Hugo Arcier, Annabelle Playe, Marc Siffert / inLAND
Antoine Schmitt and Franck Vigroux / Vidéopolis
Hugo Arcier, Annabelle Playe, Marc Siffert
inLAND
Passages and metamorphoses weave the odyssey ofinLAND | Come back in broad day.
We cross spaces that open up in turn onto a multitude of worlds.
These worlds are explored live, like a 3D video game in which one would wander. This exploration is carried out on site or remotely using the "gamer" tool Discord.
In these multiple spaces, perception is blurred between reality, matter and appearance.
Reality is abstracted, abstraction gives way to landscapes, echoes of the inner worlds that a narrator seems to unfold.
Visions crumble, the image turns out to be an illusion. We then experience what cannot be said or represented, but felt. Nothingness, immeasurable, terrifying or mystical experience, knowledge, dazzlement?
The artists on stage are presences in play: figures of wandering, machine bodies, or ferrymen like Charon on his boat. In this changing space, distant or close, the voice reels off an elusive narrative, witnessing or creating the mysterious genesis in progress. The spectator will summon their own perceptions through the sensory experience of this immersive performance.
https://www.annabelleplaye.com/#!inland.html
—
Annabelle Playe
For the past ten years, Annabelle Playe has been developing a compositional work that ranges from experimental to electronic, using electronic instruments (synthesizers and modular instruments): solos, audiovisual pieces, and hybrid forms in which music is always at the heart of the dramaturgy. Her creations offer the public a sensitive experience of the themes she addresses. Her compositional research revolves around timbre and the physicality of sound, with particular attention to musical structure.
Committed to the visibility of women in music, she tackles today's civilizational issues through "science fiction" stories or pieces with unique and powerful universes.
In 2019, she received the SACD “New Music Talent” Award. She is programmed at the Avignon Festival, at “Vive le Sujet!”. She is the winner of numerous programs (Diaphonique, Biennale Chroniques, DGCA-SACEM, SACD Stage Music Fund). The GRM, Radio France, Issue Project Room in NY commission pieces from her. At the same time, she composes for theater and dance. She performs in France and abroad in numerous Festivals (Mutek Mexico, LEV Matadero, Biennale Némo, Sonica Glasgow, Vidéoformes, Le 104, etc.). She is an associate composer at the Opéra Orchestre National de Montpellier until 2026. Her albums “Matrice”, “Vaisseaux” and “Geyser” are published by the DAC Records Label.
—
Hugo Arcier
Hugo Arcier is a French digital artist (actually an artist in a digital world) who uses 3D computer graphics in various forms: video installations, prints, sculptures.
Initially devoting himself to visual effects for feature films, he worked on numerous projects for directors such as Roman Polanski, Alain Resnais, and Jean-Pierre Jeunet.
This professional activity allows him to acquire in-depth knowledge of digital tools, and of computer-generated images in particular, necessary for the emergence of his projects.
Since 2004, he has been developing plastic and reflective works that meticulously dissect the specificities of 3D computer-generated images and virtual worlds, forming part of a new art form.
His artistic work has been presented in numerous festivals (Némo, Elektra, etc.), in group exhibitions in galleries and institutional venues (Le 104, New Museum, Palais de Tokyo, New Media Art Center of Sichuan Fine Arts Institute, Magda Danysz Gallery, Plateforme Gallery, etc.), as well as in contemporary art fairs (Slick, Show Off).
His work has been the subject of two monographic exhibitions in France:
“Nostalgia for Reality” in 2013 at the Cube, and “Digital Ghosts” in 2016 at Lux Valence.
He was named Knight of the Order of Arts and Letters in 2016.
He is the founder and creative director of studio N°130
He is an active member of the artist-run space Plateforme Paris.
—
Marc Siffert
After starting out as a rock bassist, he discovered the double bass at 19 and won a Gold Medal at the Montpellier Regional National Conservatory 7 years later... then the Geneva Conservatory, the Charles Cros Academy Prize...
