”La terre, il se pourrait bien après tout que ce soit une espèce
de merveilleux petit appareil enregistreur, plaçé là par on ne sait qui,
pour capter tous les bruits qui circulent mystérieusement dans l’Univers.”
Pierre Reverdy - ”En vrac” - 1929

”J’entends tous les bruits de la terre grâce à mes oreilles et mes nerfs de cristal
dans lesquels circulent le feu du ciel et celui des volcans.”
Michel Leiris - ”Le point cardinal” - 1927

"Go, go, go! ... Go! go! ..."
John Lee Hooker



"Interim" is a Stan Brakhage (1933 - 2003)  film, directed in 1952.

Inspired by Italian Neo-Realism and relatively conventional in structure compared to his later works, this first  Brackhage's film suggests a tentative encounter between a teenage boy and girl who meet under the city viaducts.
The young man meets the young woman under a bridge by a railroad. They shelter from the rain and exchange a kiss. The man grows sullen and leaves. The film starts with him and ends with her. 
The music is composed by James Tenney.  



Tomeka Reid


Tomeka Reid  is a Chicago based cellist, composer and educator.
Equally adept in classical and jazz contexts, Tomeka Reid  predominantly finds herself in experimental and improvisatory settings and composes for a wide range of instrumentation, from big band to chamber ensemble. Her music combines her love for groove along with freer concepts.

” (…) I’m loving to perform purely free these days. That used to be such a source of anxiety for me ... to be so naked and create something from nothing in front of people and sometimes with people I’ve never improvised with! (…) Do I solo? Do I become a member of the rhythm section? What can I do to make something happen? (…) I like being pushed and even though I am sometimes stubborn, I like to be forced out of my comfort zone (…) I also enjoy through-composed settings and pieces with structure that include improvisation. It’s nice to know where you’re going sometimes but it’s also really nice to know that if you end up somewhere else that’s ok too! (…)”  
 Tomeka Reid - 2015

A long interview by Troy Collins to read here

"(...) Chicago-based AACM member Tomeka Reid has honed her improvisational skills for the past decade and a half as a sideperson to such luminaries as Anthony Braxton, George Lewis and Roscoe Mitchell, as well as contemporaries like Dee Alexander, Nicole Mitchell and Mike Reed. She also co-leads Hear in Now, a string trio with New York-based violinist Mazz Swift and Italian bassist Silvia Bolognesi. Reid is poised to become one of the preeminent improvising cellists of her generation with the eponymous release of Tomeka Reid Quartet, her first album as a bandleader (...)"
Troy Collins 


in quartet with Mary Halvorson (guitar), Tomas Fujiwara (dms) and Jason Roebke (dble bass),
a tribute to the violin player Billy Bang

& here with the live piece  "Tokens"  at the Hyde Park Jazz Festival in 2015
played by six strings' players and a drummer 


Circles (2)

all these pictures are "astrology digital art" pieces created by David Mrugala
ansd issued from a study of planets and NASA informations.


"Sound of Uranus" is made with code (Processing) based on the recording of the Voyager 1 and 2 spacecraft that passed near different planetary and moon bodies within our solar system. Voyager 1 and 2 were launched in 1977 by NASA.


Syv Cirkler

Else Marie Pade (2 December 1924 – 18 January 2016) was a Danish composer. After classical music studies at the Royal Academy of Music in Copenhagen, her life changed and her mind was turned in 1952 when she listened a Pierre Schaeffer's piece on a radio broadcast.

score of Faust 

"Syv Cirkler" (seven circles) is an electronic sound constellation consisting of layers of sine tones in an age that knew neither the computer nor the sampler.

