After presenting the installation twice in Mexico last year (Oaxaca, Mexico city), we had the chance to go back to the American continent later in the year, this time invited by 2 Brazilian organizations.

Eletronika Festival – Belo Horizonte November 30, 2013

It is right at the heart of the Igreia Sao Francisco de Assis, designed by the Iconic Brazilian architect Oscar Niemeyer, that the audience was invited to experience a seated and intimate version of our piece.

It was obviously quite exciting to know that Onion Skin was the first ever installation exhibited in the church. And also quite intimidating to be surrounded by Candido Portinari’s controversial paintings.

Here is a selection of photos:

Multiplicidade festival – Rio de Janeiro -December 7+8, 2013

Right at the bottom of the Corcovado mountain, surrounded by the largest urban forest in the world, can be found the Parque Lage School of Visual Arts. It was outdoors, among thick humid vegetation and mico monkeys, that Onion Skin was set, for 2 nights, and for the first time with a 5.1 surround sound composition.

Here are a few pictures of the event:

Onion Skin will be presented at EXIT FESTIVAL
March 27 to April 13, 2014
France / Créteil

While gardens are an expression of the relationship between nature and culture, mostly seen as an idealized landscape subjected to the shaping powers of culture and deprived of their own principles of ecology, the garden in Oaxaca seems untameable. Its wild diversity is an image of all ethnic groups, indigenous languages and species of plants that found here a favourable oasis. The arrangement of the garden reflects the natural history of cultivation and creates a polemical encounter between the garden’s rather “nationalist” character and the arched windows of the monastery, an expression of alien colonists. The location turns into a living canvas and mediates our contemplation on the relationship with nature, environment, the passage of time, the spectres of being and our illuminating beliefs.

The garden in Oaxaca is a microcosm the artists use to unveil the region’s endemic flora and to create a continuous experience out of the artistic format, one that may enables visitors to gain a deeper understanding of human interaction with the environment.

“We liked the idea of trying to create a trail” says Nicolas Boritch, “(…) of developing an ephemeral experience in such a unique space. A place which had never been opened to the public at night before.”
The artists’ use of an immersive experience through several site specific installations generates a physical and psychological journey, but it also transforms materials and the environment into a magic geography where matter becomes object and space is refined as a wild territory of organic forms, light and technology. The trails of light become trails of the senses through which visitors can resonate with ancestral techniques, nature, technology, and a mystical experience of the world. While the curative mythologies and practices man creates to ensure his grasp over nature are an attempt to command its wild forces, the artists were interested “in letting the spectators glimpse and hear the hidden world behind each plant, rock and construction there”, says Thomas Vaquié. “We approached this idea of a garden trail as a dream. Even though each piece could work separately, it was important for us to build the trail as a journey, so that people might enter and exit with a sense of continuity. To give them the impression that they never left the dream.”

The succession of installations unveils the layered perception of space and dimension. In Olivier Ratsi’s Onion Skin, the physical dimension of the two walls positioned at right angles is augmented by light projections. The resemblence to a half-open book is an invitation to a journey through its chapters, but it is also a psychological preparation for the garden trail. “Onion Skin is based on the principle of alignment”, says Ratsi. “In our case, the alignment of three points: the module, the projection and the audience. When the spectator is perfectly aligned with the other two, a new dimension is revealed through anamorphosis.” The installation is a light graphology that reveals the progressive structure of space, time and perception through various recompositions. Repetition and scale are used to create a physical, hypnotic and dream-like experience based on geometric elements, the illusion of a new dimension and a play of light spectres. A 5.1 surround sound set-up accentuates the physical dimension and creates volume to this perspective. Like a door unto the realm of a parallel world, Onion Skin guides the visitors through the garden, where small installations are spread out across the paths that lead to the yet-unseen The Ark.

Romain Tardy’s cacti piece creates a cultural and symbolic bridge linking heterogeneous moments into a shared continuum. As the visitor approaches the installation, he is progressively immersed into its core, where shapes of light and whispering sounds draw him towards the main scene. The architectural setting, “formed by cacti which separated the space into two unavoidable chambers of perception, allows the visitors to view the installation from different angles”, says Laurent Delforge. “The idea of playing with multi-sided space became a thread in the narrative construction of the piece.”

The Ark is a contextual installation. It uses plants as a visual canvas but also as living beings embodying an individual presence coherently integrated into nature as the unity of multiple living entities. Yet the installation was not an attempt to reach “a pristine symbiosis between nature and technology”, says Delforge. “The idea was more to create a peculiar encounter.” The trail of light is an expression of the collision between nature and technology, but its luminous matter also deals with memory and recollection. The magic of light activates our recollection. Immersed in this environment, the visitor takes an illuminating mental journey to regain memory as light.

As visitors walk past the cacti installation, guided by distant lowing lights and subterranean sounds only, an open space reveals 3Destruct | Oaxaca pulsating behind thick vegetation.

The last piece, Réplica, which is set along a straight and rocky path going to the exit, acts as a recollection, using sonic textures and musical parts previously heard along the trail. The garden thus transforms into a magic place of illumination. It spotlights the history of the place, with plants being arranged by ecological and cultural themes, but it also enlightens a personal, curative experience.

The artists create a magic geography on the border between dream, psychedelia and an elevated state of consciousness. It is based on a play with scales, light and matter that reflects upon natural, archetypal and constructed forms. Yet it is hard to describe this work singularly. As Manuel Alacala, Proyecta’s content director, justly observes, it is something visceral that goes beyond experimental cinema and could rather define terms such as future film. The journey through the magic garden is a physical and imaginary exploration of a layered space and multiple experiences through which visitors reach refined mental geographies.

