LUMINA FICTION
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LUMINA FICTION
GENÈSE
Xavier Malbreil (directeur artistique des Mille-Tiroirs )
« Lumina Fiction » a été créé à Pamiers, par GolnazBehrouznia, avec la structure Les Mille Tiroirs. Le fonds d’aide aux projets numériques du CNC, le DICRéAM, lui a permis de réunir tous les éléments nécessaires à sa production.Voilà pour fixer le cadre factuel de cette œuvre, qui intervient après plusieurs années de travail en commun de l’artiste iranienne GolnazBehrouznia avec ses partenaires, qui sont aussi ses anciens professeurs à l’université de Toulouse-Jean-Jaurès, Xavier Malbreil, directeur des Mille Tiroirs, et François Donato, musicien, programmeur, membre du collectif éOle. Pour les amateurs d’art, qui sont déjà accoutumés aux œuvres d’art numérique, Lumina Fiction est une installation, comme ils en ont déjà vu d’autres, interactive bien entendu, et qui invite les spectateurs à pénétrer à l’intérieur pour l’expérimenter. Les mots d’immersion, d’interactivité, s’ils sont déjà largement partagés, et connus de beaucoup, ne suffiront toutefois pas à rendre compte de la spécificité de cette œuvre, parce qu’en disant qu’il s’agit d’une œuvre immersive, ou interactive, on n’en saura guère davantage. Physiquement, c’est une installation composée d’écrans en mousseline, sur lesquels un projecteur envoie des animations créées par GolnazBehrouznia à partir de ses dessins d’un monde biologique imaginaire. Le spectateur, quand l’œuvre est montée comme elle se doit de l’être, peut cheminer à l’intérieur de la structure flottante, et interagir, bien évidemment, avec la vidéo, avec les sons, grâce à des capteurs disposés autour de l’oeuvre. Les formes mouvantes, alors, lui sembleront se matérialiser en trois dimensions, et tantôt le caresser, tantôt l’envelopper, tantôt menacer de l’avaler. Ce que l’on attend d’une œuvre immersive et interactive est déjà réalisé, à savoir cette participation du spectateur avec l’œuvre, et cette rencontre entre plusieurs techniques, pour parvenir à la fameuse « œuvre d’art totale », qui fait du spectateur un créateur associé à l’œuvre, par son cheminement, comme l’ont annoncé, espéré, les théoriciens de l’art depuis le milieu du XIX° siècle jusqu’à nos jours, qu’il s’agisse de Richard Wagner, de Joseph Beuys, de Tadeusz Kantor, de Nicolas Bourriaud et tant d’autres encore.La voilà donc, cette œuvre dans laquelle le spectateur est censé jouer, expérimenter, s’émerveiller aussi ? La voilà, cette œuvre à découvrir avec son corps tout entier, et non plus seulement ses yeux, ses oreilles, son intellect. La voilà, cette œuvre qui utilise au mieux les technologies contemporaines, et qui va peu à peu se modifier, au cours des différentes occurrences, et selon l’interaction des spectateurs. Cette œuvre enfin qui dépasse la dichotomie entre les œuvres-objets et les œuvres-concepts, puisqu’elle est tout à la fois matérielle, présente, et potentielle, virtuelle.
Mais cela nous dit-il enfin ce qu’est « Lumina Fiction » ? Si les spectateurs ressentent, quand ils l’expérimentent, de telles sensations, où se mêlent émerveillement et inquiétude, c’est qu’il doit bien y avoir quelque chose, là-dedans, qui touche un peu plus loin que la promesse habituelle des installations numériques, que l’on pourrait parfois réduire à un simple retour narcissique. Il y a dans cette œuvre, qui s’appuie sur les dessins de l’auteure, depuis toujours obsédée par le vivant, comme un voyage aux origines, quand la lumière, permettant la photosynthèse des algues, des plantes les plus primitives, puis des organismes archaïques, a permis que se crée une vie plus complexe, végétale, animale, et parfois un peu des deux, dans la soupe initiale. La lumière agit sur la matière, et quand la mayonnaise prend, cela s’appelle la terre, Terra, et quand elle ne prend pas, ou qu’elle ne prend plus, cela s’appelle la Lune, ou Mars, des endroits où l’on est déjà allé, où l’on va bientôt construire des bases, mais où l’on regrettera, c’est entendu, l’eau, les sangsues sur la peau, les tiques sur son chien, les orties, et toutes les choses urticantes, ou violentes, comme la ciguë, les piranhas, les tigres, les dragons.
