Adelin Schweitzer
Marseille, France
Adelin Schweitzer was born in 1978. He lives and works in Marseille.
He graduated in 2004 from the École Supérieure d’Art d’Aix-en-Provence, where he was trained to digital art experimentation and discovered artists such as Tinguely, Marc Pauline from S.R.L or Stelarc. In 2005, he presented his first digital installation VidéoPuncher 1.3 at ARCO, Contemporary Art Biennale in Madrid, and participated in 2006 to the « Villette Numérique » event in Paris with the same project. Based on those two experiences, he created the « UNinteractive » project, in which the audience relation to the interaction process between man and machine is humouroustically questioned. In 2008, he traveled to England, where he began the « A-Reality » project, in the frame of Liverpool, European Capital of Culture. In this art piece, Adelin Schweitzer makes the audience rediscover his everyday life routine through the perceptions of a machine. In 2010, he starts working with stage with the production of « Holy VJ », a show mixing skating performance, immersive video and A.I. In 2012, he joins the Civic City programme of HEAD, Geneva, under the direction of Rudy Baur, and works in parallel on the « SimStim » project, a series of « A-reality » work in progress, questioning the relativity of the real world. In 2013, following a residency programme in Quebec (La Chambre Blanche) he starts a new project called « Dichotomie » as well as a research programme at ESBAM Marseille, studio Lentigo.
Dichotomie #The Fisherman, multimedia installation, 2013
Dichotomie #Eyeswalking, multimedia installation, 2013
In « Dichotomie », I try to build a perceptive mythology in which natural and artificial perceptions oppose one another. The following questions are the basis of it all : if one substracts what the eye can see from what the ear can perceive, what does remain of our perception of a given place ? What does our body become when it’s not anymore the actor of our perceptions?
Part of our perception capacities are augmented by techniques, thus getting us out of our bodies and expanding our natural sensitivity. Techniques can even allow us to reach a sort of ubiquity.
A mediated ubiquity that speeds up our bodies and changes our nature. Internet, google-street-view, social networks, trafic cams, teleoperated war explorations, and automated production are but the examples of situations in which machine perception techniques convincingly replace physical experience and erase progressively the body.
The project consists in a series of spatial perception experimentations, based on a methodology including several recording phases followed by a global phase of diffusion. I am always the recorder. The recording is both iterative and contextual : it results in the accumulation of media (sound and image). Cameras and microphones record separately from totally opposed and subjective viewpoints.
The diffusion for the public is organized as a shooting, i.e contextual sequences. With much care brought to shooting context, and playing with random media reading, the diffusion turns into a sensitive and oniric journey through the memory of a post-modern exploration ritual.
