Hip-hop simfonija Antipop Consortiuma emitirana 4 kilometra ispod površine mora - meduzama i drugim električnim podvodnim elijenima. Filmska poema o jedinstvu svih bića.
THE SNORKS: LORIS GRÉAUD + ANTI-POP CONSORTIUM
A CONCERT FOR CREATURES
© Fahd El Jaoudi, Minsk Studio / Courtesy: Gréaudstudio
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
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.”
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.
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.”