Creteil Maison Des Arts

CRETEIL MAISON DES ARTS As an active participant in the contemporary artistic creation, the Maison des Arts et de la Culture de Creteil is a place where all manners and movements of art are produced, displayed, and performed. With over 300 performances a year, MAC’s policy starts from the principle of contemporary art’s multiplicity: it helps fund and create projects that bring together aspects of theatre, dance, music, and digital art — a veritable melting pot for the most recent forms of artistic expression. Indeed, MAC gives preference to exploratory modes of expression, lending its support at every step in collaborative hybrid projects. During its regular season, the MAC organizes multiple exhibitions and festivals, most notably the international festival EXIT. In 2008, the MAC has added a third space for performance and creation: the Satellite. This space is overseen by the Studio, a space dedicated to the artistic creation and the production of digital imagery for use in the performing arts.

PAGE 02 ALEXIS O’HARA SQUEEEEQUE L'IGLOO IMPROBABLE DAAN BRINKMANN SKINSTRUMENT 2 ALVARO CASSINELLI SCORE LIGHT GREGORY CHATONSKY DANCE WITH U.S - DANCE WITH ME THIERRY DE MEY REMANENCES THIERRY DE MEY / ANNE TERESA DE KEERSMAEKER TOP SHOT emilie fouilloux let’s dance PETER WILLIAM HOLDEN [SOLENOID B] AUTOGENE ARABESQUE KANTA HORIO FROM POWER LINE, TO BLANCA LI VEN A BAILAR CONMIGO LAWRENCE MALSTAF NEMO OBSERVATORIUM VOLKER MORAWE MOSHPIT AMP NATACHA PAGANELLI KOLO CHRISTODOULOS PANAYIOTOU GUYSGOCRAZY - SLOW DANCE MARATHON VISUAL SYSTEM A DIGITAL EXPÉRIENCE #4 ADAD HANNAH, NIKLAS ROY INTERNATIONAL DANCE PARTY

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ALEXIS O’HARA SQUEEEEQUE L’IGLOO IMPROBABLE

An immersive environment, cosy as a children’s fort, built from items discarded by society. A sonic cocoon woven from the mutations of your own voice, reverberating across walls and ceil- ing. An audio sculpture that evokes one of the most ancient incarnations of the human habitat. A speakerbox igloo. All materials are recycled, collected from flea markets, recycling centers and the web, reflecting an encyclopaedia of the home stereo, spanning decades of design trends. Each unit is imbued with the energy of the living room it once occupied. Speakers face inwards with four microphones, placed inside, as the only audio source. This is a space for people of all ages to echo their voices, shedding inhibitions and forming instant and ephemeral communities with fellow howlers. Participants may play with the dynamics of audio feedback by pointing mics to the walls. Feed- back is an issue, but it is an interesting issue.

Biography Writing bios is boring. Here is what an arts Une cabane stéréophonique. Un cocon sonique Construit de haut- center in Austria has to say about me: “The an- parleurs récupérés (marchés aux puces, éco-centres et grâce à la drogen, Cimmerian-like, multi-talented, funny, collaboration de particuliers contactés par réseau internet), cette and dubious artist is a fixed star in the Montreal installation reflète une encyclopédie de la chaîne stéréo, traversant cabaret and avant-noise scene. With pseudo- des décénies de modes et de design. Les haut-parleurs sont liés virtuous verbally, gutturally and technically gen- en série et en parallèle. Des micros, placés au centre, alimentent erated melodies Alexis O’Hara gets tangled up in les murs. La structure curieuse invite les gens à former des petits spontaneous sound and body battles express- groupes éphémères le temps de jouer, chanter, gueuler en bandes. ing the general absurdities of life. In her per- Les «habitants de l’igloo» peuvent aussi jouer avec le dynamisme formance “City of Sighs” Alexis O’Hara breathes des larsens sonores en pointant les micros vers les murs. Les herself through the register of man’s arrogance participants peuvent ainsi jouer l’igloo comme un instrument. Le and absurdity. In the form of a living dynamic feedback n’est pas vraiment un problème, plutôt un sujet intrigant. sound sculpture she embodies wordless sto- L’interactivité de l’Igloo est évidente. Cet espace convoque les enfants ries, a meditation of fear and longing, her voice de tous âges à se défouler, libérant leurs voix et se dépouillant de transformed, multiplied, interfered and alienated leurs inhibitions. Ce projet est un hommage au génie impressionnant by various forms of hi- and lo-technology, the et la richesse des traditions orales des peuples du Nord. distortion of one’s subjective perspective illus- trated through visual projections. Performance poetry, sound art and interactive life art is what O’Hara calls the genres that most closely define her work. Her performances with clothes run- ning on batteries have become legendary—now she wires up with samplers and sends her voice on hypnotic and lyrical journeys.” In a nutshell: I make sound. Performances, recordings, installations. I also take pictures, make videos and make incredible medicinal popscicles. le son o hara : http://www.myspace.com/alexisohara (extrait radio latido) http://www.flickr.com/photos/volcanohara/sets/72157617962129251/ http://www.dyslex6.com http://www.myspace.com/alexisohara PAGE 05 DAAN BRINKMANN SKINSTRUMENT 2

Skinstrument is a musical instrument which works using skin resistance as a parameter to generate sound, it can be used simultaneously by two players. When players touch one of the semi spheres they become part of an electronic circuit consisting of a tiny, imperceptible current. When the players now start to touch each other on the skin this circuit starts to generate sound. The intensity of the touch determines the modulation of the sound.