With this classical training, he played with the Skokie Valley Orchestra of Chicago, the Orchestre National de France and the Capitole, among others, but he was quickly drawn to contemporary creations and used his expertise in opera, theatre, dance and animated films.
His musical approach tends towards a total exploitation of the resources of the double bass, in a game where the body and matter unite in the search for a sound.
Refusing any label, any compartmentalization, he is also the creator of real-time sound spatialization devices and works on spectral fragmentation.
Iconoclastic and subversive but always honest, he goes beyond the notion of style to privilege that of intention...
Franck Vigroux / Antoine Schmitt
VIDEOPOLIS
In Vidéopolis, sound and image combine to construct and deconstruct the profound architecture of their environment. Despite a floating and unstable phenomenology, a blurred and fuzzy perception, and discordant and deceitful algorithms, the structure of reality persists in its being and resists, like a living organism. Vidéopolis takes us on an infinite tracking shot within this world saturated with images and sounds manipulated by invisible forces. This poses the question: how can we encounter Vidéopolis?
—
Franck Vigroux
Franck Vigroux is a multifaceted artist whose work ranges from experimental electronic music to modern composition and musical theater. His music is made of tectonic tensions, rhythms, electronic textures and a very personal approach to sonic exploration. An artist as prolific solo as in collaboration, he has collaborated with musicians such as Elliott Sharp, Mika Vainio, Reinhold Friedl, Ars Nova… Vigroux's singularity lies in his artistic approach integrating new media and performance. He designs transdisciplinary shows and audiovisual concerts, in collaboration with visual artists such as Antoine Schmitt and Kurt d'Haeseleer.
—
Antoine Schmitt
Visual artist Antoine Schmitt creates works in the form of objects, installations, and situations to address the processes of movement and question their intrinsic issues, whether plastic, philosophical, or social. Heir to kinetic art and cybernetic art, nourished by metaphysical science fiction, he tirelessly questions the dynamic interactions between human nature and the nature of reality. Originally a programmer engineer in human-machine relations and artificial intelligence, he now places the program, a contemporary artistic material unique in its active quality, at the heart of his creations to reveal and literally manipulate the forces at work. With a precise and minimal aesthetic, he poses the question of movement, its causes, and its forms. Antoine Schmitt has also undertaken to articulate this approach to more established artistic fields such as dance, music, cinema, architecture or literature, and has collaborated with Franck Vigroux, Atau Tanaka, Vincent Epplay, Jean-Jacques Birgé, Delphine Doukhan, K.Danse, Patrice Belin, Don Nino, Cubenx, Alberto Sorbelli, Matthew Bourne, Hortense Gauthier… As a theoretician, lecturer and editor of the portal gratin.org, he explores the field of programmed art.
His work has received several awards at international festivals: transmediale (Berlin, second prize 2007, honorary 2001), Ars Electronica (Linz, second prize 2009), UNESCO International Festival of Video-Dance (Paris, first prize online 2002), Vida 5.0 (Madrid, honorary 2002), CYNETart (Dresden, honorary 2004), medi@terra (Athens, first prize 1999), Interférences (Belfort, first prize 2000), and has been exhibited at the Centre Georges Pompidou, the Musée des Arts Décoratifs (Paris), Sonar (Barcelona), Ars Electronica (Linz), the Centre d'Art Contemporain de Siena, the Musée d'Art Contemporain de Lyon, and Nuits Blanches (Paris, Amiens, Metz, Brussels, and Madrid), among others. It is part of the collections of the Artphilein (CH), Fraenkel (USA), Meeschaert (FR), Société Générale (FR), Broich (DE) foundations, Espace Gantner (Bourogne, FR), Cube (Issy-Mx, FR), the Municipal Fund for Contemporary Art (FMAC) of Paris, the Borusan collection (USA)...
Antoine Schmitt is represented by Galerie Charlot (Paris) and DAM Projects gallery (Berlin).
🕒 Schedule
From Tuesday to Sunday
12pm to 19pm
Address
NIEMEYER SPACE,
2 Place Colonel Fabien, 75019 Paris, France
Metro: Colonel Fabien
Tel: +01 40 40 12 10 XNUMX