Differences
This shows you the differences between two versions of the page.
Both sides previous revisionPrevious revision | |||
press [2016/10/31 17:11] – julien | press [2016/10/31 17:17] (current) – julien | ||
---|---|---|---|
Line 1: | Line 1: | ||
+ | ====== Interviews ====== | ||
+ | |||
+ | |||
+ | ===== EN ===== | ||
+ | |||
+ | ==== Dislocated Flesh, Julien Ottavi; Jenny Pickett, Tenderpixel Gallery, London ==== | ||
+ | |||
+ | {{: | ||
+ | |||
+ | |||
+ | |||
+ | {{: | ||
+ | |||
+ | Text by Bethany Rex | ||
+ | |||
+ | Dislocated Flesh features the work of Julien Ottavi and Jenny Pickett. This new body of work stems from their long term collaboration exploring perception, memory and architecture. Considering physical and virtual space they are intrigued how these phenomenons influence the body, particularly in a post-human construction of society. Aesthetica spoke to Julien and Jenny about their collaborative practice: | ||
+ | |||
+ | **A: When did you meet and how long after did you start to work together on your projects?** | ||
+ | |||
+ | JP: Julien Ottavi and I met briefly in 2007 at DEAF – the Dutch Electronic Arts Festival. I was collaborating on a tactical media project with the artist Sunshine Frère which involved gifting hacked objects for the purpose of again reconfiguring or recording by peers. One of these objects ended up in the hands of APO33 and Julien Ottavi, we were subsequently invited to participate in ECOS rencontres in Nantes in 2007. Here Julien and I met again and go on like a house on fire. We began to exchange immediately and planning collaborations from early 2008. | ||
+ | |||
+ | JO: We are working all the time together, the ideas and projects that we come across circulate in a fast flow of exchange through practices. Our collaboration started really quickly after we met. | ||
+ | |||
+ | **A: Your work explores physical and virtual space in a post-human construction of society. Does this mean that your work focuses on science fiction or the speculation on future developments in science?** | ||
+ | |||
+ | JP: There is definitely an element of science fiction and/or technological, | ||
+ | |||
+ | JO: The concept of post-human is not only coming from science-fiction, | ||
+ | |||
+ | **A: What was the inspiration between Possession, a suspended human scale cocoon-like sound sculpture? | ||
+ | |||
+ | JO: This work has multiple roots but predominantly conjures the sense of an “in between” state of being. The cocoon is a form potentially containing all the others forms, it’s a representation of what is coming, it’s a gate between our past and our future through an instant (the flash), it is also a digestive system that transform one thing into another state. Possession is this state of becoming that goes beyond our inherent condition. | ||
+ | |||
+ | JP: The form, materials, sound and flashes of Possession could be read on a number of different ways and produce various narratives from protection, transformation, | ||
+ | |||
+ | **A: What experience do you hope this will create for the viewer?** | ||
+ | |||
+ | JO: In Possession, there is an intense flash that almost blinds the viewer so quickly that he doesn’t know what happening, he is attracted and is slightly afraid. The cocoon represents a hidden side of our psychology. It is also a beautiful sculpture hanging in the gallery, as mystery that suddenly hatched. | ||
+ | |||
+ | JP: Possession is a large looming and tactile object in the Tenderpixel Gallery’s modest space. The sound is quiet yet intense and may cause some people to feel uncomfortable in the space, but it can also draw the viewer in to listen more closely. Then there is the light and the overall experience is perhaps perplexing but we would hope for visitors to spend a little time to contemplate this work, its ideas and meanings. | ||
+ | |||
+ | **A: Moving on to the other work in the exhibition. Could you talk us through this?** | ||
+ | |||
+ | JO: Radotage is a piece that brings the obsession of being in a loop, all those wigs turning endlessly, scratching the surface of a cymbal. It creates a space for listening that is both minimalist sound and repetitive visually creating a worrying strangeness. | ||
+ | |||
+ | JP: Radotage has a haunting appeal to it both sonically and visually. The piece is a reflection on aging, narrative memory and entrenched loops. Loosely translated Radotage means drivel. On another level Radotage plays with ideas of composing with these repetitive behaviours, live sampling and importantly the disturbances and difference. | ||
+ | |||
+ | **A: What exhibitions are you looking forward to seeing in the coming months?** | ||
+ | |||
+ | JP: I would like to catch the Anselm Kiefer show at White Cube (9 December 2011 – 26 February 2012) and Elsa Tomkowiak at Le FRAC (Fonds Régional d’Art Contemporain des Pays de la Loire) in Nantes (19 November 2011 – 22 January 2012). | ||
+ | JO: For me it’s Memories of The Future, the Olbricht Collection (22 October 2011 – 15 January 2012) at La Maison Rouge, Paris. | ||