Biography Daan Brinkmann is a media artist from the Netherlands. His main preoccupation is creating installation art. His installations are either autonomous or interactional. His interactional works are always based on the expressive potential of the spectator’s body. Rather than the empirical elements within such a work being the artwork itself, they are often used as a means to achieve a new kind of social experience. His autonomous installations counterbalance this approach. They strive to be in-depth explorations where the perception of light, sound, space and time becomes subject to itself. In 2006, his work won the René Coelho Award at the Dutch institute for Media Arts.

« Skininstrument2 » est un instrument de musique qui utilise la peau comme générateur de son. Cet instrument peut se jouer simultanément par deux personnes. Lorsque les joueurs touchent l’une des demi sphères du socle, ils prennent part au circuit électronique constitué d’un fin et imperceptible courant électrique. Lorsque les joueurs commencent à se toucher l’un et l’autre sur la peau, ce circuit génère du son. L’intensité du toucher détermine la modulation du son.

www.daanbrinkmann.com PAGE 06 ALVARO CASSINELLI SCORE LIGHT

“ScoreLight” is a prototype musical instrument capable of generating sound in real time from the lines of doodles as well as from the contours of three-dimensional objects nearby (hands, dancer’s silhouette, architectural details, etc). There is no camera nor projector: a laser spot explores the shape as a pick-up head would search for sound over the surface of a vinyl record — with the significant difference that the groove is generated by the contours of the drawing itself. The light beam follows these countours in the very same way a blind person uses a white cane to stick to a guidance route on the street. Details of this tracking technique can be found here. Sound is produced and modulated according to the curvature of the lines being followed, their angle with respect to the vertical as well as their color and contrast. This means that “scoreLight” implements gesture, shape and color-to-sound artificial synesthesia [4]; abrupt changes in the direction of the lines produce trigger discrete sounds (percussion, glitches), thus creating a rhythmic base (the length of a closed path determines the overall tempo).

Biography Alvaro Cassinelli was born in Montevideo Alvaro Cassinelli est né à Montevideo (Uruguay) en 1972. En 1990, (Uruguay) in 1972. In 1990 he obtained both il obtint ses deux diplômes d’études supérieurs en français et en French and Uruguayan Bachelor degree, and a uruguayen, lui permettant de bénéficier d’une bourse pour poursui- grant to pursue his studies in France. In 1996 he vre ses études en France. En 1996, il est diplômé en ingénierie par obtained a Graduate Engineering diploma from l’Ecole Nationale Supérieure des Télécommunications de Paris. La the Ecole Nationale Superieure des Telecom- même année, il obtiendra un doctorat de physique pour son essai munications (ENST), in Paris. He completed the sur les lasers et matières interactives, à l’école Polytechnique. En same year a Doctoral Qualifying Degree (DEA) 2000, il a reçu un doctorat de l’Université de Paris-XI pour son train physics (laser and matter interaction) from vail sur les processeurs parallèles optoélectroniques stochastiques the University of Paris-XI/ENST/Ecole Polytech- pour le traitement d’images en temps réel. nique. In 2000 he received a Ph.D degree from Depuis 2001, il a travaillé comme chercheur puis comme chercheur the University of Paris-XI Orsay for his work assistant et enfin depuis 2006 comme professeur assistant au la- on optoelectronic stochastic parallel processors boratoire Ishikawa-Namiki-Komuro au Japon, où il est activement for image processing. Since 2001 he has been impliqué dans la création et le développement du nouveau Meta- working as a Research Fellow, Research Assist- Perception Group. ant and since 2006 as Assistant Professor at Plusieurs fois récompensé comme « media artist », il a reçu le grand the Ishikawa-Komuro Laboratory, where he is prix de la 9th Japan Media Art Festival et la mention honorifique au actively involved in creation and development Ars Electronica 2006. of the new Meta-Perception Group. He has been awarded several prizes as a Media Artist, including the Grand Prize [Art Division] at the 9th Japan Media Art Festival and an Honorary Mention at Ars Electronica 2006.

http://www.k2.t.u-tokyo.ac.jp/perception/scoreLight/index.html PAGE 07

GREGORY CHATONSKY DANCE WITH ME (2007) DANCE WITH U.S (2008)

Dance with me (2007) The visitor enters in a dark room. He goes to the only luminous point, a plexiglass box on a white base in which there is a wire mini-jack. If he has a MP3 player, he can connect it to the wire and play his own music. Then he sees teenage girls dancing following the rhythm of the music of the visitor. They move arms and legs, slowly and quickly according to the volume and the tempo of the music. These videos were downloaded on Youtube. These American young people recorded themselves with their webcam, danced following a very close choreography, they were inspired from each other, and posted the result on Youtube. Now they dance for us.

