Squeeeque - L'igloo improbable

Maison des arts de Créteil - Squeeeque - L'igloo improbable

Squeeeque - L'igloo improbable

Alexis O'Hara
Une cabane stéréophonique. Un cocon sonique Construit de haut parleurs récupérés aux marchés aux puces.

Une cabane stéréophonique. Un cocon sonique Construit de haut parleurs  récupérés aux marchés aux puces,cette installation reflète une encyclopédie de la chaîne stéréo, traversant des décénies de modes et de design. Les haut-parleurs sont liés en série et en parallèle. Des micros, placés au centre, alimentent les murs. La structure curieuse invite les gens à former des petits groupes éphémères le temps de jouer, chanter, gueuler en bandes. Les «habitants de l’igloo» peuvent aussi jouer avec le dynamisme des larsens sonores en pointant les micros vers les murs. Les participants peuvent ainsi jouer l’igloo comme un instrument. Le feedback n’est pas vraiment un problème, plutôt un sujet intrigant. L’interactivité de l’Igloo est évidente. Cet espace convoque les enfants de tous âges à se défouler, libérant leurs voix et se dépouillant de leurs inhibitions. Ce projet est un hommage au génie impressionnant et la richesse des traditions orales des peuples du Nord.

An immersive environment, cosy as a children’s fort, built from items discarded by society. A sonic cocoon woven from the mutations of your own voice, reverberating across walls and ceiling. An audio sculpture that evokes one of the most ancient incarnations of the human habitat. A speakerbox igloo. All materials are recycled, collected from flea markets, recycling centers and the web, reflecting an encyclopaedia of the home stereo, spanning decades of design trends. Each unit is imbued with the energy of the living room it once occupied.
Speakers face inwards with four microphones, placed inside, as the only audio source. This is a space for people of all ages to echo their voices, shedding inhibitions and forming instant and ephemeral communities with fellow howlers. Participants may play with the dynamics of audio feedback by pointing mics to the walls. Feed- back is an issue, but it is an interesting issue.

Writing bios is boring. Here is what an arts center in Austria has to say about me: “The an- drogen, Cimmerian-like, multi-talented, funny, and dubious artist is a fixed star in the Montreal cabaret and avant-noise scene. With pseudo- virtuous verbally, gutturally and technically gen- erated melodies Alexis O’Hara gets tangled up in spontaneous sound and body battles express- ing the general absurdities of life. In her per- formance “City of Sighs” Alexis O’Hara breathes herself through the register of man’s arrogance and absurdity. In the form of a living dynamic sound sculpture she embodies wordless sto- ries, a meditation of fear and longing, her voice transformed, multiplied, interfered and alienated by various forms of hi- and lo-technology, the distortion of one’s subjective perspective illus- trated through visual projections. Performance poetry, sound art and interactive life art is what O’Hara calls the genres that most closely define her work. Her performances with clothes run- ning on batteries have become legendary—now she wires up with samplers and sends her voice on hypnotic and lyrical journeys.” In a nutshell: I make sound. Performances, recordings, installa- tions. I also take pictures, make videos and make incredible medicinal popscicles.

Le son o hara :
(extrait radio latido)

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