petak, 5. travnja 2013.

Loris Gréaud - The Snorks

Loris Greaud: The Snorks – A Concert for Creatures

Hip-hop simfonija Antipop Consortiuma emitirana 4 kilometra ispod površine mora - meduzama i drugim električnim podvodnim elijenima. Filmska poema o jedinstvu svih bića.




© Fahd El Jaoudi, Minsk Studio / Courtesy: Gréaudstudio

A crossbreed and fascinating proposal by artist Loris Gréaud, The Snorks : a concert for creatures embodies an obsessive quest for abysses.

The initial inspiration for the project lies in the idea that creatures would be living on our planet, their aesthetical and behavioural features matching an alien fantasy in every aspect, thereby awaking the desire of communicating with those "creatures".

What if they live within our oceans, major component of our eco-system, could we get in touch with them?

Here begins an artistic journey and production that will last 36 months. An unusual temporality that can be understood through the following paradox: we have the ability to go on the Moon, to date the presence of water on Mars, yet we barely know anything about what composes the tremendous majority of the Earth.

Loris Gréaud has then met scientists from the MIT of Boston. An astonishing revelation arose from that encounter and turned into the project's founding component: light, or more specifically bioluminescence, is the abyssal communication system.
While we imagine a world of darkness, it, in fact, shines of particles, trails and other luminescent bursts. The scientific community is definite; it is a real submarine firework that regulates life underneath 186 miles depth.
In light of this discovery, Loris Gréaud collaborated with the Group F to create in Abu Dhabi - on the Emirate Palace's Lagoon in 2009 - a unique pyrotechnic production that will screen on the sky what we observe deep down the ocean.

The same images are then showed in the venue that epitomizes best communication and simultaneous exchange: Times Square in New York – for 120 minutes Nasdaq, Reuters and Panasonic screens will set a path for other possibilities.

At the same time, the artist worked with the international offshore station Antarès near Toulon – a scientific submarine research base – in order to find the way to interact with creatures.
Music, sequences of high and low frequencies are then perceived as the preferred medium. The concept of concert for creatures is born.

Loris Gréaud commissioned an exclusive music production to the abstract hip-hop band Anti-Pop Consortium in New York, where the first concert for abysses was recorded, in the iconic Avatar Studio.

The Snorks : a concert for creatures is a short film, a narrative fiction directly inspired by the initiatory journey that led the artist Loris Gréaud from Boston to Abu Dhabi through New York, Hawaii, Toulon and Los Angeles.
Two unique narrators recount that story between fiction and reality: David Lynch, who unveils a merciless scientific truth through a monotonous and insensitive voice, and Charlotte Rampling, whose sensitivity highlights the poetry and the sweet madness of it, while reflecting on what would be, what should be an alien quest in the depth of our oceans.

