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Exposition du 26 janvier au 31 mars 2024 à La...

Chant éloigné, Myriam Pruvot

For its 20th anniversary, La Maréchalerie invites Anne-Laure Chamboissier to design an exhibition in a dialogue between the identity of the place and the specificity of her personal research.
Anne-Laure Chamboissier, art historian and curator, reflects on the question of sound and music in its transversal relationship with the visual arts, architecture and literature. Sensitive to the way in which an artist’s proposal fits into a given context, his choice fell on the artist Myriam Pruvot.

Myriam Pruvot is a multidisciplinary vocal artist installation, performance, sound art, improvisation, poetry, singing and musical composition.

The political, poetic and philosophical dimensions of song, language and places are central to his work. The artist comes to question the nature of this place of history that is La Maréchalerie and the subsistence of the “voices” it contains throughout the centuries. The acoustics of the place as a resonator of this invisible heritage become a listening space. With this proposal, she extends her research on memory, time, sound phenomenology and the dialogue between early and experimental music.
Archived in the booklet Singing Archives (2021), Remote Song becomes an echo chamber.

The large room appears as a vast acousmonium. Several speakers, scattered throughout the space at different heights, broadcast a sound and musical composition created specifically for the place and its resonance. Inspired by the history of airs de cour*, this electroacoustic piece alternates between polyphony and soloist part. Depending on their angles and positions, the sound sources offer several listening situations for the visitor, such as the walker experiencing the songs of birds located at different distances and heights.

The small room, designed in contrast to the very reverberant main room, presents an installation version of the film Antenae, produced in 2023. This musical film documents the meeting between a Flemish theorbist and a sound recordist. They explore a Cistercian abbey and its surroundings, each equipped with their own instrument. The handle of the theorbo and the boom of the microphone become appendages for probing these sites and conversing with discrete forms of existence: waves, frequencies and ghosts.

Through sound, how are these different spaces activated? Distant song as a polysemous formula to evoke acoustic space, the erosion of time and historical distance: what do we keep from stories that are neither written nor inscribed in stone? »