The Longitude exhibition associates the works of Thomas Léon and Guillaume Louot along a common investigation of the historical forms of modernity and of our relation to sound, plastic and spatial volumes.
In the first room Thomas Léon presents Sans-titre (ghost tower) (Untitled (ghost tower)), a sound sculpture inspired both by Kasimir Malevich's architektones and the design of speakers. A black volume of solid wood leans on one side, like a failed architecture. The audio material made of noises and electronic sounds deploys an abstract account of the construction of the tower and its fall.
Guillaume Louot proposes a new version of his Peintures Reportées (Postponed Paintings), installations born of transfer operations and a combinative practice of the pictorial motif.
For Longitude, he creates P.R.GT2, three mural paintings. Their drawings and their dimensions are based on one of the templates obtained from the volume of Untitled (ghost tower) and their arrangements vary by the alternation of full and empty in the architecture of the location.
Their black material also recalls the forms of a formal painting. The dominant figure of suprematism and the "less is more" formula of Mies van der Rohe are indeed tracks leading the artist to the various sites of painting in the space. This sum of formal declinations, limited to first-degree compositions (content /form), is also inspired by the "all over" and the neutrality of "minimal art".
In the second room, DECA exposes the process of building the P.R.GT2 template.
Under the glass roof, Glass House (a location film) is a video and sound installation by Thomas Léon, inspired by Sergueï Eisenstein's notes for a film he never made called Glass House. The video is an exploration of the architectural sources of Eisenstein's project (the glass architecture as expressionist as it is modernist) at the same time as their actualisation by the introduction of contemporary or prospective architectural elements.
The soundtrack, broadcast on five speakers, is made of recordings on a Cristal Baschet. This instrument developed in 1952 is composed of chromatically tuned stems of glass, played by rubbing with the fingers. Amplification is done by means of amplifiers made of fibreglass and steel. It makes a kind of sound landscape, which resonates with the image, giving the feeling that the listener moves inside the sound as if through architecture.
In the first room Thomas Léon presents Sans-titre (ghost tower) (Untitled (ghost tower)), a sound sculpture inspired both by Kasimir Malevich's architektones and the design of speakers. A black volume of solid wood leans on one side, like a failed architecture. The audio material made of noises and electronic sounds deploys an abstract account of the construction of the tower and its fall.
Guillaume Louot proposes a new version of his Peintures Reportées (Postponed Paintings), installations born of transfer operations and a combinative practice of the pictorial motif.
For Longitude, he creates P.R.GT2, three mural paintings. Their drawings and their dimensions are based on one of the templates obtained from the volume of Untitled (ghost tower) and their arrangements vary by the alternation of full and empty in the architecture of the location.
Their black material also recalls the forms of a formal painting. The dominant figure of suprematism and the "less is more" formula of Mies van der Rohe are indeed tracks leading the artist to the various sites of painting in the space. This sum of formal declinations, limited to first-degree compositions (content /form), is also inspired by the "all over" and the neutrality of "minimal art".
In the second room, DECA exposes the process of building the P.R.GT2 template.
Under the glass roof, Glass House (a location film) is a video and sound installation by Thomas Léon, inspired by Sergueï Eisenstein's notes for a film he never made called Glass House. The video is an exploration of the architectural sources of Eisenstein's project (the glass architecture as expressionist as it is modernist) at the same time as their actualisation by the introduction of contemporary or prospective architectural elements.
The soundtrack, broadcast on five speakers, is made of recordings on a Cristal Baschet. This instrument developed in 1952 is composed of chromatically tuned stems of glass, played by rubbing with the fingers. Amplification is done by means of amplifiers made of fibreglass and steel. It makes a kind of sound landscape, which resonates with the image, giving the feeling that the listener moves inside the sound as if through architecture.
Array :
Guillaume Louot (www.guillaumelouot.blogspot.com)
Thomas Léon (www.thomasleon.net)
Biennale Musiques en Scène - Grame (www.grame.fr/Biennale/2012)