Loris Gréaud: The Snorks

An Underwater Hip Hop Symphony by Antipop Consortium in The French Artist's New Film
Actress Charlotte Rampling and director David Lynch weave together the threads of Loris Gréaud’s expansive project in the Parisian-art star’s new film The Snorks: A Concert for Creatures. Thirty-six months in the making, the film takes in everything from hip hop-avantists Antipop Consortium’s concert for deep-ocean dwellers, to a pyrotechnic sculpture of fireworks in Abu Dhabi, and traces Gréaud’s voyages exploring the possibility for communication between species. Inspired by bioluminescence––or biological production of light––used by deep-sea creatures to communicate with each other, the aesthetic adventurer broadcast specially commissioned music by Antipop Consortium at a depth of 4,000 meters and elicited vibrant bursts of light from the audience of plankton, unicellular creatures and jellyfish in response. “I gave them carte blanche,” says Gréaud of working with Antipop Consortium. “The only direction really was to play the game, to imagine they playing in front of aliens.” Ahead of the 28-minute film’s premiere at MK2 Bibliothèque next week and a forthcoming world tour combining screenings with Antipop Consortium performing the concert live, Gréaud unpicks the threads making up The Snorks.
What kick-started the The Snorks project? Basically everything was triggered by a report I’d seen on the death of our oceans, and also the paradox that we know the surface of the moon better than our own oceans. So I wanted to make a sci-fi or alien story but on our planet. From there came the idea of making a concert for these deep-sea creatures, of making sound for them and seeing them react with their own language of bioluminescence.
How did these animals react when you broadcast the Antipop Consortium concert at 4,000 meters under sea?What we observed was what they called a “bloom.” Plankton, unicellular creatures and weird jellyfish down there started not just to flicker but to emit a cloud of light [bioluminescence], like an underwater fireworks display. I was really proud that we observed this amazing reaction. The images you see at the end of the film are a bloom in response to Antipop Consortium.
You projected this bloom on the billboards of Times Square and also recreated them with a choreographed “pyrotechnic sculpture” of fireworks in Abu Dhabi. Why?The idea of the infinite abyss and the infinite sky and trying to make a visual equivalent to what you observe in the depths of the ocean in the sky is a beautiful chain of thought. It was an experiment in making a sort of alien communication. Some people in Times Square were not aware we were making a movie, and were putting themselves in front of the screen like they would at a fireworks show, and buying hot dogs in the street and sitting down to look at the display. 
You’ve mentioned Rampling is playing your character in the film. What’s the idea behind Lynch’s character?David Lynch is the guy who never really gives an answer, he’s really well known for that. I was thinking this could be used in the opposite way and in my project Lynch becomes someone from another place and space giving information to the viewer. He’s just saying facts and scientific information, and explaining what is going on in the movie and helping the viewer to make links. He’s doing the opposite of what he’s supposed to do in life. He’s the access to the story. Everything is organized around him.

Off the Deep End | Loris Gréaud’s ‘The Snorks’

The French artist Loris Gréaud likes to ask difficult questions: What does the surface of Mars smell like? How does the orgasm appear when filmed as light? What happens when you stage a fireworks show underground? “My work stems from the answers I receive,” says the prolific 32-year-old, “and more often than not those answers come from scientists.”
Gréaud’s latest project, a film titled “The Snorks: A Concert for Creatures,” derives from another complex inquiry: How might you elicit bioluminescence — “a crazy moment of blooming, bluish light,” the artist explains — from alien-like organisms 4,000 meters under the sea? The answer, apparently, is hip-hop. Twenty-two minutes long and a dizzying 36 months in the making, “Snorks” follows the renowned British actress Charlotte Rampling on a mission to accomplish interspecies exchange and culminates in an underwater gig, via hydrophone, by the experimental rap trio Antipop Consortium. Narrated by David Lynch and featuring everything from pyrotechnic sculpture to submarine choreography, the film teams Gréaud’s freewheeling curiosity with serious conceptual rationale, and results in a collaborative work as scientifically progressive as it is aesthetically intriguing. “We are the generation of the G.P.S.,” Gréaud says of his initial inspiration. “Everything in our world is mapped; there is no territory of mystery. Except for time, of course, and the depths of the ocean. I thought: ‘There’s an idea there.’”
The film’s release coincides with the opening of Gréaud’s latest exhibition, “Unplayed Notes,” which made its debut at Pace Gallery in New York earlier this year and is now on view at Yvon Lambert in Paris through Dec. 5. Even though the two projects are separate in subject matter — as much of Gréaud’s work is — they are heavily linked in conceptual process. “In all I do, I follow my ideas,” the artist explains. “I’ve no media in mind when I start a project, I just do what the idea needs. It’s the idea that provides the authority to make a work of art.”

Loris GréaudThe Snorks: A Concert for Creatures, 2012, 35 mm, color, 28 minutes.

