Exhibition "En quête de complots"

a video exhibition

En quête de complots

Based on an original idea and scenario by Benoît de Chaumont.

The films are co-produced by Roue Libre and the Lavoir Numérique (a cultural institution operated by EPT Grand Orly Seine Bièvre).

Directed by: Alexis Carcuac – Scenery and set design: Cécile Rivet.

Vernissage:
Thursday 22 September 2022 at 6 pm
(Free admission)

Guided Tours
Thursday 27 October 2022 and Thursday 26 January 2023 at 7 pm in the presence of Benoît De Chaumont. Free Admission (reservation required). Please contact: loic.blanchefleur@grandorlyseinebievre.fr

(...) In many respects, conspiracy theories are a worrying phenomenon, but how can we choose the best angle from which to present them? How can you talk about this subject without adopting a simplistic schema that aims only to stigmatise those who believe in such theories? For this reason, we adopted a different approach, one that involves trying to understand the circumstances that lead people to doubt and distrust everything they are told. And to effectively document this highly complex subject, we chose to combine humour and pedagogy in six whimsical and satirical fictions. The resulting videos were written at the end of 2021 and filmed with the help of production company Roue Libre in spring 2022.

The videos that make up the exhibition are based on the fictional life of “Paul B”, an ordinary boy who could be the son, the brother, or the friend of just about anybody. One day, “Paul B” decided to go down the road of doubt and suspicion. Various colourful experts - who are also entirely fictional, but at the same time freely inspired by real people - analyse the journey of this budding conspiracy theorist as he travels towards his own version of the truth. They highlight the mechanisms at play that make conspiracy theories not only accessible, but also attractive.

During the visit that initially takes the form of an investigation, visitors are encouraged to think about the true nature of the conspiracy and everything around it and ask themselves how the information is presented, why and by whom. Above all, however, they will hopefully learn a little more about their own personality and the things they choose to believe.

Benoît De Chaumont

Visualiser le son présente différentes approches quant à ces connexions, et cela à travers différentes perspectives : les partitions graphiques de Chiyoko Szlavnics et Clara de Asís ouvrent la porte vers une conception plus ample et visuelle de l’écriture musicale. Les vidéos de Simon Girard et Julien Haguenauer, ainsi que les données sonifiées et mises en vidéo par le duo britannique Semiconductor, nous montrent comment les images et les sons peuvent être traités et générés d’une même manière. Les images fixes de Sigolène Valax et Sabina Covarrubias proposent des musiques dont la sonorité est perçue en tant que couleur et forme, tandis que l’art génératif de Guillaume Loizillon révèle le champ des possibles de l’univers du web. Enfin, l'interactivité et la gestuelle sont mis en évidence dans les travaux de Basile Chassaing et la pièce que je propose : les capteurs de mouvement ou de son permettant au spectateur de voir le sonore en tant que geste ou en tant qu’image en temps réel.

Visualiser le son ouvre une réflexion autour des possibles zones de brouillage entre le son et l’image. En répondant à l’écriture traditionnelle du phénomène sonore, cette exposition enquête sur l’écriture musicale elle-même et pointe vers de nouvelles directions concernant la notation des mondes sonores contemporains.

Federico Rodriguez-Jiménez, commissaire