The Présages series brings together aquatic landscapes chemically activated in glass tanks like hermetic little worlds cut off from our own. Worlds made out of minerals immersed in an aqueous solution, with the artist deploying a whole range of components according to the colors and shapes he hopes to bring into existence.

Website

(…) « The works of Gillian Brett are sometimes double-bottomed, and the naïve viewer can be taken in: see the LCD screens in her After Hubble series. With their abysmal night, pierced by glimmers, their silver glitter, their quartz dust, the image of the cosmos that they deliver seems to correspond to the one given to us by the technology itself, that of the giant telescopes sent into space. But insofar as these screens have been skilfully broken, or even burnt, by the artist, the title of this series can also be understood as a post-Hubble, the announcement of a post-technological era where we could finally, far from the light pollution of the metropolises, and without the mediation of satellites, rediscover the poetry of the starry sky. »

Patrick Marcolini, March 2022

Website | Instagram

The aim of the project “The Garden of Divine Songs” to create an immersive digital environment by installing in the exhibition space 3 spatial transparent structures to be screens for moving imagery.

Project works with the concept of spatial experience, reformatting of space/time relationships from video to immersive environment. The spatial structures, made of metal-plastic tube and mosquito net (2-8 kg), shape the hybrid forms combining constellations with the exotic flower, UFO with cactus that are capturing and activating a mechanism of audio-visual “transmutations”.

This could be a visual research metaphorically exploring the dialogue of the philosophical ideas by Hryhorii Skovoroda from 18 century through the ages to the  ideas of ‘liquid modernity’ by contemporary philosopher Zygmunt Bauman within the limits of a wide row of interrelations. Presentation of an immersive environment in exhibition space, which combines cosmic and divine space, strengthens the thinking about the transcendental and existence of human being. In immersive space, everything appears as a metaphysical space-time, in which the divine and the medial, the cosmic and the mystical, the scientific and the artistic merge.

Website | Instagram | Facebook

The world, as it is shown to us by Google Earth, is intriguing… The shapes’ imperfections, the textures’ distorsions, the suspended time, are all attributes of a new kind of universe, an hybrid one, looking more like an algorithmic fiction than our tangible reality. Earthsatz tries to amplify the cold and oppressive poetry generated by this « pocket world », where life doesn’t exist and particles are replaced by pixels. Maybe we should try to contemplate it for what it really is : a fictional universe that mimics the one we are living in, developing its own autonomy. With photogrammetry, we scanned some parts of the Google-generated world. We built 3D landscapes from them and tried to highlight their surreal characteristics, playing with mysterious lights, impossible distortions and moving points of view. Earthatz is a ride in this corrupted world, celebrating all its fictional, artificial and irrational aspects. As the landscapes are disintegrating and recomposing themselves, their roars are embodied in distorted and mechanical sounds.

These heavy synth pads extend the figurative universe, being its intense echo in the spectator’s perceptual space.

Dylan Cote : Website | Instagram | Facebook

Pierre Lafanechere : Website | Instagram | Facebook

Oye Label : Website | Instagram | Facebook

A figure is stranded amongst the half-submerged ruins of a futuristic ‘Dome Home’ that lies off the west coast of Florida, USA. Haunted by memories of the former dwelling, the figure seems to be caught in a strange dream – a memory from a future that never quite happened. Within this dream the world has undergone a ‘sea-change’ and the waters have taken back what was theirs.

Part of a body of work realized with the support of the ARTSail Residency & The ArtCenter/South Florida, Miami, FL.

Website | Instagram

A transgenic forest has been exploited by an ultra-technological factory for hundreds of years. It has been artificially created and is forced to produce everyday objects. The forest revolts. The confrontation concerns two distinct entities: the factory and the forest.

« The Origin Of Things »

Website | Instagram

Monsters gallery, musical parades, abyss of a mystified space and time, a great season circus convulsed, this filmic exploration immerses ourselves into a very distant world, where Basque mythology weave its way into timeless landscapes, where customs and beliefs converge towards a carnivalesque ritual, symbol of the cycle of time.

With the support of the New Aquitaine Region

Winner of the New Aquitaine Film Workout of the Fifib. 