+ | |||
+ | **A: Finally, what projects can we look forward to from you in the future?** | ||
+ | |||
+ | JO: For the coming year, we are preparing a couple of projects, residencies for the spring but nothing is official for the moment. We are also working with videos/film and one of our films will be shown in March 2012 at Experimental Intermedia in New York City. In addition we have lots of performances coming up: Subtecture, Great Steaming Orchestra, Block2030, Apo33, amongst others. | ||
+ | |||
+ | JP: In addition to our personal practice we are working on different projects with our Association APO33: Open Sound Group is a European sound art network with artist run organisations from seven countries: Modus (UK), Live!iXem (Italy), Granular (Portugal), Audiolab Arteleku (Spain), Piksel (Norway), NK (Germany) and APO33 (France). We will also be working with Upstage, a virtual stage (online) along with other European partners we are collaborating on realising a new updated version of this platform which has been producing an annual online festival since 2007 for Live Networked Performances. | ||
+ | |||
+ | Dislocated Flesh by Julien Ottavi and Jenny Pickett, 02/12/2011 – 22/12/2011, Tenderpixel Gallery, 10 Cecil Court, London, WC2N 4HE. www.tenderpixel.com | ||
+ | |||
+ | noiser.org | ||
+ | jennypickett.co.uk | ||
+ | |||
+ | Aesthetica Magazine | ||
+ | We hope you enjoy reading the Aesthetica Blog, if you want to explore more of the best in contemporary art and culture you should read us in print too. You can buy it today by calling +44(0)1904 479 168. Even better, subscribe to Aesthetica and save 20%. Go on, enjoy! | ||
+ | |||
+ | Caption: | ||
+ | Courtesy the artist | ||
+ | |||
+ | Posted on 20 December 2011 | ||
+ | |||
+ | {{: | ||
+ | |||
+ | ==== Art processes can’t hide anymore in their lovely, protected tower – an interview with Julien Ottavi ==== | ||
+ | |||
+ | {{: | ||
+ | |||
+ | Piotr Tkacz / 10 stycznia 2013 / wywiady | ||
+ | |||
+ | |||
+ | **Piotr Tkacz: How have you began making music and what made you interested in music in the first place?** | ||
+ | |||
+ | Julien Ottavi: I began making music with radio works and drumming. | ||
+ | |||
+ | I was interested in music as a fan when I was doing a radio show and a fanzine in the early nineties. My interest in music was at the beginning, when I was 15 years old, only a matter of feelings and nothing was really pre-organized. | ||
+ | |||
+ | **Could you tell us a little bit about your education and how it influenced your artistic practice?** | ||
+ | |||
+ | I received a MA in art, specialization in sound, composition and computer music from ERBAN (Nantes) in 2002. I had training in real-time interaction and psycho-acoustics at IRCAM in 2001. Between 1998 and 2001 I studied musique concrète under Yann Le Ru tutelage also at ERBAN. In 2000 I received DNAP (which equals BA in art) at the same school. Earlier, in 1996, I obtained economy & social sciences baccalaureate (A level). I began with drums and percussion lessons in Tours in 1995. | ||
+ | |||
+ | Of course, drumming classes, musique concrète composition and art school had a huge influence on my artistic practice. Especially in art school I explored some of the musical and visual practices, mainly in terms of critical feedback, as I was already in a self-learning process. I was far beyond my tutors in terms of music, sound art, sound poetry, types of knowledge and practices… they used to ask me to teach the others about it. | ||
+ | |||
+ | |||
+ | |||
+ | **You continue with teaching or spreading the knowledge in general. You organize a lot of events, workshops and so on. Do you find those activities important? And if so – why, what are the benefits and what problems do you have to face while doing it?** | ||
+ | |||
+ | For the last 10 years I organized and suggested doing many workshops, teachings, shared various kinds of knowledge about art, technologies via free software, open hardware, all sorts of DIY electronics, | ||
+ | |||
+ | **What’s the story of Formanex, is this project still active?** | ||
+ | |||
+ | Formanex is an electronic music ensemble, started in 1998, they play mainly around graphical score or new music compositions. They have played Treatise of Cornelius Cardew for 10 years, introduced by Keith Rowe. | ||
+ | |||
+ | Formanex came back to its original line up after we invited other musicians such as Christophe Havard, Laurent Dailleau to be part of the ensemble. So it’s now Anthony Taillard, Emmanuel Leduc and me. | ||
+ | |||
+ | Formanex could be considered as a trio but possibly as a larger ensemble, depending on the score or the composition we have to play. | ||
+ | |||
+ | We are actually very active as we had a couple of concerts and releases within last 2-3 years. We also asked some composers to write scores, pieces for us, such as Kasper Toeplitz, Keith Rowe, Seth Cluett and Phill Niblock. We are preparing a release of those new works. | ||
