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cleste boursier-mougenot
Cleste Boursier-Mougenot started his carrer as a musician. From 1985
to 1994, he was the composer of the Pascal Rambert Theatre Company.
In the early 1990s, he decided to make his music independent by creating
installations in places dedicated to contemporary art. By extracting the
"musical potential" of various situations and objects, he creates installations where sound and movement merge and that are meant to be using
the entire exhibition space, depending on its location, its architecture
and its environment. For the artist, these mechanisms and "their installations" are the necessary conditions for the emergence of works of art
that live in the present and evolve through their surroundings.
By giving equal importance to music as a "listening form" and to the
modalities of its production and presentation, Cleste BoursierMougenot invites us to be listeners who also see, who explore the modalities of permanence and present and to be, as he calls it, "distracted listeners". Noises in our daily environment or residual noises that are not
made for a musical purpose are rich in a potential that Cleste BoursierMougenot's installations transform into a "listening experience" that
brings the visible and the audible together and where "the one who
contemplates" becomes, temporarily, a full part of the work of art.
The sound of a car driving by, of a chair that's being dragged, the familiar hum of appliances or the clinking of porcelain bowls floating in a kids'
pool: those are all the fleeting data and materials used by Cleste
Boursier-Mougenot to conceive the installations that accompany the physiological rhythm of our life and that extend the expectations of "environment music". He uses the flaws of his systems and technical incidents
like audio or video feedbacks; he plays on the mismatching of sources
with virtuosity: video signals are treated like sounds, he connects harmonicas to vacuum cleaners or uses electric guitars as bird tables... Since
2006, with works like b r u i t f o r m , flamByframe, virus or recycle, he has
been transposing the principles of feedback and transduction - which
founded his vision - to the fields of sculpture, object or image.
zombiedrones
The first version of zombiedrones is an installation set up for an
audience. It constitutes a television receiver and a plasma screen placed in front of a leather sofa upholstered in the Chesterfield style.
One can, as usual, sit down to watch the television and change the
channel with the remote. However, the device controlling the zombie drones instantly encrypts the images, edits them so that only the
moving elements of each frame appear on the screen. The computer
programme that makes all the immobile elements disappear encrypts
the image on every channel. The effect this has can be, for instance,
that only the eyes, the mouth, and the hands of a television presenter
are visible; all the rest - scenery or dcor - vanish into the dark whilst
the presenter's face glows with a strange luminosity. The gripping
effect of transformation of the image emptied of its message places
the viewer in an advantageous position. There is a certain pleasure in
observing the vacuity of gesticulations, in identifying these ghostly
figures, be they media-related or minor politicians, who devote themselves so willingly to this cathodic conspiracy. By changing channel, by
watching and connecting these disparate and lacunary instants, the
viewer expands his understanding of what can be considered a universal enslavement.
The humming sound that accompanies the playing of the film is issued
from the auditory translation of the images.
cleste boursier-mougenot
zombiedrones
Mixed media, variable dimensions, 2008.
Plasma screen, TNT reciever and remote control,
computer, programme, Chesterfield sofa.
Exhibition view, Galerie Xippas, Paris, France, 2008.
cleste boursier-mougenot
from here to ear
Fourth version
Mixed media, floor dimensions 26 x 42 ft., 2007.
Floor in tinted MDF, earth, linseed and millet seed,
electric guitars, chrome stands, tube amplifiers,
guitar cases, birdhouse, stroboscopes, constructed
entrance corridor, red paint, finches.
Exhibition view
Lentos Museum of Modern Art, Linz, Austria, 2007.
The fourth version of from here to ear, constructed for the exhibition
"FutureSystems: Rare Moment", takes up the very first project designed
for finches and guitars at the beginning of the 1990s and never previously
exhibited. The large mobiles made of coat hangers of the three preceding
versions of from here to ear are replaced by three top-model electric guitars plugged into high-quality amplifiers. The guitars, maintained in a horizontal position above the ground by chrome stands, serve as perches for
the finches. The guitar cases, buried in the earth, are filled with seeds or
with water. A new genre of habitat, which evokes modern architecture,
replace the clusters of suspended nests of the preceding versions of the
piece. To enter the aviary, the visitor passes, without the hindrance of any
curtain, through an entry tunnel that is painted red and that vibrates with
stroboscopes, which dissuades the finches from venturing outside the
aviary.
For this first exhibit at Xippas Gallery, Cleste Boursier-Mougenot puts
together from here to ear that has recently been shown at the Lentos
Kunstmuseum of Linz.
cleste boursier-mougenot
from here to ear
Fifth version
Mixed media, variable dimensions, 2008
Wooden platform, lino, earth, seeds, electric guitars, chrome
stands, tube amplifiers, guitar cases, birdhouse, finches.
Exhibition view, Galerie Xippas, Paris, France, 2008.
cleste boursier-mougenot
recycle
Mixed media, 2006
Video cameras live, electronic modulators, nine air fans.