The Snorks: A Concert for Creatures is a new twenty-eight-minute film by French artist Loris Gréaud, starring David Lynch and Charlotte Rampling. The film is currently playing on several screens in Paris and will be shown as part of an international concert tour with Anti-Pop Consortium (who created the film’s subaquatic sound track) this fall and winter. Here Gréaud discusses how he came to make a movie about deep sea creatures’ glowing reaction to an underwater hip-hop concert.
MAKING A HIP-HOP CONCERT FOR SEA CREATURES was an incredible challenge—not least of all I had to explain to my parents that this is what I wanted to do! But it really became an obsession for me. My fascination with deep seas and the organisms living in them began when I saw a report on TV, which likened bioluminescent activity to “underwater fireworks.” The images of these creatures lighting up the dark water, creating so-called blooms, was so fascinatingly beautiful and also raised many questions for me. Without having a specific project in mind, I began to do a lot research. I found out, for instance, that bioluminescence is the most common form of communication on our planet and that we know more about the surface of the moon (where there is no life) than we do about the bottom of the ocean. My inquiries eventually led to meetings and collaborations with various experts—scientists, pyrotechnicians, and musicians. I met with researchers at MIT’s Sea Grant College whose experiments using certain frequencies to stimulate unicellular organisms had triggered bioluminescent blooms. They showed me grainy, low-res images and I was inspired. My quest became to find a way to diffuse music deep underwater. But it wasn’t until later that I decided to make a movie about the process and the results.
When I was considering what music to play to for the creatures, I immediately thought of Anti-Pop Consortium. I first heard the band as an art student and I remember feeling like I was listening to music from the future. Their arrhythmic beats and unique lyrics—a combination of philosophy, poetry, and hip-hop—was initially described as “Abstract Hip Hop.” So I met the band and explained my project, and they signed on to write all new music. I gave them carte blanche as long as they imagined that they were making music specifically for the underwater creatures.
Get Adobe Flash player
Full screen available while playing

Trailer for The Snorks: A Concert for Creatures, 2012

To make the concert, last March we launched a hydrophone from a submarine research station called Antares, which is one and a half miles below the Mediterranean Sea off the coast of Toulon in France. This was the most difficult moment, but also the most beautiful. The underwater microphone was so powerful that we could actually hear the music from the boat. We didn’t have any live-feed images from below, but then suddenly all of the computers started blinking. This meant the creatures were blooming and we knew the experiment was working. The scenes you see at the end of the movie—the underwater fireworks!—represent the actual bioluminescent response to the broadcast of APC’s music.
I’m really excited by how this project—the film and the concert tour—can reach many different audiences. People interested in music, science, cinema, and art will all get something different out of it. The Antares researchers, for example, were game to do the experiment with me, but they didn’t necessarily think we would get a reaction. Now they are working on a scientific publication based on what happened during the “Concert for Creatures.”

— As told to Mara Hoberman

Interview : Loris GREAUD

Loris Gréaud at Yvon Lambert Gallery (Paris) in front of his installation A World of Absolute Relativity, photographed by Fahd El Jaoudi. Courtesy of the artist and Yvon Lambert (Paris).
Loris Gréaud at Yvon Lambert Gallery (Paris) in front of his installation A World of Absolute Relativity, photographed by Fahd El Jaoudi. Courtesy of the artist and Yvon Lambert (Paris).

In art, it’s important to have two things: Curiosity and Ambition. Loris Gréaud (*1979) has both, and he lives them up splendidly. His child-like obsession with objects and knowledge leads him to a desire to fuse different disciplines and practices in a manner that is characterized as “both futuristic and utopian”.  A candy without taste, a fictional studio becomes reality, a concert for deep-sea creatures, a movie that blacks out when you get close, a fiction without image, a contract for you to spend 24 hours inside the Belly of Sperm Whale, invisible architectures constructed by air currents, light bulbs that flicker in time to an EEG recording of his own brainwaves… Switching between playfulness and seriousness, rumor and fact, Gréaud ironically proposes to us a world of reversed perceptions where "everything crashes into reality". Trajectories without destination, Gréaud’s work is in a constant mutation that speaks of ideas and processes rather than an achieved form.
In the interview with Loris Gréaud, we start with his two upcoming projects, The Unplayed Notes, his first gallery solo show at Pace Gallery (New York), and his first short film The Snorks – A Concert for Creatures which will be released in the coming months. The artist also generously shares with us his ideas of art and his observations of today's art scene.
Selina Ting
Paris, 5 May 2012

