20-minute sound installation spatialised on ten speakers
Audio mixing : Blandine Tourneux
In the sound installation presented here, the word is given to us to recompose in the wandering. It crosses the corridors of its own modulations, its unspoken, its redoublings, the signs of hesitation, spirit, etc. The voices which escape in situ from these absent bodies give rhythm to our own body which moves, with them, in the space.
2108 is thus at first this place of inscription of every word, thought by the artist in the continuum of the supports which can ensue from it, since the dictaphone up to the space of preservation or "exposure”. Every bench of the installation on which we sit symbolizes a possible stopover in this moving memory. Because oral tellings are not really preserved, they can be archived and revived, with an new echo each time. It is about oral tellings obstinacy and relevance potential in the time that Élise Leclercq Bérimont speaks.
2108 finally exceeds its fictitious horizon, by defining the archive by its future destination - what shall we think and what will we do of these testimonies in hundred years ?
Audio mixing : Blandine Tourneux
In the sound installation presented here, the word is given to us to recompose in the wandering. It crosses the corridors of its own modulations, its unspoken, its redoublings, the signs of hesitation, spirit, etc. The voices which escape in situ from these absent bodies give rhythm to our own body which moves, with them, in the space.
2108 is thus at first this place of inscription of every word, thought by the artist in the continuum of the supports which can ensue from it, since the dictaphone up to the space of preservation or "exposure”. Every bench of the installation on which we sit symbolizes a possible stopover in this moving memory. Because oral tellings are not really preserved, they can be archived and revived, with an new echo each time. It is about oral tellings obstinacy and relevance potential in the time that Élise Leclercq Bérimont speaks.
2108 finally exceeds its fictitious horizon, by defining the archive by its future destination - what shall we think and what will we do of these testimonies in hundred years ?
Text written by Morad Montazami, art historian and critic