Fluctuat.net propose une soiree multimedia au Batofar a Paris,
jeudi 25 mars a partir de 20h.
Haute fidelite
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Dans le cadre des rendez-vous multimedia du Batofar, l'equipe du magazine Fluctuat.net s'est assigne une mission : prouver, par monts et par vaux, que l'artiste reste le meilleur ami de l'homme. Provo ? Certes. Haute fidelite, maniere d'illustrer de facon detonante et festive le deplacement de sens permanent qu'operent les artistes : detournement des codes sociaux et artistiques, reinvestissement des medias.
http://www.fluctuat.net
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Armelle Aulestia / net art
Montfaucon Research Center / video
Pascal Lievre / video
Yoyo foretnic / electro
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De 20h a 22h (venez tot !), tarif unique : 5 E.
Le Batofar. 11 quai Francois Mauriac. Paris 75013. Tel. 01 56 29 10 33.
Le site de Batofar : http://www.batofar.net
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Link:
http://www.fluctuat.net
Armelle Aulestia is an artist living in Paris (F) and Geneva (CH). She works with video, sound, lights, and on the internet. Visit her website or contact her.
The works conceived specifically for the Internet are based on word play, auditory perception, nonsense, and rhythm.
A night-time journey on a highway reminiscent of a psychedelic hallucination (Circle Dream) ; a carousel hanging in a Sleeping Beauty ambiance (Baby Skooter) ; a construction site where a disturbing character works himself to death in a Dante-inspired din (Cleaning the First Circle of Hell) : here are a few of the moments offered to us in Armelle Aulestia’s videos, samples taken from the world as it is and then worked to give them that fragile autonomy, ambiguity, inherent in every fragment, in every detached piece. Each video work is a wager, an attempt at a specific form that is deduced without presuppositions from the recording of a situation whose immanent logic the artist both elaborates and discovers. Hence a kind of “fiction effect” due to the editing (sometimes extremely slight, but always effective), the handling of colour and the musical nature of the soundtrack. But there is no explanatory narrative element. This is definitely not a matter of telling stories, or of providing information on any given subject. The reserved, withdrawing nature of Aulestia’s work connects it with a tendency that one could describe as minimalist, in the most open sense of that word. It is far from any literary or documentary aim, just as it is from the narcissistic exploration. The work is a specific object whose object is perception but without excluding delectation.
Jean-Pierre Criqui
Michael Connor