Musée des tapisseries

28, place des martyrs de la résistance
13100 Aix-en-Provence
Tel : 04 42 23 09 91

Horaires :
Tous les jours sauf le mardi

artists exhibited:

Paris, France

A tribute to New York, video game, 2012
A tribute to New York is a brick game inspired by Atari’s Breakout. Instead of breaking bricks, the player breaks the programming code that builds the game. Once the basic commands are destroyed the game inevitably stops. The aim of the game is its own destruction. You can never win. A tribute to New York is inspired by the self-destroying sculpture of Jean Tinguely and Billy Klüver dating back to 1960.

DNA Brigade, video game, 2012
A shoot ‘em up game in which the player commands the DNA brigade: a miniaturized squad invading the body of the artist from the inside. The player can totally change Florent Deloison’s body, reinvent it or even destroy it by modifying and recombining his DNA code.

Aix-en-Provence, France

wAAAr, interactive installation, 2012
Following his artistic diversions, Romain Senatore offers a new popular attraction concept, between arts, gaming and low-tech interactivity.

This installation offers a political vision of the festive spirit whereby one can no longer tell the difference between a playground and a military camp. A true entrenched camp, the wAAAr project offers a flight simulator that diverts the visual and aesthetics codes of the entertainment industry, to allow for an unconventional re-reading of our world.
“Because power is based on violence, children play-fi ght. Because the world is virtualizing itself in a permanent fl ow of images and information, artists borrow its codes from the video gaming world, to mirror a reality that is everyday more deceptive.” (Isabelle Arvers)
“French Trash Touch”, “Frenchcore”: having chosen to work in collaboration on this project, two artists from the French visual and musical scene were invited to inject their creation into this rebellious round-about.
This installation was created in a creation residence with the support of M2F Créations and Frédéric Mistral high-school of Marseille.

Paris, France

One Life Remains is an artists’ collective dedicated to the exploration of the expressive qualities of the videoludic medium. It was formed in February 2010 in central Paris by its fi ve members: Simon Bachelier, André Berlemont, Kevin Lesur, Brice Roy and Franck Weber. Since then, the collective has been working to create a large ludic bestiary of radical play experiences, unconventional gaming devices and player performances for non-player spectators. The heritage status of save-games, the relationship between avatars, automatons and puppets, the links between ludic performance and stage play: these questions are at the heart of the collective’s project, a collective for whom video games are far closer to live theatre than film.

Dive, video game, 2011- 2012
Dive is a musical game of exploration, playable on touch table. The player traverses an environment made up of abstract, changing forms, looking for fragments of audio which, once collected, serve to enrich the sound-scape while provoking a gradual automation of the avatar’s behaviour. The project was born of a desire to explore links between video games and performance arts. A play-through performance of the game REZ at the Théâtre de l’Agora, which we attended, confirmed our intuition that meaningful comparisons can be made between video games and musical scores: in both cases something is written in advance (be it by a composer or a game designer) and then interpreted, played, by an individual at the helm of musical instrument or console controller. In this sense, while Dive is certainly a video game, it can also be seen as a musical marionette. Dive’s table-based installation was completed as part of a residence at the Théâtre de l’Agora at Évry, with the participation of Renaud Collin and Christophe Havard.

And The Rhino Says, video game, 2011-2012
And The Rhino Says is an experimental video game designed to create a feeling of sensory disorder and confusion in the mind of the player. In essence the traditional connexion between what appears on the screen (feedback) and what is happening under the hood (the state of the system) is broken. This dichotomy widens the gap between what a passive spectator sees and what the active player understands. It quickly becomes diffi cult, for an outside observer, to know where either the player’s avatar or their objective is. As the player progresses the game-screen is gradually split and scrambled, to the point of becoming a sort of digital kaleidoscope or visual labyrinth. The player’s performance is that much more unique a spectacle for its inevitable unintelligibility. Our outsider is astounded and confounded to see the player moving in circles and appearing in 5 different places at once. Infine And The Rhino Says explores the ability video games have to act as a device for conjuring illusions. The game will be presented at the GAMERZ festival in the form of a wall-screen connected to a joystick-mounted terminal.

Game Settings, video game, 2012
Hybrid between channel surfi ng and the game Duck Hunt, mausoleum with limited vacancies before the fi nal Game Over, HIFI shop looting competition or ever-collapsing digital wall: Game Settings is a Russian Roulette played by multiple suicidal identities, in the lead-up to a ludic apocalypse without extra credits or ending cinematics.

[EXPAND Jérome Abel & Grégory Grincourt]Marseille, France / Lille, France

Patatas de goma, installation, 2012
“Patatas de goma” literally, “rubber feet” is Spanish slang used in Venezuela, standing for “tires” and thus designating a “car” in Venezuela. This work can either be presented as an installation or a performance. Five cars are parked in public space, a simple car park for instance. Cars become musical and visual instruments, real time orchestrated by software and by musicians. We use car horns and headlamps as elements of the partition. It’s an artistic situation in a common environment, destabilizing the audience in a playful mode. Leisure and freedom designed by industrials nowadays suffer evident environmental and social limits. Citizens’ awareness rises. Both as artists and citizens of the world, our duty is to hijack industrial strategies that lock freedom of use, independence and creativity. Same locking mechanisms are found in softwares, companies, administrations, and assistance services. Everything is done to muzzle citizens and consumers and make them dependent on intermediaries. Let’s celebrate the end of this era by diverting the use of mass consumption objects and devices. Our cheerful car band’s gonna hold up your daily routine for one moment in a terrible fuzz of saturated sounds. Beware, citizens of the daily routine, beware![/EXPAND]

[EXPAND C.A.T.C.H.  Cultures Arts Technologies Créations Handicap]République tchèque, France, Portugal

C.A.T.C.H. (Cultures Arts Technologies Creations Handicap)
The main objective of this project is to create spaces for active and voluntary collaboration, linking creative people, artists and cultural agents as well as scientific researchers and computer scientists in Europe.
C.A.T.C.H. aims to expand and multiply exchanges in the dimension of scientifi c knowledge, technological advances and artistic production by elaborating common experimental projects with an ambition to link and integrate the world of artistic expression and the world of impairment and disabilities. We will achieve this by drawing upon specific expressive potentialities and by favouring activities involving communication and exchanges in order to permit disadvantaged people to be better “human beings in the world”. We believe that human impairment, once peripheral, constitutes an emancipatory force that cannot be ignored by any form of socio-cultural development. Therefore, our overall objective is to develop and reinforce the conceptual and methodological ties that form tight bonds between scientific research projects and advanced artistic practises by means of trans-disciplinarity and trans-sensoriality. In particular, we will focus on integration of tactility, vision, hearing, spatial cognition, speech, communication and interactive gestural forms of expression within interdisciplinary intercultural practices resulting in innovative artworks with high social relevance. In order to stimulate and catalyze creativity we will establish specifi c experimentation protocols that will accommodate workshops, meetings, seminars, performances, and exhibitions. We will produce events oriented toward a broad public with a vision to initiate long-term collaborative creation projects in the field of handicap. These projects will link advanced research laboratories with creative young people in order to showcase the interrelationships which exist between the universe of the disabled, contemporary experimental art and foundational research.
This work programme has been funded with support from the European Commission, Culture program 2007-2013.[/EXPAND]