Installation, cut and print cardboard, steel frame, variable dimensions
The area of technical reproducibility opens a way to a sacralised relation to the art piece and its mass consumption.
Disincarnation of an alleged original “aura” of the “master-work” in the industrial serialisation of its artefacts. Here, puzzles of master pieces are broken up to their very pieces, and lined up according to the reading order and reset on empty metallic frames.
Stocking of fragmentary data of a passed history devoted to art, the slices recall the graphic bars compacted into hard disks, getting rid of its obsolete memories as time goes by. The rhythmic formulas cut the space into virtual continuums, as a kind of digital landscape to monochrome variations.
From a certain point of view, a visual frontier appears, creating an irisation effect sometimes interrupted by the possibility to pass in between the lines.
Boxing Helmet, sensors, electronic device
Inserted into fighting helmets, eye sockets connected to electronic sensors broadcast a high pressure acoustic frequency. The system is inspired by a new type of despotic weapon conceived to maintain order :
reference to the acoustic bombers used during war time to upset nerves, to the hyper-frequency device that causes trouble and sickness used by the G-20 to prevent insurrection, or to the “Beethoven”, those ultrasounds audible only by teenagers and used in Great Britain to keep squatters away from building halls.
The device invites us to enter a fracture of the repressive system, constricted in between two isolating walls, in between two bowed heads, in between two tonsils : encephalon nucleus keeping signs of our fears.
The art piece takes place in the infra-thin chink of an oppressed freedom, where the fight against pressure and social control in power is questioned.
Installation, Wood frame, striped canvas, variable dimensions
In between low and high tech, the art piece puts up a screen to eRikm’s moving and transversal languages.
Canvas, frame, industrial colours and formal abstractions refer to a certain history of art which surfaces, as if medium and materials have been re-digested. Wefts, streaks and stretched pixels replay the graphic resolutions set on analogical editing tables/ mixing desk.
In this chromatic and graphic familiar environment, the tarpaulins turn themselves into TV test patterns and the screen refers to the idea of filters : for models, connection filters, filters for a reality perceived through the lines of a canvas.
Version 650 cm X 400 cm
video installation ∞ 2009
Concept : eRikm
Extract 30 seconds
commissioned by les instants video
video 1 : FRAGS / video 2 : HOPIS / video 3 : PARTS
video 1 : RED / video 2 : GREEN / video 3 : BLUE
1 sign shop
"Simulacres Série" consists in accumulating moving light and layering sounds, music, and sounds, sometimes simultaneously.
Each of the 3 videos - "FRAGS", "HOPIS", "PARTS" - takes up an original movie : 71 Fragments of a Chronology of Chance (M. Haneke, 1995), Koyaanisqatsi : Life Out of Balance (G. Reggio, 1982), The Elementary Particles (O. Roehler, 2006).
These movies were chosen from their subjects - fragmentation, time, chance, accident- but also from their formal characteristics : colorimetry, acoustics...
From image-motion to light / from sound film to white noise,
The recomposition of this matrix, manipulated through the technological prism, veils a set of veils that can only veil other veils.
The videos from "Simulacres Série" can be presented on their own, or as an installation (triptych).
Support of DICREAM
the video one follows is small documentary ! !
Concept : eRikm
Extract : 02.57mn
Original time : 40.52mn
7 Specific screens
Order of creation / Theme ::The transparent body ::
Project commissionned by Théâtre le Merlan scène nationale Marseille
and APHM Assistance Publique des Hôpitaux de Marseille
the video one follows is small documentary !!
Acousmatic & light installation
10 PVC tubes, 10 HP, 10 fluorescent tubes
Aître Blanche is done in October 2008 at the Aître Saint Maclou* (Rouen, France). Nowadays, art school of the town, the Aître Saint Maclou has been a mass grave for the plague that happened in the 12th and 16th centuries. And boneyards are still laying under its floor.
Aître Blanche is a night installation consisting of 10 black PVC sculptures (tubes) 15cmx500cm high, each equipped with a loudspeaker and a fluorescent tube.
This work is about family secrets (structures), unspoken things, lies transmitted consciously or not through generations.
The 10 tubes represent polymorphic entities, male/female and trans-generational aspects of a family.
This topic came to me by chance. The idea at the beginning was to collect confidences (from my family and friends, but also from public areas, movies…).
Words, sentences, strong, simple but fundamental.
Those words, after a selection, got randomly displayed in a row or superimposed ; and that created (after what I would call a work of generational sieving) male/female groups on several generations. From those manipulations and layouts appeared, among others, a topic about child abuse.
The “acousmatic” composition, organisation as well as acoustic scenography became then related to this central topic.
* L’Aître (from the latin word “atrium”) Saint Maclou, former medieval cemetery
the video one follows is small documentary !
music & Light
Commission by Happy New Ears Festival
Kortrijk . Belgium
The first time I entered this tunnel intending to create 2 sound pieces, almost immediatly, Hieronymus Bosch’s
painting came to my mind, mostly with the second panel of his series « visions of after life », Ascent of the blessed.
At this very moment, a car passed by with extremely loud speakers and made the space resound with heroic Metal music.
The Metal music and its related social and cultural codes, partly rooted in religious worlds, have always been funny
to me (Judgement day, and so on).
Certain elements from NDE accounts (Near Death Experience) are perceptible in this tunnel :
• The passage from one space to another
• the light
• The shifting colours of the architecture
• The meetings
• The spiral
In this transcient space, I felt like working for the citizens who are used to walk through this tunnel
as they are significantly exposed to the same noise pollution that, alas, also exists in so many public places.
Music : erikm
Voice : Wendy van Wynsberghe & An Mertens
Video installation, Quadris-phonie
From a picture of him taken on the Web, eRikm shatters himself to be reincarnated into time and space decentered zones. The original picture, sifted through the ASCII code (American Standard Code for Information Interchange), turns into a series of numbers.
Read by a digital voice, it turns into a sound poem spread from the center of the acoustic space. Then injected in a Doppler, the series is randomly read again, and finally resets the original portrait in the video virtual space.
Through this boomerang system, the installation expresses this ubiquity relation to the art piece : the gift of being here and there at the same time, symptom of an “X” generation called “digital migrants”.
// “X’ generation refers to those who were born between the 60’s and the 80’s, stuck in between two times. X for anonymous and nomad, like this generation conscious of its burst.
A generation of “digital migrants”, caught between the last analogical reflexes and the adaptation to the new technology evolutions.