Lumina Fiction est ce moment où tout est possible, et c’est cela aussi que le spectateur ressent, quand il peut cheminer entre les voiles de l’installation. Cette fiction autour de la lumière, sans quoi il n’est pas de spectacle, nous ramène à ces moments de ténèbres, où le pire serait toujours possible mais où la vie serait aussi une éventualité. La fiction de la lumière, pour avoir la chance de dire « je suis en vie ».
Catalogue « Mondes sensibles - Géographies de la perception »
A partir de l’expérience de la 9em biennale internationale des Bains Numériques d’Enghien-les-Bains et de l’exposition Hémisphères
sous l’impulsion du centre des arts et du Réseau Arts Numériques - 2016
Chapitre 2 /Fictions biologiques / 4.Lumina-fiction
Ecosystème fictif
Philippe Baudelot (programmateur indépendant - membre du réseau RAN)
« Lumina Fiction de Golnaz Behrouznia est une œuvre multimédia, immersive et interactive, autour du vivant, qui fera vivre aux spectateurs un voyage à l’intérieur de son monde imaginaire. Sa fiction biologique est en osmose avec le souci contemporain lié à l’écologie profonde.
Dans un lieu spacieux et obscur, une structure spatiale composée des couches d’un voile translucide, occupe l’espace comme une architecture organique flottante. D’infimes créatures lumineuses, chimériques et imaginaires, prennent vie sur les voilages de ce corps géant, évoluent et se déplacent, mettant en scène et donnant vie à une fiction biologique en perpétuel changement. Des ambiances sonores émergent discrètement et évoluent suivant les états de cet univers. A la fois autonome et sensible à la présence extérieure, cet écosystème fictif déclenche des réactions visuelles et sonores et évolue suivant les comportements des visiteurs.
La forme produite est signifiante en elle-même, accentuant la fonction essentielle de l’écran : donner à voir la chose et, simultanément, désigner l’action de montrer. La blancheur du tissu pourra par ailleurs évoquer une peau, ou bien les filaments d’une toile d’araignée géante. Enfin, le fait que de longs bras et tentacules, partent de la forme centrale pour aller vers les fenêtres, vers les poutres, évoquera les formes de l’architecture contemporaines conçue par ordinateur, comme les travaux de l’architecte Anglo-Irakienne Zaha Hadid. Lumina Fiction est en elle-même conçue comme un corps complexe vivant, composé d’une pluralité d’êtres et de mouvement.
Elle trouve son unité par son interaction globale avec les actions des visiteurs. Ainsi, les rapports du réel et de l’artificiel, de la matière virtuelle et de la matière réelle, de la biologie scientifique et de la fiction artistique sous-tendent la conception de l’œuvre, se croisent et se placent dans la génération interactive du projet. La perception du vivant proposée au visiteur en présence de “Lumina Fiction” le mènera vers une ontologie de l’attention, un état d’esprit qui fait de la conscience un co-auteur du monde, bienveillant, mais attentif».
Catalogue « Mondes sensibles - Géographies de la perception »
9em biennale internationale des Bains Numériques d’Enghien-les-Bains Du Centre Des Arts et du Réseau Arts Numériques - 2016
Chapitre 2 /Fictions biologiques / 4.Lumina-fiction
Autres :
**** Article par "Le Parisien" / Lumina Fiction ****
Des microbes géants qui grimpent aux rideaux !
