{"id":8520,"date":"2022-01-13T17:03:24","date_gmt":"2022-01-13T16:03:24","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=8520"},"modified":"2024-05-14T12:26:15","modified_gmt":"2024-05-14T10:26:15","slug":"the-lights-which-can-be-heard","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/the-lights-which-can-be-heard\/","title":{"rendered":"The lights which can be heard"},"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><strong>THE LIGHTS WHICH CAN BE HEARD<\/strong>\u00a0\u2013 LE DERNIER SON DES AURORES<\/strong><\/strong><\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\">S\u00c9BASTIEN ROBERT<\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-002ffff5 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 and visual art<\/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 class=\"wp-block-paragraph\"><strong><em><strong><em>The Lights Which Can Be Heard<\/em>\u00a0<em>\u2013 Le dernier son des aurores<\/em><\/strong><\/em> is a research and creation project about the sound of the aurora borealis, which has long been witnessed by various indigenous communities in the Arctic. Despite the many accounts, the Western scientific community denied their existence for decades until some hypotheses about their origin began to surface in the 1950s, but are still debated today.\u00a0<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Some believe that the natural VLF (Very Low Frequency) radio waves produced by the aurora borealis can be perceived in the observer\/listener&#8217;s environment. Some natural elements (minerals or crystals) would act as receivers and transform the radio waves (electromagnetic) into the audible spectrum (acoustic). Without rejecting any hypothesis, it is this last one that caught S\u00e9bastien&#8217;s attention for his project.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Despite successful recordings following a three-week residence on And\u00f8ya in Norway, S\u00e9bastien realised that the VLF waves emitted by the aurora are increasingly difficult to perceive because they are more and more drowned out by artificial signals. They are therefore bound to disappear. Inspired by this unique context, and in the continuity of his previous work, S\u00e9bastien is currently developing a body of work around this research, which will allow the audience to perceive the sounds of the aurora borealis while preserving them in light.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"690\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-1024x690.jpg\" alt=\"\" class=\"wp-image-11201\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-1024x690.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-300x202.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-768x517.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-1536x1035.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-2048x1379.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption><meta charset=\"utf-8\">And\u00f8ya, Octobre 2021 \u00a9 S\u00e9bastien Robert<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"690\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-1024x690.jpg\" alt=\"\" class=\"wp-image-11204\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-1024x690.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-300x202.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-768x517.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-1536x1035.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-02-2048x1379.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>Lofoten, February 2022 \u00a9 S\u00e9bastien Robert<\/figcaption><\/figure>\n\n\n\n<p class=\"is-style-default wp-block-paragraph\">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\/the-lights-which-can-be-heard\/&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\/the-lights-which-can-be-heard\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=The+lights+which+can+be+heard&amp;url=https:\/\/chroniques-biennale.org\/en\/the-lights-which-can-be-heard\/\" 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\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/01\/TLWCBH-ArcticWave-01-1000x1000.jpg\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>Mawena Yehouessi <sup>(FR)<\/sup><\/h2><div class=\"artistContactLine\"><a href=\"https:\/\/mawenayehouessi.fr\/\" target=\"_blank\">mawenayehouessi.fr<\/a><\/div><div class=\"artisteContent\"><p><span style=\"font-weight: 300;\">Mawena Yehouessi (n\u00e9e en 1990) est une curatrice, chercheuse et artiste dont la pratique s\u2019ancre dans le collage, \u00e0 la fois comme \u00e9thique et m\u00e9thodologie d\u2019\u00e9mancipation collective.