LG - Loris Gréaud 
ST - Selina Ting for initiArt Magazine

ST: You are opening a solo show, The Unplayed Notes, at the Pace Gallery (New York) in early May and in September at Yvon Lambert (Paris) and also planning the release of your first short film The Snorks – A Concert for Creatures in theatre and cinemas in the coming months. I am curious. Why a concert in the deep sea for marine life creatures?
LG: The idea of the project comes from a complete paradox that we know better the surface of the moon than the depth of our ocean. In the last 40 years, we have developed the most advanced technology to reach the moon just to find out that there is absolutely nothing, whereas, we don’t even know what’s there in the depth of our oceans. We only know that the depth of the oceans is more significant than the height of the most elevated mountain. Recent scientific research finds out that there are completely new forms of life and ecology system in the depth. We see that some creatures are able to perform photosynthesis in the dark; some would never die, they would just freeze and be reborn. I am interested in these creatures and more specifically in the phenomenon of the bioluminescence. It’s a natural reaction for communication and camouflage produced by the marine lives in such an extreme condition of total darkness and coldness. Working with the MIT Sea Grant Research Department and the ANTARES station of the international research program LIDO (Listen Into the Deep Ocean), we found out that these creatures are responding to frequency, thus comes the idea of producing sounds in the depth to make them flicker. Later on, with the Hip-Hop group Anti-Pop Consortium we decided to make a concert for the creatures.

The Snorks: a concert for creatures, movie poster. Graphic design : Minsk Studio. Courtesy : Gréaudstudio, Gréaudstudio Films Inc
The Snorks: a concert for creatures, movie poster. Graphic design : Minsk Studio. Courtesy : Gréaudstudio, Gréaudstudio Films Inc

ST: You have been working on the project with biologists, scientists, specialists, actors, philosophers, musicians, etc. During the last 3 years, it has travelled in many different cities, presented in different occasions and in different formats. How was the whole project evolved? What would be the final work?
LG: We are making a film out of these. The first movie that I have received from MIT and other bioluminescent phenomenon specialists from all over the world on the bioluminescent creatures actually resembles an underwater firework spectacle. This led me to the idea of working with pyro technicians / group F to recreate in the sky the bioluminescence that we see in the depth. The second step was to broadcast in Time Square in a conventional publicity projection the firework that we realized in Abu Dhabi. The third step is to commission the abstract hip-hop band Anti-Pop Consortium to compose pieces of music specifically for the creatures. The fourth step is to broadcast the concert in the deep sea for the creatures. We hope that they would respond to the sound the way they usually do. Now, we are in the fifth and the final step of producing the film starring David Lynch and Charlotte Rampling as the main characters with the original sound track by Anti-Pop Consortium. So the project is about translation and equivalence. It’s about a reality that is reflecting a narrative, as said by the actress in the movie.
ST: You wrote a year ago that the project may or may not be realized, rewarded. This is part of the rule?
LG: From the very beginning, I know that I don’t want it to be an object or a fixed form or medium pre-determined by the context because I don’t want to have a precise destination and I enjoy many different possibilities and trajectories. I want it to be free in the global experience. That’s why I am producing the movie myself. It allows me the empirical procedures to develop the movie and to decide on its many possible destinations. It’s like a movie that’s building itself in real time, taking shapes gradually and defining its durations and its own ways of making. I wouldn’t have been able to do so two or three years ago. Now, I am at a stage that I don’t want to follow the rules and temporality of contemporary art because they don’t make any sense for me or at least to some of my projects and the procedures. For me, what the work itself requires is a fair question. Now I am able to be free to decide on my own time and my own ways of working which makes more sense to me. It’s the first time that I am completely on my own to redefine the procedures. The production demands all the energy and financial capacity of the Studio, but I am able to produce my own movie, that’s important for me.

Loris Gréaud and Anti-Pop Consortium in Avatar Studios (New York) recording and filming The Snorks: a concert for creatures. Photo by Christian Patterson. Courtesy of Gréaudstudio
Loris Gréaud and Anti-Pop Consortium in Avatar Studios (New York) recording and filming The Snorks: a concert for creatures. Photo by Christian Patterson. Courtesy of Gréaudstudio.

