salle principale, Paris
Claude Closky, Icaro Lira, les gens d'Uterpan, Matthieu Saladin
Ícaro Lira
Critíca Radical is a group of activists formed in 1973 who have made a significant contribution to the reorganization of social movements in the state of Ceará in Brazil. All of their initiatives aim to contribute to the organization of a new social movement, with a view to supplanting the modern patriarchal system which produces goods with its destructive logic and to build a society of human emancipation. From a practical point of view, the group has carried out various activities, including campaigns for non-voting, against violence, against the criminalization of social movements and for the right to remember and truth about torture, the dead and the disappearances of the period of the military dictatorship. Currently, in addition to actively participating in the struggles, the group undertakes to implement an innovative practical experience to start the construction of a post-capitalist society, to propose the construction of a new social movement to break with capitalism and building a society of human and environmental emancipation. Ícaro Lira crosses paths with the Critíca Radical group during his first demonstration in Fortaleza. Since this meeting, he will not cease to follow and bear witness to their actions. This sound recording is a documentary produced for the Meta-Archive: 1964-1985 exhibition in São Paulo in 2019. It was presented at the Salle Principale gallery as part of the first solo exhibition ‘lessons from stone ‘of the artist in France in 2019/2020.
Born in 1986 in Fortaleza (Brazil), lives and works in Fortaleza and São Paulo (Brazil) Ícaro Lira has developed a work that measures the implications and developments of political and historical episodes inside Brazilian history through archaeological and fictional lenses. To Lira, history is a living matter-constantly crushed by the weight of official narratives, written by the most powerful. In search of counter-narratives, the artist collects objects, texts, images and fragments of places in social conflict. From these, he as-sembles small museums with materials from his research, which often encompasses sets of actions dispersed in exhibitions, books, workshops and field trips. Inside this practice, history is seen with a magnifying glass, and attention is given to what these events reveal about the past and might tell about the future. Ícaro Lira studied Cinema and Video at Casa Amarela-UFC, Fortaleza, CE, Installation and Sound Editing, at Instituto de Cinema Darcy Ribeiro, Rio de Janeiro, RJ and at Escola de Artes Visuais do Parque Lage, Rio de Janeiro, RJ, participated in the Programs Fundamentação e Aprofundamento.
Ícaro Lira is represented by Salle Principale gallery, Paris (France) and Jaqueline Martins gallery, São Paulo (Brazil).
Matthieu Saladin
Evaporation
Recording the evaporation of 785 grams of water, the average amount of water a body loses in a day’s work in an office, according to statistics from the Carrier heat balance.
Economic Score
The piece Economic Score set an art project budget to music in a score whose notes are interwoven and concentrated according to how the money spent on the project is allocated and the frequency with which payments are made. Recording of Economic Score – Der Canaletto-Blick set the art project budget of Kunst am Bau Projekt (curators: Pierre Bal-Blanc and Kathrin Rhomberg) at the Erste Campus in Vienna. Concert with the conductor Rupert Huber and the musicians Petra Samhaber-Eckhardt (violin), Nina Pohn (violin), Katharina Pöttinger (alto) and Peter Trefflinger (cello) on 23 January 2017.
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Burning Microphone
Recording a microphone picking up its own destruction by fire.
Born in 1978 in Versailles (France), lives and works in Paris and Rennes (France) Matthieu Saladin is an artist and musician. His practice takes place in a conceptual approach and often uses sound. He is interested in the production of spaces, the history of artistic forms and creative process, and in the relationships between art and society from a political and economic point of view. It takes the form of sound installations and performances as well as publications (books, records), videos and software. He is associate professor in sound art at University Paris 8. He is editor in chief of TACET and works in Volume! and Revue & Corrigée.
les gens d’Uterpan
The strategy Y.A.A.D. You are a dancer approaches (re-approaches) radio as a source, ‘a window onto the world’, a vector of recognition, and as a democratic medium.
Because it reaches the person in his or her intimate sphere, radio allows one to act without discrimination upon free anonymous, unlisted, unselected individual : citizens, strictly speaking. Radio provides a fundamental expansion of the social space of performance and of an individual’s relations with other individuals.