Text by Sabin Bors, curator at anti-utopias.com

The trail consisted of the following four works:
Onion Skin, by Olivier Ratsi, music by Thomas Vaquié
The Ark, by Romain Tardy & Squeaky Lobster
3Destruct | Oaxaca, by Yannick Jacquet, Thomas Vaquié & Jeremie Peeters
Réplica, by Laurent Delforge & Thomas Vaquié

All projects managed by Nicolas Boritch

Proyecta festival: 
Content director: Manuel Alcala
Producer: Samuel Rivera
Technical director: Azael Saenz

The piece I presented is a light and sound sculpture whose elements are suspended in mid-airspace, and fragmented in a space. This dynamic layout offers different points of view and perspective according to the position of the spectator.
The structure was in the center of the room, and filled a 13 m2 surface and a 3m height.

“White roads in the red matrix” is in continuation of my artistic commitment over the past few years, but this time with a more “structural” approach, as opposed to my work based on still or moving images, but again with the same focus of deconstruction. A selection of my deconstruction series can be found on my blog WYSI*not*YYG, while series based around the theme of time are visible on Deconstruction Time, Again.

While doing some research around the deconstruction theme, I had to create fragments, which would always be rectangles, the main geometrical shape I’ve been obsessed with for years, the core material of the work. But this time I wanted to have an even more radical approach.

The outcome of this research is a spread of fragments in space, a floating matrix  animated in time by sound and light.

The installation is made of 14 elements of red semi-translucent Plexiglas and six  aluminium structure with embedded LEDs.

These elements can be lit up independently, and synchronized with a sound design  that brings the temporal dimension of the work. Thomas Vaquié worked on the sound design, and created two main sound ‘colors’ to reflect the each of the two materials’ singularity. The sound is then made of 44 different sounds, and the challenge was to create melodic and harmonious.combinations from these elements.

Part of the structure was projection mapped, and projectors were used to contrasts with the sharp lighting of LEDs, and the visuals were developped with VVVV. The software will allow future development of an interactive version of the piece.

Olivier Ratsi : design / Thomas Vaquié : sound design / Anthony Gouvrillon : software development / Julien Guinard : LED development

Thank you to Elektra team, Gilles Alvarez, Julien Taib, Cedric Huchet, Nicolas Rosette – Support by Arcadi, Théâtre de l’Agora and Stereolux. 

The surgeon: Nicolas Boritch, now producer at AntiVJ, the bathrobe guy: Jérome Monnot, made many of our video reports, Lady pouring milk: Yolanda, singer for Massive attack, and myself as a red faced Santa.

At that time I was experimenting with wiimote hacking, projection mapping (my first tests were on the neighbour’s house), I was also travelling a lot to VJing events around Europe such as the mapping festival (Geneva), and discovered inspiring art installations. I remember being blown away after seeing 3Destruct for the first time in 2007, and the discovery of this project triggered the idea of starting a label, dedicated to visual art.

2008 AntiVJ
In early 2008, with Yannick Jacquet, Olivier Ratsi and Romain Tardy, we decided to work more together, and then officially started AntiVJ, a structure to develop, produce and promote visual arts, and a focus on the use of light in 3D space (as opposed to a projection on a flat screen).

Then Nicolas Boritch joined us as a producer, to “try and make things happen”, Thomas Vaquié started composing music more regularly for architectural mapping pieces and became a key artist for these projects, and others. Creative coder Simon Geilfus is the latest visual artist to join the label (Murcof project). His work on realtime tools is also changing the way we approach new pieces.

NEW BLOG
So long story short, this blog, which started as a personal diary about VJing projects, doesn’t really make sense in its current format anymore, and this is now the time to open it up to the other members of the label, and to turn it into a shared space.

So from now on, the articles will be signed by their author, and we’re all looking forward to use this space to share ideas, event reports, upcoming projects, and generally to reflect a bit more the activity of the artists on the label.

You can expect posts from AntiVJ members:
- Simon Geilfus
- Yannick Jacquet
- Joanie Lemercier (myself)
- Olivier Ratsi
- Romain Tardy
- Nicolas Boritch (producer)
- Thomas Vaquié (music producer)

We’re also hoping to freshen things up in the new year (communication, website, reports) so watch this space.

Joanie.

Here’s the first video report, and there are many more to come !

So last May, we’ve been commissioned by Montreal based Mutek festival to produce an Audiovisual piece in the Old port. The canvas was an old scaffolding tower built in 1957, and used to load grain into massive ships, to export Canadian cereals all around the world.
In 1983 the 2 twin towers are abandoned, one is completely dismantled and the other is still standing there, as part of Montreal industrial heritage.

We came on site a few weeks before the event to check all technical options, and realized that we couldn’t really project on the rusted structure, as the projections wouldn’t be bright enough, and it would look a bit too chaotic. So we decided to put up a large white “screen”, and used an optical illusion effect to re-project what was hidden behind this screen.  It was an challenging approach, as we try to avoid screen formats as much as possible (this is why we project onto architecture and 3D objects) but it gave us much more freedom for the content production.

Here’s the video report of the piece we presented, which is about this ghost industrial tower and it’s yet disappeared twin.

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VISUALS: Olivier Ratsi, Joanie Lemercier
MUSIC: Thomas Vaquié
Webpage: http://www.antivj.com/mutek_09/
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