**** Article par "Libération" / Lumina Fiction ****
« Gueules d’hémisphères »
***** "Article par "Digitalarti Media" / Lumina Fiction*****
**** Article par Up-magazine > 9ème Biennale internationale des Bains numériques ****
**** Interview Membres du RAN / Exposition Hémisphères / Cda d'Enghien-les-Bains ****
****Interview Commissaire d'exposition : Emmanuel Cuisinier ****
GENESIS
Xavier Malbreil
Catalogue " Sensitive Worlds - Geographies of the Perception"
From the experience of the 9th International Biennial in Enghien Les Bains and the Exhibition Hemispheres
Under the patronage of the Art Center of Network Digital Arts - 2016
Chapter 2 /Biological Fictions / 4.Lumina-fiction
" Lumina Fiction" has been created in Pamiers, by Golnaz Behrouznia, with the structure Les Milles Tiroirs. The support fund for Digital Projects of the CNC, the DICRéAM, allowed her to bring together all the elements necessary to its production. To give some factual context to the artwork, it is the result of several years of collaborative work withthe Iranian artist Golnaz Behrouznia and her partners, who are also her former professors at the University of Toulouse-Jean-Jaurès, Xavier Malbreil, Director of the Mille Tiroirs, and Francois Donato, musician, programer, and member of the collective eOle. For art lovers, which are already familiar with digital artworks, Lumina fiction is an interactive installation, which invites spectators to get immersed and experiment. Words like immersion, interactivity, if they are already widely used, and known to many, do not suffice to describe the specificity of this artwork, because by saying that it is an immersive or interactive work, we would not know much more. Physically, it is an installation consisting of muslin screen sheets, on which a projector sends animations created by Golnaz Behrouznia based on her drawings of a biological imaginary world. The viewer can move inside this floating structure, and interact, of course, with the video and sounds, thanks to sensors arranged around the work. The moving forms, then seem to materialize in three dimensions, and sometimes caress the viewer, sometimes wrap around him, and sometimes threaten to swallow him. What is expected of an immersive and interactive work and interactive has already been done, namely this participation of the viewer with the work, and this meeting between several techniques, to reach the status of "total work of art", which make the viewer a creator associated with the work, by his path, as have announced and hoped by the art theorists since the middle of the XIX° century until nowadays, whether it is Richard Wagner, Joseph Beuys, Tadeusz Kantor, or Nicolas Bourriaud and many more. So there is it, this work in which the viewer is supposed to play, experiment, and marvel at ? There is is, this work to be discovered with its entire body not only eyes, ears and intellect. There it is, this work that uses the best contemporary technologies, and will gradually evolve, through various occurrences, and according to the interaction of the spectators. This work finally exceeds the dichotomy between works-objects and works-concepts, since it is at the same time hardware, present, and potential, virtual.
But will this tell us finally what is "Lumina Fiction"? If spectators feel such sensations, when they are experimenting with, where amazement meets concern, then there must be something inside, which goes beyond the usual promise of digital installations, that could be sometimes be reduced to a simple narcissistic trip.
There is in this work, which is based on drawings by the artist, forever obsessed by the living, like a trip back to the origins of time, when the Light, allowing the photosynthesis of algae, plants, and the most primitive, then archaic organisms, has enabled to create a more complex life, vegetal and animal, and sometimes both, in the initial soup. Light affects the matter, and when the magic works, this is called the Earth, Terra, and when it does not, or it no longer works, this is called the Moon, or Mars, places where nobody is already gone, but where we will soon build bases, but where we will miss, of course, water, leeches on the skin, ticks on dog, nettles, and all sort of things, stinging or violent, as the hemlock, piranhas, tigers, dragons.
Lumina Fiction is this moment where everything is possible, and that’s also what the viewer feels, when he navigates between the sheets of the installation.This fiction around the Light, without it there is no show, brings us back to these moments of darkness, where the worst could always be possible but where life would also be a possibility. The fiction of Light, to have the opportunity to say "I am alive".
FICTIONAL ECOSYSTEM
Philippe Baudelot (Independant digital art programmer et the membre of RAN network)
Catalogue " Sensitive Worlds - Geographies of the Perception"
From the experience of the 9th International Biennial in Enghien Les Bains and the Exhibition Hemispheres
Under the patronage of the Art Center of Network Digital Arts - 2016
Chapter 2 /Biological Fictions / 4.Lumina-fiction
“Lumina Fiction by Golnaz Behrouznia is an immersive and interactive multimedia work that takes audiences on a journey into an imaginary world. Its biological fiction is in osmosis with the contemporary concern related to the profound ecology.
In a spacious and obscure place, a spatial structure composed of layers of a translucent veil occupies space as a floating organic architecture. Tiny luminous, chimerical, and imaginary creatures come to life on the veils of this giant body, evolve and move, staging and giving life to a biological fiction in perpetual change. Sound atmospheres emerge discreetly and evolve according to the states of this universe. This fictitious ecosystem, both autonomous and sensitive to external presence, triggers visual and audible reactions and evolves according to the behavior of the visitors.
This form is also in itself meaningful, accentuating the essential function of the screen: to give something to see and, simultaneously, to designate the action of showing. The whiteness of the fabric can also evoke skin, or else the filaments of a giant spider web.
