céleste boursier mougenot

セレスト・ブルシエ=ムジュノ
셀레스트 브루시에-무주노

rêvolutions

celeste boursier-mougenot  revolutions

source: designboom

céleste boursier-mougenot transforms the french pavilion at the venice art biennale 2015 from a vast, vaulted space to a kinetic forested oasis intended for reflection and retreat. the french artist presents ‘rêvolutions’ as an experimental ecosystem that reveals the constantly evolving state of nature through sound, light and motion.

curated by emma lavigne, director of the centre-pompidou-metz, the exhibition transports viewers to an otherworldly oasis of vegetation, where trees have been liberated from their original place of habitation and their roots revealed outside the pavilion and on the gallery floor. a low-voltage electrical current makes the trees move around inside the pavilion, producing an electric rustling sound environment, where visitors can find a place to relax on the semicircle of surrounding steps.
celeste-boursier-mougenot-french pavilion venice art biennale
visitors can find a place to relax on the semicircle of surrounding steps

‘while rekindling the aspiration to the marvellous and the sense of wonder of italian mannerist gardens, céleste boursier-mougenot lets his underlying political thrust filter through’ lavigne says. ‘his intention here is to commandeer systems used for controlling living beings and their movements and compose a poetic work offering humanity living spaces marked by liberty and unconventional beauty.’
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source: frenchcultureorg

After an unprecedented open call for proposals, Céleste Boursier-Mougenot has been chosen to represent France at the 2015 Venice Biennale. The choice was made by the French Institute, who oversee the French Pavilion at the Biennale, in concert with the Ministries of Foreign Affairs and Culture and Communication.

Known for installations that are as much auditory as visual, Boursier-Mougenot is an artist and composer based in Sete. First trained as a musician at the Conservatory for Music in Nice, he began his career as a composer for the Pascal Rambert theatre company. His most well known piece, from here to ear (1999-2014), fills a room with chromatically tuned, amplified electric guitars and flock of finches. The birds create sound both through their own calls and their interaction with the instruments. The resulting aleatory music recalls John Cage’s compositions, and a sonic environment that has its roots in everything from the 1960s experiments of La Monte Young to the more recent work of artists like Susan Hiller.

Boursier-Mougenot’s project at the 2015 Biennale, titled “Revolutions,” will be curated by Centre Pompidou curator Emma Lavigne.

