Acrylic painting on canvas measuring 400 x 150 cm (made up of two panels of 200 x 150 cm each), light and spooling sound recording 21 minutes long, two 4:3 digital video screened simultaneously and mirroring the painting.
An installation by Ludivine Allegue and Yvon Bonenfant
Painting, videography: Ludivine Allegue
Sound, voice: Yvon Bonenfant
Compositional assistant: Francis Silkstone
Vocal composition takes place in the medium of time. Its narrative takes place between a beginning and an end in successive, though due to the multi-tracked nature of the recording process, sometimes simultaneous, sequences. This is not the case for the painted image, the perception of which is not sequential. Rather than a segment of time, painting is like a circle. It embodies an instant as the intersection of different temporalities. That’s the reason why it was particularly interesting to develop our reflection processes around the notion of gesture while working in the studio. Because the act of painting, via the interface of focusing on corporeal gesture, becomes as sequential as the act of vocal composition; both involve a physical relationship to non-form: emptiness or blankness in painting, silence in vocal creation, which is (at least while in the studio), unmediated by digital technology.
Allegue, “Receiving otherness” in Allegue, L. and Bonenfant, Y. (2008), ‘Textures and Translations: B(earth)in between Extended Voice and Visual Arts’, Journal of Adaptation in Film & Performance 1: 3, pp. 237–256, doi: 10.1386/jafp.1.3.237/7, p.243.
To witness how the body’s parts could inflect voice’s textures definitely opened inner places that I had not yet visited in my painting. From a corporeal point of view, the incarnation of breath through voice generates a physical vibration that is as real for the generator as for the receptor of the sound. If skin appears to me as a container that visually manifests the experience of being, voice belongs to what is contained. It can fill what we might call the infinity we carry within us, and it reveals internal spaces through vibration. For me this relates to volume, a quality that painting, being bidimensional, does not necessarily involve. Painting shows me my skin and embodies my vision. Receiving voice echoed my body’s pace: blood, heart, breath.
Allegue, “Receiving otherness”, in Allegue, L. and Bonenfant, Y. (2008), ‘Textures and Translations: B(earth)in between Extended Voice and Visual Arts’, Journal of Adaptation in Film & Performance 1: 3, pp. 237–256, doi: 10.1386/jafp.1.3.237/7, p.244.
B(earth) is pronounced birth but we chose this improbable orthography to suggest the notion of being, as much as that of death, through a reference to the return of the body to the original earth. We meant the transformation of being that goes necessarily through matter, through body.
Like the thread. This vertical time that restores us to that forgotten place of ours: hidden where unborn words are.
Allegue, L. and Bonenfant, Y. (2008), ‘Textures and Translations: B(earth)in between Extended Voice and Visual Arts’, Journal of Adaptation in Film & Performance 1: 3, pp. 237–256, doi: 10.1386/jafp.1.3.237/7, p.255.
To view excerpts of B(earth), please click HERE.
To listen to radio excerpts of Letras y Notas by Eva Santamaría on B(EARTH), click on B(EARTH)
Presentación en Español
Para escuchar un extracto del programa Letras y Notas de Eva Santamaría sobre B(EARTH), hagan clic en la palabra: B(EARTH)
B(EARTH) 2007-2008 (Obra realizada en colaboración con el artista vocal Yvon Bonenfant (UK/Canada)
150 x 400 cm, acrílico sobre tela parcialmente destejida, luz y composición vocal de 21 minutos.
La instalación B(earth) une la pintura con la voz y la imagen movimiento.
Una imagen de cuatro metros de largo dividida en dos paneles de dimensiones idénticas : dos mundos pictóricos que se encuentran mediante la voz y la luz. B(earth) es el grito reprimido que parte los seres, la voz de las lágrimas sin verter. Y también es el renacer, un renacer en el Otro, un renacer por el Otro.
La obra se realizó durante una residencia de artistas concedida por la ENSA Limoges-Aubusson (Ministère de la Culture, FR). Fue parcialmente financiada por la Universidad de Winchester (UK) y la British Academy. También contó con el apoyo técnico del IDEAT (CNRS-Paris 1 Panthéon Sorbonne) y de la Universidad de Glamorgan (Cardiff, UK).