ST: The idea of a constant evolution or of « empirical procedure » is also present in your Cellar Doorproject except that it’s largely supported by institutions. It has travelled in different cities in different forms, and there is also the construction of the Studio in the project.
LG: I am constantly looking for new ways of producing art. Let’s say, Cellar Door is more about shifting and reversing the ways of producing works – starting from fiction, to crash into reality, saying things in reverse, etc. All the shows were talking about the Studio where the works were produced. After that, we put it into reality, i.e. the fictional Studio becomes a real studio built in concrete. So, it’s like a Mobius strip. It’s also about using the field of art to create a space that admits other forms, such as the CD is distributed by a music label; the opera can be replayed in an Opera House, etc… From my point of view, the field of art is not defined, so we can blur everything and take people from every field to this strange and weird field called “Art”.
ST: Whereas The Snorks is doing the reverse of situating contemporary art in different fields outside of art?
LG: There’s always a kind of back and forth between different fields. One of the key concepts of The Snorks is that I am not conceiving an object for the artwork and even less an object for anywhere… I don’t know the destination of the project. It is now becoming a film whose destination can be a theatre. But there are multi-aspects in the work, such as the concert can be played for humans like a regular hip-hop concert. The only thing is that all these have to respect the ideas that both the procedure and the process have to be experimental and have to adapt for every single project. That’s my concept of the adventure of art. I truly believe that the medium you choose have to follow the idea and you have to respect the process that makes the most sense of the original idea. So if I want to commit to such a project of making everything empirical, and be able to adapt the studio to meet the project’s requirements, I have to be independent in terms of finance, procedure and time. The idea of being in the adventure of art is not thinking about the economy of forms and ideas but being in a constant combustion!
ST: … such as taking three years to shoot a movie that lasts 18 or 20 minutes?!!
LG: Exactly! [Laughs]

Loris Gréaud and David Lynch in Hollywood on the filming of The Snorks: a concert for creatures. Photo: Clément Ottenwaelter. Courtesy of Gréaudstudio.
Loris Gréaud and David Lynch in Hollywood on the filming of The Snorks: a concert for creatures. Photo: Clément Ottenwaelter. Courtesy of Gréaudstudio.