Dance with U.S (2008) The scene, already employed in “Possibles Bod- ies” (2002), is connected to the American Stock Exchange in real time. Fred Astaire dances to the rhythm of the economy: the more volatile the tradings, the more fluid the movements.

Biography Born in Paris, Grégory Chatonsky currently re- sides in Montreal and Paris. He holds a phi- losophy master’s from the Sorbonne and a multimedia advanced degree from the Ecole nationale superieure des beaux-arts in Paris. He has worked on numerous solo and group projects in France, Canada, the United States, Dance with me est constituée de 157 vidéos récupérées sur Youtube. Italy, Australia, Germany, Finland and Spain. His De jeunes américaines qui se sont filmées en train de danser sur la works have been acquired by public collectors même chorégraphie Rn’B. Si le visiteur est muni d’un lecteur MP3, il such as the Maison Europeenne de la Pho- peut le brancher sur l’installation. Les jeunes femmes dansent alors tographie. In 1994, Chatonsky founded a net. sur la musique qu’il a choisie, elles en suivent exactement le rythme art collective, incident.net, and has produced et le volume. numerous works, such as the websites of the Pompidou Centre and Villa Médicis, the graphic signature for the Musée contemporain du Val- de-Marne, and interactive fiction for Arte. He has taught at the Fresnoy (national modern art studio, France) and at UQAM’s school of visual and media art. Chatonsky’s body of work, including interactive installations, networked and urban devices, photographs and sculptures, speaks to the relationship between technolo- gies and affectivity, flow that define our time and attempts to create new forms of fiction.

www.gregory.incident.net PAGE 09

THIERRY DE MEY REMANENCES Installation, 2010 / Création TOP SHOT

Remanences (2010) Video installation created in March 2010, Remanences reminds several picturial references : Francis Bacon’s deformed bodies, Yves Klein’s anthropometries, Mantegna’s draped, Henri Michaux’s ideograms… Through a process of capture by thermal camera, the dancers become ghosts. The hot parts of the body generate more impressive picture, while cold parts, less irrigated by the blood flow, appear to vanish. Evanescent body, moving shadows, the dancers are living calligraphy, black lines on a white canvas.

Top Shot (2002) Concept/film : Thierry De Mey Choreography/dance : Anna Teresa De Keersmaeker Music : Steve Reich (Violin Phase)/ violon : George Alexander van Dam Production : Rosas (2001) Anne Teresa De Keersmaeker’s solo to music by Steve Reich (Violin Phase) was one of her first pieces as a choreographer. This wild dance matches the music’s twists and turns and its sequence of infinitesimal shifts. The trajectory of the dance, filmed from a high angle, can be seen in white sand on a black floor: its course is made visible, drawn like a mandala in the form of a rosace. For the Top Shot installation, this footage is projected onto the floor, covered with white sand, of the exhibition room.

Biography Thierry De Mey, born in 1956, is a composer and filmmaker. The Grâce à un procédé de captation par caméra intuition of movement and bounds is undoubtedly the guiding ele- thermique, les danseurs sont spectralisés. Les ment in his work: « refusing to view rhythm as a simple combination parties chaudes du corps impressionnent da- of intervals within a time grid, but instead as a system which gener- vantage l’image, tandis que les zones froides, ates momentums for falls and new developments » is the postulate moins irriguées par les flux sanguins, semblent behind his music and films. A large part of his music production s’évanouir. Corps évanescents, ombres mouvan- is intended for dance and cinema. He has often been more than tes, les danseurs se font calligraphie vivante, a composer for the choreographers Anne Teresa De Keersmaeker, tracés noires sur une toile blanche. Wim Vandekeybus and his sister Michèle Anne De Mey, offering his precious collaboration in the invention of ‘formal strategies’ – to use Conception et réalisation : Thierry De Mey a favourite expression of his. Création et interprétation : Manuela Rastaldi, Since the foundation of PARTS, he has been the director of the cho- Silvana Suarez Cedeño, Volodia Lesluin reographic composition programme; several of his students have Assistante à la chorégraphie : Manuela Rastaldi acquired an international reputation. Since July 2005, Thierry De Mey Caméra : Julien Lambert is artistic director of Charleroi/Danses along with Pierre Droulers, Mixage son : Xavier Meeus Michele Anne De Mey and Vincent Thirion. Production : TechnocITé, le manège.mons / CECN et Charleroi / Danses, centre chorégraphique de la communauté française de Belgique

Lien CECN : Ce projet de Thierry de Mey est coproduit par le manège.mons dans le cadre du projet européen Transdigital et par Charleroi/Danses, centre chorégraphique de la communauté française de Belgique, partenaire du CECN2. www.charleroi-danses.be PAGE 11 EMILIE FOUILLOUX LET’S DANCE

