À l'écoute du paysage
re_COMPOSER le paysage sonore
Composer avec les sons du réel
"À l'écoute du paysage "
"À l'écoute du paysage "
")) sounding archi_teXtures (("
'Listen to a building devoid of any human presence. It breathes. It has its own life.
The floorboards, the beams creak, the radiators crackle, the boilers groan, etc.'
R. Murray Schafer - The Tuning of the World - 1977
I love nothing more than listening
and share listenings outdoor.
I like to roam free spaces
by the look and the ears,
those ears that also have toes.
Listening to territory by walking,
to walk with my ears (then those of an audience)
in every corner of the landscape,
to look for specific listening points,
or even to grasp the banality
and its trivial poetics in unexpected dimensions,
because still unheard,
or simply given to hear,
However, I would like here to come and examine a closed space,
an edifice, its constituent elements, its frame.
To offers a performed installation.
A concert of spaces giving to listen
to a moving audience
the native - or reinvented - acoustics
of a place designed as much as a landscape
as an instrument
as an accomplice
whom I would perform with
and with whom I would improvise as a duet,
with it alone,
and listen deeply to it.
Listen to this architecture
as we would listen to any other sound environment
with extra walls…
Think of these walls as walls which,
instead of trapping sounds,
would only be there to let them breathe better,
Also to reveal the (almost) silences
who live there, sheltered.
- everyone experiences it every day -
since there is no wall that is not porous,
open to the outside, beyond its function,
listen through them,
the vibrations of a world
who gives himself
beyond the walls.
To make the organicity heard,
the sound vitality,
the vibration of the building which,
like any larger ecosystem
is inhabited by many species that struggle,
in symbiosis, in balance:
In a framing game,
and change of perspective,
through the route of new leak lines
but also the opening onto invisible horizons,
gradually show this place
like a landscape:
an architectural soundscape.
Then re-compose this landscape
the breakaways that the different rooms will offer,
in their row,
Ultimately our purpose could be summed up as
deconstruct this building through an original sound plan,
without pushing (physically) the walls,
and without removing the roof,
to hear the rustling life
hosted in any confined space
in intimate connection with the environment that surrounds it,
'From completely common resources,
that everyone has more or less in their habitat,
Stéphane Marin managed to compose a rich work
and certain sound complexity.
It longed for quiet moments and others more boisterous of the place, it called its nights and its days,
it mobilized its past and its present,
it also invited its surroundings.
By this composition of "infrared materials" made united,
the proposal was in dialogue with the writings of Junichirô Tanizaki.
While the latter thought with subtlety
the importance of the weakly perceptible in spaces,
Stéphane Marin testified, by sound,
of the 'thickness of silence' of a place '
Paul de Sorbier (Maison Salvan's curator)
Co-production / Artistic residencies :
>> April 2017
Maison Salvan - Espace d'Art contemporain - Labège
>> Nov 2017 - June 2018 -Sept 2018
L'Usine - Centre National des Arts de la Rue et de l'Espace Public - Tournefeuille
'The places where sounds are produced are not neutral;
if they are resonators that mark matter, they are also social places,
and their degree of silence or the nature of their background noise
expresses a social particularity, from calm to overload, to violence.'
Daniel Deshays - Pour une écriture du son