Georges Meguerditchian © Coll. Centre Pompidou. contemporain de Lyon. Mésarchitectures, Paris. Photo Hervé Véronèse Pages 83, 84, 85 Sons & Lumières, Page 49 © Martin Creed, Page 145 Centre Pompidou, 2004. © Vito Acconci and Adam McEwen and © Coll. Centre Pompidou. Photo Kunstmuseum Luzern, Keiko Owada. Georges Meguerditchian, Suisse. Coll. Centre Pompidou. We have endeavoured Bibliothèque Kandinsky, Photo to comply with all Centre Pompidou Pages 50, 51 Georges Meguerditchian the legal copyright rules. © Vito Acconci. Page 23 Any person who feels Coll. Centre Pompidou. Pages 91, 92, 93 t. © Nam June Paik their claims have not been © Semiconductor. Studios Inc. Pages 53, 54, 55 honoured, is requested Coll. Centre Pompidou. Coll. Centre Pompidou. © Céleste Boursier- to contact Photo Mougenot. Page 93 b. NV Zebrastraat, Georges Meguerditchian Coll. Centre Pompidou. © TRACE / LMSAL B – 9000 Ghent

146 / update_3 Printed by Deckers Snoek NV-SA Antwerp, Belgium April 2010