ST: How do you relate to your own work? What’s your personal point of view?
LG: My point of view on art changes constantly in the last two years. Sometimes I felt rather distant from what I have been growing with; sometimes I have the total synergy to do my best… The most important is to do my best and make things happen. My work is about making things happen and it’s even more challenging when it’s something impossible to achieve. It’s an adventure. The result has to be a great failure and a great success at the same time; otherwise, you failed at some point. The best work always sparks controversy in a binary and contrast way. It has to be black for some people and white for others. People would have to think of you either as “a complete flop” or “a genius”. The tumor is grey – the grey feelings, the grey feedback.
ST: That’s very heroic! All and nothing, love and hate, all comes together!
LG: It has to be! But I don’t want to play hero, it’s just that I get bored easily, so I have to find adventures to entertain myself! [Laughs] In the past two years, some people thought that I was trying a desperate communication strategy by refusing several art awards nominations. My position is in fact much simpler. Other than the fact that the idea of art award is itself problematic, some of them involve lots of voters. As jury members, the voters have to discuss between themselves with the aim of reaching an agreement on the winning artist. Other awards like the Ricard Prize have an anonymous voting process, just like an “election” without any deliberation. The more voters an award has, the worst it would be. If we look at art history, we see that the best artists and masterpieces in history had never aimed at claiming any form of consensus. If good taste is the enemy of art, consensus is the tumor of the art world! So I was just asking myself how decisions were made in these prizes. The juries have to come up with a choice that most members could agree with. It’s never going to be the name that tends to elicit polarized opinions. It will be the consensual grey name. Imagine if you are the winner?
ST: There is a notion of utopia in the Consensus…
LG: I hate such kind of utopia! As an artist, I have to make things crash into the reality. I am constantly trying to be in an unstable, unbalanced state because contemporary art is supposed to create a space of resistance. It must resist all kinds of description or approach, and not to absorb you immediately. Art is not candy! Art can be candy but tasteless! [Laughs]
ST: [Laughs] A nice paradox! Are you a bit skeptical with the art world and the identity of being an artist today?
LG: How can we believe in artists when the paradigm has completely shifted? It’s all about choices. Nowadays, you can choose your career as an “artist”. You can announce to your parents that you decided to be an artist, and they would be celebrating the news as if their child has become a famous lawyer. Such a simple change has redistributed the whole game, like calling a reverse card in a poker game, and here, I am talking about the Final of the World Championship!
ST: That’s the criticism that art schools today are not teaching students how to make art but how to become an artist…
LG: Recently I heard Ed Ruscha saying that it’s a shame that last year’s art students are already selling works from school and galleries are waiting for the next cohort to find their fresh meat. I don’t think there is a problem with that – “acceleration of acceleration” is something we have to deal with, age is not an aesthetical criteria. We all agree that Piero Manzoni [1933 – 1963] was a great artist, right?
But it’s another story in France. It’s what I called the “Rimbaud Syndrome”, the “I is Another”. It’s not a hierarchical overview, but how should we deal with the situation today that bloggers want to be writers, writers want to be art critics, art critics want to be curators, curators want to be artists, and the worst artists want to be artists?
ST: Was it the reason that you said you didn’t want to think of yourself as an artist?
LG: There is a slippery rhetoric that I said once during an interview with Alix Rule that, we all agree that art students want to be artists, but when artists want to be artists, they become art students. So, my biggest ambition is now to skip school.
ST: [Laughs] Despite all these, at the age of 33, you have already attracted a lot of attention both from the institutions and the art market. It seems very easy for you to reconcile the two sectors…
LG: The art market is very easy! Let me give you another paradox. As artists, we are supposed to work in a very edgy environment, but the art system is so dusty and rusty and old, like in the 19th century. Yet we have to play the game – so the paradox! I like artists who play the game and play it intelligently! The essential thing is to do your best and to be totally committed to your work. Then there are external factors such as the market, productions, money, structures, galleries, etc., that you have to be aware of because the romantic image of the artist painting in solitude doesn’t exist anymore. Opposed to the image of the artist-in-the-studio is the artist-in-the-city, i.e. an artist who is conscious of all these aspects of functioning while having his antennas plugged to the world. The world is a medium and the resources. When I have a question, I have to displace myself to have a specific discussion with the expert, be he a philosopher or a scientist. A form, an image or an object could pop up from the discussions and one thing leads to another. Sometimes, the person in front of you would displace with you to another field and the discussion becomes something else. It’s not science, it’s not art, it’s an unknown field that awaits definitions, and in this field, you have the freedom to do things that you can’t do in other fields. This is really exciting.

Loris Gréaud, One thousand ways to enter, 2011. Film still. Courtesy : Gréaudstudio
Loris Gréaud, One thousand ways to enter, 2011. Film still. Courtesy : Gréaudstudio.

ST : I think today we got over the era of a very self-reflexive attitude in art, artists today are less looking at art from an intrinsic perspective but trying to expand the scope of art. There are some good artists in every generation who try to push art forward and propose something different.
LG: I think that every big move in the history of mankind has been built on paradoxes. I remember after seeing the Dada show in Centre Pompidou in 2005, I was totally depressed. When you see two or three works of Marcel Duchamp, you realize this guy had done everything! You know it’s scary for an artist. But at the same time, as what you said that there are a few artists who try to push things forward, try to reinvent procedures, so there is the paradox that everything is possible... and still possible. For example, in the 1990s, a few artists had created new highways for everything to enter into the exhibition space. That’s a great thing, but that’s not enough. I think that today, everything could come out from the exhibition space and it’s more exciting.
At the same time, I am very suspicious with artists who invest in a kind of immediately recognizable aesthetics, as if they are doing the same thing all the time. I am not against them because I understand that collectors want signature works and signature works are easily marketable in the first and second hand markets. What I really worry about is the lack of vision and artists are less implied to the world.
ST: But there is another kind of signature aesthetics which is no longer in the brushwork or composition. If you look at the work of an artist who employs different media and forms, you can still trace the lines of thought, subject-matters, sensibility, etc.
LG: The difference could be between artists who are making pieces of works and artists who are drawing a line of works, developing a body of work. I am more interested in the trajectory, the thoughts of an artist. The idea that an artist can make so many different trajectories without repeating the same aesthetics and allows you to link the chain of work, of thought… I am thinking of Mike Kelley [1954 – 2012 (RIP)] for example, whose work is always challenging, never the same. Personally, I like to look at a body of work that spans through several years, and try to retrace the trajectory of the artist’s thought from one piece to another rather than just talking about one piece of work.
ST: But the trajectory is not necessarily linear, it can be a loop, or even randomly going in many different directions. For example, some artists take their exhibitions as an experimental field to redo and undo their previous work, and some systematically incorporate previous works to create new constellations in their shows.
LG: The idea of the exhibition space is very interesting and as I’ve said just now, the transgression of an exhibition space or context is very exciting. In the last eleven years, I have never done a solo show in a gallery because I wasn’t really interested in the gallery format and also because I have important institutional projects. But now I am quite excited with the idea of The Unplayed Notes show at the Pace Gallery and at Yvon Lambert Gallery. For me, it’s an opportunity to be challenging with the notion of a gallery exhibition. I am not trying to redefine the format of a gallery show, but to test what you can produce from there, what is admissible for a gallery and how you would end up with a production for a gallery show that’s financed by the gallery. I am really committed to transform these conventions. But I am equally committed to transform what an institutional show means to be with the simultaneous shows in Centre Pompidou and the Louvre in 2013.

