13 January 2010

RAW exhibited at Maison Pop

"RAW" is exhibited until the 30th of January at Maison Pop in Montreuil.
Maison Pop, 9 bis rue dombasle, 93100 Montreuil.

RAW is a set of tools and processes for capturing, in an unconventional way, everyday subjective experience of a place, a culture, a people.

RAW is named for the raw data gathered that purposefully remain unedited throughout the processes. The combined characteristics of RAW (including an emphasis on context of use, non-edition, and data presentation) make this concept a novel approach to authorship, to cultural exchanges, to audiovisual language, and to documentation.

At its core, RAW is an audiovisual recording device that combines a digital camera and audio recorder. Taking a picture triggers the recording of the sound a minute before and a minute after it.

The installation allows oneself to be immersed in the daily life of another person, notably thanks to the stereo sound of the piece. The first minute of sound plays while the image is slowly revealed.

The content presents a series of experiments made by 23 persons in Mali in August 2003. We also worked with teenagers from the Goutte d'Or district of Paris.

The project was done at Media Lab Europe in the Human Connectedness group. We thanks all the participants et supports of the project in Mali, France and Ireland.

More info on the project : the RAW website

Exhibited as well, The Objects of Telepathic Motion Picture by David Blair

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24 February 2009

DORKBOT PARIS at Palais de Tokyo - 26th of February

The Palais de Tokyo, a museum of contemporary art in Paris, has asked Dorkbot Paris to program 6 events related to their current exhibition Gakona. Inspired by Tesla works and referring to the "mysterious" military program HAARP in the Alaskan city Gakona, the exhibition presents 4 artists who are displaying work around the theme of "electricty". Since Dorkbot is about "people doing strange things with electricity", there's some sort of natural connection there and I'm thankful that the Palais de Tokyo commissioners thought about contacting us.
Thus, instead of doing an event every month or 2, we're presenting this time 6 events within 2 months. It's an ambitious program and I'm really looking forward to all the presentations and with the support of the museum, we were able as well to invite people from outside of Paris, including some MLE connections like Gary McDarby and Jonah Brucker-Cohen.
The first session is this Thursday and its theme is "Eco - energies", or the relationship between environment, technology and arts (and how to be aware of energy expenses so that eventually you can lower your electricity bill!).
Presenting works are Benjamin Cadon, Ewen Chardronnet, Dominique Leroy and Laurent LeGuyader.

-- Joëlle.

For more details (in French - sorry I don't have the courage to translate it all):

Dorkbot Paris au Palais de Tokyo - "Eco - Energies"
Jeudi 26 février 2009 à 19h30, Auditorium du Palais de Tokyo
13, avenue du Président Wilson, 75016. Métro Iéna (ligne 9)
L'entrée à cette session Dorkbot Paris est liée à l'entrée de l'exposition Gakona (Tarifs de 1EUR à 6EUR selon conditions, gratuit pour les chômeurs, moins de 18 ans et personnes handicapées). N'hésitez pas à nous contacter si vous comptez venir à plusieurs sessions Dorkbot.

Programme détaillé:

• Benjamin Cadon et Ewen Chardronnet présenteront à cette occasion le protocole de travail du Spectral Investigations Collective (SIC), travail collectif qu'ils mènent depuis 3 ans avec Bureau d'études, Ghostlab, Alejandra Perez Nunez et d'autres collaborateurs occasionnels. Le SIC enquête sur les spectres électromagnétiques tels qu'ils se manifestent dans les environnements industriels, mais également sur toutes les manifestations spectrales auxquelles il est confronté. Il met à l'épreuve la façon dont ces spectres viennent modeler, contraindre et orienter notre vie.

Pour cette rencontre, Ewen Chardronnet développera les méthodes employées par le SIC pour aborder la question des radars géants, Benjamin Cadon présentera quant à lui, des moyens pour capter des champs électromagnétiques à différentes longueurs d'ondes en l'illustrant de façon sonore et/ou visuelle (des "Very Low Frenquency" aux GHz de nos téléphones portables) et évoquera diverses utilisations "alternatives" : recherche d'énergie libre, effet van Eck, capteurs capacitifs, armes non létales, mind control et phénomènes surnaturels associés...