“My work "7 Circles" was inspired directly by my trip to the World Exhibition in Brussels in 1958 (…) I was sitting in a planetarium and saw their programme, which consisted of various compositions, accompanied by light and movement in the planetarium dome...
There was one composition that completely captured me because it represented the stars, how they walk across the sky and their relation to each other. I remember that feeling that I was being lifted into the room, as if I was part of the movement – afterwards I almost felt a little seasick. It all continued to tumble around in my head for quite some time, and when I got back home, I knew that I would write a piece that would be called 7 Circles“
Else Marie Pade - Life in a Glass Bead Game (2005)

To read: a 2014's conversation between Jacob Kirkegaard and Else Marie Pade here

& to listen to: "Syv Cirkler", claimed as the first danish electronic music in Danemark


For Cornelius

"For Cornelius" is a piece composed by Alvin Curran in 1981. It was Curran's first release of fully composed music performed by other people, his earlier LPs containing semi-improvised solo electroacoustic works performed by Curran himself.

It was written shortly after the death of Cornelius Cardew in 1981, the great british composer and political firebrand. Curran has some additional notes about the piece at his website: <<<>>>

"For Cornelius" is performed here by Ursula Oppens.


& about Cornelius Cardew these last months:

"Scratch Cottage and Nature Study Notes", with Carole Finer and Stefan Szczelkun, original "Scratch Orchestra" members, who did activate an intervention, curated by Pierre Bal-Blanc, as part of the last "Documenta 14" in the basement of the Athens conservatory.
It was an experimental framework for exploring the methodologies, technics, and spirit of the "Scratch Orchestra", originaly founded in July 1969 by Cornelius Cardew, growing out of a series of music composition classes held at Morley College London that were attended by avant-garde musicians as well as artists interested in exploring sound. 
This three-day public workshop involving more than 20 students proposed a journey through two important works of the orchestra: Nature Study Notes (1969) and Scratch Cottage (1971)


Sismographie des luttes

"Sismographie des luttes"
vers une histoire globale des revues critiques et culturelles.

Du 10 novembre 2017 au 20 janvier 2018 - 14H30 / 19H30
du mardi au samedi

Galerie Colbert, salle Roberto Longhi -
INHA - Institut national d’histoire de l’art
2, rue Vivienne ou 6 rue des Petits Champs - 75002 Paris

entrée libre


& colloque les 16 et 17 novembre 2017

Commissariat : Zahia Rahmani (INHA)
Assistantes de l'exposition et chargées de la recherche
                         Florence-Duchemin Pelletier (INHA) & Aline Pighin (INHA)
Graphiste : Thierry Crombet - RelativDesign
Composition musicale originale : Jean-Jacques Palix


Une installation vidéo projette une généalogie des revues dans le monde.  
L'image des revues dans le monde de la fin du 18e siècle à nos jours, présente dans une juste articulation avec les contextes historiques et territoriaux, les revues, leurs couvertures, mais aussi des contenus historiques, textes manifestes, portraits…
La revue culturelle est un objet essentiellement moderne. Elle est le lieu de l'expérience scripturale et graphique, mais c’est avant tout un support critique, visuel et littéraire qui fait constamment irruption dans l'accompagnement des luttes que les femmes et les hommes ont mené dans le monde pour leur émancipation.

En ce sens et en raison du recouvrement mondial qu'a été le colonialisme moderne, l'on peut dire que la revue culturelle est par essence, par son hybridité, sa mobilité et son existence précaire, souvent née dans l'urgence et la nécessité, un pur objet de l'expérience coloniale : et ce faisant un laboratoire de la modernité. C'est à l'intérieur de ces espaces contraints et divisés, qu'émerge la revue telle qu'on l'entend : un espace critique et politique en quête d'autonomie. L’histoire des revues et leurs contenus ne cesse de rendre compte de ce long continuum.

La doyenne des revues culturelles de langue française serait peut-être née à Haïti, à Port au Prince, l'Abeille Haytienne en date du 7 juillet 1817. La revue ne cesse de dire une ambition d'indépendance contrariée parce-que faite à la fois nécessairement de voix singulières, d'auteurs volontaires, tentés par des perspectives politiques et culturelles renouvelées.

Présentant plus de mille revues, l'exposition ne prétend pas à l'exhaustivité mais témoigne qu'une recherche collective, multilingue et décentrée, telle qu'elle a été menée à l'INHA, conforte une histoire globale de l'art. Elle permet de réévaluer et surtout faire exister la vie intellectuelle politique, artistique et critique qui s’est exercée au cœur des empires coloniaux.

dossier de presse