+ | |||
+ | **A few years ago you began a new project, The Noiser. How does it differ from your previous works? In general, do you find a notion of progress useful when describing artistic activities – is it important for you to develop and reach new grounds? | ||
+ | |||
+ | I had created a lot of “aka” and other names in my work, this is part of my thinking and work around the notion of authorship and collective. The Noiser is an alter-ego that embrace some of my project especially those that are in relation with some others one-man-band or alter-ego name such as KKNULL, Z’EV and so on. I don’t think this work is so different from previous work. Maybe it is a question of branding as Z’EV but for me it’s more like a game with authorship and relation with the concept of individualization in relation to the idea of group, collective and our effort to identify and understand everything that is not attached to individual. This way of dealing with names is also to change somehow my point of view from my own self. In a long run it will be interesting to have a name per project or even per concert or release… to be continued. | ||
+ | |||
+ | **What are the limitations of electronic music, especially the kind pursued by you, and what are the possibilities of overcoming them?** | ||
+ | |||
+ | In itself electronic music doesn’t have much limitations as other type of music or human activities. I wrote an article many years ago about this subject, on this idea that electronic music doesn’t really mean anything and that the question was more about the use of the electronics in music. We are doing music with electronics instruments instead of classical instruments, | ||
+ | |||
+ | Thanks to Maciej Janasik for his help. | ||
+ | |||
+ | {{: | ||
+ | |||
+ | ==== Interview Julien Ottavi - MCD ==== | ||
+ | |||
+ | {{: | ||
+ | |||
+ | **1. How did the idea of Apo33? A collective, linked to a militant artistic context, that guides his work in new media, today is no longer an unusual fact but perhaps when you started your path it was unusual at all.** | ||
+ | |||
+ | |||
+ | Apo33 started in 1996, the original idea was to bring experimental and noise music, performance...all those genres that were not covered by the mass media to be shown in Nantes – France. We evolved around 2000 towards the production, research and promotion of our own art works. Indeed when we started to cross art, technologies, | ||
+ | |||
+ | Especially, I find interesting the intention of linking technological and socio-economic changes of "' | ||
+ | |||
+ | Well this was not the first link, but it become important at some point because we wanted to survive from our art without having to sell our souls for it. We wanted and still want to be able to be as coherent to our desires as possible. Perhaps if I understand well your question you are making reference to the new economical alternative based on donation developed by the free software movement. You produce art, software, knowledge, tools... that you share with your community, you are not selling goods to make profit, if you sell something it will be related to services, process of production, help...etc. The copyleft movement brings new paradigm of economical exchange based on social relation and change in principal “principe” compared to capitalism which objectives are exploitation of the workers, and profit from any possible goods, even with the money itself (as virtual object), mass-productions and exhaustion of nature (land, resources, animal...etc) and human activities (art, agriculture, | ||
+ | |||
+ | For a few years, free software has been engaged in network practice. Through these first networks, source code has been able to circulate, it has been shared, modified, copied. GNU/LINUX first met recognition when it engaged in network technology. Free software could only be developed out of collaborative work, multi-authored projects, programming, | ||
+ | |||
+ | ** 2. As a collective entity are included in European networks or other trans-national production or distribution system? Given the multitude and diversity of contributions that are in this space, the curiosity arises from the possibility of how can you convey them in a systematic and extensive way.** | ||
+ | |||
+ | |||
+ | You might refer to the different european network we are part of like Opensound : | ||
+ | |||
+ | |||
+ | “Listening, | ||
+ | |||
+ | Open sound focuses upon modes of aural perception and communications needed to provide high quality, low cost, non-formal educational opportunities to the broadest range of potential users. | ||
+ | |||
+ | Aims: | ||
+ | Educate adults through the medium of sound. | ||
+ | Deliver an increased knowledge of new technologies. | ||
+ | Improve our learners' | ||
+ | Exchange knowledge, best working practices, with the project partners’ staff and learners. | ||
+ | Support sustainable economic development within the advanced knowledge societies. | ||
+ | |||
