prasca.org

SYNCD01

syn- — 2005-03-06T23:00:00Z

une histoire comme une autre (a story like another), written and composed by SYN-

CD, 4-page color booklet
Durée : 55' / 16 anonymous tracks (included, a video mpeg of Perf'fusion)

« une histoire comme une autre » is the achievment of a project mixing painting (Inbloom) and writing (Agnès Castel) which has been shown as a visuel installation of pictures (2001) .

It deals about two lovers, from their meeting until their separation...

In an infinitely swirling sound made with breaths and crackles (Female lover moult in a chair-support), fragments of truth, stories about open heart are revealed ...
Acoustic instrumental duets emerge from this emotion as souvenirs ...

Syn-: guitars, bass, cymbals, sound effects and design, [mix (with Mathieu Gautron )]
Agnès Castel: Textes, voix
Inbloom: Voix, graphisme, peinture.
(Guests) Piano: Vincent Dacquet (2,3,5,10,15)/ Clarinette: Ignacio de Plaza (7)/
Short-cut realised by Pauline Boucharlat // Photo credits: François Massal
© et ℗ Prasca 2004

Texts

syn- — 2005-03-05T06:42:15Z

Texts Here, the text is on the half path between voice and picture. As the support and the illustration of a complex relationship, it gives the keys to a possible escape. Calling to imagination as much as the intimate experience of each, words take the viewer much towards in the memory of the related story.

They are set in paintings but also present in the musical ambiance, that the sound creation plays with words of mouth. They are the palimpsest of each painting. Thus, chairs speak too, in order that the meaningful instrumental ensemble is directly aimed at everyone.

Music installation

une histoire comme une autre is a traveling exhibition combining writing, painting and music. This music and the paintings are complement each other. More often silence, it comes to underline volumes that invade the characters, to reveal their intentions, so as we can share the story. Thus, the exhibition tells, and the soundtrack reveals the movement, reports the contexts, crosses the lovers' thoughts.

This soundscape has originally been created for an installation broadcasting two distinct stereo sources.

The first one, from the ground, delimits the global universe in which the story develops: blows, soundwaves, creaks, rustles, are prolonging the volumes, the tones, and the colors of a series of nine paintings arranging in a circle.

The second source of sound (left and right channels are independent), spreading vertically from each painting, is exploring, in an ananchronistic order the privacy of both naked man and woman: as many fragments of evidences about this meeting thanks to memories of the bodies, of their complicity and then of their isolation; of their desires and besides of their repulsions until the metamorphosis of one of the partners.

Composition: Syn-/ Piano: Vincent Dacquet (2,3,5,10,15)/ Clarinet: Ignacio de Plaza (7)/ Mix: Syn- et Mathieu Gautron/

une histoire comme une autre

syn- — 2005-03-04T09:14:14Z

Thought like a theatre piece, this creation relates the sharing field of two lovers and the influence that the close environment on their relationship.

Each of the nine big paintings/scenes, inspired by François Massal's photographies, represents a stage of this relation.

First, the two bodies are in movement, answering to each other; and then, as one goes along, they flee and become motionless: cold tones override warmy tones. Facing the canvasses by Renpaumero, many painted chairs,executed in ink on little sizes, represent the sight of the other and the public.

Texts by agnes Castel take the viewer much towards in the memory of the related story. They are set in paintings but also present in the musical ambiance, that the sound creation plays with words of mouth. They are the palimpsest of each painting.

Thus, the exhibition tells, and the soundtrack by syn-anton reveals the movement, reports the contexts, crosses the lovers' thoughts.

The installation makes the different four sources of sounds at the viewer's disposal: two of them are hung alternatly behind each painting and define the intimacy of both naked man and woman; at least, the two others create a contextual space.