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image
© Sophie Bélair Clément, Le son du projecteur, 2009. Photo : Bettina Hoffmann.

Sophie Bélair Clément
From September 12th 2009 to October 17th 2009
Le son du projecteur

Sophie Bélair Clément has developed a video and audio production in which a performative body explores the idea and phenomenon of loss brought about by reproductibility. The experience of loss - replayed on the screen in slow motion and to music - exacerbates the act of hearing, concentration, and other properties of the exhibition. Works in the gallery : Adrian Piper's Bach Whistled (1970, 44 min 7 s) and Piece for a string quartet aiming to reproduce the sound of a video projector playing Bas Jan Ader’s “Nightfall” (1971, black and white silent 16 mm film, 4 min 16 s, transfered to DVD) (2009, 44 min 21 s), performed by Kingdom Shore.


➤ May 8 2008, 07 : 46
➤ FW : Re : the Space Between

Dear Sophie,

If you want to record during the day-time, Adrian Piper´s work Bach Whistled will be on which means that you would not be able to hear the Bas Jan Ader projection. Otherwise, you need to come outside of opening hours.

Kind Regards,

Marie Chrysander
Museum Anna Nordlander, Skellefteå


➤ July 27 2009, 14 : 31
➤ Re : project

Sophie.

I hope this finds you well.
we are finished with the piece.
it turned into a long undertaking here.
we could not track the piece, as we were having too much trouble hearing each other in the mix, and we divided up the parts based on the subtleties in the original file of the bulb.
also, the division and recording of strings meant that we had to recast the score together.
the writing credit should go to the whole band.
we could not find a reed player, so we used violin for the high sound. I hope that you like it.

so, we recorded it live, all together.
the human element of it was interesting. you can really hear the stress of the players at around the 24 minute mark. everyone starts to get tired, and stressed, and the strings dig in a little more, though the volume doesn’t increase.

we realized when we tried to play it, that the sound of the bulb and the projector is encased in a flimsy plastic box, and that it is resonating through there to make some of the sounds that we were hearing. also, you can hear the grinding of the motor in the original file, which made for some tough frequencies to match in the mid-range, but I think we’ve satisfied the spectrum of sound from the original.

so we put 2 microphones up, and set the players at different distances from them. you can hear the way it resonates through the house.
the biggest struggle was to find a way to represent the hissing sound that comes on the original file. we did this through mic placement, and the natural cavity of the house.
there’s a good reverb on this that makes everything sound contained, and i think we’ve matched the hiss and resonance well.

so, the instrumentation and frequency separation is as follows:

jasmine landau: mid violin ryan hough: high violin mark molnar: mid and low cello gerg horvath: mid and low bass

nathan medema dealt with engineering and balancing the recording.

warmth,
mark


«Le son du projecteur» is the subject of an article by Jesse Mckee, Sophie Bélair Clément : Le son du projecteur (Cmagazine, spring 2010)


Sophie Bélair Clément will be at the gallery on Saturday, September 26th (12pm-5pm) for Journées de la culture 2009.

For the 13th edition of the Journées de la culture, Yan Giguère («Attractions», photography) and Sophie Bélair Clément («Le son du projecteur», conceptual art/sound installation) will be at the gallery this Saturday, September 26th : a meet-and-greet with the artists, a guided exhibition of their works and a discussion about their respective practices will take place. Admission is free. See you there!

Journées de la culture



The artist thanks the Conseil des arts et des lettres du Québec, the Adrian Piper Research Archive, Marie Chrysander, Mats Stjernstedt (curator of “The Space Between”) and the Musée Anna Nordlander of Skellefteå, Kingdom Shore (Mark Molnar, Jasmine Landau, Ryan Hough, Gerg Horvath, Nathan Medema and Simon Guibord), Michèle Thériault and the Leonard & Bina Ellen Gallery, Dan Nguyen and Hexagram UQÀM, Marc Dulude, David Jacques, Marie-Claire Forté, Olivier Girouard and Alexandre Castonguay.



Sophie Bélair Clément has developed a video and audio production in which a performative body explores the idea and phenomenon of loss brought about by reproducibility. The experience of this loss – replayed on the screen in slow motion and to music – exacerbates the act of hearing, concentration, and other properties of the exhibition.

Kingdom Shore was formed in March of 2006. Blurring the lines between the punk rock that grew out of 1980's hardcore, avant and art rock, electroacoustic music, noise, old world gospel, and contemporary and left-field music.

Adrian Margaret Smith Piper is a first-generation conceptual artist. Bach Whistled is a durational audio performance in which Piper whistles along to a recording of Johann Sebastian Bach’s concertos in D minor, A minor and C major.

Johann Sebastian Bach (1685-1750) is a renowned Baroque composer.