+ | Each partner has a proven track record in delivering innovative and socially engaged sound projects to a broad range of users. The host organisation will produce the content and structure of each five days workshop cycles with their staff and learners based on existing activities. | ||
+ | |||
+ | From 2011 to 2013, a mobile cycle of workshops will be organized across Europe, with each organization hosting one of these workshops (Germany, Spain, UK, Italy, Norway, Portugal and France). This cycle will focus on partners expertise in urban sound art, communication technologies, | ||
+ | |||
+ | Open Sound is an opportunity for each partner to build new strategies for its learning communities and in a broader sense help these emerging non-formal learning practices to gain recognition. | ||
+ | |||
+ | Historically speaking, sound art, and auditory culture more generally, has been typified by interdisciplinary and experimental practices. While its long history is well established in many European countries, with countless exhibitions, | ||
+ | |||
+ | Sound art also involves an ' | ||
+ | |||
+ | Open Sound intends to share more broadly these enhanced conceptions of art-making, listening and being. Through our series of workshops, residencies, | ||
+ | |||
+ | A key motivation for this project is the consolidation and expansion of pre-existing relationships (informal networks of practitioners, | ||
+ | |||
+ | We further note that specific regional and national contexts generate particular organisational, | ||
+ | |||
+ | European cooperation is needed to support our research, mapping and developing of new strategies in the diverse and emergent field of Sound Art and to help these emerging non-formal learning practices to acheive greater visability.” | ||
+ | |||
+ | By OpenSound - 2011 | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | **3. What is your idea on current scene of glitch music? As meaning that often this particular type of expression is based on aesthetics of error, which clearly has post-structural matrix and has its conceptual orientation in the slogan of Deleuze and Guattari: " | ||
+ | |||
+ | |||
+ | Glitch music is a sub-genre of noise and computer music, we had, in the mid-2000, few artists that were apparently doing this type of music, I am not even sure they agree with the genre itself. | ||
+ | |||
+ | It is interesting to look at the question of the error in art in general from improv music to experimental cinema. The glitch, the digital error, the bug and the dirtiness are very important for new modes of expression to emerge in the sense that it open new ways to play with the medium or the tools artist use. In the case of the computer, everyone is confronted to its own limit, it is a technological that is far from being perfect and for the moment it just multiply without return, ending up in the junkyard of india, africa or china, with poor people and children being intoxicated by recycling the dangerous components that composed those tools. Not only we should think in a different way than pure music or pure digitalized art but we should also take in account the recycling aspect of it. Gnu/Linux and the new practices of recycling machine for new uses should be able to inspire the artist in their music, in their art production. | ||
+ | |||
+ | |||
+ | **4. What in your opinion the most significant artists of the sound landscape? this segment of art this is still not very decipherable to art users, so, I'd ask you another thing: what are characteristics, | ||
+ | |||
+ | |||
+ | There is a lot of interesting artists out there. It is difficult for me to draw you a list without forgetting some good one. I'd rather not be tempted by the exercise. I suppose I could propose some nice website / project that actually host a lot of nice artists in those field : http:// | ||
+ | |||
+ | Indeed it is not very know from the general mass public audience. Anything could be interesting : why should we limit ourself to tools or aesthetics? As Duchamp suggested artist should be able to do anything he like, imagine to do. We develop and produce a lot of work that I am proud of : | ||
+ | |||
+ | -The poulpe | ||
+ | |||
+ | Le poulpe (the octopus) is an analogical and digital organism living in a network. Each branch constitutes a sonic installation which, out of a specific location, collects its own locally generated sound effects, transforms them via a digital automaton into a new arrangement of sounds. The outcome is then broadcast locally, through loud speakers, and on the Net, through streaming. Le Poulpe belongs in the city, where people live and make noise. It gives a virtual body to this city, expressing through sounds its invisible mouvements and its continuous flows. Over the Net, its tentacles collect and connect continuous sonic fluxes from ever changing contexts, to infiltrate and modify another environment. | ||
+ | |||
+ | -BOT | ||
+ | |||
