DAVID LETELLIER AKA KANGDING RAY WAS PRIZE-WINNER WITH BOEDI WIDJAJA IN THE SOUND ART CATEGORY AT THE INTERNATIONAL BIENNIAL OF INTERACTIVE ARTS EBN 2012, PARIS FRANCE.
PALIMPSEST itself by David Letellier and Boedi Widjaja is a multimedia portrait, a poetic visual and sound piece inspired by the emblematic hill of Fort Canning in Singapore – former stronghold or leisure destination – incessantly remodeled by a history which propelled the port town into the rank of international megapolis.
First started in Asia, by the performance artist, Boedi Widjaja, the project INSITU brings together other artists, musicians, videomakers, photographers and critics, in the same space, to work on a sensitive mapping: an interpretation in the making, in the form of a publication, an exhibition, and for Les Bains Numériques 2012, a performance, which makes the space of creation resound with the groundbreaking strength of FORT CANNING HILL.
The sound architect, David Letellier, worked on the notion of parchment – the Palimpsest - , of an earth altered by the flagellations of Boedi Widjaja on stage. The subtlety of his listening, the violence of his blows, the intrusion of a luxuriant nature in its abyssal surfaces or of a melodic awakening with the most urban consonants... issuing from the metallic and deaf hammering that reconstructs the space.
A video by Taisuke Koyama and Weehan Yeo is projected alongside the performer's “action painting”, and sound work by the artist and Dj Kangding Ray. Born in France, and following a degree in architecture, David Letellier now lives in Berlin and produces work internationally, navigating between clubs, live shows and art, animated by a personal quest relating to the perception of sound and space, which he addresses in his installations, which interact with their environments (1).
Kangding Ray has worked for many years with Carsten Nicolai (Alva Noto). He's made albums with the Berlin label, Raser Noton, famous for its radical minimalism. However, it's for David's romantic form and personal singularity and ability to evoke human presence, through pure electronic music, that Boedi Widjaja contacted him after having listened to his albums – thousands of kilometres away.
On stage, the dialogue between the two men is established, carrying the spectator away with the synesthesis of a show with digital frequencies, the High Tech devices of which seem almost invisible; the sound artist voluntarily keeps himself out of view, leaving just the raw material on stage: the bodily presence of Boedi whose amplified sounds, mixed and sent back in real time, play with the video projection. “David and I wanted to reduce the technology here to its most primitive form: the interaction between the image produced by the body and the sound”. A “post technological” position, deliberately chosen in the framework of a festival on digital art, for Boedi Widjaja, who was used, as a child, to drawing on the walls of his hometown with a piece of charcoal from the fire...