Select your favorite music, plug your Ipod and Sélectionnez votre titre favori pour danser, vous déhancher et vous dance sway your hips, forgeting yourself on the abandonner aux rythmes de la musique et à l’abri des regards. Vous soul of the music hidden on the “dancing box”, serez filmés et deviendrez l’un des interprètes de « Let’s Dance ». you will be video-recorded and will become a Votre performance sera alors projetée parmi celle des précédents new performer of “Let’s Dance”. Your personal participants, à l’extérieur, semblable à une immense constellation de show will be projected, silently, amoug the pre- figures dansées. Chacun développe son propre langage corporel selon vious participants, outside on a large screen son éducation, son milieu social, ses goûts ou son âge. L’isolement du like a huge constellation of dancers. danseur dans la boîte à danser et la sobriété du décor de la captation Each develops its own body language as his mettent en évidence la singularité de chacun. « Let’s Dance » est un education, social background, his taste or his inventaire chorégraphié des visiteurs volontaires de l’expérience. age. Let’s Dance is choreographed by an inven- tory of voluntary people experience.

Biography After leaving the Ecole des Beaux-Arts in Marseille in 2004, she is alternately video-manager, designer exposure, assistant director for film. A short film on which she signed the picture for the Centaur Theatre gets the special jury prize at the Festival of Adana in Turkey in 2008. Emilie has done several art installations and films shown in festivals, collectivvee exhibitions or personal one. Let’s dance was born for the Exit festival, produced by le studio / La maison des arts de Créteil. The movie “danseurs” was exhibit in the Justine Lacroix galerie in Marseille and selected in the Festarte festival in Rome in 2006. The installation “Variations subliminales” was presented at “l’espace culture” of the town of Marseille in 2004. The multimedia performance “125gr” was produce for the “dansem” festival in 2004. The installation “Mémoram- dum” was presented in “la Gaîté lyrique” in 2003 (new center for multimedia arts).

CONCEPTION : EMILIE FOUILLOUX PROGRAMMATION : JULIEN DELMOTTE PAGE 12 PETER WILLIAM HOLDEN [SOLENOID ß] AUTOGENE ARABESQUE

[SoleNoid ß] [SoleNoid ß] Eight tap shoes are set in a symmetrical circu- Huit claquettes sont installées dans un système symétrique circulaire. lar pattern. These shoes are in turn attached Ces chaussures sont attachées à de simples structures robotisées qui to simple robotic structures which utilize pneu- utilisent des actuateurs pneumatiques et des valves solénoïdes. Ce matic actuators and solenoid valves. This ena- système empêche les chaussures de bouger dans tous les sens. Cha- bles the shoes to move in a multitude of ways. que mouvement différent génère une sonorité différente et ces sons Each different movement generates a different sont séquencés dans le but de produire une performance auditive. tone and these sounds are sequenced to pro- Cette installation a deux manières de fonctionner : duce an auditory performance. 1. Automatique - un ordinateur contrôle les mouvements de l’installation The installation has two distinctive modes: produisant une performance acoustique contemporaine de 3 min 50. 1. Automatic – A computer controls the move- 2. Manuelle/interactive - Les spectateurs peuvent contrôler le mou- ments of the installation producing a 3 minute vement des chaussures via une manette. 50 second, contemporary acoustic performance. 2. Manual – Interactive where members of the public can control the movement of the shoes via a keyboard interface.

audio-visual installation (under construction) Shoes, Industrial Computer, Compressed Air Components 4.5m x 4.5m x 0.5m

www.peter-william-holden.com/installations/solenoid/solenoid.html PAGE 13 PETER WILLIAM HOLDEN [SOLENOID ß] AUTOGENE ARABESQUE

AUTOGENE AUTOGENE Busby Berkeley choreographed dancers to Busby Berkeley a chorégraphié des danseurs pour imiter les mou- mimic the motions of machines and modern vements des inventions et machines modernes. « AutoGene » est inventions. “AutoGene” is the flipside of this .It’s l’interface de cette expérience. Il s’agit d’un simple robot composé de a simple aesthetic looking robot composed of 8 parapluies modifiés attachés à un système circulaire. Un mélange eight modified umbrellas mounted in a circular de tuyaux d’air et de câbles électriques relie ces parapluies à un or- pattern. A cocktail of air hoses and electrical dinateur central qui permet à « Autogene » de produire une danse cables join these umbrellas to a central com- chorégraphiée sur la musique qui met en valeur la qualité mécanique puter which enables “AutoGene” to produce a des machines et transforme les banals parapluies en objets magiques choreographed dance to music which erodes animés. the machines mechanical qualities and transforms the mundane umbrellas into magical animated objects.

physical animation Umbrellas, Steel, Industrial Computer, Compressed Air Components 4.5m x 4.5m x 0.8m

www.peter-william-holden.com/video/autogene_wmv_mail.html www.peter-william-holden.com/video/autogene_mov_mail.html PAGE 14 PETER WILLIAM HOLDEN [SOLENOID ß] AUTOGENE ARABESQUE

