Nantes à Québec /// Manif' d'Art 2015

Retour sur l'évènement "Nantes à Québec" :

Biennale majeure en art actuel sur la scène canadienne. Major biennial of contemporary art on the Canadian scene.

Environ 30 institutions et organismes culturels et artistiques de la ville de Québec et de l’international collaborent à cette manifestation artistique incontournable se tenant de mai à juin tous les deux ans. En plus des expositions, l’événement offre une pléiade d’activités évoluant autour d’un thème central, exclusif à chaque édition. Manif d’art s’adresse au public spécialisé ainsi qu’aux visiteurs non initiés qui profitent d’un vaste volet destiné à la découverte de l’art actuel.

Matthieu Crimersmois

Fresque murale : 6 x 3 mètres

Tampons en impression 3D

Idéogrammes estampés sur le mur déssiné aux platines vinyles

Pour plus d'info. me contacter

©Photos:Renée Méthot / Mention obligatoire

Tous droits réservés. 

École des arts visuels Université Laval 2015.

La fresque murale de 6 x 3 mètres de Matthieu Crimersmois est une oeuvre d'art qui combine plusieurs techniques pour créer une expérience visuelle immersive. Les tampons en impression 3D, utilisés pour créer les formes en relief de l'oeuvre, apportent une dimension physique à l'oeuvre, permettant ainsi aux spectateurs de la voir et de la toucher. Les idéogrammes estampés sur le mur dessiné aux platines vinyles ajoutent un élément de langage à l'oeuvre, invitant les spectateurs à interpréter les significations cachées derrière les symboles.

L'oeuvre est exposée dans le cadre de « Québec/Nantes, Dialogue en arts visuels », une initiative de la Manif d'art de Québec qui vise à établir un échange culturel entre les artistes de Québec et de Nantes. Cette exposition est proposée par l'école des Beaux-Arts de Nantes à la galerie des arts visuels de l'Université Laval à Québec.

La fresque murale de Matthieu Crimersmois est un exemple de la façon dont les artistes peuvent utiliser différents médias pour créer des oeuvres d'art originales et engageantes. En combinant la technologie de l'impression 3D avec des techniques de dessin plus traditionnelles, Crimersmois crée une oeuvre qui est à la fois contemporaine et intemporelle. Les idéogrammes estampés sur le mur dessiné aux platines vinyles apportent une touche de mystère à l'oeuvre, laissant les spectateurs libres d'interpréter leur signification et leur importance.

En somme, la fresque murale de Matthieu Crimersmois est un exemple fascinant de la façon dont les artistes peuvent fusionner différentes techniques pour créer des oeuvres d'art complexes et émouvantes. Si vous avez la chance de voir cette oeuvre en personne, prenez le temps de l'admirer et de la contempler dans toute sa complexité

Après avoir présenté Josiane Roberge et Charles-Étienne Brochu à la Dulcie Galerie du 2 au 11 juillet, l’école supérieure des beaux-arts de Nantes Métropole a le plaisir de proposer à Lisanne Nadeau, directrice de la Galerie des arts visuels de l’Université Laval, un duo d’artistes émergents diplômés des beaux-arts de Nantes en 2009 et 2010, Matthieu Crimersmois et Olivier Garraud.

Matthieu Crimersmois

Projection vidéo des dessins réalisés aux platines vinyles,

servant à créer les tampons en impression 3D,

eux-même activés par une fresque murale.

©Photos:Renée Méthot / Mention obligatoire

Tous droits réservés. 

École des arts visuels Université Laval 2015.

#drawtablism #arturntablism #ttm #platiniste #plasticien #platicien #turntablism

#scratchnotation #matthieucrimersmois #artiste #etchascratch # sketchascratch #partitiondescratch #dessinauxplatines #turntablismtranscription #gestureofscratch #gestuelleduscratch 

Matthieu Crimersmois est un DJ de musique expérimentale et plasticien né en 1983 à Paris. Son travail est influencé par la musique scratch, la culture hip hop et une variété de références musicales qui alimentent sa pratique artistique. Crimersmois s'intéresse à explorer la relation entre le son et l'image et a développé des techniques uniques pour combiner les deux. 

Il crée des dessins à partir de ses platines vinyles, des pièces audiovisuelles qui impliquent un travail sculptural et des compositions picturales qui intègrent la performance et l'installation pour créer une relation dynamique entre l'espace, le son et le public. 