Lumina Fiction is in itself conceived as a living complex body, composed of a plurality of beings and movement. It finds its unity through its global interaction with the actions of the visitors. Thus, relations between the real and the artificial, the virtual matter and the real matter, the scientific biology and the artistic fiction underlie the conception of the work, intersect and place themselves in the interactive creation of the project.
The perception of the living being offered to the visitor in the presence of Lumina Fiction will lead him to an ontology of attention, a state of mind that makes consciousness a co-author of the world, caring but attentive.”
Between Art and Science
The forms, and the repertoire of forms created by the artist, paint a picture of a post-human world, or an alien world, in which technology would have hybridized with biology. It is therefore a biological fiction that is involved, where the genetic narrative would be lost, but which the spectator would see manifestation. Lumina Fiction proposes a creation, a system, inspired by the principles of life and a real ecosystem, and uses new technologies to embody these behaviors inspired by biological reality.
Golnaz Behrouznia constructed the scenario of the two latter projects, Lumina fiction and Connexa Viva, through discussions and observations with Mathilde Malbreil, a doctor in biology and a communication specialist in micro-fungi and plants.For Lumina Fiction, the interactive device was designed to make the link between biological inspirations and artistic creation, where the viewer is led to question himself about the relationships between environments and living beings.
The act of staging a device where the evolution of creatures is dependent and related to their relation to any intervention and behaviour in their environment enable to reconstruct the strong link of any natural entity with ecosystems. Links which are sometimes not directly perceptible in nature. Lumina fiction is perceived as a receptive body and sensitive to changes in the parameters of its environment.
Lumina Fiction offers a kind of fictitious ecosystem with its own laws and seeks to provoke the questioning of the visitor on the relations between virtual life and nature and challenges him on a subject that lies at the crossroads of science and ‘imaginary. In this, Golnaz Behrouznia joins a whole stream of modern science, which for some centuries has tried to think the world otherwise than as a phenomenon to be observed. A speculative, experimental science that postulates bizarre assumptions.
Xavier Malbreil
Catalogue " Sensitive Worlds - Geographies of the Perception"
From the experience of the 9th International Biennial in Enghien Les Bains and the Exhibition Hemispheres
Under the patronage of the Art Center of Network Digital Arts - 2016
Chapter 2 /Biological Fictions / 4.Lumina-fiction
" Lumina Fiction" has been created in Pamiers, by Golnaz Behrouznia, with the structure Les Milles Tiroirs. The support fund for Digital Projects of the CNC, the DICRéAM, allowed her to bring together all the elements necessary to its production. To give some factual context to the artwork, it is the result of several years of collaborative work withthe Iranian artist Golnaz Behrouznia and her partners, who are also her former professors at the University of Toulouse-Jean-Jaurès, Xavier Malbreil, Director of the Mille Tiroirs, and Francois Donato, musician, programer, and member of the collective eOle. For art lovers, which are already familiar with digital artworks, Lumina fiction is an interactive installation, which invites spectators to get immersed and experiment. Words like immersion, interactivity, if they are already widely used, and known to many, do not suffice to describe the specificity of this artwork, because by saying that it is an immersive or interactive work, we would not know much more. Physically, it is an installation consisting of muslin screen sheets, on which a projector sends animations created by Golnaz Behrouznia based on her drawings of a biological imaginary world. The viewer can move inside this floating structure, and interact, of course, with the video and sounds, thanks to sensors arranged around the work. The moving forms, then seem to materialize in three dimensions, and sometimes caress the viewer, sometimes wrap around him, and sometimes threaten to swallow him. What is expected of an immersive and interactive work and interactive has already been done, namely this participation of the viewer with the work, and this meeting between several techniques, to reach the status of "total work of art", which make the viewer a creator associated with the work, by his path, as have announced and hoped by the art theorists since the middle of the XIX° century until nowadays, whether it is Richard Wagner, Joseph Beuys, Tadeusz Kantor, or Nicolas Bourriaud and many more. So there is it, this work in which the viewer is supposed to play, experiment, and marvel at ? There is is, this work to be discovered with its entire body not only eyes, ears and intellect. There it is, this work that uses the best contemporary technologies, and will gradually evolve, through various occurrences, and according to the interaction of the spectators. This work finally exceeds the dichotomy between works-objects and works-concepts, since it is at the same time hardware, present, and potential, virtual.