+ | BOT/BioBOTs make up a virtual community, in the continuation of the ‘POULPE’ project, with a view to assemble a collection of entities in one location in order to diffuse their production to many more places. They stand for a new approach to digital phenomena : networks, multi motionless geolocation, | ||
+ | |||
+ | « A machine always depends on external elements in order to keep existing. Not only does it act as complement to the man who builds, activates or destroys it, but it asserts its difference from other machines – real or virtual, non-human, a proto-subjective diagramme. » (Guattari) | ||
+ | |||
+ | There is a machinic side to BOT, a call for inter-dependance, | ||
+ | |||
+ | -Chaoslab | ||
+ | |||
+ | (HAKART) random evolution & aperiodic bifurcation | ||
+ | |||
+ | Chaotic systems & indeterminacy. Chaoslab creates sensitive dependence on initial conditions, devices and inputs by having evolution through phase space (installation/ | ||
+ | -The Grand Computer Orchestra (GOO) | ||
+ | |||
+ | This project came out of the APO33 collective research programme and first was presented on Friday 15th November 2002 at Nantes Museum of Fine Arts. 6 artists work together on the public presentation of this ‘orchestra’, | ||
+ | |||
+ | |||
+ | |||
+ | -Formanex | ||
+ | |||
+ | Formanex is an electronic music ensemble, started in 1998, they play mainly around graphical score or new music composition. | ||
+ | |||
+ | they played The Treatise de Cornelius Cardew for 10 years introduced by Keith Rowe. | ||
+ | |||
+ | Formanex came back to their original line up after their invite other musicians such as Christophe Havard, Laurent Dailleau to be part of the ensemble. | ||
+ | |||
+ | Julien Ottavi | ||
+ | |||
+ | Anthony Taillard | ||
+ | |||
+ | Emmanuel Leduc | ||
+ | |||
+ | Formanex could be considered as a trio but possibly as larger ensemble depending the score or the composition they have to play. | ||
+ | |||
+ | |||
+ | -Dream Sweepers w/ Jenny Pickett | ||
+ | |||
+ | Dream Sweepers is a sound sculpture using speech (narration) and sound related to concepts of memory and experience. The audio souvenirs, perceived ambiances and the received sonic life of the city delivers its unconscious impressions / expressions and simultaneously transmits those via remote telephonic narratives and resounding cut ups echoing across different cityscapes (London, Marseille, Nantes, Amiens…etc). | ||
+ | |||
+ | The Installation takes the form of Graphical Score – structured and unstructured elements refer to the possibility of alternative audio compositions of the inter-city soundscapes – Only those components needed for the audio inputs and outputs are used in this work. | ||
+ | |||
+ | There is so many more, it is difficult to put them all. | ||
+ | |||
+ | |||
+ | |||
+ | **5. Often the training, even from a cultural perspective, | ||
+ | |||
+ | |||
+ | You probably mean my background I suppose. | ||
+ | |||
+ | |||
+ | Over many years I developed an artistic research practice based on new forms of musical writings using computers, audio and networks. As a consequence of musical interpretation of Graphical scores such as Cornelius Cardew’s “Treatise”, | ||
+ | |||
+ | The computer became, for me, a musical realm where musicians, interpretors, | ||
+ | |||
+ | Laptops and other mobile technologies, | ||
+ | |||
+ | Around the same time as greater mobility through the computer/ | ||
+ | |||
+ | I also started to set up my own servers to experiment with online musical studios, where I recorded an entire album collaboratively with another musician in New York City without ever being in the same country during this work. Using the traditional function of the studio (post-production), | ||
+ | |||
+ | My work is preoccupied with one dream, being able to listen to the music I have in my head, paradoxically without making it. This stems from the idea that first and foremost I am a listener and the musician/ | ||
+ | |||
+ | “[...]a community creates specific potential uses of technology. The ‘user’ of technology, therefore, is not an individual person but a member of a community with a practice that uses the technology in question. The individual user is engaged in the practices of the community and make senses of technology in the context of theses practices, new ways of doing things create new interpretations of the world. If innovation is technological, | ||
+ | |||
+ | How can we build new spaces for musicians composers and programmers that will allow the possibility of building unimagined / unpredefined musical compositions, | ||
+ | |||
+ | |||
+ | |||
+ | ==== FR ==== | ||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | |||
+ | ====== reviews, articles, radio and tv ====== | ||
+ | |||
+ | ===== Spéciale Nantes – Apo33 & Julien Ottavi - France Culture ===== | ||
+ | |||
+ | Il n’y a pas de hasard, seulement des évidences. Parmi celles-ci, l’évidence nantaise. | ||
+ | |||
+ | APO 33 nous chatouillait l’oreille depuis un moment. Le temps est venu de parler de ce lieu labo/ performance/ | ||
+ | |||
+ | __Ecoutez l' | ||
+ | |||
+ | < | ||
+ | <iframe src=" | ||
+ | </ | ||