July 31, at Savaroso, Marché de la Gare, 720 Place de la Gare.
Schedule for the commented tour – july 31st 2013
17:00 – Cocktail et accueil
19:00 – Pré-embarquement
19:30 – Départ en autobus du Marché de la Gare
19:45 – Arrivée à la vieille prison Winter, 271 rue Winter, Sherbrooke
//////////// visite de l’oeuvre Dust Winter Prison de Aram Bartholl
20:10 – Départ de la vieille prison Winter / direction Sporobole, 74, rue Albert, Sherbrooke
20:20 – Arrivée à Sporobole
//////////// Visite de la vitrine sonore (façade de Sporobole) et de l’oeuvre 86400 secondes de Chantal Dumas
20:35 – Visite de l’oeuvre Rehearsal for a People’s Microphone de Brandon LaBelle installée au dernier étage du stationnement Webster
20:55 – Visite de l’oeuvre À Louer de Niklas Roy installée dans la vitrine du 104 Wellington nord
21:15 – Départ du centre-ville de Sherbrooke / direction pavillon 6 du Cégep de Sherbrooke (entrée stationnement rue Terrill)
21:25 – Direction Cégep de Sherbrooke / Stationnement pavillon 6, entrée rue Terrill
//////////// Visite de l’oeuvre apex de Nelly-Ève Rajotte au Cégep de Sherbrooke
21:45 – Départ Cégep de Sherbrooke / direction Lac-des-Nations (marché de la Gare)
21:55 – Visite de l’oeuvre Épaves de Isabelle Hayeur sur le Lac-des-Nations (face à l’hôtel Times)
22:15 – Fin de la visite
Sporobole is very proud to present the fourth edition of its biennial event Espace [IM] Média. This new, bigger than ever edition offers a broad range of works in public spaces in downtown Sherbrooke, alongside several exhibitions and performances. This edition also marks an important change in the festival’s artistic vision. Aware of some of the most recent debates around the definition of digital culture and of the artistic output of a whole new generation of artists working in the digital universe, this year Espace [IM] Média offers a glance, not only at digital technology as a creative tool with boundless potential, but at the digital as the socio-political and socio-cultural context out of which are emerging works which examine the modes of digital artistic production and their implications for our relationship with the world and with others. Today it goes without saying that the digital has become a part of almost every sphere of our existence, but this change of paradigm is so recent that it is still hazardous to draw any conclusions about the nature and extent of the mutations presently taking place.
Some of the works presented in this edition of the festival address these questions head-on, while others take up the task of subtly transforming public space by placing in it foreign systems or references to other contexts. Several works examine the notions of public and private space, particularly with respect to sound. Finally, some pieces, including a program of performances, explore the mythology around the boundless possibilities opened up by digital and DIY cultures. The topic is vast, and its fascination and magic novelty are gradually losing their distinctiveness under the corporate grandiloquence which is seizing hold of digital tools and networks. Thus art is returning to its critical and reflexive function in a world in mutation.
This fourth edition of the festival has been programmed by the artist-curators Jean-Pierre Aubé, François Quévillon, Philippe-Aubert Gauthier and Sébastien Pesot and is taking place from 31 July to 22 September 2013 in Sherbrooke.
— Éric Desmarais, executive director
This part of the Espace [IM] Média festival takes place in various locations throughout Sherbrooke and features four artists whose interventions explore the porous boundaries between the real, the virtual and the imaginary. Each in their own manner, these works invite us to enter interstitial zones in which different realities interpenetrate.
Video interventions by two Quebec artists offer new ways of perceiving the environments they occupy. Isabelle Hayeur’s ghost ships, run aground at the Lac des Nations, evoke the remnants of the region’s industrial past, for whose development its waterways and rivers were important elements. Nelly-Ève Rajotte, for her part, deconstructs the landscape overlooking a pavilion of the Sherbrooke CEGEP and reincorporates it into the architectural structure by amplifying the elevating movement it suggests.
Two German artists put familiar objects to new uses in order to examine the influence of technology on our daily lives. Aram Bartholl materialises elements of the computer game Counter-Strike in the inner courtyard of the former Winter Prison, a heritage site whose fortified architectural complex is reminiscent of a map in the game that is rooted in the memory of the millions who have played it. The real and the virtual interplay in this installation that opens up breaches in circumscribed and, under normal circumstances, physically inaccessible spaces. The infiltration of digital data into concrete space is also at work in Dead Drops, a file-sharing system made up of USB memory sticks embedded in public spaces. In the window of a vacant storefront on Wellington Street, a small “smart” curtain obstructs the view of passers-by. This playful interface between indoors and out by Niklas Roy examines the contemporary redefinition of the boundary between the public and private spheres and the social and economic dynamics of one of the city’s main thoroughfares.