ARABESQUE In his recent work, Peter William Holden has concerned himself not only with the sculpting of three dimensions but also with a fourth: the dimension of time. I have attempted to create work that evolves, adapts and regresses. Work which falls somewhere between con- ventional notions of pictorial art and a kind of performance. “Ara- besque” is the natural continuation of this exploration — a real time animation. With its roots in Mary Shelly’s “Frankenstein” and the alchemist’s laboratory, the installation presents itself as a mechanical flower: a simulacrum of nature. Life sized human body parts, impaled upon steel, move and sway and dance. The limbs, translucent and livid, bare their internal robotic mechanisms to the gaze of the viewer. The wiring itself is an aesthetic expression deliberately integrated into the installation to bring chaotic lines of abstract form to contrast with the organized symmetry of the body parts. The lifeblood of this organism is air and when activated this air flows invisibly, bestowing movement to these mechanisms and its presence is only betrayed when exhaled loudly from the valves attached to the serpentine air hose.This combined with the rattle of relays and the tandem clattering of pistons to produce a hyper- modern accompaniment to the music of Strauss. Part cinema, part theatre, “Arabesque” can be viewed form a multitude of angles, revealing a kaleidoscope of beautiful shapes and patterns created from the human form.

ARABESQUE Dans mes récents travaux, je me suis intéressé à travers la sculpture non seulement aux trois dimensions, mais aussi à une quatrième : la dimension de temps. J’ai essayé de créer un travail qui se développe, s’adapte et régresse. Un tra- Mechanical kaleidoscope vail qui se situe quelque part entre les notions Composite Plastic, Steel, conventionnelles de l’art pictural et une sorte de Industrial Computer, performance. Compressed Air Components « Arabesque » est la naturelle continuation de 4.5m x 4.5m x 1.5m cette exploration, une animation en temps réel.

Biography He was born in a decaying industrial town in northern England in 1970 and from an early age he became fascinated with moving imagery, transformation and technology. Home computers of the 1980’s gave him a glimpse into the wonderful world of applied mathematics, with codes capable of generating fantastic patterns and noises. While around the same time Electro and Hip-Hop with its synthesized sound captured his soul and introduced him to the complex dance routines of break-Dance; hence acquainting him with the beauty of choregraphed physical movement. These and countless more experiences are incorporated in his installations in a collage of movement, light and sound. www.peter-william-holden.com/video/arabesque_wmv_mail.html www.peter-william-holden.com/video/arabesque_mov_mail.html PAGE 15 KANTA HORIO

Biography and presentation Kanta Horio studied acoustics and sound art at the Kyushu Institute Kanta Horio a étudié l’acoustique et l’art des of Design in Fukuoka, Japan. He presents audio performance us- sons à l’institut de design Kyushu, à Fukuoka ing physical phenomena with electronic devices, kinetic objects, and au Japon. Il présente des performances audio assorted self-built gadgets. In recent presentations he has explored qui utilisent les phénomènes physiques avec installations too. He has performed widely both internationally and des appareils électriques, des objets cinétiques, throughout Japan. Alongside his performance activities, he organizes assortis de gadgets de sa propre conception. some unique events such as “dorkbot tokyo - people doing strange things with electricity”. He also works as a developer of electronic Kanta Horio est largement reconnu dans le devices and develops the project with musical instrument company. monde entier. Tout au long de ses performan- Kanta Horio is part of a new generation of live electronic musicians ces, il organise quelques évènements uniques in Japan who aren’t afraid to experiment. Electricity, magnetism and comme « dorkbot Tokyo – les personnes font mechanics are Kanta Horio’s specialities, and his audio-visual concerts des choses étranges avec l’électricité ». can be described as poetic lab-experiments in Physics and Acoustics. Il travaille également comme développeur d’ap- In Tokyo, Kanta is a forefront figure of the local experimental music and pareils électroniques et conçoit un projet musi- electronic arts scene, and runs Dorkbot-Tokyo among other things. cal avec l’Instrument company.

http://kanta.but.jpVISUAL PAGE 16 BLANCA LI VEN A BAILAR CONMIGO

For the “White Night” in Madrid in September Blanca Li participait avec la réalisation de « Ven a bailar conmigo » 19, 2009, Blanca Li made “Ven a bailar con- (Viens danser avec moi) à un parcours audiovisuel et interactif dans migo” (Come dance with me), a choreographic la rue pour la nuit blanche madrilène qui réunissait plus de 800 000 stroll, audiovisual and interactive. spectateurs improvisateurs. Nearly 800 000 people were in the streets of Madrid and assisted to that popular dance les- Qui ose dire qu’il ne sait pas danser ? son. For this installation, Blanca Li has created Pour EXIT et VIA, Blanca Li propose de donner des cours de danse simple choreography accessible for everybody sous l’égide de professeurs virtuels apparus sur des écrans géants. with just the objective of dance ! Même pour quelques minutes, tout le monde devrait pouvoir se lan- cer sur la piste ! Blanca Li a créé des pas de danse courts et simples Conception: Blanca Li pour petits et grands amateurs qui pourront passer en revue tous les Vidéo: Charles Carcopino styles de danse imaginables. Vidéo Assistant: Simon Frezel Sound: Tao Guttierez

