Ma Voix

A short video by Gilles Paté of the exhibition ‘Ma Voix’, at LE SILO U1, Château-Thierry, France from earlier this year.  The exhibition curated Jerome Lefevre featured works by Gary Hill, Jérôme Poret, Giulia Anderani, Damien Deroubaix and myself.

The exhibition featured my video ‘N(I)B’, a recent soundwork ‘Mmmmm’ and two banner works, ‘You can’t hate nature’ and ‘Natures laws are not set by the bounds of human reason’

‘Built on the theme of the voice, the show actually plays on a double meaning. The term is understood as both the voice in the strict sense ( speech, cry, singing) but also by extension as speaking (the assertion or claim of his voice) .

Several works chosen thus refer to the vocal material. This is the case of Gary Hill with a historic work called ‘Mediations (Towards a remake of soundings)’ in which a voice disappears in a given amount of sand gradually over a loudspeaker .

It is also the physical capabilities of voice and sound explored by Jérôme Poret in its approach . In the installation ‘Reload’ Jérôme Poret in which a bass amp becomes a body transcribing the voice of the exhibition itself.

The rooms of Giulia Anderani and Giulia Anderani there already operates a shift in meaning :the sound itself has disappeared, the word and the cry is raised here. In his acrylic on canvas , Giulia Andreani refers to cult scenes of Italian cinema . The sound is quite explicitly suggested in ‘Burzum tree’ Damien Deroubaix, referring in turn to metal music .

The work of Mark Titchner, English artist nominated for the Turner Prize in 2006, plays on the same report. In the video installation N (I) B, the artist collaborated with musician Nicholas Bullen, the viewer sees only the mouth. Here the sound disappeared , whereas in the soundwork ‘Mmmmm’ the body disappears, while the sound is integral with the space.

But my voice shows another aspect of the work of Mark Titchner. Several banners designed by the artist directly refer to quotations from philosophers or phrases from events streamers. It is now defending a position in question through the voice, in this case through Spinoza’s thought. The sound material gives way in the sense of what is said.

The exhibition My Voice meet a proportion of any sound pieces that silent parts. And yet they are quite discreet: a spoken becomes whisper, a sound held in drone that fills the space as much as he is drowning in it … The voice here is to understand that advantage hear. This results in a silent exposure, where the sound is assessed across physical characteristics. Also, very different aesthetics coexist on the basis of additional formal reports.

Jerome Lefevre

Exhibition curator

(This text has been translated from  French using Google)

The original text in French

Construite sur le thème de la voix, l’exposition joue en réalité sur un double sens. Le terme est entendu à la fois comme la voix au sens strict (la parole, le cri, le chant), mais aussi par extension comme prise de parole (l’affirmation ou la revendication de sa voix).

Plusieurs œuvres choisies se réfèrent donc au matériau vocal. C’est le cas de Gary Hill avec une pièce historique intitulée Mediations (towards a remake of soundings) dans laquelle une voix disparaît sous une quantité de sable apportée progressivement sur un haut-parleur.

C’est aussi aux capacités physiques de la voix et du son qu’explore Jérôme Poret dans sa démarche. Dans l’installation Reload de Jérôme Poret dans laquelle un ampli basse devient un corps retranscrivant la voix du lieu d’exposition lui-même.

Dans les pièces de Giulia Anderani et de Damien Deroubaix s’opère déjà un glissement de sens : le son lui-même a disparu, la parole et le cri sont ici évoqués. Dans ses acryliques sur toile, Giulia Andreani se réfère à des scènes cultes du cinéma italien. Le son est suggéré de manière assez explicite dans l’arbre Burzum de Damien Deroubaix, se référant quant à lui à la musique metal.
Le travail de Mark Titchner, artiste anglais nominé pour le Turner Prize en 2006, joue sur le même rapport. Dans l’installation vidéo N(I)B, l’artiste a collaboré avec le musicien Nicholas Bullen, dont le spectateur ne voit que la bouche. Ici le son a disparu, tandis que dans l’œuvre sonore Mmmmmm c’est le corps qui disparaît, alors que le son fait corps avec l’espace.

Mais Ma voix montre un autre aspect du travail de Mark Titchner. Plusieurs bâches conçues par l’artiste font directement référence à des citations de philosophes ou de phrases provenant de banderoles de manifestations. C’est désormais de défendre une position dont il s’agit à travers la voix , en l’occurrence à travers la pensée de Spinoza. Le matériau sonore cède sa place au sens de ce qui est dit.

L’exposition Ma Voix réunira une proportion de pièces sonores moindre que de pièces silencieuses. Et encore se font-elles assez discrètes : un parlé qui devient chuchotement, un son tenu en bourdon qui emplit l’espace autant qu’il se noie dans celui-ci… La voix, ici, est à comprendre d’avantage qu’à entendre. Il en résulte une exposition silencieuse, où le son s’apprécie par delà les spécificités physiques. Aussi, des esthétiques très différentes cohabitent sur la base de rapports formels complémentaires.

Jérôme Lefèvre

Commissaire de l’exposition


Altars of Madness

Casino Luxembourg – Forum d’art contemporain
41, rue Notre-Dame
L-2240 Luxembourg

18.5 — 15.9.2013

Entrepôt-galerie du Confort Moderne, Poitiers.

28.9 – 15.12.2013

Artist(s): Matthew Barney, Nicholas Bullen, Larry Carroll, Grégory Cuquel, Damien Deroubaix, Seldon Hunt, Gregory Jacobsen, Theodor Kittelsen, Harmony Korine, Elodie Lesourd, Juan Pablo Macías, Maël Nozahic, Torbjorn Rodland, Steven Shearer, Mark Titchner, Gee Vaucher, Banks Violette

Curator(s): Damien Deroubaix & Jérôme Lefèvre

‘Limb from bloody limb.  We know there is love’, Mark Titchner, 2013.