— François Quévillon
François Quévillon is an installation and new media artist from Montreal. His work explores phenomena of the world and perception through the implementation of processes sensitive to the public’s interference and to the environment’s variable conditions.
Staten Island is the site of the largest ship cemetery in the eastern United States. This one-of-a-kind, desolate place is home to wrecked ships of every description, slowly rotting in a narrow channel lined by refineries. Projected onto a screen of water at nightfall, these ghost-like carcasses reveal the dark side of industrial development. Isabelle Hayeur is known for her photographs, videos and site specific installations. Her work takes the form of an ecological, urban and social critique.
Winter Prison, which was closed in 1990, is one of Sherbrooke’s oldest buildings. With Dust Excerpt 1, its courtyard is taken over by pixellated crates from a popular map in the computer game Counter-Strike. By setting up interactions between the architecture and history of worlds with distinct realities, the installation examines the different codes and forms of behaviour we adopt in « real life » and in virtual environments, as well as how these spaces are inscribed in the collective memory. Through his interventions in public space and his performances, workshops, exhibitions and curatorial activities, Aram Bartholl explores the social, cultural and political impact of digital technology and the Internet.
Nature and landscape are integral parts of the city of Sherbrooke. The CEGEP’s pavilion number 6 is the city’s tallest building, a vertical tower overlooking the city surrounded by forests, water and mountains. The landscape is reflected in this video, which will attempt symbolically to make the building disappear by becoming a part of its surface and its architecture. In the video, the landscape will be broken up and deconstructed, appearing on the pavilion at sunset, immense and full of light. Nelly-Êve Rajotte is known for her videos, sound art, installations and performances. Through her exploration of the sentient body she examines the relations between sound and the video image in light of the concept of disappearance.
The artist would like to thank La Guérilla_production and Pedro Pires for their support.
«As part of the Espace [IM] Média festival, the installation My Little Piece of Privacy was planned to be shown in a shop’s window. When I have seen the shop, its particular situation and its surrounding, I have, however, decided to repurpose the hardware of the installation in order to help this abandoned shop front to find a new tenant. Instead of an automatically moving curtain, an « À louer » (For rent) sign will follow the pedestrians on the street.»
From our homes to the street, from ghetto blasters to headphones, from material forms to the radio waves crisscrossing the heavens, and even from the land line to the omnipresent cell phone, our individual and collective auditory sound cultures and practices are complex and intricate. Produced and constructed by both their users and technology, but also by the encounter between them, the distinctions between proximity and distance, the personal and the collective, have long been associated with physical separators of space : walls, doors, windows and buildings.
Today, however, from our home to the street, we inhabit the trace of the transition from the walkman to the cellular phone, which has indisputably reshaped our communities and auditory arenas. The symbolic constructs the home and privacy : sound media are right there with their sound systems and CD players, but, by means a kind of mobile privatisation, the status of aural privacy is charged with ambiguity. What is the place of sound mediation, listening and orality in this reshaping and crossing of lines, boundaries and separations (if they exist)?
In this edition of Espace [IM] Média, sound artists will explore these ideas. Two artists well-known for their sound art in the public domain, Gordon Monahan (Canada) and Brandon Labelle (Germany), have been invited; the latter is also known for his writings. On the topic of crossing spaces, proximity and mobile privatisation, this edition of Espace [IM] Média, in a manner not dissimilar to some of the ways work was presented in previous editions of the event, will inaugurate a unique method for presenting sound art: the Sound Window. This “window”, a small line of 16 loudspeakers demarcating the architectural boundary between Sporobole and the thoroughfare, overhangs the sidewalk and provides a singular listening experience, but also a singular creative experience. The artists Chantal Dumas (Canada), Erin Gee (Canada) and Anna Raimondo (Italy) will have the opportunity, in turn, to take up an artist’s production residency to work with this new platform for spatialised sound projection in urban space.
— Philippe-Aubert Gauthier
The sound artist P.-A. Gauthier is also a junior mechanical engineer who holds a master’s of science degree and a doctorate in mechanical engineering. He is a researcher at the Université de Sherbrooke, working with acoustics and the spatial reproduction of sound. Since 1998, P.-A. Gauthier has developed an artistic practice in sound and media art. His work has taken many forms: fixed-support work, generative compositions, sound installations and spatializations, performance art and music.
