Excerpts of my video art works since 2001.

A propos de Chaos-Saliva [2001]

This video is part of my PhD thesis about the “mise en abyme” in which I studied art works that allow the spectator to witness and/or be part of the artistic process.

In this reflection, I paid particular attention to perception. How the open art work addresses perception, but also how to stage perception in order to study the art work.

I therefore entered Jaume Plensa’s sculptures with a camera: being inside the sculptures with a camera permitted to try out the perception of the work, and re-create it as it is experienced in the exhibition space. Video was appropriate to recreate and analyze the simultaneity of perception and movement inside the sculptures indeed.

That approach impacted all my subsequent video works, which all integrate experiential shots or installations that include the viewer into the movement of image.

Sama [2006]

Video Art, mini DV [4:3]. Couleur et Noir&Blanc; 14:28 min.

Videography and realization: Ludivine Allegue | Dance & choreography: Shahrokh Moshkin Ghalam (Théâtre National de la Comédie Française, Paris) | Musique originale: Imen Tnani and Juhamahat (aka Kar-taj)

Building on previous reflection on perception, Sama projects the viewer into the eye of the dance. The viewer becomes the dancer and his/her experience becomes a sama.

Related publications:

“International perspectives: Practice as Research in France” (2009) (with C. Miereanu) In Allegue, Ludivine, Jones, Simon, Kershaw, Baz and Piccini, Angela (eds) (2009) Practice-as-Research: In Performance and Screen, London: Palgrave Macmillan, ISBN 978-0-230-22001-0.

Allegue, L. “entre deux êtres” in Paroles d’Artistes (2005), edited by Mohamed Zinelabidine, Tunis: Institut Supérieur de Musique de Tunis, (Tunisia), Collection livresque « l’Impensé du temps » (Unesco, Graphic Eye, Université française et Université tunisienne).

 B(earth) [2008]

Painting/ voice/ video installation 21 min. Painting & video: Ludivine Allegue | Vocal art: Yvon Bonenfant

Visual and sound installation measuring 400 x 150 x 45 cm. Acrylic painting on worked canvas, light and spooling sound recording 21 minutes long and two 4:3 videos screened simultaneously mirroring the painting.

Related publications:

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.

Allegue, “Un geste contient l’immensité” in (2011)  Migrations/Mutations. Paysages dans l’art contemporain, E. Chiron dir., Paris, Pub. de la Sorbonne, ISBN 978-2-85944-649-9, ISSN 1268-7723.

Unavoidable hyphen, in “L’artiste Chercheur” (2014), p-e-r-f-o-r-m-a-n-c-e | Vol. 1 | No. 1 | October 2014. C.N.R.S., Université Sorbonne Paris 1, Institut ACTEEsPAS (Esthétique de la performance et des Arts du Spectacle), ISSN 2426-3893.

 intimacies [2008]

Video Art, DV [4:3], colour; 27:23min + multiscreen installation

Artistic director: Yvon Bonenfant/Video artist: Ludivine Allegue/Vocal art (music composition and all singing): Yvon Bonenfant, compositional assistant Francis Silkstone/ Photography, image capture and editing: Ludivine Allegue/Choreographic process, devising process directed by Yvon Bonenfant/Performers, choreographic & sonic collaborators: Robin Dingemans, Delphine Gaborit, Caroline Gill/Produced by Yvon Bonenfant & Ludivine Allegue. Financial support by the British Academy, the University of Winchester. Developed from work supported by the University of Northampton Choreographic Lab.

Related publications:

Allegue, “Un geste contient l’immensité” in (2011)  Migrations/Mutations. Paysages dans l’art contemporain, E. Chiron dir., Paris, Pub. de la Sorbonne, ISBN 978-2-85944-649-9, ISSN 1268-7723.

Unavoidable hyphen, in “L’artiste Chercheur” (2014), p-e-r-f-o-r-m-a-n-c-e | Vol. 1 | No. 1 | October 2014. C.N.R.S., Université Sorbonne Paris 1, Institut ACTEEsPAS (Esthétique de la performance et des Arts du Spectacle), ISSN 2426-3893.

 Beacons [2008]

Video Art, DV [4:3], colour; 17:46 min

Artistic director: Yvon Bonenfant/ Video artist: Ludivine Allegue/ Vocal art (music composition and all singing): Yvon Bonenfant, compositional assistant Francis Silk- stone/ Photography and image capture: Ludivine Allegue and Yvon Bonenfant/ Video editing: Ludivine Al- legue/ Laboratory-studio process conceived and directed by Yvon Bonenfant/ Performers: Laura Manning, Danielle Meehan, Lauren Meehan, Gemma Williams/ Produced by Yvon Bonenfant & Ludivine Allegue/ Financial support: University of Winchester and the British Academy.

Following Beacons video art (2008), vocal artist Yvon Bonenfant developed the BEACONS SHOW including original footage from Beacons video art (2008) and new footage by David Shearing.

Related publications:

Allegue, “Un geste contient l’immensité” in (2011)  Migrations/Mutations. Paysages dans l’art contemporain, E. Chiron dir., Paris, Pub. de la Sorbonne, ISBN 978-2-85944-649-9, ISSN 1268-7723.

Unavoidable hyphen, in “L’artiste Chercheur” (2014), p-e-r-f-o-r-m-a-n-c-e | Vol. 1 | No. 1 | October 2014. C.N.R.S., Université Sorbonne Paris 1, Institut ACTEEsPAS (Esthétique de la performance et des Arts du Spectacle), ISSN 2426-3893.

 October [2009]

Shot at Beijing and Granada in 2007 and 2009. Edited at the Sacromonte, Granada, Spain.
© Allegue, 2009.

 Second rendez-vous [2008]

I made this little video in 2008, during Éliane Chiron’s exhibition in Paris (“toujours des rendez-vous” by Eliane Chiron. 6 – 17 FEB 2007 Galerie CROUS / Beaux – Arts, Paris)

film/videography Ludivine Allegue

original artworks Eliane Chiron

production Eliane Chiron et Ludivine Allegue

Disorient [2016-17]

Concept and realisation: Ludivine Allegue and Valentina Lacmanović
Videography, editing, camera, painting on costume: Ludivine Allegue
Performance, sound, costume design, camera : Valentina Lacmanović
Soundscape composition: JuanMa Prieto Akasha
Costume realisation: Layta Bernardo
http://disorienters.com

As in photography and painting, in my video works I research the transgression of the frame. I conceive the narrative as one sequential image in order to question the linear nature of the image in movement, that is one reason of my interest for the circular and infinite movement.

In Disorient, apart from showing the spectators that explosion of the frame, I wanted them to move in and with it and to be in and out of it at the same time. That implies that not only the frame needs to be transgressed, but also the surface of the image with all the possibilities of the narrative according to the scale of the installation. This is the reason for creating site-specific video installations. Not as reflections, but as the key of the image itself.

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