Using the radio les gens d’Uterpan transpose the work and the action of the choreographer by applying his or her injunctions, orders and exhortations to the listener. The decontextualisation of the choreographer’s authority through the use of radio appropriates the qualities, restrictions and formatting of radio itself.
Y.A.A.D. redefines the involvement between those who run and programme the radio, the broadcasters, the commissioner of the piece, the artists and the listener.
The radio that undertakes to broadcast these sessions must respect the broadcast protocol associated with each session.
No announcement or explanation online should precede the distribution of the files. The radio commits itself to communicate on line on the sessions only at the end of their full broadcast. None of the sessions can be accessed in podcast or catch-up.
Activation protocol
jingle format
Title: You are a fucking dancer
File duration : 4’’
Broadcast period : each days of the fair Art-O-Rama
Presentation: the phrase «you are a fucking dancer» with a comma sound.
Broadcast protocol: the jingle must be heard 48 times in a 24-hour period.
tube/hit format
Title: Radio skills arouse the idiot czar
File duration : 3’35’’
Broadcast period : each days of the fair Art-O-Rama
Presentation: succession of actions expressed by the transgender synthetic voice of a language translator, interspersed with appreciations from the choreographer.
Broadcasting protocol: The song must be broadcast during a musical track or if it is broadcast alone, take the place and replace a musical piece initially planned. The number of daily broadcast of the song is 10% of the mass of daily music broadcast of the radio.
report format
Title: What’s new
Session consisting of 24 files
Duration of a file: 3’31 ‘’
Broadcast period: 5 consecutive days
Presentation: succession of injunctions, physical, spatial and temporal, set rhythmically without pause and without variation. In each session, a different word has been removed and replaced by a new word. Each file and introduced by a sound primer.
Broadcast Protocol : Each report must be broadcast immediately following the radio’s information tracks. The 2nd day of circulation serves as a reference for the other 4 days. During this 2d days, the maximum possible diffusion will have to be carried out. In proportion to this maximum: the 1st day, the 3⁄4 of this maximum will be diffused, the 3rd day the 2/3 of this maximum, the 4th day half of this maximum, the 5th day the 1⁄4 of this maximum. Each day a number of files can be used, in the ranking order provided. Files 1 to 5 for the 1st day, files 6 to 11 for the 2nd day, files 12 to 16 for the 3rd day, files 17 to 20 for the 4th day, files 21 to 24 for the 5th day. Next to the calculated daily broadcast number, the broadcast of one or more files must be repeated.
lesson format
Title: 360 °
File duration : 6’15″
Broadcast period : each days of the fair Art-O-Rama
Presentation: a series of postures that compose a choreographic sequence
Broadcast Protocol : the play must be broadcast each morning between 6 and 10 o’clock. Sunday morning between 8 and 12 o’clock
les gens d’Uterpan are represented by Salle Principale gallery, Paris (France).
Claude Closky
Starting from an analysis of ends and means in art, Claude Closky has been examining for over twenty years now, world-systems for information, representation and organization. Pushing their internal logic to their individual collapse and annihilation, he organizes, classifieds, files aways, aligns, disaligns, and disorganizes the inside. Frank Lamy (extract from the exhibition presentation ‘8002-9891’, MacVal, Vitry, 2008)
Born in 1963 in Paris (France), lives and works in Paris (France) Claude Closky has no formal training as a visual artist. He entered the ENSAD (Ecole National Supérieure des Arts Décoratifs) in 1982 but quit at the end of the first year to co-found The Ripoulin Brothers, a street artist collective. In 1988 he left the group to develop his independent work, using voluntarily poor means such as drawing and printed matter.
At first sight, the work of Claude Closky is mainly immaterial. Language is his model to articulate images, text, numbers, and sounds collected in our environment, or made in his studio. Although reluctant to producing objects and spectacular effects, Closky’s work still addresses issues about visibility and space appropriation. Claude Closky’s projects always find alternative ways to emancipate themselves from the formats imposed by the sites where they are exhibited. He seeks to point out the contradictions of our contemporary society and its representations, but also to question the role of art as producer of a cultural consensus and set of values. His works confront and question our environment, the conditions and benefits of artistic production, its relation to an audience.
https://www.salleprincipale.com