XUL VII



Samedi 4 avril, 20:00, salle C11
"...la boucle, la ritournelle, la répétition ou le larsen..."
CRASH DUO (Ayato, revox & Anton Mobin, cassettes) au milieu du "Monolithe du Califat", une installation de Philippe Coudert


Xul est un espace de liberté créé pendant quelques heures au milieu de la ville d’Orléans. Les artistes professionnels, amateurs, et même ceux qui n’ont pas la mention « artiste » dans leur fiche de référencement administratif sont invités à présenter ce qu’ils ont dans le cœur ou la tête.

Expositions diverses et variées, travaux finalisés ou en cours, performances sonores, corporelles et bien sur les éternels bars à boissons et bar à soupes pour la convivialité qui est un des pilier de Xul.


Line UP

18h, 18h30, 18h45, 20h30, 22h, Ici…, pourquoi tu ne danserais pas ?
18h et 19h Enlivrement, une performance de Sandrine Leturcq,
19h30 Dialogue, une performance sonore et vidéo de Reminuscule et Sandra Gaillardon
20h Crash Duo
20h30 Emballage (en D3)
21h Le Kube
21h30 Jean Louis Costes (dans le garage).
22h40 Nocturne (dans le garage).
23h20 Doz3n (dans le garage).



Au programme (pour l’instant) :
Les origines du monde et de la guerre, tableaux d’SB/OB,
Affichage et canard sauvages, exposition photographiques alcoolisée d’Olivier Baudu,
Flower Power, une installation de gravures de Segolène Garnier et Laura X,
Ma quête, une sculpture cinétique et plus d’Olivier Morvan,
T.A.R.D.I.S. une installation sonore et interactive de Camille Dianoux et Florent X,
Le marteau de Schumann, l’installation finale de b01,
Hey Stamp ! , une installation de gravures de Fabien Krauze,
La nécro culotte islandaise, une bio-s-cul(p)ture de Guillaume B,
ArchiBooKidz, un projet polymorphe autour des architectures dans la littérature enfantine de Charlotte Gaillet, Lucie Cluzan et Violaine Labaume,
Xul Pix Collector, robot extracteur d’archives fraîches de François Marie Billard,
Monsieur Chien, collage de couloir de Yel Fox et Anonyme,
Batutopia, une installation de Marek Zaroslinski,
Phénix, une installation d’art numérique de Sylvain Blocquaux,
Fin de contrat, un travail photographique de Aude Mahu,
Génération V, une surprise de Yves Duranthon,
Le Kube : paysages intérieurs, une performance de sound painting de Patrick Sintes, Yann et Christine Desfeuillet,
Lichens métamorphiques, une installation vidéo de Peter Briggs,
J’aime demain, une installation du collectif THH [collectif pour un transhumain heureux],
Le monolithe du califat, une sculpture vidéo-mappée de Philippe Coudert / Crash Duo Live,
Mike, le poulet sans tête, une recherche documentaire de Ale,
Nuage, une installation fumeuse de Ale,
Ouverture(s), une exposition photographique d’Aline Villain,
Sans titre, exposition photographique de Florence et de l’association Basarts,
Sans titre, une fresque évolutive de Sandra Gaillardon,
24h, portraits photographiques d’une journée par Géraldine Arestéanu,
XUL SWEATSHOP, performance textile de La Ressource AAA,
Les 7 principes de la philosophie Xul – projection d’une discussion par Thomas Charmetant,
Panier-Panio, seconde partie du double album d’Olivier Baudu,
Expérimentation sans titre 2015, installation vidéo interactive de Sengthe Vanh Bouapha,
Bleu est mort, installation peinture et vidéo de Daniel Caspar,
Multi art development, boom, installation et projections vidéo par Notone.


http://crashduo.blogspot.fr/

http://xul.philippecoudert.com/blog/2015/03/04/xul-vii/

SPLIT SHEMA ON Kassette Kult Tapes





SPLIT SCHEMA
Anton Mobin & Ayato
C60, cassette released on Kassette Kult Tapes
CD-R & download on HaltapesArtwork : Anton Mobin & Ayato


