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The invitation came from the contact I had when the French film director Jacqueline Caux and I screened her film Man From Tomorrow It was the debut and Jacqueline suggested to the director of the Auditorium, Pascale Raynauld that it might be interesting to offer me a Carte Blanche. Pascale did exactly that and we immediately begun the process so that I could create the series of events and performances.
Since the events are mainly based around the usage of film, I had a series of meetings with film archivists and film archive agencies that are closely connected to the Musuem, like Lobster Films. The invited guests were well discussed and thought about. I wanted to have a variety of performances that would display how wide and borderless the artform of Electronic Music could reach, so no one concept seems the similar. This would also be a challenge for me to create the method in which to materialize them. The main theme that connects all the nights together was the subject of Time â€“ to approach Time ins various ways and possibilities.
Working with MikhaÃ¯l was an eye-opening experience. We had discussed the various ways that we could work together. As we both are accustomed to working with Music in concept, the process went quickly from talking about it to actually doing it. The process was unique. I made a series of compositions and presented them. He listened and began to pull parts from existing classical works, like Wagner that were similar in structure â€“ matching them up in order to find out where to branch it off into another direction, while keeping the sentiment in the same mood. By doing this, we both realized that the difference between Techno Music and Classical was even shorter than we thought.
It was mainly my appreciation for the art discipline of Op Art.Â Henri-Georges Clouzot was a great admirer of the artform and was planning on using a lot of it in this film. Works by Victor Vasarely and Julio Le Parc and other notable artists had created works for it. Visually, its quite stunning. I had worked on a art, sound and dance project called Chronicles Of Possible WorldsÂ at the Foundation Vasarely in Aix-en-Provence a few years ago, so I became more fond of this style from that experience.
The soundtracks I made were mainly based on emotion. Using sounds and textures that emphasized the deeper feelings. Certain musical notes, chord and time signatures have a way of arosing certain feelings that imply the notion that Â« this Â» sound is the backdrop for certain sensuous subjects.
The sound mainly followed the images. Visually measuring the tempo and pace of the video loops, allowed me to have a scale in which to prescribe the sound. Also, I had to take in consideration what MikhaÃ¯l would do. Strategically, there were three things at play for each part of the performance and somehow, Mikhail and I had to find the appropriate fusion. At times, we each went our own way to reference the idea of parallel universes, other times, we were completely in sync.
Yes, the aspect of tempo was greatly discussed between us. We both knew that we could emphasize the example of parallelism by contrasting tempo and time signatures. On these compositions, we felt that the listener would first consider in the form of abstraction. But the more you listened, the symmetry would surface.
Thatâ€™s correct. I chose this way because Iâ€™m more a music arranger than a Â« performing Â» musician. Iâ€™m not the type of musician that can play an instrument in real time. I typically compose and arrange music in my studio where I have the ability of thinking about the best way to address the subject with sound. So, preparing the Music beforehand gives me the chance to be more calculated and precise.Â I used to be a drummer in my youth, so Iâ€™m always trying to use machines as a different type of instrument. Pushing and pressing buttons in a rhythmic way.Â In Electronic Music, this way of composing is what made the artform so accessible to people that had no formal background in making Music. It allowed people, like myself, to find out creative ways of expressing ourselves with the machines that we were able to have access to. I believe this is partially the reason why the genre has and will continue be so successful.
Yes, the unfortunate disruption happened as the result of power surges that Le Louvre sometimes experiences. Itâ€™s an enormous building and the electrical systems are probably strained to capacity. We were just unlikely at that moment. When ever a musican is using a piece of equipment that electrically plugged in or connected to something, there is always this chance for these things to happen â€“ and they do. The audience was kind and understanding and we appraicate them greatly. Despite that, we were able to regain our mind-set to go on to finish the show in the best possible way.
I considered exploring the arts that I admire the most. Especially Dance. My goal was to mix and match artforms together for sake of disccovering something new. To show that it doesnâ€™t really matter what its called, that an artistic gesture holds the keys to the way we see the world and each other.
Time has a way of adjusting people perception and ideologies. I think that when positive examples are laid out and examined more closely, it’s clear to see that Techno Music is much more than the negative perceptions people sometimes try to have. This genre isnâ€™t any different than any other. Itâ€™s full of many different possibilities and perspectives. And if we choose not to explore them, to look and listen closer, we then reduce the amount of chances to discover.
Itâ€™s fantastic and I could not wish for better audiences in which to present new ideas to. I believe the diverse mixture is partially due to the time we sit in. Itâ€™s the year 2015 ! Only 85 Years to go until the 22nd Century. People are different because this time is different. I assume the idea to Â« mix Â» has become more common than most people realize. Itâ€™s not really a surprise when we really think about it( ?).
The Egyptian Exhibiton at Le Louvre is one of the largest in the World, so there is a sea of information to learn. This was one of first areas of the Museum I wanted to explore and try to create a performance for. With the help of the choreographer Michel Abdoul, what resulted was a full length feature film of contemporary Dance. My objective was to translate the process and beliefs that Ancient Egyptians had about how their lives would eventually lead to death with the granted assumption that they would be reborn to walk the Earth again and again.
In many ways, the Egyptians lived their lives with much more direction and purpose. It was my hope that by exploring these beliefs would make the viewing audiences take notice to Â« our Â» history and how we used to connect ourselves to our surrounding in the pursuit of the divine.