Liens web :
Ewen Chardronnet :

Benjamin Cadon :

• Dominique Leroy est membre d'Ecos, projet transdisciplinaire qui s’appuie sur la recherche scientifique et l’action culturelle pour interroger et mettre en perspective les interactions entre technologie, écologie et économie.
Il présentera des recherches et expérimentations portées par ecos depuis 2007 :
- un projet de monnaie sociale et symbolique, occupant dans une communauté une dimension économique et culturelle : ecosXchange, initié par Siraj Izhar, est un projet de recherche en cours depuis 2007.
- des micro-expériences techniques et artistiques mettant en oeuvre différentes énergies, comme Resonating-With-Light réalisé par Edo Paulus.

• Laurent Le Guyader, électronicien négaWatteur, mesurera et mettra en évidence les consommations électriques et les champs électromagnétiques des appareils de notre quotidien. Cette intervention sera suivie d'une discussion sur le scénario négaWatt : sobriété, économies d'énergie et énergie renouvelables pour résoudre la crise énergétique à venir.

• Opendork, session libre ouverte à tous
Apportez votre projet et venez le partager avec nous au sein de l'Opendork qui clôture chaque rencontre.

Et ensuite ?
Notez d'ores et déjà la date du 5 mars, session Dorkbot "Brainwaves" qui traitera d'ondes cérébrales captées et détournées!

Les sessions suivantes auront lieu les 12 et 21 mars et les 11 et 23 avril.
On y parlera (et plus si affinités) d'expérimentations électriques qui feraient plaisir à Nikola Tesla, de réseaux DIY, de circuit bending et de récupération/création à base de "déchets" technologiques.

On y rencontrera (entre autres) Gary Mc Darby, Dominique Peysson, Horia Cosmin Samoila, Jean-Baptiste Labrune, Dana Gordon, Gijs Gieskes, Douglas Repetto, Jonah Brucker-Cohen, Katherine Moriwaki et l'équipe de Dorkbot Paris.

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07 February 2009

Facts of life

Last Saturday, on a late afternoon, I strolled in the 9th and the 18th districts of Paris, in a way I didn't do for a while. Just walking up the streets, not really knowing why or where, just for the pleasure of being in the moment. I looked at people, at windows shops, at the general romantic atmosphere of Paris in winter, on a Saturday. And then just as the chance has it in for you, I came across an art gallery I had seen before but forgot. It was an exhibition of Diane Arbus magazine works. The great idea of the commissioner wasn't about showing framed pictures, but the magazine clippings themselves, where sometimes you could read the first paragraphs of the cover story. In context, the photographs were more daring and rule-breaking than they ever were. You could really understand how they set at the time a before and after. A couple of works by Wolfgand Tillmans, Walker Evans, Annie Leibovitz and others were also there to depict the heritage. It was a simple, moving, enlightening exhibition. It was a stranger encounter in the middle of my urban wandering.

