In Situ-fabienne leclerc, Paris
In America in the 1950s, John Cage revolutionized musical composition by including elements of chance, then silence.
In his wake, several musicians worked with inaudible sounds or the transduction – passing from one energy state to another – of electromagnetic events.
Yet like Max Neuhaus, the pioneer of sound art, Lars Fredrikson excluded music from his work, a rejection characterized by abandoning the grammar of composition and transferring the elements that from visual art, notably from painting and sculpture, into the realm of sound. Fredrikson demonstrated this in 1978 at the Galerie Associative La Caisse in Nice, run by Noël Dolla and Elisabeth Mercier: leaving the exhibition space apparently empty, he broadcast a sound piece in quadraphony.
By bringing inaudible sounds into his conception of listening (very low and very high frequencies), or generating sensations that are not just related to hearing, Lars Fredrikson induced a bodily exploration of vibrations.
His sound pieces produce frequencies generated by his self-made synthesizers or by the transduction of telluric and cosmic electromagnetic waves.
Visual artist and student of Lars Fredrikson, Isabelle Sordage approaches problematics related to listening to the sound in plastic arts. In 1996, she created the Atelier Expérimental, and in 2019 the AEradio (aeradio.fr) whose vocation is to bring plastic sound practices to the forefront. This listening platform, considered as an art space in its own right, is dedicated to sound works and materializes as the extension of a concrete community – the Atelier Experimental – towards a networked listening community.