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Loris Gréaud belongs to a young generation of French artists, which has emerged over the last few years. His practice, however, is distinct from that of most of his contemporaries and is not what one would expect to see, hear and feel in an art gallery. Fluctuating between the fields of film, sound and installation, Gréaud was trained in a variety of disciplines while attending the famous Conservertoire de Musique in Paris from which he got expelled after setting up a recording studio: "A studio to stop music."as the artist once stated. It was here where the artist also launched his own music label, Sibilance Production for the production and distribution of electronic music. Prior to his studies at the conservatory, where he was training to play the flute, Gréaud's studies included filmmaking and some semesters of graphic design before he finally arrived at the Ecole des Beaux-arts de Paris Cergy. |

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Palindrome - Vibrö 1 (track 10)
Designed, produced and mixed with Gery Montet at Sibilance production studio A. ‘Palindrome’ © Loris Gréaud 2003.
" Engage le jeu que je le gagnE” (”engage the game so I can win it” - a phonetic palindrome in French)."The backside exists”, Gary Hill’s famous quote, seems to apply to this production, as if one could extract things from it in order to disturb them, overturn them, twist them and make them exist as negatives. |
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What we have here is a score to interpret, a tale to construct from right to left and left to right; This sonic universe renders the boundary between the viewer and the listener porous. As the introductary state between seeing and hearing, ‘Palindrome’ seems to materialise an hypnogogical state - the phase between awakeness and sleep. For some people, this can be a time of visual or audio hallucinations...”
- Dorothée Mireux |



Loris Gréaud: Cross Filtration
by Jens Hoffmann
Loris Gréaud belongs to a young generation of French artists, which has emerged over the last few years. His practice, however, is distinct from that of most of his contemporaries and is not what one would expect to see, hear and feel in an art gallery. Fluctuating between the fields of film, sound and installation, Gréaud was trained in a variety of disciplines while attending the famous Conservertoire de Musique in Paris from which he got expelled after setting up a recording studio: "A studio to stop music."as the artist once stated. It was here where the artist also launched his own music label, Sibilance Production for the production and distribution of electronic music. Prior to his studies at the conservatory, where he was training to play the flute, Gréaud's studies included filmmaking and some semesters of graphic design before he finally arrived at the Ecole des Beaux-arts de Paris Cergy.
Gréaud's most prominent exhibition to date, Silence Goes More Quickly When Played Backwards, took place earlier this year at Le Plateau in Paris. The show included 14 works all made between 2001 and 2005, of which Eye of the Duck (2005) was the most complex and engaging. This piece was a habitation specifically created for a duck; this modern-looking, designed structure, imitating a space ship, consisted of a basin equipped with a pump, a filter, and a special niche for the animal. During previous installations, the piece housed a real, live duck. At certain moments, a text about ducks by US filmmaker David Lynch was heard in the gallery. The disparity between the intricately designed structure, the materials used, and the duck itself made more notably peculiar the spoken words of Lynch.
As with this piece and many others, Gréaud is interested in working with other people to realize his pieces. While the artist has worked with scientists, engineers, designers, filmmakers and musicians he is very clear about the fact that he sees those relationships not as collaborations but rather as a form of co-authorship and cross filtration.
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Les Résidents (2), (2005) developed with architects Dölger and Ziackovic, is another piece that illustrates Gréaud's working method and unusual approach. The piece claims to be an entirely invisible structure, which uses air currents to designate the boundaries of spaces. This work proposes a different kind of relationship with space evoking the possibility of immaterial architecture. The origin for this piece was Les Résidents (1), (2005) an apartment to which visitors were invited and in which they could spend as much time as they wanted. Located in one of Paris' oldest buildings, the flat was reconfigured to produce an atmosphere that would make visitors feel uneasy creating a form of "haunted house".
Resisting the desire for a convenient, comprehensive restriction to one medium, the artist forms an alliance of various media and fields suggesting a post-medium condition or position-one in which the different forms simply represent one expression among many and indicating the dominance of concept over medium in his work. At the same time however one does not feel inclined to place Gréaud's work in the category of interdisciplinary practice or limit him to the sphere of art that engages in collaborations between different artistic and non-artistic fields. His own participation never departs from visual art and he does not attempt to bring non-art practitioners into the field of visual art. The artist operates outside those categories and for each new work searches for the context to present the work that he views as most appropriate for it. |



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A tribute to Gery Montet
Go to the Downloads section to listen |
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A PROPHECY, 2006
Avec DGZ Research, Toile de spi 750 x 700 cm
Pièce unique



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Crossfading Suitcase, 2004
Valise sur mesure, mousse haute densité découpe laser,
sub-woofers, lecteur CD, batteries, néons
Dimensions : 160 x 550 x 150cm
Editions 3 + 1AP


Click the banner below to listen the performance online.
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Untitled (Dark Side), 2006
Film 16mm report sur DVD MDF résine, laque blanche, haut-parleurs, amplificateur, vidéoprojecteur, système de détection infrarouge, système électronique spécifique, lecteurs DVD, néons
Sculpture : Vincent Nevot
Dimensions : Pièce unique + 1AP


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Devils Tower, 2006
Résine, peinture decocryl, remorque en aluminium modifié
Sculpture : Vincent Nevot
Dimensions : 355 x 200 x 220cm
Coll. Musée national d'art moderne, centre Pompidou.
Editions 2 + 1AP
© Laetitia Badaut


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Illusion, 2006
Illusion is a revolutionary weapon (a supraliminal radio retrospective) 2006 radio broadcast.



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Devils Tower, 2006
Résine, filtre, pompe, néons, lecteur CD, amplificateur,
haut-parleurs, radio
Design avec DGZ Research
Dimensions : 200 x 320 x 200cm
Pièce unique
© Marc Domage
"A duck is one of the most beautiful animals. If you study a duck, you'll see certain things: the bill is a certain texture and a certain lenght; the head is a certain shape; the texture of the bill is a very smooth and it has quite precise detail and reminds you somewhat of the legs (the legs are a little more rubbery). The body is big, softer, and the texture isn't so detailled. The key to whole duck is the eye and where it is placed. It's like a little jewel. It's so perfectly placed to show off a jewel-right in the middle of the head, next to this S-curve with the bill sitting out in front, but with enough distance so that the eye is well secluded and set out. When you're working on a film, a lot of times you can get the bill and the legs and the body and everything, but this eye of the duck is a certain scene, this jewel, that if it's there, it's absoulutely beautiful. It's just fantastic" David Lynch


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END EXTEND, The Launch, 2006
Lancement du livre monographique END EXTEND
Feat. Klang
© Laetitia Badaut et Elisa Pone





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Extend monolithe, 2006
Résine, écran plasma, lecteur DVD
Dimensions : 120 x 350cm
Pièce unique

Tremors were forever, 2005
Sphère en altuglas, temporisateur, câbles, gaines pvc, micro-vibrateurs modifiés, peinture M46
Dimensions variables
Edition de 3
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