Side A
Extension Idiomatique - Anton Mobin

1. Sauvage Stone Ondëk
2. The Right Up
3. Eco Ero
4. C'est Mal Parti
5. Return Loads
6. Vie Prochaine
7. Cross Complex

Live looping experiments and interaction between tapes, cassette players and microphones recorded and mixed at the Maïzing Studio, Paris, France in December 2014. 
Composed with Sony TC-D5M magneto, Sony TCM-939, Walkman Sony TCM-400DV, unbranded frontless walkman, Olympus S907 feedback dictaphone, Silver Tooth voice recorder, tapehead with some transportation tickets, radio, Coil Eagle, Sony ECM-719 and two Rode NT5 microphones. 
Cassettes are blank tapes, homemade endless tapes and hanwritten tapes by degradation with a knife of the iron oxide content in the magnetic tape.

Side B
Face à Face - Ayato

1. Episode 1_Season 1

Cut up recomposition series recorded and mixed at La Ferme Là, Olivet, France in December 2014.
Composed with a Yamaha MT120 multitrack recorder, a Fostex X-28H multitrack recorder, a Walkman Sony, a bent recorder Philips and an echo chamber Dynachord.
Playing in real time two tapes with two different multitrack recorders, which gives 4 stereo sounds side A in normal play and side B in reverse added to others sounds played au grés du vent with the others devices. Cassettes are from private collection, gifts, prepared and found tapes, archives...





MANY THANKS TO HAL McGEE !

I morti non sono morti-Les morts ne sont pas mort.


video


better quality here:  http://vimeo.com/113370229

FILM BY MALIK NEJMI (2015)
LOOP OF 25 MIN.
Video HD 2K, color, sound
projection of 6m, 4 speakers
résidence Villa Medicis Academie di Francia 2014
Programme Hors les murs 2015
Fonds National d'Arts Graphiques et Plastiques
Institut Français de Florence
Kulte Gallery
Production Imagin film Paris
Productrice Anne Laure Dagorn
Directeur de la Photographie : Frederico Martucci /
Ingénieur du son : Alessandro Rolla /
Assistant : Giuseppe Spanpinato
Monteur : Cyrill Curchod
Musique et sons : Mathieu Gaborit

The figure of the african street vendor is for me, central to the collective and popular representation of our contemporary world. I admire the courage of these young Senegalese vendors, their way of life and their careers are in the image of the trial they live.
Italy is following the assassination of Samb Modou and Mor Diop in Florence in December 2011 (the murderer belonged to Casapound fascist party), I started to approach Senegalese street vendors of the Florentine city. Following a year of commemorations, I attended a mosque in a very moving collective prayer in memory of "those who where dead". In talking with my friend Souleymane, the brother of one of the victims I realized that this prayer was not relieved families and they expected this year, two years later, to pray their dead as they should in Senegal: all men read the Koran together by sharing traditional offerings.
The title refers to a poem Birago Diop "The dead are not dead," which was regularly utlise speech in 2011 by Mr Pape Diaw, then head of the Senegalese community of Tuscany, to calm the youth during the riots nights that followed this terrible murder ... In a moment of collective struggle and pure memory, the film (a remounting sequence) tries to show the challenges between religion and politics in the Italian Senegalese community. This is a single time when families were allowed to leave this film particularly moving moment in view of the protagonists suffered by racist events. For most, this prayer turn them to real transition, to the concept of "forgiveness" and tgives us the exemplary value of integration behaviors while giving measure of anxiety that sprang from this community. Again, this film is showing us the political fight of black community inItaly actually.
"This is a moment of pure memory. Variations in voice Mr Idy Diene (brother victim) singing suras, when it collapses, where it supports the gradual arrival of men passing throughthe fixed field of the camera, the gradual rise of the reading of the Koran several voices (thirty) and the slow descent to the last word, then, silence, sharing gifts
and discussion with the marabout in the room, the answers to the marabout hearts of men ... all a rhythm independent film, a film whose length is dictated solely by the need to support the players, bring them to the end. Leaving one by one the small mosque illegal, people thanking us the way.
The group was also giving the image of a huge raft in the middle of trial. Today the video runs in families returned home between Dakar and Florence, I like the idea that the film accompanies life in all these tests. Today it is both a valuable document for the history of Senegalese in Europe, and a film that has nothing to do with contemporary art but how traditional devices of museum demonstration of cinema and languages of the reel." Malik Nejmi