Come
parte dei programmi pubblici, il NMNM -Villa Paloma presenta dal 28 Marzo “Disrupt!on",
un'installazione performativa di Julien Bayle, con la curatela di François Larini,
che si svolge contemporaneamente fra Monaco e Londra.
Julien
Bayle è un artista minimalista che lavora su suoni digitali e visivi. Attraverso
sequenze generate digitalmente, e in continua evoluzione, si esplora il fenomeno
del disturbo sonoro. Esso si riflette come un sistema che può progressivamente evolversi,
attraverso la sua esistenza all'interno di un sistema più ampio e attraverso interventi
esterni, imprevedibili.
La
performance a Villa Paloma è un pezzo elettronico della durata di circa 30 minuti
che esplorare e sviluppare tutti i concetti del suo lavoro, producendo suoni e visualizzando
un flusso continuo di dati. L'esecutore interagisce con il suono, a volte modificando
i parametri degli oscillatori, a volte modificando i parametri di tempo, ma ogni
volta destabilizzando il sistema stesso.
L'installazione
dialoga fra Monaco e Londra, tramite internet, utilizzando protocolli di comunicazione
di base. I dati immessi nell’ algoritmi dall'artista creano un output sonoro e visivo
che si evolve da Monaco, trasformato con le interazione del pubblico attraverso
Twitter, fino a Londra. Maggiore è il numero di interazione, maggiore è l'imprevedibilità
di uscita del sistema .
As
part of its public programme, NMNM–Villa Paloma presents Disrupt!on, a performance
installation by Julien Bayle, curated by François Larini (NMNM), which takes place
simultaneously and live in Monaco and in London at news of the world space.
Julien
Bayle is a minimalist sound and visual artist working at the juncture of sound,
visual and digital data. Through successive digitally generated and evolving sequences,
Disrupt!on explores the phenomenon of disturbance. It reflects how a deterministic
system can progressively evolve—through its existence within a wider system and
through external interventions—into something unpredictable.
The
Disrupt!on performance at Villa Paloma is an electronic piece lasting about 30 minutes
exploring and developing all the work’s concepts, producing its sounds and displaying
the continuous flow of data. The performer interacts with sound, sometimes changing
the oscillators’ parameters, sometimes altering time parameters without ever using
a proper tempo, but every time destabilising the very system he created.
The
Disrupt!on installation at news of the world space in London is triggered by the
start of the live sound/visual performance in Monaco which activates some of the
installation’s processes through the internet, using basic communication protocols.
The data fed into the algorithms by the artist creates an aural and visual output
which evolves from Monaco, informed, corrupted and ruptured by audience interaction
through Twitter as the data travels the net to London. The higher the number of
interaction, the greater the unpredictability of the system’s output.
After
the end of the performance in Monaco, the London installation is fully launched,
and the stimuli received from the present audience or remote participants, through
the hashtag #blpmc on twitter, continue to disrupt the installation, creating glitches,
reactions, random events and system degeneration. Each hashtag is sensed and contributes
to increasing the global installation’s entropy.
Experimenting
with the concept of control vs. chaos both in his installations and live performances,
Julien Bayle draws from Richard Artschwager’s “blp” idea, seen as a kind of sudden
burst of information within various landscapes. In our era of digital sound and
“cloud computing,” the name itself—blp, pronounced “blip”—refers to an electronic
sound suddenly appearing in our soundscape as a noise, an alarm or a tune…(like
Artschwager’s blp suddenly appears in a landscape). Within a computer- and network-based
audio-visual system, they can be translated into a behavior that would be new, uncanny
and disruptive.
The
original blps—an oblong shape developed by Richard Artschwager in 1967–1968—were
flat painted pieces of wood, but he soon made them from spray paints and stencils,
adhesive decals and rubberized hair. In 1971, the exhibition Sonsbeek buiten de
perken (Sonsbeek Between Lawn and Order) took place in the Netherlands. Artschwager’s
contribution, Utrecht Projekt, consisted of blps installed around the city and a
catalogue of photo-documentation showing the blps in urban and rural settings. The
catalogue was accompanied by an album that played the sound of a ticking clock on
one side and that of a dripping tap on the other. He considered these mundane noises
an auditory counterpart to his blps: background sounds that often go unheeded, but
which, once noticed, are almost impossible to ignore.
Nouveau
Musée National de Monaco (NMNM) – Villa Paloma presents the most comprehensive retrospective
to date of Richard Artschwager’s (1923–2013) work from 20 February until 11 May.
The exhibition is organised by the Whitney Museum of American Art, New York, in
association with the Yale University Art Gallery, New Haven, and curated by Jennifer
Gross, Chief Curator and Deputy Director for curatorial affairs at the deCordova
Sculpture Park and Museum, in Lincoln, Massachusetts.
Friday
28 March, 6:30pm–April 13
Nouveau
Musée National de Monaco - Villa Paloma 56
Boulevard du Jardin Exotique 98000 Monaco
www.nmnm.mc
news
of the world 50 Resolution Way London SE8 4NT
www.thecentreofattention.org
