{"id":1557,"date":"2020-08-27T00:24:08","date_gmt":"2020-08-26T22:24:08","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=1557"},"modified":"2021-01-19T10:09:09","modified_gmt":"2021-01-19T09:09:09","slug":"sylvia","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/sylvia\/","title":{"rendered":"Sylvia"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\"><strong>sylvia<\/strong><\/h1>\n\n\n\n<h2 class=\"caps wp-block-heading\">ST\u00e9Fane perraud &amp; GASPARD GUILBERT<\/h2>\n\n\n\n<div class=\"wp-block-columns singleOeuvreTopRow 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\">Immersive sound 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>Exploring the extraordinary sonic potential of a forest, <em>Sylvia<\/em> immerses us in a tale of anticipation of the living.<\/strong><\/p>\n\n\n\n<p>The forest is a symphony of sounds that have been changing rapidly since the advent of the industrial revolution. Designed from sound recordings taken throughout 2018 in the Risoux forest by the Haut Jura Regional Nature Park, the sound and visual installation <em>Sylvia<\/em> projects us into the distant future of this forest, inviting the spectator on a fictional journey to the heart of this forest over more than 20,000 years.<\/p>\n\n\n\n<p>If the great stories carried within them a principle of good hope, the blindnesses and mistakes of the past now make it difficult to project a better world. Everything converges on apocalypse fantasies that plunge us into archaic scenarios, where fear and dread dominate. <\/p>\n\n\n\n<p><em>Sylvia<\/em> proposes to renew the reading of the myth of the end of the times that we live in this beginning of the 21st century. By interweaving several theories of anticipation, whether they are rigorous, alarmist, absurd or conspiratorial, the installation traces a singular path in this vast territory of contemporary imaginations.<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreInfosRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\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 infosPratiquesBlock is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-1024x683.jpg\" alt=\"\" class=\"wp-image-3892\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-1024x683.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-300x200.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-768x512.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/03_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD.jpg 1200w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Gregoire EDOUARD<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"533\" height=\"800\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/07_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD.jpg\" alt=\"\" class=\"wp-image-3894\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/07_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD.jpg 533w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/12\/07_basse-def_SNZN_Expo_Que-voulons-nous-faire-pousser-sur-les-ruines_\u220fGregoire-EDOUARD-200x300.jpg 200w\" sizes=\"auto, (max-width: 533px) 100vw, 533px\" \/><figcaption>\u00a9 Gregoire EDOUARD<\/figcaption><\/figure>\n\n\n\n<p>Share this event on social networks<\/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\/sylvia\/&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\/sylvia\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Sylvia&amp;url=https:\/\/chroniques-biennale.org\/en\/sylvia\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreArtistsRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>St\u00e9fane Perraud <sup>(FRA)<\/sup><\/h2><div class=\"artistContactLine\"><a href=\"https:\/\/stefane-perraud.fr\/\" target=\"_blank\">https:\/\/stefane-perraud.fr\/<\/a><\/div><div class=\"artisteContent\"><p class=\"p1\">St\u00e9fane Perraud was born in 1975, he lives and works in Paris. He graduated from Decorative Arts school in Paris, and obtained a post diploma in an interactive research workshop in 2001. He obtained a residency at the College de France within the framework of Open Lab in 2011 and a Pictanovo development grant in 2013 for an art\/science project linked to nuclear power.<\/p>\n<p class=\"p1\">His field of research, linked to the energy of matter and light, regularly prompts him to collaborate with writers and scientists. His work opens up a dialogue which is sometimes fictitious, with the imperceptible and the infrathin, and which aims to connect the various activities of the human soul with the intimacy of matter. His favorite tools and formats are hybridizations that he obtains and deconstructs using new media and advanced science and techniques.<\/p>\n<p class=\"p3\">Since 2003, he has collaborated with several artists in the world of theater, dance and performance (Eli Commins, Trajal Harell, Ali Moini\u2026). He regularly exhibits his work in France and abroad (Mus\u00e9e des Arts D\u00e9coratifs, Coll\u00e8ge des Bernardins, Mus\u00e9e de la Chasse in Paris, Maison Particuli\u00e8re in Brussels, Manoa Art Center in Hawaii, White Room in Quebec\u2026). He is currently preparing an exhibition on the nuclear landscape which will take place at the Lieu Unique in Nantes in 2021, and another in Malta in 2020, on the physical properties of light, as part of the European Vertigo grant.<\/p>\n<\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-group oeuvreCreditsRow\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\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\">Credits &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>Conception and direction: St\u00e9fane Perraud<br>Sound design: Gaspard Guilbert<br>Production: Maison Byron<\/p>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n<p><\/p>\n","protected":false},"featured_media":3892,"menu_order":0,"template":"","edition":[20],"type_oeuvre":[28],"class_list":["post-1557","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/1557","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\/3892"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=1557"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=1557"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=1557"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}