Biography Born in Grenada (Spain), Blanca li is choreographer, director, dancer and actress. She studied dance in New York and founded her contemporary dance company in Paris in 1993.

www.blancali.com PAGE 17 LAWRENCE MALSTAF NEMO OBSERVATORIUM

White particles are blown around in a big L’installation « nemo observatorium » de Lawrence Malstaf, a em- transparent cylinder. Visitors can take a seat porté le golden nica dans la catégorie interactive art, elle permet on the armchair in the middle of the whirlpool d’en faire l’expérience de manière intime, de se retrouver au cœur or observe from the outside. In the eye of the du cyclone. Le visiteur se place au centre d’un cylindre transparent storm, it is calm and safe. In this spectacular et appuie sur un bouton. Des bourrasques sont alors déclenchées qui meditation machine, one can follow the pat- font voltiger à haute vitesse des petites bulles de polystyrène, dans terns, focus on layers of 3D pixels or listen to un mouvement qui est trop rapide pour être suivi. La personne à l’in- its waterfall sound. One could call it a training térieur décide de la durée du tourbillon. De l’extérieur, cela ressemble device, challenging the visitor to find peace in a au chaos, mais à l’intérieur, la sensation est tout autre, souvent de fast-changing environment. calme mais quelquefois d’euphorie ou de peur. « nemo observatorium » et « shrink » sont en quelque sorte des métaphores de la notion d’adaptation a l’environnement des êtres humains : si on tente Biography d’être en symbiose avec son environnement, de s’adapter même à Born in 1972 in Belgium, Lawrence Malstaf des situations qui ont l’air à première vue peu plaisantes, l’expérience lives in Norway and operates between the sera plus positive que si l’on y résiste. visual and the theatrical. With a background La notion de contrainte n’est pas présente de la même façon dans in industrial design and theater, he mades in- tout son travail. Lawrence Malstaf est issu autant du design industriel stallations and performance art with a strong que des arts de la scène (il est notamment l’auteur de nombreuses focus on movement, coincidence and unstable scénographies, par exemple avec Meg Stuart ou d’autres chorégra- order. He made a series of sensorial rooms for phes). Cette dernière travaille beaucoup avec la contrainte, ce qui l’a individual vistors and also large-scale mobile influencé. Certaines de ses pièces créaient un environnement dont environments dealing with space and orienta- l’artiste contrôlait tous les paramètres, des sortes de ‘‘boites noires’’ tion. He won the Witteveen+Bos award for art où il suffit de peu pour déclencher quelque chose d’intense. Pour ses and technology (Nl) and the Golden Nica at Ars travaux les plus récents, il cherche à créer des situations plus ouver- Electronica (Au). tes, ou plusieurs visiteurs peuvent interagir entre eux.

www.arte.tv/fr/Echappees-culturelles/cultures-electroniques/2849116.html PAGE 18

VOLKER MORAWE MOSHPIT AMP

The MoshPit Amp is an automata that con- verts headbanging movements into metal music. Through style and intensity of your head banging, you are the conductor of a virtual metal band consisting of four instruments: vocals, bass, drums and guitar. you can control the volume as well as the pattern of each instrument to create engaging musical arrangements. If you mosh really hard you can trigger a guitar solo for the ultimate rock experience. Your performance in front of the amp will ad- ditionally be supportet by a lightshow with smoke, flash and pyrotechnics. You simply approach the MoshPit to activate the amp. The music will instantly begin and lights will create a stagelike setting. If you are a true metal- head you can’t resist and will start headbanging – and the music will instantly turn up. As you mosh on, you can change the individual volume levels of the four instruments through your headbanging style and intensity. You can see how far you have pushed the level of each instrument on the four MoshMeters. Mosh the volume of one or more channels to the max, and you can trigger new musical patterns like another guitar riff, diabolic vocals or a different drum track. If you mosh really hard you can The MoshPit est une machine qui convertit les hochements de tête unlock a guitar solo supported by light effects, en musique métal. En fonction du style et de l’intensité des mouve- smoke and pyrotechnics. ments de tête, vous allez devenir le chef d’orchestre d’un groupe de On top of that, if your headbanging perform- musique virtuelle, basse, guitare, voix, batterie. Vous contrôlerez le ance is truely excellent, the mosh master will volume et créerez les arrangements pour chaque instrument. mosh with you in sync to the musical eruption, Si vous « moshPitez grave » vous atteindrez l’expérience rock ultime. encouraging you to take your headbanging not Comme lors d’un vrai concert, vous aurez le soutien d’un véritable only to a new level, but to a whole new world! light show, fumée, flash et pyrotechnie… Le jeu deviendra de plus en Welcome to a new metal-lennium! plus sophistiqué.

