Live performance by french artist Laurent Friquet
发起人:stageback  回复数:2   浏览数:1035   最后更新:2011/09/21 17:00:55 by guest
[楼主] stageback 2011-09-02 15:54:50
« Make Room # 3. POGONIRIQUE » is a costumed performance that includes a video installation, live guitar playing and obscure sounds circling around Friquet's created persona "the headless man".
《Make Room # 3. POGONIRIQUE》是一个被包括视频装置、现场吉他表演以及晦涩的声音盘旋在Friquet创作的“无头男人”的周围所装扮在一起的表演。

Artist statement:
艺术家的陈述:

In my work, the voice is permanently in the air. Not in words, not as singing, just as the voice - as it is spoken, shouted, hummed, or whispered. The voice as fluid, continuous expression.
在我的作品中声音长存于空气之中。不作为文字、不作为歌曲而是作为一种声音,因为它被诉说着;叫喊着;哼唱着;低语着,声音作为一种流体,连绵不断的表达。

Like a glance, a penis, excrement, and nothingness, Lacan placed it into the category of "objects to". A vast area …
一目了然,阴茎,粪便和虚无,Lacan把他们放在了“对象”的类别之中。地域辽阔... ...

The source of sound – visible or invisible. These sounds and voices which are neither completely inside, nor clearly outside, are a direct influence on my shots: because maybe it is there, with these voices and sounds left roaming at the surface of an image, that the power of photographic cinema comes into play. Visualized listening. As if the voice roamed on the surface, at the same time outside and inside, struggling to find a place to settle. Especially as the body that lives within the voice has not been shown as yet. Being everywhere, seeing everything, knowing everything, being capable of everything. In other words: ubiquity. Someone passing himself off as somebody else, someone who does not say whence he speaks, pre-recorded material emerging from a mechanism. Does the voice not have a link of proximity with the soul, with the shadow, with the double, with these insubstantial replicas of the body, detachable, that survive it in death and sometimes even leave it during life?
With "Make Room * 3. Pogonique" the ambiguity reaches its paroxysm: a character without head and producer of sounds…

看得见或看不见声音的来源。这些声音,这些音乐既不是完全在内也并没有明确的在外,他们对我的镜头有着直接的影响:也许是因为有这些声音和音乐徘徊于图片的表面,这才能发挥出摄影影片的力量。可视化的听觉,声音仿佛漫游在表面上的同时又存在在食物的里面和外面来为找到一席安身之地所挣扎。特别是作为生活在声音的身体还没有未被证实,它无处不在;看到的一切;知道一切;成为一切。换句话说:无处不在。有些人作为其他人路过自己;有些人在他说话的时候不说话;预先录制的材料从机制里兴起。声音难道没有和以及那些接近有着灵魂、阴影,双重的超脱的非实质性的甚至生存在死亡之中的,有时甚至是留在生命中的身体的副本有着某种联系吗?

《 Make Room * 3. Pogonique 》歧义达到了顶峰:一个无头的角色和声音的生产者... ...


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