Exhibition view, Frac Champagne Ardenne, Reims, France, 2006.
recycle
Cameras focused on the leaves of a tree detect the least breath of air
moving the foliage. By the action of a modulator like those which are
used in nightclubs to animate the projectors to the rhythm of the music,
the movement caused by natural wind in the foliage is transmitted
directly to nine air fans fixed on the wall, which form a square array of
artificial wind.
A second module of recycle utilises, as a video source, an uncut shot of
the foliage of a tree recorded and played on a black and white surveillance monitor placed near the fans. The audio track of the video sequence
which results from the transformation of the movement of the foliage into
noise, is not broadcast; it serves only to animate the fans.
cleste boursier-mougenot
recycle
Mixed media, 2006
Video loop broadcast on a monitor, electronic
modulators, nine air fans.
cleste boursier-mougenot
prototype pour index
Mixed media, 2006
Disklavier acoustic piano, computer and software, office furniture.
Exhibition view
Frac Champagne Ardenne, Reims, France, 2006.
scanner
First opus of the scanner series, the piece prototype pour scanner presents for contemplation the amblings of a balloon which floats in space,
and correlatively presents to our hearing the music of this wandering.
Under the influence of the air fan placed in the center of the exhibition
room, the balloon, which transports a wireless microphone, explores the
space within and all around a circle formed by eight suspended loudspeakers. The displacement of the switched-on microphone between the
active loudspeakers produces an audio feedback, a stridency. The sound
of the feedback is analysed, resynthesised and broadcast in real time by
a sound processor, which causes its pitch and texture to vary as a function of its volume. Using the dynamic principle of feedback while overcoming the stridencies, the self-regulated system of scanner is a musical
generator moto perpetuo.
cleste boursier-mougenot
scanner
Prototype, mixed media, floor dimensions 26 x 26 ft., 2006.
Latex balloon inflated with helium, wireless microphone,
multichannel sound processing and broadcast system, air fan.
Exhibition view, Frac Champagne Ardenne, Reims, France, 2006.
flamByframe
The video sequence entitled flamByframe results from experimentation
on feedback and signal propagation through different physical media
(air, electricity, analogue audio) and digital media (new media).
A flame goes out as an effect of the breeze, which is produced by the
wavering of the light; when that filmed light becomes image, the image
is transformed into sound and the sound diffused by the membrane of a
loudspeaker produces the wind. The video recording, of the minute
before the flame goes out, is slowed down eighty times. The slow
motion reveals all the phases of distortion of the flame, which appears
as an abstract object, an ectoplasm, a model for a primitive animation
or a being wracked by internal contingencies.
cleste boursier-mougenot
flamByframe
Video loop for projection on 4:3 format
matte black screen, 80 minutes, silent,
variable dimensions, 2006, edition of 5 + 2 AP
cleste boursier-mougenot
harmonichaos
harmonichaos
Mixed media, variable dimensions, 2000-2006.
Thirteen modules each constituted of a vacuum
cleaner, a harmonica (modified major diatonic),
an on-off electronic control, a lamp.
The dispositif is constructed of thirteen finely ingineered vacuum cleaners, silent at the mouth (suction nozzle), into which is inserted a small
diatonic harmonica chosen for its tonality. Each vacuum cleaner is an
autonomous module which, to function, depends on an integrated onoff electronic control composed of an electric switch and a modified
guitar tuner of which the microphone captures the surrounding
sounds, analyses their frequencies, and commutes the power to the
vacuum cleaner according to the sound frequencies detected by the
microphone. As the tuner is a measuring instrument which accurately
identifies a single note, the complexity of a chord perturbs its analysis. Located within the dispositif formed by the thirteen working
vacuum cleaners, the disoriented tuners hesitate, contradict one another, and through breakdown of analysis unexpectedly activate the
functioning or stopping of the vacuum cleaners. The ensemble generates, live, a chromatic orchestration for harmonicas which is as
unpredictable as it is nonreproducible. In the darkness of a presentation space, the arrangement of the vacuum cleaners is effected according to the acoustic properties and dimensions of the space, these
givens determining a musical form and a sound space as much as a
visual layout. Each of the thirteen modules incorporates a system of
lighting which illuminates and extinguishes according to the module's
sound activity.
Exhibition view
Paula Cooper gallery, New York, Etats-Unis, 2006.
videodrones
cleste boursier-mougenot
videodrones
Audio and video installation, mixed media,
variable dimensions, 2000-2002.
From five to ten video cameras, five video
projectors, multichannel sound processing
and broadcast system, various sofas.
schizoframes
cleste boursier-mougenot
schizoframes
Prototype, audio and video installation, mixed
media, variable dimensions, 2003-2004.
Video loop, video projectors, white sofas in
imitation leather with integrated loudspeakers,
audio amplifiers.
Exhibition view
Frac Champagne Ardenne, Reims, France, 2006.
virus
Fragment of an experiment extracted from research carried out on video
feedback for schizoframes, the video sequence entitled virus is intended
to be projected on a white wall fully lit in a place of passage (corridor,
staircase, entrance or reception area...).
The appearance of projected patterns on the architecture is adjusted to
the limit of visibility.
cleste boursier-mougenot
virus
Video loop for 4:3 projection on white wall,
22 minutes, silent, variable dimensions, 2006
edition of 5 + 2 AP.
untitled
cleste boursier-mougenot
untitled (Series I, II, III...)