Biography Born in 1970 in the north of Germany, grown up in an sheltered small town close to the city of Bremen which is famous for its coffee and beer production. Passing through several schools, job training as space electronics technician, participant of second-chance education, hit producer, design student, from 1999 to 2004 student at the Academy of Media Arts Cologne. Major field of study: multisensoric interfaces in game context.

www.fursr.com/details.php?id=94&pid=93 PAGE 20 NATACHA PAGANELLI KOLO DANCE

Novisad is a city close to the Danube near the Installation vidéo réalisée par Natacha Paganelli Hungarian boarder. Novisad has been bombed et produite par Méroé Films. by NATO, eager to halt the fighting in Kosovo. Réalisée à la suite d’une résidence en Serbie, soutenue par le ceaac de Since some tensions remain between minorities Strasbourg, l’installation vidéo « Kolo Danse » de Natacha Paganelli after the war including the Hungarian minority. déploie sur une musique de Matthieu Chauvin une féerie théâtrale Kolo is a Westernized version of a traditional qui pourrait faire penser à quelque version minimaliste des inventions dance originating from the Serbian Vojvodina. chorégraphiques du temps des Ballets russes… The video Kolo/Dance spreads a spectacular Avec une grande économie de moyens transcendée par un subtil enchantment which could remind some mini- travail de montage, elle fait surgir à la manière d’un kaléidoscope, malist version of the choreographic inventions la fiction d’une foisonnante vitalité populaire. A travers une Nature of the time of Russian Ballets... recomposée, elle dévoile par la métaphore, l’utopie d’un esprit na- It makes appear in the style of kaleidoscope the tional, socle des traditions folkloriques. fiction of one popular vitality stemming from the Nature, realizing at the same time as it re- veals the utopia which animated the attempts to establish a national spirit on the reconstruc- tion of folk traditions.

Biography Born in 1972, Natacha Paganelli lives and works in Strasbourg. Graduated of the School of Deco- rative Arts of Strasbourg in 1998, she received the congratulations of the jury.

www.paganelli-lang.com PAGE 21 CHRISTODOULOS PANAYIOTOU GUYSGOCRAZY SLOW DANCE MARATHON

Guysgocrazy 2007 double channel video installation with sound and framed photo. http://www.christodoulospanayiotou. com/GuysGoCrazyVideo.php5) The double video installation “Guysgocrazy” was produced in collaboration with the Prague-based pornographic company under the same name which organizes large-scale orgies. The empty studios were filmed before and after one of their events. A group photograph depicting the participants concludes the installation.

Slow Dance Marathon2005 performance (documented in video and photography). http://www.christodoulospanayiotou.com/ SlowDownVideo.php5 For the performance «Slow dance marathon» a 24-hour long human chain is formed by unknown volunteers who slow-dance to the music of well-known love songs. Every time the performance is repeated one more dancing day is added.

« Guysgocrazy » présente, sur deux écrans, un Biography studio de l’industrie pornographique gay avant et Christodoulos Panayiotou is born in 1978, in Limassol, Cyprus. après le tournage d’une party. Les traces laissées He lives and works in Berlin, Germany. Christodoulos Panayiotou dans le lieu témoignent de l’action évoquée. is an artist who incisively explores the complex interconnections « Slow Dance Marathon » retrace les différents between our most innate desires and their cultural constructions. moments éphémères, la dramaturgie d’un slow From fighter planes and fireworks to yesterday´s confetti and à travers une succession d’expériences decouples songs whose we are almost embarrassed to know the lyrics by de danseurs. heart, Panayiotou crafts concise videos, objects and ephemeral situations that reveal a playful wit and an eye for the sex ap- Christodoulos Panayiotou, artiste chypriote cher- peal and abstract beauty of our everyday world. At once ironic yet che à travers sa pratique artistique à reconstruire tender, analytic but deeply felt, his work is that of a savvy cultural des moments oubliés ou silencieux de la culture et consumer who is not afraid — every now and then — to fall for the du quotidien. Il interroge les codes et les pratiques very romantic myths and pop productions he so deeply probes. sociales, ainsi que la relation du spectateur à la mémoire et à l’absence. Il utilise des médias aussi variés que la photographie, la vidéo ou le son.

www.christodoulospanayiotou.com PAGE 22 VISUAL SYSTEM A DIGITAL EXPÉRIENCE #4

Using the present-day city of Shanghai as its conceptual springboard, A Digital Experi- ence represents the combined work of Visual System, a collective created in 2007 that sets out to chart the city of the future by gather- ing digital artists, designers, composers, as well as the general public. Like a subway map, the exhibit’s city “plan” delineates the flow of electricity, energy, and humanity, all by way of contemporary digital art. “A Digital Experience” immerses the viewer in a network of poetic and interactive works that are both linked to one another and function as stand-alone pieces.