But will this tell us finally what is "Lumina Fiction"? If spectators feel such sensations, when they are experimenting with, where amazement meets concern, then there must be something inside, which goes beyond the usual promise of digital installations, that could be sometimes be reduced to a simple narcissistic trip.
There is in this work, which is based on drawings by the artist, forever obsessed by the living, like a trip back to the origins of time, when the Light, allowing the photosynthesis of algae, plants, and the most primitive, then archaic organisms, has enabled to create a more complex life, vegetal and animal, and sometimes both, in the initial soup. Light affects the matter, and when the magic works, this is called the Earth, Terra, and when it does not, or it no longer works, this is called the Moon, or Mars, places where nobody is already gone, but where we will soon build bases, but where we will miss, of course, water, leeches on the skin, ticks on dog, nettles, and all sort of things, stinging or violent, as the hemlock, piranhas, tigers, dragons.
Lumina Fiction is this moment where everything is possible, and that’s also what the viewer feels, when he navigates between the sheets of the installation.This fiction around the Light, without it there is no show, brings us back to these moments of darkness, where the worst could always be possible but where life would also be a possibility. The fiction of Light, to have the opportunity to say "I am alive".
FICTIONAL ECOSYSTEM
Philippe Baudelot (Independant digital art programmer et the membre of RAN network)
Catalogue " Sensitive Worlds - Geographies of the Perception"
From the experience of the 9th International Biennial in Enghien Les Bains and the Exhibition Hemispheres
Under the patronage of the Art Center of Network Digital Arts - 2016
Chapter 2 /Biological Fictions / 4.Lumina-fiction
“Lumina Fiction by Golnaz Behrouznia is an immersive and interactive multimedia work that takes audiences on a journey into an imaginary world. Its biological fiction is in osmosis with the contemporary concern related to the profound ecology.
In a spacious and obscure place, a spatial structure composed of layers of a translucent veil occupies space as a floating organic architecture. Tiny luminous, chimerical, and imaginary creatures come to life on the veils of this giant body, evolve and move, staging and giving life to a biological fiction in perpetual change. Sound atmospheres emerge discreetly and evolve according to the states of this universe. This fictitious ecosystem, both autonomous and sensitive to external presence, triggers visual and audible reactions and evolves according to the behavior of the visitors.
This form is also in itself meaningful, accentuating the essential function of the screen: to give something to see and, simultaneously, to designate the action of showing. The whiteness of the fabric can also evoke skin, or else the filaments of a giant spider web.
Lumina Fiction is in itself conceived as a living complex body, composed of a plurality of beings and movement. It finds its unity through its global interaction with the actions of the visitors. Thus, relations between the real and the artificial, the virtual matter and the real matter, the scientific biology and the artistic fiction underlie the conception of the work, intersect and place themselves in the interactive creation of the project.
The perception of the living being offered to the visitor in the presence of Lumina Fiction will lead him to an ontology of attention, a state of mind that makes consciousness a co-author of the world, caring but attentive.”
Between Art and Science
The forms, and the repertoire of forms created by the artist, paint a picture of a post-human world, or an alien world, in which technology would have hybridized with biology. It is therefore a biological fiction that is involved, where the genetic narrative would be lost, but which the spectator would see manifestation. Lumina Fiction proposes a creation, a system, inspired by the principles of life and a real ecosystem, and uses new technologies to embody these behaviors inspired by biological reality.
Golnaz Behrouznia constructed the scenario of the two latter projects, Lumina fiction and Connexa Viva, through discussions and observations with Mathilde Malbreil, a doctor in biology and a communication specialist in micro-fungi and plants.For Lumina Fiction, the interactive device was designed to make the link between biological inspirations and artistic creation, where the viewer is led to question himself about the relationships between environments and living beings.
The act of staging a device where the evolution of creatures is dependent and related to their relation to any intervention and behaviour in their environment enable to reconstruct the strong link of any natural entity with ecosystems. Links which are sometimes not directly perceptible in nature. Lumina fiction is perceived as a receptive body and sensitive to changes in the parameters of its environment.
Lumina Fiction offers a kind of fictitious ecosystem with its own laws and seeks to provoke the questioning of the visitor on the relations between virtual life and nature and challenges him on a subject that lies at the crossroads of science and ‘imaginary. In this, Golnaz Behrouznia joins a whole stream of modern science, which for some centuries has tried to think the world otherwise than as a phenomenon to be observed. A speculative, experimental science that postulates bizarre assumptions.