Zachary Formwalt, Economic History at The Antiquariat, ART ROTTERDAM | New Art Section. 09/02/2012 - 12/02/2012 (Left) installation view, 16 photographs, (right) Detail.
Loris Gréaud, The Unplayed Notes, 2012. Film Still. Credits : Gréaudstudio. Courtesy : The Pace Gallery (New York).

ST: What are you proposing with The Unplayed Notes?
LG: The Unplayed Notes is also related to what we have just talked about the chain of thought and displacement in works. In the last three to five years, I am more focused on developing projects. I am always thinking about the last work and the coming work, and trying to draw some beautiful lines. The space between two works is the beautiful chain of the thought, the work that you didn’t do. This space creates a lot of beautiful stories. The German composer Karlheinz Stockhausen [1928 – 2007] said that “It is symbolic of my musical work since 45 years that it is the unheard and the unplayed that is the most fascinating in my life”, meaning the missing gap between two works of art or the shift of thought between two shows or two works is as important as the work itself. This is the beauty of art making because it’s not imposed. In cinema, there are protocols of timing, fiction and narration. Even in an abstract film, there is still an imposed narration. In a show, you can displace yourself and set your own timing. The physical displacement from one work to another could create many stories, if they are good works.
ST: What’s the game of “Loris Gréaud is planning a disappearance, arranging for new identification, finding work, establishing credit, pseudocide (creating the impression you're dead), and more.” in your email autoreply?
LG: It’s a dangerous game. [Laughs] The idea is to get lost, to lose myself. But before I started the idea of getting lost, I was in the unlearning process. That was how I got kicked out from school for the “Music-Unlearning Workshop” [at the age of 14]. The idea of unlearning is that when you have accumulated all the information and the know-hows, you have to unlearn in order to reinvent yourself. You have to discharge what you have learnt in order to “free” yourself and to provide room for re-creating your own ways of learning, thinking, and inventing new procedures. It’s an important and long process that requires efforts and concentrations in de-concentrations. This have led me to the even more complicated and tough process of getting lost. It comes from a military strategy that you can’t be stopped or located if you are completely lost. Nobody can predict your direction because even you, yourself, don’t know where you are going. So, probably, if you attempt to really get lost, you will access the un-built roads and the highways of free. I’m doing my best to get rid of my GPS, that’s a first step. I am kind of succeeding. So, I lost myself, getting lost into my thought and my projects. It was quite intense to get lost, and a dangerous game really!
ST: Thank you!

Loris Gréaud, The Unplayed Notes, 2012. Credits : Gréaudstudio. Courtesy : The Pace Gallery (New York).
Loris Gréaud 
The Unplayed Notes
Yvon Lambert Gallery, Paris
18 Oct - 05 Dec 2012
Loris Gréaud 
The Unplayed Notes
Pace Gallery, New York
5 May – 9 June 2012
The Snorks – A Concert for Creatures

Loris Gréaud
Born in 1979 in Eaubonne, France. Lives and works in Paris

Nema komentara:

Objavi komentar