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 300;\">Apr\u00e8s des \u00e9tudes en litt\u00e9rature, philosophie, gestion de projet et danse contemporaine, elle fonde en 2015 le collectif Black(s) to the Future, amor\u00e7ant un travail \u00e0 l\u2019intersection de l\u2019art, de la recherche et de l\u2019activisme. Se d\u00e9crivant comme une \u00ab collisionniste \u00bb, elle explore les frictions et les connivences entre disciplines, formats et r\u00e9cits. En 2024, elle soutient la premi\u00e8re th\u00e8se de recherche-cr\u00e9ation en Arts \u00e0 la Villa Arson et \u00e0 l\u2019Universit\u00e9 C\u00f4te d\u2019Azur, intitul\u00e9e <\/span><i><span style=\"font-weight: 300;\">Po\u00ef\u00e9thiques afrofuturistes : Trimer trames \u00e0 l\u2019intersection du collage et de la curation<\/span><\/i><span style=\"font-weight: 300;\">. Depuis 2025, elle enseigne \u00e0 l\u2019\u00c9cole nationale sup\u00e9rieure des Beaux-Arts de Lyon.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 300;\">En Europe et \u00e0 l\u2019\u00e9tranger, elle a con\u00e7u des expositions et programmes publics (B\u00e9tonsalon, La Box, Villa Arson, Fondation Ricard, Berghain\/LAS&#8230;), tout en menant des activit\u00e9s p\u00e9dagogiques, notamment \u00e0 la HEAD\u2013Gen\u00e8ve et \u00e0 l\u2019ENSA Paris-Malaquais. Ses deux premiers films collectifs, <\/span><i><span style=\"font-weight: 300;\">Sol in the Dark<\/span><\/i><span style=\"font-weight: 300;\"> et<\/span><i><span style=\"font-weight: 300;\"> Joy Boy<\/span><\/i><span style=\"font-weight: 300;\">, sont pr\u00e9sent\u00e9s en avant-premi\u00e8re \u00e0 la 72\u1d49 (2022) puis \u00e0 la 76\u1d49 Berlinale (2026), tandis que son travail visuel a \u00e9t\u00e9 expos\u00e9, entre autres, au Beursschouwburg, \u00e0 la Triennale de Dunkerque, Tanzhaus Z\u00fcrich, deSingel et \u00e0 l\u2019IAC\u2014Villeurbanne\/Rh\u00f4ne-Alpes. Elle a \u00e9galement contribu\u00e9 \u00e0 la traduction de plusieurs textes de Fred Moten en fran\u00e7ais, et ses propres \u00e9crits ont \u00e9t\u00e9 publi\u00e9s dans e-flux Architecture, A*Desk, Klima et The Funambulist et divers catalogues d\u2019exposition.<\/span><\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-002ffff5 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\">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 class=\"wp-block-paragraph\">Originally commissioned by STRP Festival<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Creation realized in coproduction with the platform <strong>CHRONIQUES CREATIONS<\/strong>, supported by the DRAC Provence-Alpes-C\u00f4te d&#8217;Azur, the R\u00e9gion Sud Provence-Alpes-C\u00f4te d&#8217;Azur, the City of Marseille and the French Institute in Paris<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With the financial support of Stroom Den Haag, DICR\u00e9AM, Fonds [SCAN] Auvergne-Rh\u00f4ne-Alpes, and Stimuleringsfonds Creatieve Industrie<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With the intellectual support of The Royal Library of the Netherlands, The Troms\u00f8 Geophysical Observatory, Fiona Armery (University of Cambridge), Rob Stammes (Polarlightcenter), Harald Gaski (University of Troms\u00f8 ), Hans Ragnar Mathisen and Matti Aikio<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">With the technical support of Lucien Nicou (design + production), Leandros Ntolas (light + optics), Pim Kerssemakers (metalwork), Mark IJzerman (TouchDesigner) and Zois Loumakis (hardware + software)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Under the artistic supervision of Jean-Emmanuel Rosnet<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Initiated during the Arctic Wave residency (And\u00f8ya, NO)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><meta charset=\"utf-8\">Partner: Les M\u00e9janes &#8211; Biblioth\u00e8que et Archives Michel Vovelle<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"is-style-noMarginBottom wp-block-paragraph\"><\/p>\n","protected":false},"featured_media":11201,"menu_order":0,"template":"","edition":[66],"type_oeuvre":[25,71,95],"class_list":["post-8520","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/8520","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\/11201"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=8520"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=8520"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=8520"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}