The work is based on notions of civic culture and the crowd, appropriating the device of a people’s microphone to stage a form of public speech. Consisting of a pick-up truck, a sound system, an archive of documents, and a pop-up picnic table, the work circulates through the city of Sherbrooke to create momentary gatherings.
Brandon LaBelle is an artist and writer living in Berlin. His work explores questions of social life using sound, performance, text and site specific constructions. He also develops platforms for publishing and collaboration through Errant Bodies. His work has been presented internationally at museums and on the street. He is the author of Acoustic Territories : Sound Culture and Everyday Life (2010) and Background Noise : Perspectives on Sound Art (2006).
Audio recordings are transmitted into long piano wires suspended from the roof of the Cultural Centre and are reproduced through the soundboard of a piano situated in front of the building. The recordings consist of 26 deconstructions of original compositions by Chopin. Gordon Monahan’s works for piano, loudspeakers, videos, kinetic sculptures, and computer-controlled sound environments span various genres from avant-garde concert music to multi-media installation and sound art. As a composer and sound artist, he juxtaposes the quantitative and qualitative aspects of natural acoustical phenomena with elements of media technology, environment, architecture, popular culture, and live performance.
The Sound Window is a permanent system for sound projection on the façade of Sporobole, along the sidewalk on Albert Street. Made up of sixteen loudspeakers, it makes it possible to enter into direct contact with passers-by making their way to the above-ground parking garage next door to Sporoble on city’s main street, Wellington. The linear arrangement of the sixteen speakers and their position at the geometrical interface between Sporobole and the thoroughfare make this new outdoor sound gallery a singular platform for sound spatialisation and the projection of works of sound art. Both fixed and moving sound compositions are possible: on the one hand, the platform provides a proximate listening spot, with passers-by exposed to one or more loudspeakers at a time; and on the other it can provide a more widely-encompassing listening point from the street. For Sporobole, the Sound Window is an opportunity to achieve an invisible presence in the public domain and its surrounding environment.
The sound artist Chantal Dumas explores the medium through sound installations, radio fiction and electro-acoustics. An adept of field recording, her works are constructed out of and around found sounds. Her work traverses spaces both mental and physical, architectural and urban, natural and cultural. With 86,400 seconds, Sporobole has become a temporal landmark. A gigantic clock that is at the same time a metaphor for time makes it possible to hear the passage of time through sound events which bring back to conscious awareness, meaning to the aural foreground, what from the point of view of the sound materialises the measurement of time.
7 Nights of Unspeakable Truth is a long-form composition that consists of documentation of Erin Gee’s dusk-till dawn searches for number stations on shortwave radio frequencies. Arranged in order, from day one to day seven, one will be able to walk through seven evenings of shortwave, synchronized in their respective times, in front of Sporobole, as part of Vitrine Sonore. This spatialization of each night will allow listeners to make comparisons, appreciating patterns demonstrated in Gee’s search as she consults research and online communities to tune into mysterious, unexplained broadcasts that consist only of numbers, tones and codes.
The project questions the relationship between private and public, looking for intermediate acoustic spaces. What happens when the surfaces of liminal spaces such as doors and windows become invisible, converting into sound? I will record Sporobole’s doors and windows with different microphones and techniques to capture a combination of both recognizable and abstract sounds. I will compose them alongside the use of silence, intended as an acoustic space in which both concepts of public and private inhabit simultaneously. Anna Raïmondo is an Italian artist and curator. Her work, mainly based on voice and languages, is situated between sound and radio art ; between performance and intervention in public space – the processes of translation and relational areas featuring in her research.
CON IL SOSTEGNO DEL PROGETTO DE.MO./MOVIN’UP I sessione 2013
With the support of the project DE.MO./MOVIN’UP I sessione 2013
MOVIN’UP I sessione 2013 A CURA DI / BY
MINISTERO PER I BENI E LE ATTIVITA’ CULTURALI
Direzione Generale per il paesaggio, le belle arti, l’architettura e l’arte contemporanee Direzione Generale per lo spettacolo dal vivo
E/AND GAI – Associazione per il Circuito dei Giovani Artisti Italiani
We grew up in northern Quebec in an industrial region [...] we had a dystopian vision of the future.
— Michel Away Langevin, speaking about the recording To the Death in 1984
There exists a special moment in the history of music: when it was electrified. Last century, the possibility of recording, playing back and broadcasting sound signals inspired numerous modern artists. The use of filters, mixers and other tools for measurement as instruments of composition is at the origin of electronic music and musique concrète. These tools, available only in radio studios or telecommunications laboratories, made it possible to analyse sound and its natural properties. The musique concrète of Schaeffer and Henry was a composition method which left musical notation behind in favour of the nature of the raw sound. An analogy with nature, using analogue and objective tools.