In 2012, Boursier-Mougenot’s work was exhibited at Hunter College Art Gallery in New York and is currently on view at Peabody Essex Museum. Bourgier-Mougenot is represented by Galerie Xippas in Paris and by Paula Cooper Gallery in New York.
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source: theguardian
Céleste Boursier-Mougenot can find musical potential in just about anything. In the past two decades, the Paris-based artist’s sonic adventures have included getting vacuum cleaners to play harmonicas, by attaching them to the nozzles. Floating crockery has doubled as percussion instruments. Little birds have rocked out with guitars. Street life, trees blowing in the wind and even the feedback from his recording equipment have all been translated into sound art.
Boursier-Mougenot originally trained not as an artist but as a musician, at the Conservatory for Music in Nice. His time as composer for the avant-garde Pascal Rambert theatre company, from 1985 to 1994, pushed his work into more experimental realms. Starting in the early 1990s, he began to stage sound installations in art galleries, venues where his ideas for compositions could unfold over long stretches of time.
Boursier-Mougenot’s approach has something in it of John Cage’s belief that “everything we do is music”. Yet he does not embrace the chaos of sound that floods daily life, on its own terms, as Cage did. Rather, he creates highly orchestrated situations where something as random as where a bird chooses to alight or how the wind brushes through a tree’s leaves can create new kinds of music, reveal hidden patterns.
In an untitled work first staged in 1999, plates, cups and glasses float around in blue paddling pools, creating, with the aid of microphones, an amplified jingle of clangs and tinkles. It is far from left to chance: the water temperature is carefully controlled, the current of the paddling pools determined by pumps. With a similar exactitude, Boursier-Mougenot’s Recycle (2006) exchanges sound and movement between the natural and technological worlds. Cameras filming tree branches relate their movements to a grid of metal wall fans, which pump out air that echoes the pattern of the wind. Yet another work, Videodrones, created for New York’s Paula Cooper gallery in 2002, used the humming sound generated when a video recorder is attached to a sound amplifier. While real-time surveillance images were projected in the gallery, the art space resounded with the buzz of life on the streets.
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source: lespressesdureel
Présentés exclusivement dans les lieux d’art contemporain, les travaux de Céleste Boursier-Mougenot (né en 1961 à Nice, vit et travaille à Sète) sont à considérer avant tout comme ceux d’un musicien. Après avoir été compositeur jusque dans les années 1990, il entreprend de donner une forme autonome à sa musique en réalisant des installations.
À partir de matériaux, de situations ou d’objets les plus divers dont il extrait un potentiel musical, il élabore des dispositifs qui étendent la notion de partition aux configurations hétérodoxes des matériaux et des médias qu’il emploie pour générer, le plus souvent en direct, des formes sonores qu’il qualifie de vivantes. Déployé en relation avec les données architecturales ou environnementales des lieux d’exposition, chaque dispositif constitue le cadre propice à une expérience d’écoute en livrant, au regard et à la compréhension du visiteur, le processus qui engendre la musique.
Céleste Boursier-Mougenot considère, en premier lieu, le livre comme de l’espace, un support pour l’expérience du lecteur, dans lequel il est question de faire entrer du temporel, le temps de la lecture.
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source: taringanet
El músico y compositor francés Céleste Boursier-Mougenot crea obras basándose en los ritmos de los ruidos de la vida cotidiana para producir sonidos en formas inesperadas; sin dudas, recuerda a la corriente de Fluxus, a John Cage y su arte experimental (sobre todo la obra 4′ 33” en la que el sonido del público es la obra, ya que es silencio).
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source: exibart
Boursier-Mougenot utilizza i materiali quotidiani, l’attrezzatura sonora e gli strumenti musicali come oggetti, come cose del mondo, questo vale anche per i video che scorrono in loop sulle pareti della galleria. L’artista crea così installazioni sonore, che definisce corps sonore, che accompagnano durante il percorso il visitatore attraverso una serie di vere e proprie esperienze sensoriali da vivere in maniera del tutto personale. Tratto distintivo dell’artista francese è l’uso di oggetti e materiali comuni privati della loro originaria funzione, disposti nello spazio in modo nuovo ed insolito riuscendo a cambiare il nostro modo di percepirli per quello che sono in realtà.
La “prima presenza” che ci accoglie è Untitled (2013): due palloncini che fluttuano per la stanza spinti da un ventilatore posto a terra e rivolto verso l’alto; ad un palloncino è legato un microfono e all’altro un minispeacker. La cosa divertente è che quando i due palloncini si avvicinano si crea un fenomeno, feedback, che termina quando si allontanano. La “seconda presenza” si intitola Plex (2013): questa è un’altra sfaccettatura della ricerca di Boursier-Mougenot che si concentra sulla sperimentazione con la videocamera e l’audiovisivo, l’opera è composta da un divano e due poltroncine a forma di pietra disposte al centro della stanza e tutt’intorno, sulle pareti, sono proiettate le immagini delle scodelle galleggianti in piscina che magicamente troveremo nell’ultima stanza. All’interno del divano, inoltre, sono stati inseriti tre speaker attraverso i quali è possibile sentire il suono ricavato dal movimento delle scodelle della piscina.
Quella del divano è un ottimo escamotage, studiato dall’artista, per permettere ai visitatori di godere con calma le sue Presenze e per entrarvi ancora di più in sintonia in modo da diventarne essi stessi parte integrante, anche se momentanea, delle installazioni. Sedersi, guardare e prendere tempo per immergersi in uno spazio dove le opere invitano a dialogare perché “parlano”, “ci parlano”. La “terza presenza” è un nuovo pezzo Karambolage (2013): un bel pianoforte a coda mascherato da biliardo dove le palle si scontrano creando non un rumore ma una melodia, come l’Artista dice “Sono fenomeni accidentali che diventano musica”. La mostra si conclude con la “quarta presenza” un vero e proprio coup de théâtre uno dei suoi pezzi più famosi Untitled (2013): una piscina rotonda incastonata nel pavimento della galleria in cui parecchie scodelle di ceramica bianca di diverse dimensioni galleggiano trasportate dall’azzurro liquido della vasca, il loro sbattere le une con le altre crea una melodia ed un’atmosfera che scandisce il tempo ma contemporaneamente catapulta in un’atmosfera altra, magica, da fiaba.
Boursier-Mougenot è un artista che con le sue opere ci spiazza, perché è capace di creare e ricreare con nuove modalità espressive oggetti quotidiani che sono sì naturali, ma al tempo stesso (s)travolgenti e regala ad ognuno di noi la possibilità di crearci un tempo ed uno spazio intimi che vanno oltre il nostro sentire ed immaginare. Allora godiamocele queste “Presenze”, perché se l’immaginazione si apre a cose nuove non potrà mai tornare com’era in precedenza.
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source: daninamewordpress
Nascido em Nice, em 1961, Boursier-Mougenot se aproxima aqui de John Cage e das experiências que Nam June Paik fez com instrumentos musicais, vitrolas antigas e discos em vinil.
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source: tokyoartbeat
最初に出合う音はセレスト・ブルシエ=ムジュノの《クリナメン》だ。白い空間の中央に張られた大きな青い池。その水面を、大小さまざまな白い磁器が浮かんでおり、ときどき器同士がぶつかりあって、音を発する。彼が手がけるサウンド・インスタレーションは非日常的な視覚空間の中に聞き覚えのある音の要素を含んでいるという。日常では雑音とされる音を独自のアプローチで再現している作品だ。インドネシアのガムラン音楽さながらの心地よい音色が時おり、かすかに会場に響き渡る。