Myriam Bessette

micro silence | a visual orchestration

(en)
From July 6th to July 29th 2017 - at the Galerie des Grands Bains Douches de la Plaine

The event "micro silence" presents the works of Quebec artists Alice Jarry and Vincent Evrard, Myriam Bessette and Robin Dupuis, and Claudette Lemay, as well as those of French artists Oussama Tabti, Patrice Caillet, Adam David, Matthieu Saladin, Dominique Blais, Lucien Gaudion. On Thursday, July 6, from 6:30 pm to 10:30 pm, a series of performances took place with artists Lucien Gaudion, Jean-Baptiste Imbert and Esther Bourdages.

Taking its distance from a modern world where the profusion of noise is produced by the technological development, micro silence imagines a landscape devoided of the saturation and permanent filling that surrounds us.
The Gallery des Grands Bains Douches de la Plaine has a specific acoustic. Installations are orchestrated between them, as in a musical composition. The familiar substance of the world, recorded, treated, amplified and purified, is embodied in the space. Subtle nuances and pulsations create a vibrating microcosm, made up of reliefs and echos.

Curating by Constance Juliette Meffre
Diffusing Digital Art
diffusingdigitalart.org/exhibitions/micro-silence-en/

Produced by PERTE DE SIGNAL
perte-de-signal.org/

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micro silence | une orchestration plastique

(fr)
Du 6 au 29 juillet 2017 - à la Galerie des Grands Bains Douches de la Plaine

L’événement "micro silence" présente les œuvres des artistes québécois Alice Jarry et Vincent Evrard, Myriam Bessette et Robin Dupuis, et Claudette Lemay, ainsi que celles des artistes français Oussama Tabti, Patrice Caillet, Adam David, Matthieu Saladin, Dominique Blais, Lucien Gaudion. Le jeudi 6 juillet, de 18h30 à 22h30, une série de performances s'est déroulée avec les artistes Lucien Gaudion, Jean-Baptiste Imbert et Esther Bourdages.

Se jouant d’un monde moderne où la profusion de bruit est produite par le développement technologique, micro silence propose d’imaginer un paysage d’où sont écartés la saturation et le remplissage ambiant. A partir des spécificités acoustiques de la Galerie des Grands Bains Douches de la Plaine, des installations sont orchestrées entre elles, comme dans une composition musicale. La matière familière du monde enregistrée, traitée, amplifiée et épurée, s’incarne dans l’espace. De subtiles nuances et pulsations créent un microcosmos vibrant, composé de reliefs et de résonances.

Commissaire : Constance Juliette Meffre
Diffusing Digital Art
diffusingdigitalart.org/exhibitions/micro-silence-en/

Produit par PERTE DE SIGNAL
perte-de-signal.org/

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Plus d'infos / more info : perte-de-signal.org/micro-silence-galerie-des-grands-bains-douches-marseille-fr/ ou micro-silence.org/

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Myriam Bessette

Created by perte de signal

With a bachelor’s degree from the École des arts visuels et médiatiques de Montréal (UQAM), Myriam Bessette joined Perte de Signal in 2001. Her work is mainly oriented toward installation and single-channel digital video in which she experiments with…


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With a bachelor’s degree from the École des arts visuels et médiatiques de Montréal (UQAM), Myriam Bessette joined Perte de Signal in 2001. Her work is mainly oriented toward installation and single-channel digital video in which she experiments with drawing and sound sampling. Her videos have been screened in numerous festivals, including Sonar (Barcelona), the New Zealand International Film Festival (Auckland), and Images du Nouveau Monde (Quebec City). Her digital video installations were presented in Canada, Belgium, France, Mexico and Spain.

Facing Bessette’s moving images, one can’t tell which component takes precedence, as the process underlying these works hardly seems to favour the visual. Sounds mingle with the images, not in juxtaposition or superimposition, but as an interlaced form of video art arising from experimental animation. These works blink at us, visibly and audibly at once, for while light and colour transport us into an hypnotic formal universe, we are just as engrossed in the emanating resonances, which seem to sound out to us. We explore the crackle and sparkle in a kind of chromatic sputter, which, in the end, draws a pause in the viewing.

While the artist doesn’t film images from reality, she does collate samples of her own voice — the basis for all the sounds she uses — and assembles pictorial constructions on paper. She then cans her drawings and creates media objects that she mounts, colours, animates, sets in motion, ripples, and otherwise bends to her purposes. Far from materializing out of thin air, the image first appears as a tangible, material form. The modulations the artist orchestrates plunge us into an ethereal space composed of waves and images, given organic shape by their curvatures and by their movement across the screen. We are immediately fascinated, and, as our body perceives the transient images, we become their resonating chamber.

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