Another special moment in twentieth-century music was that of DIY teenaged rockers causing a scandal, not in sumptuous radio studios but in the garages of Western working-class cities. The punk movement was the apogee of this strange aesthetic, both in its style and in its method. It denied virtuosity, went to the boundaries of language and dissonance and degenerated into noise, even chaos. While avant-garde precursors used onerous, even one-of-a-kind tools, computers in the service of music function according to a different economy : that of the infinite multiplication of gimmicks of every kind. In the early 1980s, the days of Star Wars and post-nuclear paranoia, technology could no longer personify the objective tool extracting the materialist nature of sounds.
The artists in this program of performances put to new use, each in their own way, the technologies and tools of musical production, multiplying the possibilities in the world of sound. The use of technology or machines is understood here not as a quest for novelty but rather as ill-adapted, even deficient.
- Jean-Pierre Aubé
Inspired by the observation of immediate and distant environments, the work of Jean-Pierre Aubé is based on the recording of natural phenomena or the particulars concerning them using receivers and antennae he develops himself. Seeking to grasp invisible phenomena, the material he collects is then manipulated technologically, creating works of art using the treatment, interpretation and transformation of complex data into visual and aural content.
In the early 1980s, Martin Tétreault cut vinyl records in two, reassembled them and hung them on walls. When, by accident or out of curiosity, he placed the glued-together objects back on the turntable, Tétreault the orchestrator of the vinyl turntable was born. Martin have collaborated with dozens of artists on numerous noise music concerts and electronic arts events.
Michel Away Langevin is the inventor of Morgoth, a dystopian post-nuclear world, inspired by the Cold War and by the industry in Jonquière. “Voivod” is the soundtrack of a world from which the metal avant-garde would be born. Thirty years and 15 records later, they are no longer the precursors of a genre, the once celebrated Trash Metal, but virtuosos who blend the charge of punk with progrock’s epic quality.
Steve Bates is an artist and musician whose projects explore the boundaries of sound. Exhibitions, concerts and recordings: sound is the starting point of almost all his projects and noise is often his final goal. Whether he is at the microphone of a community radios station or at the controls of his instruments, his projects explore the politics of noise and silence through communications networks, the artistic matter and its technologies. Guitars, microphones, analogue filters, radio receivers, feedback : Steve’s instruments and methods are vast in number, but they all share the same concerns for the sound material. Steve Bates is the founder of send + receive, a sound art festival in Winnipeg.
Thomas Bégin the machinist creates instruments whose heart manipulates the physics of sound. His non-standard instruments are systems which resonate and oscillate. Electromechanical machines built using techniques as varied as feedback, amplification, resonance and fractal mathematics. Whether independent or manipulated by the artist, Bégin’s machines re-materialize space, take the architecture of the space into account and create walls of sound. In performance, Thomas tunes these machines to the point of organized chaos, whereupon they reveal previously unheard phenomena.
Bobo calls his studio the “phalanstery”, where each day the mistreatment of his drawings accumulates. The word is well chosen: a phalanstery was a proto-communist, utopian building imagined by Fourrier. And, like all utopias, tragedy strikes when they are carried out. Bobo on stage or on paper is your worst nightmare. Bobo Boutin, drummer for the legendary Georges Leningrad, a post-punk group that hit the scene in the 2000s, takes the stage on rare occasions, alone or with a cassette recorder. Bobo Boutin is a low-fi crooner with rock standards in the background.
The festival ending party is a two parts evening : A Berlin video art program and two live audiovisual performances by James Partaik and Christian Messier.
Optische presents a panorama of contemporary Berlin video. Located at the crossroads of eastern and western Europe, Berlin is a city-state which opened up to the rest of the world in dramatic fashion with the fall of the Berlin Wall in 1989. Since that date, Berlin has attracted hundreds of artists from Germany, the rest of Europe or elsewhere who have come to establish permanent or temporary residence. More than 5,000 professional artists are listed on the website Berlin.de. Berlin’s arts scene is vast and eclectic, and this program provides an overview of this diversity through art videos made in whole or in part in the capital. The program includes the works Winter Crows by Dan Hudson, Knallerbsenbusch (in the bushes) by Juliane Ebner, Urban scene XII : petrol station by Ninia Sverdrup, Little Chance : Water Walk (after John Cage) by Dominic Hislop, Flux by Kostas Makrinos, iTouch by Ivar Veermae, Live in the egg by Andreas Karaoulanis, DSDM (Deutschland sucht den Megastar) by Philippe Internoscia, Person #21 by Karin Felbermayer, Expired by Maryna Makarenko and Zelebration postsowjetischer hoerigkeit (Celebration of post-soviet bondage) by Evy Schubert.