Mixed media, variable dimensions, 1997, 1999,
2000, 2001...
Pools, pumps, heating elements, porcelain
crockery, stemmed glasses, water.
Exhibition view
Paula Cooper Gallery, New York, USA, 1999.
In an pool half-filled with water float and move forty or so pieces of everyday crockery: different sorts of bowls, salad bowls of all sizes, various
plates in porcelain or china, and stemmed glasses. An immersed water
pump produces a gentle diametric current, under the action of which the
objects drift and delicately bump one another, producing sounds depending on their contact. The temperature of the water is maintained at
around thirty degrees Celsius in order to favour the resonance of the
objects. Several series of pools on this same principle have been produced since 1997. Each pool can be presented alone or with others, in the
form of an installation. The pools of a given series are constituted of the
same number and type of technical components (inflatable pool, system
of water heating) and also of a collection of crockery objects apparently
similar. However, each of these objects has been chosen for its unique
acoustics, for the pitch and the timbre that it produces when one makes
it ring. These sounds are discernibly different from one bowl to another
of the same model.
keyboardchairs
The keyboardchairs are hybrid objects which result from the coupling of a
musical instrument and a chair. In the seat of the chair a small acoustic
keyboard of the portable harmonium type is inserted. The black keys of the
keyboard of the instrument level with the surface of the seat are activated when one sits down. The keyboard of each chair produces a different
chord from the two others. The combination of the three chords played
together comprises the structure of a major key. The dispositif requires
very minor participation of the people who, by taking their places on the
chairs, activate them, thus achieving the fusion of instrumentalists and
audience of a moment of music.
In 1997, for the first presentation of keyboardchairs, a dispositif of video
surveillance, constituting linked cameras and monitors, which reproduced
live a succession of shots taken in the installation, offered the visitors sitting on the chairs the possibility of seeingsimultaneously the situation and
its framing from different filmed viewpoints. The video images, appealing
to the visual attention of the temporary protagonists, had the effect of turning aside the feelings of embarrassment and thus certain non-desired
attitudes.
At a more recent presentation of keyboardchairs, the video dispositif was
replaced by mirrors, which face the seated persons and send back their
image.
cleste boursier-mougenot
keyboardchairs
Mixed media, variable dimensions, 1997-2006.
Three chairs, three acoustic keyboards,
electric fans and networked cameras
and video monitors or mirrors.
Exhibition view
Frac Champagne Ardenne, Reims, France, 2006.
BIOGRAPHY
BIBLIOGRAPHY
cleste boursier-mougenot
Born in 1961 in Nice, France. Lives and works in Ste, France.
Education, Grants, Residencies and Prize
2009
2004
1998/99
1997
1985/94
Solo Exhibitions
2010
2009
2008/09
2008
2006
2004
2003
2002
2001
2000
1999
1997
1996
No vinyl any more, la Maison Rouge, Antoine de Galbert Foundation, Paris, France (18 Feb - 23rd
May)
World Financial Center, New-York Electronic Festival, New-York, USA
videodrones (version 6), Chagall Museum, Nice, France
Variation, Pinacoteca, Sao Paulo, Brasil, curator: Ivo Mesquita
index, virus, solidvideo, dtail, Galerie Paula Cooper, New York, USA.
index, Thtre de Gennevilliers Centre Dramatique National, Gennevilliers, France.
(Autumn 2008 Spring 2009)
from here to ear, recycle, zombiedrones, Galerie Xippas, Paris, France.
harmonichaos & flamByframe, Paula Cooper Gallery, New York, USA.
"tats seconds", Le Collge/FRAC Champagne-Ardenne, Reims, France.
untitled (Series IV), Le Maillon, Thtre de Strasbourg, Strasbourg, France.
untitled (Series III), "Cerca Series Cleste Boursier-Mougenot" Museum of Contemporary Art, San
Diego, California, USA.
videodrones & harmonichaos, Le Grand Caf, Saint-Nazaire, France.
untitled (Series III), Rice University Art Gallery, Houston, Texas, USA. *
videodrones, Synagogue de Delme, Delme, France.
untitled (Series III), Eglise des Trinitaires, Frac Lorraine, Metz, France.
untitled (Series III), Herzliya Museum of Art, Herzliya, Israel.
videodrones, Paula Cooper Gallery, New York, USA.
from here to ear & untitled (Series III), Contemporary Art Center, Cincinnati, Ohio, USA.
harmonichaos, Chapelle du Genteil, Chteau-Gontier, France. *
untitled (Series II), Paula Cooper Gallery, New York, USA.
untitled (Series I), Galerie du CAPC Muse de Bordeaux, France.
cadre & cut-up, Galerie chez Valentin, Paris, France.
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BIOGRAPHY
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Group Exhibitions
2009
2008
2007/08
2007
2006
2005
2004
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BIOGRAPHY
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2003
2002
2001
2000
1999
1998
1997
1995
Collections
2008
2007
2006
2004
2003
2002
2001
1997
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2007
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2003
2000
Press Reviews
2009
2008
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2007
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2001
2000
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