Son travail s'inspire du turntablism, de la musique improvisée et classique, de la figuration libre, du graffiti, de l'art minimal et conceptuel pour offrir une analyse déconstruite de la vie quotidienne et des langages codifiés.

Matthieu Crimersmois

Installation in-situ

Bandes VHS étirée dans l'espace de la Galerie

Sonorisées et jouées en live

©Photos:Renée Méthot / Mention obligatoire

Tous droits réservés. 

École des arts visuels Université Laval 2015.

YIA / Young International Artist Art Fair #05 et exposition Nantes-Quebec;

YIA ART FAIR #5

Salon d'art contemporain

Vernissage jeudi 22 sur invitation de 18h à 21h30

Au stand de la Galerie BS

OUVERTURE AU PUBLIC:

Vendredi 23 octobre 2015

De midi à 20 heures.

www.carreaudutemple.eu

4, rue Eugène Spuller

Paris, Le Marais 75003 (France)

Samedi 24 et dimanche 25 octobre 2015

De 10 heures à 20 heures.

Bande de primitif contemporain - Matthieu Crimersmois - 2015

http://yia-artfair.com/fr/content/41-about-yiaartfair-lecarreaudutemple

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Exposition à la Galerie d'art visuel de l'Université Laval à Québec 

dans le cadre de MANIF D'ART 

Biennale d'art contemporain de la ville de Québec

Du 22 octobre au 22 novembre 2015

Nantes à Québec

avec l' Ecole des Beaux-Arts de Nantes Métropole

Vernissage: jeudi 22 octobre à 17h

précédé d'une rencontre avec les artistes dès 16h30

Sillonner le monde - Matthieu Crimersmois - 2006

http://beauxartsnantes.fr/matthieu-crimersmois-et-olivier-garraud

http://manifdart.org/volet-quebec-2/

https://www.arv.ulaval.ca/galerie-une/echange-nantesquebec.html

SPACE INVIDER

Matthieu Crimersmois

Space Invader

2015

Bande VHS, bras de lampe d'architecte, 

porte manteau, microphone, système son

Dimension variable

Chez OMEO ARCHITECTURE

L'art contemporain est souvent surprenant et déroutant, capable de nous faire voir le monde sous un nouvel angle. Une œuvre d'art qui a certainement cet effet est une installation créée en 2015, composée d'une bande VHS, d'un bras de lampe d'architecte, d'un porte-manteau, d'un microphone et d'un système sonore. Bien qu'apparemment hétéroclites, ces éléments ont été assemblés avec soin pour créer une œuvre d'art intrigante et fascinante.

La première chose qui attire l'attention est la bande VHS, un objet qui peut sembler désuet dans notre ère numérique. Pourtant, cette bande est un élément clé de l'installation, symbolisant peut-être le passé et les souvenirs que nous gardons, même lorsque la technologie évolue. Le bras de lampe d'architecte, avec sa forme angulaire et sa fonction pratique, ajoute une dimension sculpturale intéressante à l'œuvre.

Le porte-manteau, lui, suggère la présence humaine, un endroit où l'on peut accrocher son manteau en rentrant chez soi. Le microphone et le système sonore complètent l'installation, permettant peut-être à l'artiste de transmettre un message ou une émotion à travers des sons.

La dimension variable de l'œuvre est également importante. Les éléments peuvent être disposés différemment selon l'espace dans lequel ils sont présentés, ce qui permet à l'œuvre de s'adapter à différents contextes. Elle peut être petite et intime dans une galerie d'art, ou immense et imposante dans un espace public.

En somme, cette installation est un exemple d'art contemporain qui invite le spectateur à réfléchir et à interpréter les éléments assemblés de manière non conventionnelle. Elle pose des questions sur notre relation à la technologie, aux souvenirs, à la fonctionnalité et à l'humain, tout en offrant une expérience sensorielle unique grâce aux sons et aux formes de ses composantes.

Une vidéo de l'installation insitu

Website Matthieu Crimersmois

https://www.mattcrime.com/

Maneki-Neko

Maneki-Neko (Métronome)

2014

Prepared records and two cats with niddles.

BREAKER / 2010 / Matthieu Crimersmois

Sculpture installation sonore, interactive.