The running time of the program is 40 minutes.
— Sébastien Pesot
Sébastien Pesot completed a master’s in visual art at UQÀM in 2000. His solo work has been presented recently at the Maison de la culture Frontenac (2013) and at the Joyce Yahouda Gallery (2012). He works principally in audio- video installations, but also in performance and photography. He is the founder of the Espace [IM] Média festival and teaches at the Université de Sherbrooke.
Present is the most recent work from Jo Longhurst’s Other Spaces project, a body of work which explores the physical and emotional experiences of elite gymnasts through photography, video, performance and sculptural installation. In this pared down video work, five adolescents hover like nervy thoroughbreds in the starting blocks.
Jo Longhurst graduated from the Royal College of Art, London with a Ph.D. by practice and quickly gained international recognition. Most recently she won the 2012 Grange Prize, awarded by the Art Gallery of Ontario.
Present was made while artist in residence at the Art Gallery of Ontario, in collaboration with the Gemini Gymnastics Club, Oshawa.
In Zidane, A 21st -Century Portrait, internationally renowned artists Douglas Gordon and Philippe Parreno deploy contemporary conventions of mass media both to “paint” a portrait of the soccer star and to expose our cultural creation of, and fascination with, heroes and icons. Filmed in real time during a championship match between Real Madrid and Villarreal on April 23, 2005, the artists worked with a team of film technicians and seventeen cameras positioned throughout Madrid’s Santiago Bernabéu Stadium, instructing each operator to remain fixed on Zidane through the entire match. Breathtaking!
Presented in Spanish and in French with English subtitles and organised by the National Gallery of Canada in Ottawa, sponsored by APCHQ and APCHQ Estrie.
Presented at the fourth edition of the Espace [IM] media festival, the group exhibition at Sporobole brings together four works which highlight the obsolescence of media equipment. Whether the sound of low-tech recordings of film soundtracks, the projected image of a historic abandoned cinema’s screen, the glimmer of the cathode ray tube screen or the inner camera obscura of photographic equipment, a mysterious ambience pervades this exhibition, where light and sound disseminate a murmur of media obsolescence.
Mobile art is a nascent art form defined by the use of mobile technology – cellular telephones and tablets – to create works of art, whether photographs, music, drawings or video. The second edition of the Mobile Art Weekend, a collaboration between the Musée des beaux-arts de Sherbrooke and Montréal Art Mobile, will take place over two days of public talks, workshops and musical performances, along with a mobile stroll during which artists and the public will exchange their points of view and ideas!
Our thanks to the Ministry of Culture and Communications and to the City of Sherbrooke for their contribution to the Mobile Art Weekend under the Entente de développement culturel.
This exhibition project brings together four installations and video projections created between 2007 and 2011 by the visual and media arts artist Myriam Yates, who has recently relocated to Sherbrooke. A new video will also be created for the occasion, and the entire exhibition will be the subject of an eighty-page colour catalogue, the first monograph on the artist in her 10 years of artistic practice. Yates’ work has been shown both at home and abroad at venues such as the CC S Bard Hessel Museum (New York), the Galerie de l’UQAM (Montreal), the Mois de la Photo à Montréal, the Manifestation internationale d’art de Québec and the Musée d’art contemporain de Montréal, and at festivals such as the Rencontres Internationales Paris/Berlin/Madrid and the Kasseler DokFest.
Jonathan Sterne, Brandon Labelle, Anna Raimondo, Chantal Dumas, Aram Bartholl, Niklas Roy, Jo Longhurst.
Jonathan Sterne teaches in the Department of Art History and Communication Studies and the History and Philosophy of Science Program at McGill University. He is author of MP3: The Meaning of a Format (Duke 2012), The Audible Past: Cultural Origins of Sound Reproduction (Duke, 2003); and numerous articles on media, technologies and the politics of culture. He is also editor of The Sound Studies Reader (Routledge, 2012).
Complete conference and artists talk documentation here.
Co-curated by François Quévillon, Philippe-Aubert Gauthier, Jean-Pierre Aubé and Sébastien Pesot, Espace [IM] Média festival is showing the work of more than 30 artists coming from Québec, Canada, Germany, USA and Italia.Aram Bartholl
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