(Casino Luxembourg. Morning after Exhibition Opening. Photo by Mark Titchner.)

Text by Jérôme Lefèvre

In the late 1990’s, the public of contemporary art got acquainted with new personalities and references from the metal world through the works of emergent artists. While Torbjorn Roland chose to entitle a landscape photograph Buzrum, Mathew Barney was inviting musicians from some well-known metal bands to be featured in his films and Damien Deroubaix together with Banks Violette were making more and more references to the metal scene in their works. Until then, the previously heavy metal waves hadn’t had a real impact on the art scene and were only mentioned in some isolated pieced of work (like in a music video produced by Robert Longo or as references in the work of artists such as Albert Oelhen and Martin Kippenberger for instance). Conversely, extrememetal has become and important source of inspiration in contemporary art.

Extreme metal appeared in the second half of the eighties and is divided in three distinct musical genres: grindcore, death metal and black metal. Each of them has developed overtime its own rules, its own aesthetics and has evolved in a different way. Like any underground culture, extreme metal cannot truly be experienced when you remain a distant observer. As a matter of fact, it seems that most of the artists whose works are marked by extreme metal have been deeply involved in the metal scene since a very young age.

The ideas at the core of the exhibition Altars of Madness is thus to reveal the work of these artists, who have taken part in this underground culture. These artists who are willing to use it to feed their artistic practice, plus the ones offering some relevant testimonies of the metal scene and lastly, the ones who brilliantly contributed to the creation of its iconography.

The exhibition Altars of Madness originates from the C.S (Conservative Shithead) Journal, a monographic publication dedicated to that specific generation of artists.

This exhibition revolves around three main axes: an analysis of the political message that appears through the works, an introspective focus on questions related to the way teenagers deal with the very notion of death, and lastly, a nihilistic interpretation of landscapes.

Altars of Madness aims at investigating the formal embodiments of extreme metal and its influence in the work of contemporary artists.

Mark Titchner_I Want a Better World, I Want a Better Me_DL(2)Mark Titchner_The World Isn't Working & Mark Titchner_I Want a Better World, I Want a Better Me & Damien Deroubaix_Der Schlaf der Vernunft_DL(2)

Installation views with ‘I want a better world, I want a better me’ (2012) and ‘The World isn’t working’ (2008) by  Mark Titchner and “Der schlaf der Vernunft’ (2009) by Damien Deroubaix.

Grindcore was born in the eighties as a radical extension of punk music.Grindcore music originates from the anarchist and anti-consumerist punk movement that emerged in the eighties. Most of the lyrics extracted from grindcore songs deal with political topics and condemn racism, war and hypocrisy (be it social or individual). A large part of grindcore musicians turned to obscenity (using gore, pornography, in their lyrics and so on…) under the influence of American death metal and in conscious attempt to provoke the audience.

As far as musical language is concerned, grindcore presents itself as something deliberately antimusical. The grindcore motto is clear: ‘noise not music’. Its birth followed the ‘bruitist’ experimentations made by Seige, Larm and its style is largely inspired from the musical velocity of bands like Repulsion. The more aggressive and violent is the music, the better for grindcore fans.

On the visual aspect now, grindcore appears as something completely unaesthetic. The use of collage and logo designs is supposed to drawn the attention, to disturb the viewer, in the same manner that the music is meant to be inharmonious and unpleasant to the ear. Grindcore music aims at illustrating and condemning in the same time the world’s abjections.

The first part entitled ‘Lucid Fairytale’ is characterized by a certain sense of radicalism in terms of discourse and aesthetics. Gee Vaucher’s political collages will be displayed in the exhibition to help the viewer to put back the origins of grindcore music into context. A political dimension is clearly discernible in the works of both artists Mark Titchner and Damien Deroubaix. Therefore, even if the references to grindcore are not explicit in Titchner’s work, the musical genre has genuinely pervaded his artistic statement. The spirit of radicalism at work in this part of the exhibtion reminds the one of the Modernist period, namely the common will to fight against conservatism.

Mark Titchner_So Much Noise to Make a Silence (Major) & Damien Deroubaix_World Downfall_DL_4(2)Mark Titchner_So Much Noise to Make a Silence (Major)_DL_2(2)Installation views with ‘So much noise to make a silence (major)’ and ‘So much noise to make a silence (minor)’ (2008) by  Mark Titchner and ‘World Downfall’ (2007) by Damien Deroubaix

Writing is a central element in Mark Titchner’s work. He is well known for the slogans he advertises on the walls of the city where his work is displayed. The messages appear as absurd commands to the viewer who thinks he must have been mistaken at some point. Mark Titchner also produced Kafkaesque sculptures visually alike to high technology machines but without any apparent functions. They have to be understood as some sort of trepalia, as instruments for psychological torture.

Titchner’s work serves as a metaphor of the capitalist system’s and marketing strategies failure, or in a broader sense, as the testimony of the irrationality of human behavior.


Jérôme Lefèvre, Independent Curator and Art Director

nic bullen rehearsalnic bullen rehearsal 2Nic Bullen in rehearsal, cellar space, Casino Luxembourg.

A new issue of CS Journal by Mark Titchner will be published to coincide with the opening of the second part of ‘Altars of Madness’ at Entrepôt-galerie du Confort Moderne, Poitiers in September 2013.  Including original artwork and texts and a conversation between Alan Dubin (OLD, Khanate, Gnaw).

mark tittitchner conservative shithead 1mark tittitchner conservative shithead 5