‘SPLENDID STORIES OF DISORDER (I)’
With ORIGINAL SOUNDSCAPE produced by AURÉLIEN RIVIÈRE
in partnership with WOZEN STUDIO-GALLERY
PALÁCIO DE SANTO ESTEVÃO, Lisbon, 2017
The sedimentation of memories
The fragility of suspension
Seeking the unseen
Capturing the fleeting
A protest against forgetting*
Hide and seek
Words and images
Trial and error
If time does not exist
Sites under (de)construction
SPLENDID STORIES OF DISORDER, Site-specific installation composed of floating canvases and soundscape. This installation is planned to be set in another few locations till Spring 2018.
This series of canvases presents compositions using as raw materials fragments from the burnt pages of books, ashes and transparent tape.
The pervasiveness of language in setting-up thinking patterns, the exploration of time as well as the recording of memories that all encompass one self are a few of the concepts that animate these pieces.
The artist chose to burn books from her personal collection including literary novels, scholar books as well as carefully picked magazines. In some of the canvases, remnants of the original pieces though barely recognisable pop out in fragments of wording or imagery.
Never complete, they are left for the viewers to discover and wander in these unseen existences, juxtaposing metaphors of life and death in an attempt to demonstrate that everything is everything.
TIME DOES NOT EXIST, Original soundscape produced by Aurélien Rivière.
Known internationally as DOUBTINGTHOMAS in the Microhouse world, Aurélien Rivière has been experimenting with sound and recording techniques since the late nineties, releasing a plethora of records in world music labels (Soul jazz Records/ Cezame) and electronic music imprints (20/20 Vision / Lesszimo:r / Eastenderz) while performing live electronic acts in the 4 corners of the planet.
As Aurélien Rivière, he pursues his more experimental projects including scores for live dance performances, visual art exhibits and films. Reaching to jazz and musique concrete, the idiosyncrasy of his musical experimentations makes his compositions so evocative, they invite for chance encounters with other artistic disciplines.
Friends for more than a decade Diane Giraud and Aurélien Rivière met when they were both still studying their respective crafts in London in the noughties. For this collaboration, Rivière produced TIME DOES NOT EXIST as an accent to Diane’s artworks, corroborating the idea of non linearity that infuses her work.