Chimes Era #1.2 : the Seat in Judgment (Assessment following the sacrifices of CE #1.1 : the Benching).

Sedimented Installation. 2020.

, & . The three chimes reasoned in the test benches. Le Chimist, an exegete-carillonneur percussionist, attempted the tuning of the tubes, filling them with his essays. He tried to extract a partition from the mixture, but ended up setting the death knell for their evaporation.

The arrival of the benches marked the end of the era of chimes. Behind their cries, the beatings revealed that the agitator was also ringing. Here comes the time without a tribune, that of lost benches, testubers and buttocks with adjoined foundations:

Here the time of the seat in judgment . 

< To summarize, this is the story of a piece / audience matchmaker who, by promoting the comfort of the audience at the expense of pieces and their authors, ends up reducing them to simple seats (→ benching →"mise au banc/ban", →"to put in bench/applause/banish") . In this chapter we see formulated, between the lines, a projection of this audience which goes through three reversed stages described by Marie-Madeleine Mervant-Roux: assistance (defined by touch / feeling / pathos in relation to space) , audience / listener (defined by hearing in relation to time) and viewer / spectator (defined by sight in relation to ἀλήθεια (aletheia)).

What produces this new entity Mickey Mutt  (cf. ) as a testuber (in connection with the test tube of chemistry → "éprouvette" → "éprouveur" → "éprouver" → "to feel/experience") to whom we come to give the seat in judgment (→"l'assise du propos"→"the seat of the discourse / the establishment of the discourse"), the making of the testuber's throne. >

 

Influenced by:
L'ASSISE DU THEATRE. Pour une étude du spectateur by Marie-Madeleine Mervant-Roux. CNRS (1998).
De proctologica melancholicum by Pier Mertzier. Editions de L’Irréel (2007).
MickeyMutt was inspired by Pierre Mercier in 2016.

XOsquelette - Prototype, Propuzzle & Prospect. (Clôture digestive du 06/06/2013) & Metatarsus Varus - “t” for two were produced by Le Fresnoy - Studio National des Arts Contemporains.

Chimes_Era#1.1 was shot in May/June 2016 in La Chaufferie at la HEAR Strasbourg.
Thanks to Francisco Ruiz de Infante for the invitation, Yiumsiri Vantanapindu, Clément Debras, Aliette Salama & Léo Hoffsaes and La Chaufferie’s team for the help, Cave for the dancing bodies. Special thanks to Antoine Lejolivet.

Chimes_Era#1.2 was shot in march 2020 in Brussels.
Thanks to all the Narration·s’ team, Christine Boisserie and Yann Guilbert for the help. Special thanks to <3 Valentine Siboni for the invitation.