NO PAINTING
Ambient / Experimental
NO PAINTING ON THE WALL Installation sonore de globensky, 2006
Linstallation sonore No painting on the wall fut la reponse faite a l'invitation de Jean-Jacques Dumont pour participer a son exposition Cache-cache a la Galerie de lEsplanade, Metz. Deux excroissances sorties du mur (des masques a poussiere) par lesquelles on peut ecouter un dialogue dans un aller-retour de l'un a l'autre. Ce dialogue est extrait de la derniere version du film Solaris. Les dialogues homme-femme ont ete isoles sur les pistes gauche-droite et la musique originale du film completement gommee. Le travail sonore a consiste ici a refaire l'habillage sonore (le sound design) de la trame narrative.
Plusieurs styles musicaux y sont dveloppes : cdtrach et compositions sur intruments acoustiques. Pour le cdtrach, il sagit d'un concept low-techno recyclant des CD-audios destines la corbeille : la musique est passes la moulinette techno pour me permettre de me construire un stockage defini de ma propre personnalite au travers de cette jungle archaique et mediatique. LowTechno (faible technologie) parce que lunique instrument est un petit lecteur CD portatif: un Tehcnics SL-XP300. CD-Trash (CD-corbeille) parce que les CD sont inecoutables pour le commun des mortelles: rayee, trainee dans la poussire, ils sont bons pour la poubelle. LowTechno encore une fois, parce que avec un peu de montage (sur soundEdit) on refait les gests intuitifs qui nous permettrons de survive dans cette sursaturation dinformation.
Developing a completely original concept of musical composition, LowTech type, called CD-Trash, recycling of audio-CDs destined for the garbage, Globensky does not continue its set of themes of hyperhybidation. LowTech, because the single instrument is a small portable CD player; CD-Trash because the CDs are not listenable for common people; LowTech, because with a little assembly one remakes what the first rap artists did with the vinyls and mixing tables.
Globensky is one of these artists who are bearer of values aimed to be at once spiritual and atheistic. He states that rather to accept or support confinement in distinct categories and communitarists, the artist through his work determines a field that is at the same time a philosophical and spiritual reflection, being the aesthetic bearer of a discourse that proposes to reconcile the East and the Occident. This Manifesto of Humanitarian Art invites us to think about the proposals of the artists and the researchers who support this committed and conceptual proclamation.
This approach demonstrates to us that a contemporary artist who integrates with great control digital technologies and interactivity in his creative processes is above all a man engaged in his time, listening to the world and to its transformations, whose work is a quest of a new direction and in which theres also a will to pass on a vision of the world, of the capacities of humanity to make it more human.
in Reste et resentiment (le paradis), edition esam, metz, 2006
olivier de monpezat
vous pouvez commander ce catalogue sur : http://esam.ca2m.com