Matériel : 250 Vinyles, métal, capteur de mouvement, bras de lampe d'architecte.

Dimensions : 60x170 cm

«BREAKER» est une sculpture/installation sonore présentée à l’occasion de l’exposition 

MOTHERSHIP UNION de Michaël Sellam, en octobre 2010. Elle était située au sein de l’école d’architecture de Nantes, dans le cadre de HEART OU L’ART AU COEUR DU TERRITOIRE, organisé par E.L.I.A. (European League og Institute of Art).

Cette pièce est futuriste et vient de l’imaginaire. Elle est imprégné de l’atmosphère de la science fiction, dans laquelle la présence d’araignée ou insecte «extra-terrestre» est souvent omniprésente. Les disques vinyles sont thermo-formés de façon à représenter des globes, entre la carapace d’un «alien» et une soucoupe volante. Son nom rappelle une danse HIP HOP. Comme  Mothership est le titre d’un disque de culture afro-futuriste (PARLIENMENTE), qui donnera vie à cette culture. (mouvement provenant des guettos noirs américains). 

Les pattes sont articulées et conçues afin d’être des têtes de lecture qui sont aussi les griffes de la bête. L’arachnide semble être en auto-défense passive (techique que les araignées utilisent pour simuler la mort face à leurs prédateur).

Remerciement : 

Tout  particulièrement Jérémie Laurent, Michaël Sellam, ESBANM, Jean-Claude Martin et Céline. 

"BREAKER" is a sculpture / sound installation presented at the exhibition
MOTHERSHIP UNION Michael Sellam, in October 2010. It was located in the Nantes School of Architecture, under HEART OR THE ART IN THE HEART OF THE TERRITORY, organized by ELIA (European League og Institute of Art).

Showroom - Dessiner, Sons, Espaces - Matthieu Crimersmois

  

Aperçus ici :

Digestion sur le 8e continent

2015

Dessin aux platines, son descriptif (remixée)

Vidéo accompagnée d'estampe numérique 70x70 cm

Photos : Ysabel Seiquiera (Agence OMEO)

Concert-performance /// Musée d'Art et d'Industrie de Saint-Etienne

4 mars 2015
La 213 429e Partie du Monde. 
Nouvelle interprétation de l'Oeuvre de Michel Aubry 

New interpretation of the piece of Michel Aubry, "La 213 429e Partie du monde".

Interview de Nika Fontaine. (2012)

Framing The Sound on a pedestal
I chose to interview Matthieu Crimersmois, to understand how can an artist perceive the frame and the space through a multimedia and sound installation practice. Matthieu is a french Artist who studied Contemporary art in the Nantes beaux-arts academy.
His work concist of sculptures, kinethic installations, performances, video installations, sound generating sculptures and more. He descibes himself as a Platiniste Plasticien, by creating bridges between the world of Djs and fine art.
While the frame or borders of a sculptural object can be more easily defined, it is probably harder to define the borders of the same object that produces sound.
Since the sound is part of the artwork, is there any visible limit anymore ?
Could the sound be the final artwork? We could also see the object as frame for the sound, or vise versa, becoming inseparable or interdependent.
Thoses questions are some that obviously a painter doesnʼt necessarly ask himself, but for the acoustic practicien it might be the very essence of the work.

Interview mit Matthieu Crimersmois
Email und Skype interview, Berlin/Paris 12.2012
(.... In french the beginig.. )

Est-ce que tu tentes de créer un nouvel espace à l’aide du son?
Without my will, the sound reveals informations. I try to go with it. The notion of acoustic space to me is still not well defined. I do not pretend to expand the walls or make some 5.1 or even to be an Ace of high quality acoustics.
Maybe I aim toward a new mental space, of creation, mixing between
artistic disciplines, between the thoughts of people. Uhrsprunglich, I am a visual artist, I do not have any musical education worthy of the name and it is just fine. In all cases,

I am an artist who enjoys working with musicians for exchange. It is in those moments that new spaces are build.
Not to mention the architectural properties that are taken into account or not.

Depending on architecture, acoustics will be different, then do you consider the room as being part of your work or more as an external factor?
I consider it as an element that integrates the context of the work.
But I can Ignore it also, It is my work that bear this question, not me.
If I judge it can alter or improve my work, then I will respond to it.
It depends of the possibilities that are given to me. Often I try not to make compromises.

