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

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 & Cor-rigée.



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 – Der Canaletto-Blick set the art in architecture project budget to music in a score whose notes were interwoven and concentrated according to how the money spent on the project was allocated and the frequency with which payments were made.

Elle reprend le budget de Kunst am Bau Projekt (commissariat Pierre Bal-Blanc et Kathrin Rhomberg), Erste Campus, Vienne. Interprétée par Petra Samhaber-Eckhardt (violon), Nina Pohn (violon), Katharina Pöttinger (alto) et Peter Trefflinger (violoncelle), le 23 janvier 2017. Direction et répétitions, Rupert Huber. Le concert comprenait également deux cantates de J.S. Bach sur la dette, entourant la composition et interprétées par un ensemble baroque.


Burning Microphone

Recording a microphone picking up its own destruction by fire.



les gens d’Uterpan

La stratégie de Y.A.A.D. aborde (réaborde) la radio en tant que source d’ouverture au monde, vecteur de connaissance et médium démocratique. Parce qu’elle atteint la personne dans sa sphère intime, la radio permet d’agir sans discrimination sur des individus libres, anonymes, non répertoriés et non sélectionnés. Des citoyens, à proprement parler. La radio propose fondamentalement un élargissement de l’espace social de la performance et des relations d’un individu avec d’autres individus.

À travers la radio, les gens d’Uterpan transposent le travail et l’action du chorégraphe, en appliquant ses injonctions, ordres et incitations vers l’auditeur. Cette décontextualisation de l’autorité du chorégraphe par la radio intègre l’utilisation des qualités, des restrictions et des formatages de la radio elle-même.

Y.A.A.D. propose une relation singulière entre les responsables et les programmateurs de la radio, les commis-saires de la pièce, les artistes et les auditeurs.

La radio qui s’engage à diffuser ces sessions doit respecter le protocole de diffusion associé à chaque session. Aucune annonce ou explication en ligne ne doit précéder la diffusion des fichiers. La radio s’engage à ne communiquer en ligne sur les sessions qu’à l’issue de leur diffusion intégrale. Aucune des sessions ne peut être accessible en pod-cast ou en catch-up.

Pour la diffusion sur Radio Grenouille durant le salon Art-o-rama, nous proposons l’activation de 4 sessions : format Jingle, format tube/hit, format compte-rendu et format leçon.


Protocoles de diffusion


Format jingle

Titre: You are a fucking dancer

Durée du fichier : 4’’

Période de diffusion : durée complète du salon Art-o-rama

Présentation : la phrase « you are a fucking dancer » précédée d’une virgule sonore.

Protocole de diffusion : le jingle doit être entendu 48 fois par période de 24 heures.


Format tube/hit

Titre: Radio skills arouse the idiot czar

Durée du fichier : 3’35’’

Période de diffusion : tout le temps que dure le salon

Présentation : succession d’actions énoncées par la voix synthétique transgenre d’un traducteur de langue, entrecoupée d’appréciations de la part du chorégraphe.

Protocole de diffusion : Le morceau doit être diffusé durant une plage musicale ou s’il est diffusé seul, prendre la place et se substituer à un morceau musical initialement prévu. Le nombre de diffusion quotidienne du morceau correspond à 10% de la masse de diffusion musicale quotidienne de la radio.


Format compte rendu

Titre: What’s new

Session constituée de 24 fichiers

Durée d’un fichier : 3’31’’

Période de diffusion : 5 jours consécutifs

Présentation : succession d’injonctions, physiques, spatiales et temporelles, énoncées rythmiquement sans pause et sans variation. Dans chaque session, un mot différent à été ôté et remplacé par un mot nouveau. Chaque fichier et introduit par une amorce sonore.

Protocole de diffusion : chaque compte rendu doit être diffusé à la suite immédiate des plages d’informa-tions de la radio. Le 2d jour de diffusion sert de référence pour les 4 autres jours. Au cours de ce 2d jours, le maximum de diffu-sion possible devra être effectué. Au prorata de ce maximum :le 1er jour, les 3⁄4 de ce maximum seront diffu-sés, le 3ème jour les 2/3 de ce maximum, le 4ème jour la moitié de ce maximum, le 5ème jour le 1⁄4 de ce maximum. Chaque jour un nombre de fichier peut être utilisé, dans l’ordre de classement fourni. Fichiers 1 à 5 pour le 1er jour, fichiers 6 à 11 pour le 2d jour, fichiers 12 à 16 pour le 3ème jour, fichiers 17 à 20 pour le 4ème jour, fichiers 21 à 24 pour le 5ème jour. En regard du nombre de diffusion quotidienne calculée, la diffusion d’un ou de plusieurs fichiers doit être répétée.


Format leçon

Titre: 360°

Durée du fichier : 6’15’’

Période de diffusion : chaque jour du salon

Présentation : enchainement énoncé de postures qui compose un enchainement chorégraphique.

Protocole de diffusion : la pièce doit être diffusée chaque matin entre 6 et 10 heures. Le dimanche matin entre 8 et 12 heures 


Annie Vigier (born 1965) and Franck Apertet (born 1966) have been working together under the name « les gens d’Uterpan » since 1994. They developed a body of work collaboration that engaged in a critical dialog between performing and visual arts. In their intervening in or adapting to different exhibition contexts, they introduced new ways of presenting, creating, and experiencing dance. In doing so, they have redefined the role and practice of the dancer as performer. Their understanding of physical presence highlights the role of both the spectator and the choreographer in the choreographic process. Experienced in innovative collaborations with various cultural associates, their approach includes, as an integral artistic component, the financial and economic factors that govern their work.


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.






Ícaro Lira

Critíca Radical (2019)

Recording some extracts of interviews and archives belonging to the group Critical Radical (1964 – 2018)

Commissioned work for Meta-Archive exhibition: 1964-1985. Space for listening and reading stories of the dictatorship. Directed by Sesc – Social Service of Commerce São Paulo / Brazil, 2019. Production Lucas Parente. 

tape, tape deck, Crítica Radical booklet

1000 € INQUIRE


Matthieu Saladin

Evaporation (2019)

sound installation

duration 47’ 38”

2500 € INQUIRE


Matthieu Saladin

Economic Score (2013 – 2019)



Edition of 3

Economic Score Der Canaletto, 2017 recording.
Performance by Petra Samhaber-Eckhardt (violin), Nina Pohn (violin), Katharina Pöttinger (viola) and Peter Tref- flinger (cello), January 23, 2017. conductor and rehearsals, Rupert Huber.
Curated by Pierre Bal-Blanc and Kathrin Rhomberg, Erste Campus, Vienna

5000 € INQUIRE


Matthieu Saladin

Burning Microphone (2011) 


Edition of 3

3000 € INQUIRE


Annie Vigier et Franck Apertet (les gens d’Uterpan)

Y.A.A.D You are a dancer


6 sessions Baltic Art Center

Edition of 3

6000 € INQUIRE


Claude Closky

Tagada et turlututu (1991 – 2007) 

sound piece
Edition of 3

4000 € INQUIRE