Diffusion
2022, Clairières, Oboro, Montréal
2022, Shore: Caroline Gagné, Nadia Myre, Anne-Marie Proulx, curator Jonathan Watkins. Manif d'art exhibition presented at Canada House, London
2022, Ciels racines, Exposition collective initiée par Anne-Marie-Proulx, Arprim, Montréal
2021, Manuel pour un nouveau voisinage
Commissaire : Eric Mattson
2021, Galerie des arts visuels, Québec
Summary
The app for synchronizing the sound and video for Bruire /Murmur was first developed for the installation Quand un arbre tombe, on l’entend; quand la forêt pousse, pas un bruit [A falling tree makes more noise that a growing forest]. At the time, I was looking for a way to recycle my old iPhone and make it a sensory element that could be integrated into art projects. Through the app, the iPhone receives data from a vibration sensor installed nearby and interprets it into a sound composition. The idea is to make the vibrations visible by inducing tremors in images shown full-screen on other iPhones nearby.
As a receiver and transmitter of invisible data, a social link or a tool, the iPhone interests me as an object because of its phenomenal nature and its daily function to keep users “connected,” while simultaneously “disconnecting” them from a sense of corporeal existence that sound and vibration have the potential to reactivate.
Manual for a New Neighbourhood
An initial version was created for the project Manual for a New Neighbourhood. Curator Eric Mattson invited me to contribute to a series of sound works that consider the notion of “neighbourhood” in our current global context, which is marked by pandemic and climate uncertainty.
During the summer and fall of 2021, I made a series of field recordings by listening to the sonic particularities of the landscape between my studio and the house of Anne-Marie Proulx. Both places are located on Route 132, along the St. Lawrence River, in the South Shore region of Chaudière-Appalaches. Driven many times, this trajectory of approximately 18 min by car was the starting point for the duration of the composition played in a loop.
Echoing this work, Proulx then took a series of film photographs while listening to Bruire in her garden. Between the light variations and the presence of sound waves, her images evoke the temporality of the sun’s trajectory in October. One photograph was selected in resonance with the works of the group show Ciels racines and integrated in the installation.
Collaborations
Film photography: Anne-Marie Proulx
Programming and technology integration: Alexandre Burton (Artificiel)
Production of the metal structure: l’Œil de Poisson
Documentation photographique :
Galerie des arts visuels : Caroline Gagné et Michel Boulanger
Oboro : Paul Litherland
Text
Clearings, Julie faubert, 2022, Oboro
Co-production : Éric Mattson
With the support of the Conseil des arts et des lettres du Québec
