“This is not the end of the world… although we must approach it the same, to understand the urgency to change the course of history. From December 9th to 11th, Electrons libre returns for a new edition at Stereolux. We wanted to detail the events of this busy weekend with its programmer, Cédric Huchet.
How to introduce free electrons? Now, how many editions are there?
Oulah, trick question (laughs)! Free electrons is a quarterly event, created in 2017 or 2018. It usually takes place over an evening or over a weekend. But who still wants to be in a dynamic of events, at the highest point to focus on living forms. The idea is to have as open a panorama as possible of digital creation in the field of electronic culture and digital art.
What was the objective, the guiding idea of the event?
In general, the free electrons are in the odd order. Hybrid forms towards which artists come in the field of digital and electronic creation. There we wanted to flesh out the proposal a bit, with a weekend of three days and three evenings, which would deal with a topic that is being talked about a lot at the moment. Which refers to the poor health of the world in general, but also from an ecological, climatic, social, political point of view… What prompted us to examine this topic was that many artists evoked these themes there, or diverted them through projects of theirs. . In a way that can be serious and sensitive, but also positive, or in any case reason for hope.
On the concert side, we had a nice set on Friday. What was the purpose of the program for this evening?
We wanted diverse artists, both in terms of background and artistic talent. We have identified rare artists on the French scene such as Iglooghostthe young troublemakers of the Anglo-Saxon scene in a really sought-after electronica register, with colorful inspirations, very enlightening… But also Nkisi, artist of Congolese originvery militant for the issue of minorities, the issue of women… We have identified artists like Spime.I AM, a precious Turinese duo in what they work on, digesting or indigestion of a database of images. They’re on a two-person set for Friday night, but they’re also on a more complex Saturday show.
And then, even younger artists who are starting to make a name for themselves in this artistic field. Like Triphène and Ulysse Lefort, whom we had welcomed in Scopitone two years ago: it was one of the great discoveries of this edition, and they are back with the project “La Caresse” which deals with beliefs, witches, somewhat dark legends…
Why did you choose these artists, what do they represent?
We wanted to embody the theme of the weekend, with a bit of irony in the title. And in this evening, which also starts in an interesting format, from 8:00 p.m. to 4:00 a.m., we wanted to bring notes sometimes in color, sometimes darker, but each artist takes us on this journey of drawn from his imagination, that can evoke this end of the world… Or this hope for a new world!
Among the intriguing highlights of the weekend is Saturday’s performance: End of the world
Yes! It is a long-awaited performance, a rare proposal brought by Lubomyr Melnyk who is really from the Steve Reich and Philip Glass family… He is a pianist over 70 years old, quite rare on stage, known for the technique of his playing.continues on the piano. He started this project in 2018, then surrounded himself with cellist Julia Kent and the Torino collective I was talking about. A project that recovers a certain amount of data, especially on the climatic and ecological evolution of the planet, to rework them in their own way and thus evoke the chaos, the predictable side and the consequences of human action on Earth. It’s a crazy intense project, full of poetry.
It will be preceded by Colibri, a young artist from Nantes comes from a slightly smarter electronic scene which presents, as a French preview, a video-documentary that he himself made: in the city of Kuujjuaq, lost in the depths of Quebec, which has the distinction of hosting one of the largest open landfills in Quebec. But after that, implicitly, the entire history of the Inuit takes shape. And the abandonment, by the public authorities, of this community and this territory.
And then it continues, for the part of the show, until Leave your pebble Sunday. A show for young audiences with high technical quality, like a video theater with objects made by Elie Blanchard, who has worked hard on essential issues. There he deals with uprooting, returning to the roots, searching for the past and the roots…
In the rest of the weekend, do we feel like gathering together with communion moments?
We wanted moments of life, sharing, during the day and with family. We actually have the Sunday cooking workshop, which will wrap up on the show Leave your pebble. It is a proposal from Gwendoline Bloss, culinary designer artist, who will collect here (with the families) dishes and desserts, to illustrate the field of minerals and organics through the kitchen.
And then S8jfou masterclass, which is the result of long-term work since he was at Scopitone last year – we had co-produced his proposal with Simon Lazarus. He is very unique in his approach to music and life. He leads a workshop on how we can work differently from software MAO, including Ableton. And to tie in, we also have wine tasting workshops, which focus on things in phase with the notions of free, natural, living wines. We feel the need to fight to preserve this nature.
In your opinion, what is the main moment no. 1 of the weekend if you had to pick one?
The End of the World with Lubomyr Melnyk. We do not emphasize that it was a coincidence, I am not making it a promotional argument, but by chance he is from Ukraine, even though he lived for a long time in Canada and then in Europe. It is a small symbolism that goes to our hearts, because it is an extraordinary artist who will be there for a unique meeting in France.
This weekend we can relate to the performance Blindwhich takes place at the same time?
Yes, it is a single proposition from December 1 to 18 at Stereolux, in virtual reality, which will be experienced by 12 simultaneous spectators. We have many sessions during the day, it’s an inspiration from a Belgian text written in the 19th century, a novel turned into a play, about 12 blind men brought by their spirit guide into the forest and delivered to them . They establish a dialogue without being seen, without being recognized, awaiting the return of the guide. There is something very sensitive, very immersive and technological. We remain in doubt and hope to get out of this situation.
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