31 March 2009
PLAYTIME
The interactive piece Kindergarten is exhibited during the EXIT festival, at the MAC Créteil until April 5th. The theme this year is "New Monsters".
The exhibition took also place 2 weeks before at the VIA festival, in Maubeuge.
It was fun, strange and challenging at the same time to show an "old" interactive piece. It took more time than I thought to find the appropriate set-up, especially because the computers and the OS and the softwares have changed radically. My thoughts then echoed the discussions about the archiving and preservation of multimedia pieces. But altogether, I felt happy and proud that this piece is still relevant and enjoyable.
With the time, I see it more now like a weird video game, where you play against the computer which is always trying to lose you and take you away from where you're trying to get to. Graphically, I love it very much, and the music by Philip Zoubek is beautiful. I'm also still having a lot of fun at hearing the ambient funfair sounds with the screams, and all the little details of the ghost train or other situations.
The making of the piece was collaborative and was done by Enrico Bravi, Ulf Harr, Raphaël Meyer and myself between 2000 and 2001 in Vienna. The inspiration came from the Prater fun fair.
Emmanuel Mehois helped to add a trackball trick for the 2009 set-up.
The exhibition took also place 2 weeks before at the VIA festival, in Maubeuge.
It was fun, strange and challenging at the same time to show an "old" interactive piece. It took more time than I thought to find the appropriate set-up, especially because the computers and the OS and the softwares have changed radically. My thoughts then echoed the discussions about the archiving and preservation of multimedia pieces. But altogether, I felt happy and proud that this piece is still relevant and enjoyable.
With the time, I see it more now like a weird video game, where you play against the computer which is always trying to lose you and take you away from where you're trying to get to. Graphically, I love it very much, and the music by Philip Zoubek is beautiful. I'm also still having a lot of fun at hearing the ambient funfair sounds with the screams, and all the little details of the ghost train or other situations.
The making of the piece was collaborative and was done by Enrico Bravi, Ulf Harr, Raphaël Meyer and myself between 2000 and 2001 in Vienna. The inspiration came from the Prater fun fair.
Emmanuel Mehois helped to add a trackball trick for the 2009 set-up.
Labels: EXIT, Funfair, Game, Interactive, Kindergarten, Monsters, Sound, Vienna
10 January 2008
Art without Money
Radio Libertaire is broadcasting on the French FM since 1981 - it's the radio of the Fédération Anarchiste, functioning as they say "without a god, without a master and without advertising" (what better would you want?). You could think it's an obscure channel, that only 23 seventy year-old anarchists listen to but its audience is actually quite decent, cosmopolitan and diverse, thanks to open, activist and indeed free-spirited programs. Even people, like me, who are not really radio listeners have a bit of affection for this atypical media (another one like that is Radio Aligre).
This Monday, 14th of January, I'm invited to chat with other people about interactive art, on the Radio Libertaire bi-weekly art show "Muzar", hosted by the curator Nathalie McGrath, between 9.30 and 11 am.
So tune in on 89.4!
With me, will be talking:
- Muriel Ryngaert, in charge of the audience and cultural policy at the MAC/VAL
- Jérôme Delormas, director of Lux Valence, and director of the future "centre Gaîté Lyrique des arts numériques et musiques actuelles"
- Stéphane Maguet, director of the digital art gallery Numeriscausa
- Antoine Schmitt, artist
This Monday, 14th of January, I'm invited to chat with other people about interactive art, on the Radio Libertaire bi-weekly art show "Muzar", hosted by the curator Nathalie McGrath, between 9.30 and 11 am.
So tune in on 89.4!
With me, will be talking:
- Muriel Ryngaert, in charge of the audience and cultural policy at the MAC/VAL
- Jérôme Delormas, director of Lux Valence, and director of the future "centre Gaîté Lyrique des arts numériques et musiques actuelles"
- Stéphane Maguet, director of the digital art gallery Numeriscausa
- Antoine Schmitt, artist
Labels: Art, Chat, Interactive, Radio
24 August 2007
Exhibition
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.
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.
Labels: Abstract, Exhibition, Installation, Interactive, Japan
17 July 2007
Abstract
The exhibition date of the installation Abstract on which I worked for the past year is getting close.
I'm flying next Thursday to Japan with Julie to set it up at Gallery EF so we can open on the 2nd of August.
Stressful and exciting are the 2 words that have been taking turns in my mind lately. I've been thinking about this project since late 2004/early 2005. It took me then 1 and a half years to find the financial resources to get started and then almost another one to develop the 1st version. So now it's a mix of pleasure and frustration.
On top of the help from the Dicream, I got the most precious collaborations from those talented one: Vincent Roudaut who did all the programming, Ailadi Cortelletti who made beautiful drawings and Rupert Huber who did the music.
And while I'm at it, I might as well list all the people who helped me along the way - with a computer or a tripod or a videocamera or a flat or a workplace or advices, contacts, ideas, travelling company.... very Cool people...
Carson Reynolds, Yoshiko Sakuma, Julie Morel, Yugo Minomo, Raphaël Meyer, David Krutten, Philippe Moya Lazaro, Jo Kazuhiro, Tomoko Hayashi, Naomi Hamaguchi and Daï, Alvaro Cassinelli, Dominick Chen, Matt Karau, Stefan Agamanolis, Jocelyne Quélo and la Maison Pop, Christophe Leclerq and Paul Girard and le CITU, Vincent Rioux and Confluences, Izumi and Takeshi Yamaguchi at Gallery Ef.
If you're in Tokyo in August, please come have a look.
--Joëlle
I'm flying next Thursday to Japan with Julie to set it up at Gallery EF so we can open on the 2nd of August.
Stressful and exciting are the 2 words that have been taking turns in my mind lately. I've been thinking about this project since late 2004/early 2005. It took me then 1 and a half years to find the financial resources to get started and then almost another one to develop the 1st version. So now it's a mix of pleasure and frustration.
On top of the help from the Dicream, I got the most precious collaborations from those talented one: Vincent Roudaut who did all the programming, Ailadi Cortelletti who made beautiful drawings and Rupert Huber who did the music.
And while I'm at it, I might as well list all the people who helped me along the way - with a computer or a tripod or a videocamera or a flat or a workplace or advices, contacts, ideas, travelling company.... very Cool people...
Carson Reynolds, Yoshiko Sakuma, Julie Morel, Yugo Minomo, Raphaël Meyer, David Krutten, Philippe Moya Lazaro, Jo Kazuhiro, Tomoko Hayashi, Naomi Hamaguchi and Daï, Alvaro Cassinelli, Dominick Chen, Matt Karau, Stefan Agamanolis, Jocelyne Quélo and la Maison Pop, Christophe Leclerq and Paul Girard and le CITU, Vincent Rioux and Confluences, Izumi and Takeshi Yamaguchi at Gallery Ef.
If you're in Tokyo in August, please come have a look.
--Joëlle
Labels: Abstract, Installation, Interactive, Japan, Tokyo