Instagram | Facebook 

Hopinka’s video « Mnemonics of Shape and Reason » (2021) traverses the memory of a place and space visited by the artist. Employing an original syntax of storytelling, the artist interweaves scattered and reassembled landscapes with layers of captured audio, poetic text, and music. A rhythmic account of the spiritual implications of colonial plunder, Hopinka’s fluid reflections transmute ideas of spiritual malleability tied to land, sky, sea, myth, place, and personhood.

Website | Instagram

« The Ruins » is an audiovisual animation in which a viewer is trapped in a maze, tracking through a claustrophobic game world in which the music, composed by Edmund Campion with vocals and lyrics by Hart, inform one another. « The Ruins » is a memento mori, creating a space of contemplation reflecting on the canons of a patriarchal western civilization: a world filled with still-life paintings and scored with lyrics that are manifestos of failed political utopias.   

For this work, Hart has produced very low polygon models – poor copies or “images,” to borrow a term popularized by Hito Steryl. The models imitate copyright-protected paintings by Matisse and Picasso, canonical painters whose careers mark the onset of Modernism.

Equally important to « The Ruins » is its music, by Edmund Campion. Campion is a celebrated composer and the director of CNMAT, the Center for New Music and Audio Technology, at the University of California, Berkeley. Campion created music and custom software programming specifically for « The Ruins », including an algorithmic sound engine. For the work, Hart read four texts expressing the ideologies of four failed Utopias: Thomas Jefferson on American liberty, the Bauhaus Manifesto by Walter Gropius, Fordlandia – Henry Ford’s failed suburban rubber plantation in the Amazon rainforest – and Jim Jones sermon, the “Open Door.” Campion has processed and mixed each of Hart’s vocal performances, using them as instruments in a piece that is both an independent audio installation but also serves as the soundtrack to the animation.  

Website | Instagram

« Tropics » draws an orbit around a mexican farming operation. Sparse voices seem to revive and disturb the memory of the place. By going through the matter, the film freezes time, humans and reveals the specter of a lost paradise. 

With the support of Scam, Brouillon d’un rêve, Le Fresnoy – Studio national des arts contemporains, The Atelier 105, Lightcone, CNC – Dicréam. 

Website | Instagram | Facebook

« L’arbre » is a film shot in super 8. Two characters gnaw on a tree trunk in the woods. One after another they pass the trunk to each other and then in a sort of impatience they both attack the trunk at the same time. The quality of the film and the process of this action form a strange primitive object.

Virginie Yassef : Instagram

Julien Prévieux : Website

In need of rest and tranquillity for himself and for a child, the narrator takes refuge in a garden. Night falls as they explore the different aspects of the site and he reflects upon the emotions, meanings and memories that only a garden can solicit.

Website | Instagram

Aucuba Expanded samples the organic occurring markings native to a peculiar household plant commonly known as the gold dust laurel (Aucuba Japonica ‘Variegata’); a plant variety that has been produced in strict cultivation by selective breeding.
The synthesized version of the pattern is generated by an algorithm that randomly arranges the golden spots in space. Control and randomness are used in equal measure to recreate this naturally occurring organic pattern.

Website

« Fluss », a gentle drift towards the unknown, filmed with a fixed camera on a boat that floats down a peaceful river.  The surrounding nature is wild and impenetrable.  First, the soothing sound of water takes the viewer inside the stretch of the stream, but soon, this sound slows down towards total quietness. At this point, interaction seems impossible; the boat is taken on its journey. Time directs the flow of all things that end in some kind of finality.

I created a particular world in colour to take the landscape out of its real setting and transpose it into the mental, possibly. spiritual world.

Website

The video is a horizon of the sea thats wings from side to side, accentuating by this movement the horizontal presence of this stable ground, under our feet. The sound, directed by Aaton Fanyday, is a spatial and compressed rumor.

Website

‘In the cosmic TV, energy comes from the solar wind and is used to accelerate electrons and protons in the magnetosphere. The particles are then guided by the Earth’s magnetic field until they precipitate into the upper atmosphere and produce aurora borealis. Aurora experts often point out that this analogy with a TV goes even further: the acceleration voltage in both the northern lights and the TV is around 20,000 volts. ‘

Canadian Space Agency

Website