{"id":30986,"date":"2025-02-13T12:32:08","date_gmt":"2025-02-13T11:32:08","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=30986"},"modified":"2025-02-13T12:39:13","modified_gmt":"2025-02-13T11:39:13","slug":"bon-air-off","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/bon-air-off\/","title":{"rendered":"BON AIR OFF"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">LE BON AIR_<em>OFF<\/em><\/h1>\n\n\n\n<h2 class=\"wp-block-heading\">Feroui \u00b7 Monikaze \u00b7 33EMYBW<\/h2>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/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:33.33%\">\n<h5 class=\"wp-block-heading caps\">PRACTICAL INFORMATION<\/h5>\n\n\n\n<p><strong>Thu. Nov. 7, 2024<br>9pm &gt; 1am<\/strong><\/p>\n\n\n\n<p><strong>Grandes Tables\u2028<br>Friche la Belle de Mai &#8211; Marseille<br><\/strong>Free admission<\/p>\n\n\n\n<p><\/p>\n<\/div>\n<\/div>\n\n\n\n<p><b><strong>The BON<\/strong><em><strong>AIR_OFF <\/strong><\/em><strong>is the highlight of this inaugural evening in Marseille, with anexceptional line-up mixing three atypical and experimental musical universes.<\/strong><\/b> <b><strong>At the helm: Marseille&#8217;s F\u00e9roui, Lithuania&#8217;s Monikaze and 33EMYBW, star of Shanghai crew SVBKVLT.<\/strong><\/b><\/p>\n\n\n\n<p>Program built in partnership with Bi:Pole and Les Grandes Tables de la Friche la Belle de Mai<\/p>\n\n\n\n<h1 class=\"wp-block-heading is-style-default\">Feroui<\/h1>\n\n\n\n<h2 class=\"wp-block-heading\">DJ set<\/h2>\n\n\n\n<p>As a geeky teenager, Feroui downloaded DJ sets by Pulp heroines, Aphex Twin clips and cracked DJ software. Fifteen years later, after his first dates, he found himself with his beak in the water because of covid. He moved to Marseilles with a hot USB stick, loaded with strange, percussive house, bass mutations and comforting ambient.<\/p>\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:66.66%\">\n<figure class=\"wp-block-image alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/Picture-2-Feroui-edited-1024x768.jpg\" alt=\"\" class=\"wp-image-27878\" style=\"aspect-ratio:1.7777777777777777;object-fit:cover;width:722px;height:auto\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/Picture-2-Feroui-edited-1024x768.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/Picture-2-Feroui-edited-300x225.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/Picture-2-Feroui-edited-768x576.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/Picture-2-Feroui-edited-1536x1151.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/Picture-2-Feroui-edited-2048x1535.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">\u00a9 Guillaume Bleyer<\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div style=\"height:23px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed alignleft is-type-rich is-provider-soundcloud wp-block-embed-soundcloud wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Feroui\" width=\"640\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=true&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Fusers%2F50943858&#038;show_artwork=true&#038;maxheight=960&#038;maxwidth=640\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h1 class=\"wp-block-heading is-style-default\">Monikaze<\/h1>\n\n\n\n<h2 class=\"wp-block-heading\">Live<\/h2>\n\n\n\n<p>Lithuania&#8217;s Monika Zenkeviciute creates mischievous electronic compositions where synthetic experimentation and acoustic exploration converge. Under the short name of Monikaze, the musician lays the foundations of a versatile electronica on which her celestial bird-like voice blossoms, and which she doesn&#8217;t hesitate to manipulate with her machines. Starting with a subtle, minimalist approach akin to ambient, Monikaze gives free rein to buzzing bass and heavy beats to reveal an ultra-exciting, danceable side.<\/p>\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:66.66%\">\n<figure class=\"wp-block-image alignleft size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/MONIKAZE-2024-1024x576.jpg\" alt=\"\" class=\"wp-image-27907\" style=\"width:724px;height:auto\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/MONIKAZE-2024-1024x576.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/MONIKAZE-2024-300x169.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/MONIKAZE-2024-768x432.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/MONIKAZE-2024-1536x864.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2024\/07\/MONIKAZE-2024.jpg 1920w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div style=\"height:44px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed alignleft is-type-rich is-provider-soundcloud wp-block-embed-soundcloud wp-embed-aspect-4-3 wp-has-aspect-ratio\" style=\"margin-top:0;margin-right:0;margin-bottom:0;margin-left:0\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Monikaze\" width=\"640\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=true&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Fusers%2F248370186&#038;show_artwork=true&#038;maxheight=960&#038;maxwidth=640\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h1 class=\"wp-block-heading\">33EMYBW<\/h1>\n\n\n\n<h2 class=\"wp-block-heading\">Live<\/h2>\n\n\n\n<p>Shanghai-born producer and visual artist 33EMYBW draws inspiration from modern and folk dance music and a wide range of visual materials. She has refined a variety of conceptual elements into a form that combines highly personal rhythm and experimental sound designs. In 2018, her album &#8216;Golem&#8217;, (SVBKVLT), received critical acclaim and was voted one of the best electronic albums of 2018 by Bandcamp. After concerts at the Nyege Nyege Festival (Uganda), and at the opening of the 2019 Warehouse Project, Manchester, curated by Aphex Twin, &#8216;arthropods&#8217; <a href=\"https:\/\/soundcloud.com\/wushanmin\">33EMYBW<\/a> &#8216;s third album was released on SVBKVLT in mid-October.<\/p>\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:66.66%\">\n<figure class=\"wp-block-image alignleft size-large is-resized\"><img decoding=\"async\" src=\"https:\/\/static.ra.co\/images\/profiles\/lg\/33emybw.jpg?dateUpdated=1600153874000\" alt=\"\" style=\"aspect-ratio:1.7777777777777777;object-fit:cover;width:747px;height:auto\"\/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div style=\"height:23px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed alignleft is-type-rich is-provider-soundcloud wp-block-embed-soundcloud wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"33EMYBW\" width=\"640\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=true&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Fusers%2F141491452&#038;show_artwork=true&#038;maxheight=960&#038;maxwidth=640\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n<\/div>\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-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\" style=\"padding-top:var(--wp--preset--spacing--30);padding-bottom:var(--wp--preset--spacing--30)\">\n<div style=\"height:15px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\"><\/div>\n<\/div>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><\/p>\n","protected":false},"featured_media":28030,"menu_order":0,"template":"","edition":[116],"type_oeuvre":[27],"class_list":["post-30986","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/30986","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\/28030"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=30986"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=30986"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=30986"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}