About Visual System The Visual System (VS) collective was born from a meeting between Valère Terrier, filmmaker, and the city of Shanghai. The first time Valère visited Shanghai, he was both deeply shocked and impressed by the overall feeling the city expressed as a ‘city of the future’, teeming with 20 million inhabitants. The creation of VS was prompted by the launch of the eArts Festival of the 2010 World Expo. VS‘s mission is to explore and promote the young digital creation generation and explore the role of digital media in the cities of the future. In order to realize this, VS participates in onsite creation projects, and VS est un collectif créé en 2007. Ses projets sont guidés par une also follows the diverse range of digital disci- réflexion sur la place des médias numériques dans la ville du futur. plines that its artists and the festivals put forth. Dans ce cadre le but de VS est de présenter, à Shanghai, des réa- Each year, VS offers a select group of digital lisations de la jeune création numérique et de suivre l’évolution artists the possibility of participating in the VS de cette nouvelle génération d’artistes. VS rassemble des artistes Artist‘s Residency Program held in Shanghai numériques issus de disciplines variées (image, son, arts plastiques, over three weeks. In addition, through its video programmation, design, architecture) pour les faire collaborer sur blog, VS provides the public with a window into des projets de création in situ. La notion participative est fortement the digital creation universe. présente dans leurs travaux, et appelle le public à faire partie de la création. Shanghai, lieu en permanente transformation qui dessine les contours des références internationales de demain est un exemple de ville nouvelle. C’est la raison pour laquelle elle s’est imposée aux yeux de VS comme le terrain de création idéal. Depuis 2008, VS a mis en place un blog vidéo www.adigitalexperience.com permettant de suivre jour après jour les aventures du collectif lors de ses projets à travers la mise en ligne quotidienne de vidéos d’une minute. Parallèlement à cette résidence, depuis 2009, le collectif a réalisé différentes expositions en France et dans le monde avec à chaque fois des projets qui se veulent novateurs, participatifs et ludiques. Le programme « A Digital Expérience… » est développé par VS et la Fondation Jean-Luc Lagardère sous l’égide de la Fondation de France.

www.adigitalexperience.com. PAGE 23

ADAD HANNAH NIKLAS ROY INTERNATIONAL DANCE PARTY

The interactive machine International Dance Party is a complete plug ‘n’ play party in a box. NO EXTERNAL DJ REQUIRED !!! The machine comes as a large, non-suspicious looking flightcase. Internally, it is equipped with cutting edge radar sensing technology, an ear blasting state of the art 600W sound system, tons of psychedelic light and laser effects, and even a professional grade fog machine. Through its dance activity radar, the Interna- tional Dance Party detects and evaluates mo- tion input from surrounding people in realtime. Several sophisticated transforming mechanisms let the flightcase turn into a powerful and boosting party machine, once the visitors start to dance within the machine’s range of Une discothèque compacte et mobile Aucun DJ extérieur requis. perception. La machine à dance party se présente comme un grand ‘‘flight case’’ The audience controls the complexity of the tout équipé : un véritable sound-system de 600 Watts, des rampes generated music and the intensity of the light de lumières psychédéliques, des effets laser et même une machine effects directly by the energy of its dance ac- à fumée ! A mesure que les spectateurs se mettent à danser, la ma- tion. When there is no audience, or when the chine est instantanément re-boostée, les décibels et les effets vont audience is not active enough, the machine crescendo… Après la fête, la machine redeviendra aussitôt une simple stops its performance and transforms back into caisse de transport. a transport crate.

Biography Adad Hannah was born in New York in 1971. He has lived in Montreal since 2001. He has exhibited at the Musée national des beaux-arts du Québec (2008), the Musée d’art contemporain de Montréal (2008), Zendai MoMA, Shanghai (2009), Ke Center for Contemporary Art (Shanghai 2008), the Vancouver Art Gallery (2007), the National Gallery of Canada (2006), Ikon Gallery (Birmingham 2006), the 4th Seoul International Media Art Biennale (2006), Casa Encendida (Madrid 2006) and Viper Basel (2004). In 2004 he won the Toronto Images Festival Installation/New Media Award, and the Bogdanka Poznanovic Award at Videomedeja 8. His work has been funded by the Canada Council for the Arts, the Conseil des Arts et des Lettres du Québec, the B.C Arts Council, the Vancouver Foundation/Contemporary Art Gallery, the Quebec Delegations and Canadian Embassies in Madrid, Seoul, and New York. He has produced works at museums including the Montreal Museum of Fine Arts, the National Gallery of Canada, the Vancouver Art Gallery, the Rodin Gallery (Seoul), and the Prado Museum (Madrid). Niklas Roy, born in 1974 in Nuremberg, Germany, is a Berlin based artist, designer and engineer. After working as a 3D animator and visual effect supervisor in the film business, Roy studied at the University of the Arts in Berlin. During that period, he founded Royrobotiks, a single member collective, which focusses on building artistic robots and machines and devices. His work has been shown at Ars Electronica (Austria), Siggraph (USA), Microwave (Hongkong), Transmediale (Germany), VIPER (Switzerland), Emergences (France), LABoral (Spain), *.artlabs (Romania) and many other festivals and museums around the world, often winning prizes for its inspired inventiveness.

www.internationaldanceparty.com PAGE 25 CONTACTS PROGRAMMATION Charles Carcopino & + 33 (0) 1 45 13 19 12 [email protected]

DIFFUSION Géraldine Creamer & + 33 (0) 01 45 13 19 16 [email protected]

REGIE GENERALE Emilie Fouilloux & + 33 (0) 01 45 13 19 12 [email protected]

CRETEIL MAISON DES ARTS