{"id":29089,"date":"2024-07-08T10:48:03","date_gmt":"2024-07-08T08:48:03","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/viens-valeur\/"},"modified":"2025-02-26T16:53:03","modified_gmt":"2025-02-26T15:53:03","slug":"viens-valeur","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/viens-valeur\/","title":{"rendered":"Viens valeur"},"content":{"rendered":"\n
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Viens valeur<\/h1>\n\n\n\n

Rachel M.Cholz<\/h2>\n\n\n\n

ASMR vid\u00e9os<\/p>\n<\/div>\n\n\n\n

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Viens Valeur<\/em> is a project with a rather unusual style. It is directly inspired by the ASMR process – which is expanding on YouTube -. The idea is to showcase female ASMR youtubers by offering them a specific dramaturgy linked to their respective worlds. This project has developed around two concerns. Firstly, the use of objects for their sound, provoking semantic shifts in the face of the disinterest of the object as a carrier of meaning. Secondly, the project examines the networking of images, in this case iconic images, representative of the current digital era.<\/p>\n\n\n\n

At first, ASMR was a process mainly concerned with sound, considering only the object and the hands in the frame. It then became just as visually involved, working on embodiment, beauty and visual identity in an iconic way, as muses and goddesses would do. This appropriation, as well as the different methods (through well-being, the performance of swallowing, or the sale of products) always point to the same face-to-face encounter: a phenomenal number of views, for a multiplied intimacy.<\/p>\n\n\n\n

The two videos presented here are a collaboration with Kay ASMR.<\/p>\n\n\n\n

Je mange mon visage<\/em> echoes images from Je mange un nid d’abeilles g\u00e9ant<\/em>. The two videos create a mise en abyme. When Kay’s mask of her own face induces her to whisper behind her own mouth before eating it, the honey is representative of mythological wealth and internet content, directly swallowed by the icon. The honey becomes a sugar image, like the Youtube interface itself.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u00a9 Kay ASMR<\/figcaption><\/figure>\n\n\n\n
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Artists<\/h4>\n\n\n
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Rachel M.Cholz<\/a><\/h2>\n
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Rachel M. Cholz, born in 1991 in France, is mainly an author. She studied visual arts while working as a lighting designer.
\nNo ou le pactole<\/em>, a poetic narrative, was published by \u00c9ditions La Lettre vol\u00e9e. A novel called Pipeline<\/em>, developing a collaboration around a diesel traffic, was published in April 2024 by \u00c9ditions du Seuil.
\nRachel M. Cholz likes to work on language paradoxes and contextual shifts. In addition to her writing, she has directed her text Trois pour cent sauvages<\/em>, and since 2021 has been developing the Viens Valeur<\/em> project.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div><\/div>\n\n\n\n

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Credits & mentions<\/h4>\n<\/div>\n\n\n\n
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L’iMAL, les P\u00e9pini\u00e8res europ\u00e9ennes de cr\u00e9ation, La Fabrique de Th\u00e9\u00e2tre, la F\u00e9d\u00e9ration Wallonie-Bruxelles, la Villa la Brug\u00e8re, le Ch\u00e2teau \u00c9ph\u00e9m\u00e8re, Transcultures, le Poelp, la Bellone.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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