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16 November 2008

Setting the tone

Since the 6th of November and until the 22nd, Abstract is exhibited at the Théatre de l'Agora, Scène Nationale d'Evry et d'Essonne. Yesterday, a special event "Circuit Ecléctique #3" took place that would take people through a number of art pieces, closing with a concert. I was there with some friends to attend the event and observe the participants in the installation.
It's the 3rd time Abstract is presented, after the Gallery Ef exhibition and the festival Nuits de l'Ososphère last year. So I was able to experience a different context and make comparative notes. I must say that although it was a nice and interesting setting yesterday, it couldn't beat the Japanese one. I realized that Abstract cannot be shown in any kind of context. I fantasize about my works being able to be presented globally, whether in a theatre, or in a gallery or in an undefined public space. I think I'm being naive there.
What I try to achieve with Abstract is a strong immersion cutting the participant from his reality and daily environment. But the interaction itself is not enough. The staging has to be part of it. And I'm not sure it can be done in the context of a new media show where many constraints have to be taken into account to share the space with other pieces, and with a timing that get people to go from one experience to many other ones in say an hour time.
I learned yesterday that if the conditions to show a piece are not exactly the ones you need then it's better not to go with it at all. It's what making the difference between a "nice" experience to an "impacting" one. I cannot do approximation anymore. It's not easy for me to accept that because I tend to be enthusiastic, I like trying collaborations, I want to say yes to all the opportunities I get and I'm always hopeful and curious about the outcomes even if they're not what I had in mind. I like the randomness about the process. But I shouldn't do it anymore at all costs. I'm very grateful that the theatre team wanted to show Abstract and they did a good work mounting a black box and putting a lot of efforts to follow some of my instructions but the isolation was not there, and therefore I think due to that and few other reasons the incitement to stay a long time was not there.
All these observations are great to help me build a stronger experience for next time and it's also confirming the crucial importance of scenography, an art that I don't master well yet.

-- Joëlle.

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24 August 2007


The opening of "Abstract" took place just about 3 weeks ago. It was an incredibly rewarding moment.
First of all because I thought it would never happen. Again a couple of days before I was still getting crazy over Windows Vista, then Windows XP trying to make the pure-data program work. From Paris, Vincent would try to understand why it wasn't working on the Japanese PC while it was rolling on his machine. But with the time difference and the distance, it was taking a lifetime and if it wasn't for Carson's precious debugging help, I would have sunken deeper than the sunken ship in my sorrow.
It was also rewarding because all the people who attended the opening praised the work and I felt quite happy that they got the intention in the piece without any particular explanation.
In particular, I remember Ikuko, that I met that evening who came by chance at the gallery, not knowing what was going on and wrote me an email later telling me that the installation gave her the opportunity to take the time to face herself and her life and get "subtle reminiscent feelings, recollecting memory from childhood, school days, travel etc.."

Izumi, the curator of gallery éf, also got a beautiful idea: she invited Ouchi, a Japanese chef to present her summer sweets to be served with tea, in the gallery space. So people would sit on the carpet where the projection was happening and proceed to an informal tea ceremony. I managed to taste some of the confectioneries she made and got from that a delicious food experience.

All together, I felt people were very at ease with the experience, taking the time to enjoy it and to discover its different layers. My initial intention related to time length and expectation felt clearly embraced. And along the way, as it always happen, I noticed that people put emotions in it or other intentions that I didn't foresee.
Izumi keeps on letting me know how it's been going and for 3 weeks, swell and beyond.

I already named the people who helped me for this piece in a previous post - yet I feel the need to mention again some people whose support was an amazing gift: the team of gallery éf, Izumi and her mother, her aunt, her brother and Takeshi who, among others, managed to get Sanyo to lend a videoprojector; Carson who made a computer from his lab at the University of Tokyo available for the duration of installation and hosted me at his home in Tokyo; Julie who came with me to Japan, to make some shootings for her own project but who took the time to stand by me in the darkest hours, always up for some good laughs; and of course, David who I met everyday on Skype so I could share with him all the emotions of this profound experience and who at a distance provided me with his comforting and uplifiting presence.
As well, just before my departure, during the last Dorkbot Paris, Stéfane offered Vincent and I the space needed and all kind of materials to test the piece one last time and Jean-Baptiste who was around helped us on more than one occasion.
And I also forgot to mention last time another Jean-Baptiste (Verguin) whose feedback I always enjoy.

The installation is on in Tokyo for another week. It will also be exhibited in France, at the Nuits de l'Ososphère in Strasbourg at the end of the month of September.
I'm currently editing a short video for demo but in the meantime, here are some pictures. More of them are available at the gallery éf website, in the Abstract project section, along with an interview Takeshi made of me, with unusual questions...

-- Joelle.

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