Julie Vayssière / Jérôme Game et Olivier Lamarche

In Histoire de l’art, performed by Marie-Bénédicte Cazeneuve and Maxime Tshibangu, Julie Vayssière points to the sources of the artistic calling experienced by several figures of the art world. In Fabuler, dit-il, Jérome Game and musician Olivier Lamarche propose to travel through Cervantes’s mythical text, The Ingenious Gentleman Don Quijote of la Mancha, in a performance that is at once literary talk and sound creation.

Julie Vayssière / Histoire de l’art
Performers : Marie-Bénédicte Cazeneuve and Maxime Tshibangu
Julie Vayssière samples fragments from the real. These are often bizarre, sometimes humorous. Together, they make up a ragbag of sorts of contemporary society, as seen through a drift, or dérive, the way Situationists practiced it. For her Histoire de l’art, the artist asked several people she knows to tell her what sparked off their artistic calling. Edited together, these narratives constitute a piecemeal history of art, like a constellation of sources forming the reference map of a generation.

Julie Vayssière is an artist. She was born in Toulouse in 1979 and is a graduate of the École supérieure des arts décoratifs in Strasbourg. She lives and works in Paris. Recently, she presented a performance at the Galeries Lafayette department store in Marseille, based on the testimonies of Marseille residents on the fire that destroyed the store in 1938. Her work has been featured at the Commissariat, Treize, the Goethe Institut and the Maison de l’Amérique Latine (Paris), at the Actoral festival and Le Triangle (Marseille), at the Musée d’art moderne and the Syndicat Potentiel (Strasbourg), at the art center Le Quartier (Quimper) and at Main d’œuvre (Saint-Ouen).

Jérome Game and Olivier Lamarche / Fabuler, dit-il
«Thanks to a voyage through a mythical text, The Ingenious Gentleman Don Quijote of la Mancha, a writer and a musician come together for Fabuler, dit-il [Storytelling, says he], a performance between literature and sound creation. Or, put differently: the textual, narrative and cultural economy of a literary monument gives rise to a form of storytelling close to things, close to the document, between lecture, sound and fable.
Don Quijote. Not as the cliché would have it, idealistic and never in sync with his times, prone to bouts of melancholia and vain in his purity. But rather, a motif, an operator and a method all at once—for a contemporary, performative writing involving sound. This is the somewhat crazy gamble of this performance: the Don Quijote function or how to capture the real-as-fable and ceaselessly refigure it (and be able to live in it, in the end). An exploration of the myth and the stereotypes that go with it, Fabuler, dit-il gives to hear the strange production of a language that would “Quijote” things, a possible antidote to the suffocating world that we know. Off the point, short-sighted and hard of hearing, the dysfunctional Gentleman insists on staying in an in-between where things can best be captured, filtered and re-transcribed. There is nothing to adapt, then, and everything to experiment with. In language and in the midst of sound. Stuttering, ellipses, narrative breaks, lists of all kinds, serial beginnings, heterogeneous references, potential developments: what is being transmitted is the power of storytelling, in fact.»

Jérôme Game’s writing develops through collaborations with visual artists, musicians, directors or choreographers. These partnerships involve performative interventions that explore points of contact between writing and practices in the visual arts (images, scenes, sounds). Over the past decade he has published fifteen books and given many reading-performances in France and abroad (Europe, Asia, the Americas, North Africa), also releasing a DVD of video-poems and designing posters. His latest publications include DQ/HK (book + 2CD, L’Attente, 2013), La Fille du Far West (mac/val, 2012); Sous influence. Ce que l’art contemporain fait à la littérature (essay, mac/val, 2012). His latest creations are AroundTheWorld3.0 (Mamco/HEAD, Genève, 2014; Festival Masnaâ, Casablanca, 2013); Un pur objet volant. Vidéopoèmes (Maison de la poésie-Scène littéraire de Paris, 2013); Overflow (France Culture, 2013).

Olivier Lamarche is a musician. As a sound engineer, acousmatic musician or composer, he has performed at Musique-Action, Futura, l’Audible Festival ; with Richard D. James, Norscq, Battery Operated ; in Tokyo, Milan, Wroclaw ; at the Palais de Tokyo, La Ferme du Buisson, La Gaité Lyrique, le 104, le Lieu Unique as well as in other, less prestigious places. Arts and techniques intersect in both his practice and training. In 2003, he joined Motus, a collective devoted to acousmatic music. Lamarche composes concrete pieces “in the studio” and also practices improvisation. After meeting Jérôme Game at the premiere of Diario Utopico (Gaîté Lyrique, 2012), he started working with the writer. The result was a CD released by L’Attente.