{"id":12229,"date":"2022-09-06T11:35:18","date_gmt":"2022-09-06T09:35:18","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=12229"},"modified":"2022-10-04T10:55:04","modified_gmt":"2022-10-04T08:55:04","slug":"please-love-party","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/please-love-party\/","title":{"rendered":"Please Love Party"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\"><strong><strong>please love party<\/strong><\/strong><\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\"><strong>pierre pauze<\/strong><\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Installation<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p><strong>In <em>Please Love Party<\/em>, Pierre Pauze wonders what love is from the point of view of chemistry and waves.<\/strong><\/p>\n\n\n\n<p>After synthesizing a molecular love potion in the lab &#8211; actually a powerful psychotropic drug made from chemical components and drugs found on the Darknet &#8211; he transferred the Darknet -, he transferred the essential information into water thanks to a device of transmission device. According to the controversial scientific theory of &#8220;water memory&#8221;, it would be possible with this process to load water with information, to alter its molecular composition, in order to transmit data or to transform it into any substance. As this theory does not lead to a consensus, the drug thus becomes homeopathic and fictional, until proven otherwise.<\/p>\n\n\n\n<p>The film shows the unfolding of a pseudo-scientific experiment in a hangar. It takes the form of a party where the participants are invited to drink the water thus altered by the artist. They are then subjected to techno music and to the bombardment of different sets of lights, in order to activate the administered substance and to study its effects.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/68866576_2518133034892723_1981390274751889408_o-1-1024x768.jpg\" alt=\"\" class=\"wp-image-12234\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/68866576_2518133034892723_1981390274751889408_o-1-1024x768.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/68866576_2518133034892723_1981390274751889408_o-1-300x225.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/68866576_2518133034892723_1981390274751889408_o-1-768x576.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/68866576_2518133034892723_1981390274751889408_o-1-1536x1152.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/68866576_2518133034892723_1981390274751889408_o-1.jpg 1632w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption><meta charset=\"utf-8\">\u00a9 Pierre Pauze<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default\"><meta charset=\"utf-8\">Partagez cet \u00e9v\u00e9nement sur les r\u00e9seaux sociaux<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/please-love-party\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/please-love-party\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Please+Love+Party&amp;url=https:\/\/chroniques-biennale.org\/en\/please-love-party\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Artistes<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Pierre Pauze <sup>(FR)<\/sup><\/h2><div class=\"artisteContent\"><p>Pierre Pauze is a French video artist, filmmaker and visual artist. Born in 1990, he lives and works in Paris.<\/p>\n<p>A graduate of Le Fresnoy and the Beaux-Arts de Paris, Pierre Pauze was revealed to the public in 2016 on the occasion of the 2nd edition of the international exhibition of art school students presented by Artagon in Paris. Since then, his work has been the subject of numerous exhibitions in France and around the world, such as at La Villette, the Es Baluard Museum in Palma, Mallorca, or the K Museum of Contemporary Art in Seoul, or at the Beijing Biennale.<\/p>\n<p>Pierre Pauze&#8217;s films have been shown in numerous festivals and on television, in France and abroad. He has received several awards, such as the Agn\u00e8s b. Prize in 2016 and the ADAGP Digital Art and Video Art Revelation Prize in 2019. In 2020, he is resident at the Cit\u00e9 internationale des arts in Paris as well as POUSH Manifesto. He participated in the 12th Taipei Biennale with MASS, a film and installation project made in collaboration with young artist and filmmaker June Balthazard. The work has already been shown at Luma Arles during a screening\/talk with Hans Ulrich Obrist. It is currently presented at the Centre Pompidou Metz and at the Chengdu Biennale in China.<\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\"><meta charset=\"utf-8\">Cr\u00e9dits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>Pierre Pauze Production<\/p>\n\n\n\n<p>Fresnoy Studio national, Futur ant\u00e9rieur production and Magasins g\u00e9n\u00e9raux (created by BETC). With the support of the DICR\u00e9AM CNC.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom\"><\/p>\n","protected":false},"featured_media":13991,"menu_order":0,"template":"","edition":[66],"type_oeuvre":[100,95],"class_list":["post-12229","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/12229","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/13991"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=12229"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=12229"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=12229"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}