Born to be in live
On this particular night, at Le Point Perché, visual artists turned into stage artists. With this project titled The Art of the Listener, the artists Cécile Paris, Dominique Gilliot and Lina Hentgen tried to understand the deep-seated interest that many contemporary artists are developing in music. Highlighting their own musical praxis, this expanded concert night made it possible to discover personal and musical approaches, visual and performative alike.
Wavering between art, music and performance, this concert night was split into three highlights at Le Point Perché. The part one was proposed by Cécile Paris and Frank Lamy with a performance in the guise of an introduction to the evening. The blank page of a computer screen was shown in projection. Sitting at a table, Cécile Paris and Frank Lamy started to write down thoughts, live words, aimed at the audience. As silent dialogues like a DJ-become-author, each jot was an amused and proclaimed invitation to the spectators, getting them to shift from one dimension to another, from the literary to the performative.
For several years now, the artist Cécile Paris has been focusing on the fictional potential of image and sound. She draws from so-called popular forms to create a work involving nothing less than repeats and reprises, in the musical sense of the terms. Between sound and image, Cécile Paris develops both a writing in images and the micro-narrative, which open up to the friction of personal daydreams. She created Code de nuit, a work of art in-progress, a label, and a research and observation laboratory which inventories possible scenographies and sets. The object of investigation of Code de nuit is the night club, through its models and its projections. For the duration of this performance and in collaboration with the exhibition curator Frank Lamy, this procedure of exchange tried to adapt itself to the energy and capture the atmosphere of Le Point Perché. By re-creating a dance floor with sounds from the 1980s, Cécile Paris transformed Le Point Perché into a stage where the spectator became the extra and the actor of a fiction. After that first performance, the artist Dominique Gilliot got behind the mixing table to offer us an explosive mix of music, words and gestures.
As the artist explains: “I tell successive and fragmentary stories in which a whole host of impressions is embedded as if in a plastic arrangement. I deal with several areas common to one and all, in particular music, songs, and pop iconography, through my own filter and using objects seen as additives (microphone stand, keyboard...). Although I seem to jump from one topic to another, the coordinating conjunction “and” seems primordial to me, given that the succession of impressions composes a set with offbeat logic. Each one of my performances is one-off, and half-improvised. I write a lot and prepare the show ahead of time, but I don’t learn anything by heart, I’m not an actress, and prefer rather to work out a canvas based on which I then improvise. This is possible as long as I’m on my own, I make my project evolve on the basis of the moment.” By using contextual elements, Dominique Gilliot makes the most of ambiences, encounters and discussions.
Throughout this concert night, different moments of sharing with the audience were envisaged. Guided towards the third and last highlight of the night, the audience discovered or re-discovered the music group Shrouded and the Dinner, formed by several visual artists including Lina Hentgen, JulienTiberi and Sylvain Azam.
Known for their musical letting-go, Shrouded and the Dinner has been forever counterfeiting and re-inventing their own compositions, from one concert to the next. As collective and transversal experiences, this concert was also a moment for their special guest, Ludovic Debeurme, to draw each musical title live. As soon as the drawing was finished, the group could move on to another song. The synchronization between the two live events, music and drawing, made it possible to create a suspended and magical world between the musical note and the stroke of the pencil.
Marked by psychoanalysis and the expression of fantasies, Ludovic Debeurme deals with these themes by way of a spare graphic praxis and a profound liking for children’s games. Between the drawing, the sounds performed by the group and the words of each song, the end result was spellbinding and intriguing, with every spectator having taken a journey through sounds, images and words...
Photo credit: Le Point Perché