DE
EN
artists & participants
John Armleder,
Fm Einheit,
Olwen Fouere,
Ellen Fullman,
Gilles Furtwängler,
Marcia Hafif,
Peter Halley,
Fritz Hauser,
Tom Johnson,
Ulrich Krieger,
Alan Licht,
Lydia Lunch,
Bruce Mcclure,
Gustav Metzger,
Robert Poss,
Susan Stenger
curators
press release
The exhibition A Personal Sonic Geology* brings together a series of films made jointly by Philippe Decrauzat and Mathieu Copeland since 2012. They are organized around the desire to film sound, record places, and plunge into the stuff of the processes of construction and destruction. Philippe Decrauzat anbd Mathieu Copeland are continuing their exploration of the relations between sound and image with these films which are based on the work of other artists—visual artists and musicians—who enable them to crerate a dialogue between film imagery, painting, and sound production. Filmed in 16 mm, they apply the procedures of superimposition, image fragmentation, and collage. The approach they adopt is the same each time: the use, front and then back, of one and the same reel for two films which will be superposed and give rise to the collision of two worlds. In this way, they follow a score which is the equivalent of the superimposition of two situations which develop in reverse directions, and in reverse time-frames.
Invited to create a programme and events and exhibitions at le Plateau from march 2014 on, Mathieu Copeland and Philippe Decrauzat have each time used these spaces and this time to involve artists from the visual and music fields—using the exhibition format, or he denser format of the event—and film, their end purpose being to pursue their film collaboration to present to the eye and ear, in the form of an immersive arrangement, something that has already been seen, heard and experienced.
Be it the encounter between the American guitarist Alan Licht filmed during an improvised session and images of the rotary presses of the Marrakech printing works, or the encounter between the saxophonist and composer Ulrich Krieger and views of a textile spinning mill, or that between the percussionist musician FM Einheit and landscapes in the High Atlas mountains of Morocco, what is involved is re-broadcasting overlaid realities in a linear collage.
This programme has been the subject of a series of manifestos drawn up guests artists, lending each exhibition and event its title and thus connecting all the elements of the project, like links in one and the same huge enselmbe, offering us a re-reading of a history of modernity seen through visual arts and music.
*Susan Stenger manifesto.