Curatorial proposal by Constance Meffre for D.D.A Contemporary Art | diffusing digital art.
This year, D.D.A | diffusing digital art is partnering with the Collectif deletere and co-producing the TECHNOMANCIE 2 event, a highlight combining residencies, exhibitions, concerts & performances.
This event, originally initiated by the Collectif deletere based at the Convent Levat in Marseille, between dystopic fiction and altered reality, is an observatory of parallel universes generated via digital tools: Manipulation of reality, hyperspace, multidimensions, pocket universes, astral plane intersect in sound and visual proposals by artists of the harmful collective who have also formulated invitations.
ARTISTIC PROPOSAL TO BE DISCOVERED ON OCTOBER 12 & 13, 2019
Marie Liehnard (Germany) | LOGICS OF GOLD
INSTALLATION in the Chapel of the Convent
Virtual reality video 2018, gold flakes 5’00 “. 22 carats, gold foil, weather & helium balloon, 360° panoramic camera A golden helium balloon two meters in diameter, on which is fixed a 360° panoramic camera, rises into the sky. This camera films the whole environment: the world becomes smaller and smaller towards the edge of space, until it explodes at an altitude of 35 km. The spectacular moment when the balloon explodes, diffuses its gold particles and then falls back to earth is also part of the 360° VR video. The fully immersive virtual reality results visually provide a surprisingly weightless physical experience.
Ewen Chardronnet (Paris) Field_notes / The heavens
MEETING – 13 October from 14:00 to 15:00 – In the orchard
Ewen Chardronnet will present his recent research trip to Field_Notes, an art and science field laboratory at the Kilpisjärvi Biological Station in LaplandFinland. Ewen Chardronnet hosted the Second Order group of philosophers, theorists, independent researchers and other competent practitioners. Their work was twofold: on the one hand, they researched other groups and, on the other hand, they acted as discursive agents introducing critical perspectives in order to overcome traditional research limitations, methods and practices. Second Order has favoured non-academic approaches to review the views that tend to be adopted by default. For example, they have drawn inspiration from anthropological perspective, as well as from contextual knowledge and decolonial methodologies such as counterpoetry and epistemic disobedience, to give other Field_Notes groups tools to challenge the dominant sky and space regimes established since the birth of aeronautics and aerospace.
Depending on the weather conditions, they will offer you an outdoor Aerocene experience (www.aerocene.org)
Luce Moreau (Marseille) | Camouflaged
PERFORMANCE – October 12 from 14:00 to 19:00 – In the gardens
A fiction of anticipation featuring abandoned hives that are painted in trompe-l’oeil in order to “disappear”, to blend into the landscape. Concepts of resilience, camouflage, survival. Does the bee have to hide from humans to survive?
The artist’s action of painting the hives is also a performance, an anamorphosis in space and time.
Elena Biserna (Marseille) | SOUNDBORDERSCAPES
MEETING – October 13 from 13:00 to 14:00 – In the orchard
Borders have become more important today than ever, affecting all aspects of our lives and raising crucial cultural, social, economic and political issues that have emerged in the tensions between their hardening and the struggles they sustain. The SoundBorderscapes intervention aims to question the potential of the microphone to “give voice” to these territories, but also that of listening as a tool to challenge traditional understanding of the border as a dividing line between different territorial entities.
The term “borderscape” – first introduced by the arts and then adopted in the field of border studies – implies a complex, plural and ambiguous understanding of borders. First, it proposes a temporal and procedural image, in other words, a dynamic image of the border, thought of as a fluid space, in permanent construction, redefined, reinforced or subverted by a multiplicity of discourses, practices and bodies. Second, the term refers to a thought and representation of borders that takes into account their culturally constructed nature.
For its part, the “soundscape” describes the sound environment that surrounds the listener, a relational, temporal and dynamic space that the listening experience continues to produce and reactivate at each of its manifestations. The two terms thus underline the dynamism, fluidity and multiplicity of reality. They insist on its cultural and complex nature, but also on the major role of subjects (individual and collective) in its definition, production and materialization.
Starting from these similarities, this intervention intends to introduce the term “soundborderscape” to present a set of artistic projects that confront geopolitical borders through the use of sound and listening. By recording, composing or exploring vocal or sound practices, these projects make audible and amplify the processes at work at the borders, or even reflect the process that the border itself constitutes. In addition, they propose to consider listening as a suitable instrument to engage in a critical epistemology of the frontier and, in so doing, rethink it in a situated, relational, dynamic and complex way. Seen from the point of view of listening, borders lose their linear image and become constantly moving flows, fuelled by a quantity of events with reciprocal influences, i.e. membranes constantly crossed by the passage of the other.
Pascale Leblanc Lavigne (Quebec) | L’ENVOLÉE
INSTALLATION in the Sacristy
“The flight” is a kinetic and sound sculpture with an unstable aspect made of modest and industrial materials. Unbalanced at the top of a stainless steel shaft, a motor laboriously activates the copper rods so that they beat. As the metal rods move up and down, they collide with each other in a disjointed manner and produce metallic sounds. All the elements of the sculpture are made and assembled in a relaxed, even extemporaneous way. Thus, the erratic rhythms induced by movement and sound, as well as the raw aesthetics of the components, intensify the dangerous but delicate aspect of this realization.
HANK! (Marseille) | CONCERT
MUSIC – October 12 from 21:15 to 22:15 – On the main stage
1969, the Americans invade the moon.
Charles Bukowski doesn’t care, he drinks and records his poems, alone, in his room in Los Angeles.
2016, Bukowski has been dead for a long time.
Three guys stumbled upon his recordings and decided that they couldn’t find a better singer, alive or dead.
They’re calling the HANK group!
If you like wobbly punk and dirty hip-hop, thick bass and horse racing, cold synths and neon light; HANK! is for you. HANK! is beautiful like a sex with hair, like a cigar crushed in an unfinished plate, like a smog giving birth to a sun.