Monique Jean Point d’attaches ou les infidélités rotatives
Far from the spectacle and the media pandemonium, Point d’attaches ou les infidélités rotatives is an installation that focuses on the phenomenon of sound perception and seeks refuge in silence itself. This sound installation comprises a large vertical plane hanging from the ceiling, on which 80 speaker cones from the 1950s and the 1960s are fixed. This “speaking” surface is alive with barely perceptible small sounds of varying intensity and tone; as listeners stroll along, they pick up—as if they were antennas— constantly changing frequencies, phasing effects and vibrations that modify their vision of the wall. The question of space, and specifically of the listening body’s situation in space, is deeply significant in this piece.
The stillness of this “speaking surface” is bewitching and creates silence inside the viewer. Nothing in this “wall” is in becoming—it is a presence, a surface with acoustic mirages, something akin to being itself. – Christian Calon
Electroacoustician and sound artist Monique Jean is particularly interested in spatialising sound shapes in order to create organic ensembles balancing between abstraction and matter, stasis and motion, body and space, sound representation and listening. Aside from her stereo (Danse de l’enfant esseulée) or multi-track (low memory #1) acousmatic pieces, she explores mixed music genres and live treatment—low memory #2 with Claire Marchand, flutist, Stabile with the saxophone quartet Quasar and Lori Freedman, clarinettist, premiering in April 2005. On January 25, 2005 she will perform with Thérésa Transistor, her group of electroacoustician improvisers, at the Monument National. Her critically acclaimed CD L’adieu au s.o.s (Empreintes Digitales label) was nominated for an Opus Award in 2003.