When you select your sounds, are you choosing them according to the place where Artwork will be presented, or independently?
Good question, honestly, I consider the places and the viewer. It is part of my
inspiration. Often curators understand the impact it will have on the public. They also position themselves as researchers. I must be careful to the public.

If a work is designed for a specific location, can it be presented elsewhere afterward?
The difficulty in my work is not to currupt the original meaning of my artwork, but rather to make it evolve.
The trouble with my job is not to corrupt the original meaning of my room but rather to evolve. If it helps to read my overall approach, then yes,
other parameters may come into play depending on the context. I try to do not have an approach to autism although if I could I will permit it can be.

In some of your works, you take a print of the street, by melting vinyls disc over the sidewalk or over sewers.
Would you say that this is a way to frame the street?

I tend more to talk about the street in an other way. I include it in my work.

When I take the imprints of the street, I take something that belongs to the ''common'', the daily life.
I transpose it in sound on a disc. I take the different surfaces of the street, motifs, fences, sewer and readi it through the vinyl.
The motifs are some kind of low relief (Flachrelief) that gives beats with the, topography. The street offers a large spectrum of subjects and possibilites.
It's more my work that frame itself in the street in that project.

Many of your artworks are in relation with the world of Djs. Would you say that this thematic is the frame of your art?
Non, it's the genesis.
I actually tried to unframed this thema, and bring something new to it. We are many to do this with that same will. Which is perfect.
After, some make it better than others.

Do you think performance as a frame ? If yes what it is ?
Yes, an art space with receptive people.
It already happened to me that I did a performance in front of a public that was completely out of context, and for them I was also completely out of context. From the moment you present your work or perform somewhere, you must often enter in a frame, an idea, a concept. Even when I do improvisation there is a frame, there is a public curious of earing new sounds and new instruments. A musicien should have a liberty of is own, that means inside his own restrictions, sensitivity, and work.

Do you conceive the format of an artwork and the amount of works for a specific exhibition?
Yes, I have this tendency. But also in function of what I want to say.
For exemple,I conceived '' Breaker'' in a scale close to the human scale in a room that
had maybe 200 sq meters. The sound was diffused n the whole space.

Does the psychological frame of a space(galerie, house, studio, public space) influences your production?

I have a more or less negative vision of the frame. I try to go over it, but it just catches us at one point.
It's just a silly idea to think that there is no frame, but it's still an idea that I don't really like. My studio is not defined as a studio. I call it like that because we have to give it a name. People need to understand what you do.
About the gallery, I am like everyone, I search the right one. It's the perfect frame to support what you make and to give you a credibility in the art market. On the other hand, it's very nice not to have one and not to be absorbed by the political problematics of some sort.
Do you like groupe exhibition?
Yes, I find that interresting when there is a real interraction between the artworks.
Often, I just made the links long after. Group exhibitions sometimes complexify the reading of an artwork to much, but it allows to explore new interresting tracks. I think that collectiv work is essential to evolve.
It's a force that allows to question important topics on different point of views.

Do you consider that your work is well suited for group exhibitions ?
There is of course interractions with certain artwork that parasite one another, or even that are harmfull of each other. but If this is assumed, then I say yes.
Otherwise I like when it works, when you organise your work, and think about it make it's scenography and discuss with others.
It's a moment of delimitation of your territory, of exchange and discussion, it's almost a question of behavior and conviction. It's the most important step befor to show something in public. That is why often scenography of curators is sometimes a sort of game of power, strategic placement and giving more importance to some more than other.

Which are the parameters that you must pay more attention to ensure the strengt of your works?
Knowing specifically what effect I want to obtain on the public. Make sure that my work keeps it first meaning and his autonomy.

If the space arround his part of your work, are they also absorbing the other artworks around it?
I hope so.

Are you trying to brake or underline a social frame ?
I am interrested in many things. From the moment that you start claiming something (revendications), it becomes dangerous to get away from it.
The social frame is quickly reused by something else, everything is always in mouvement, the elements of a frame can enter and exit it. When you define a frame, you define something fix. Who defines the social frame?
The only trick is to do what you want, what you think must be done.
The origins, the religions, the professional social classes, that is the organisation of the human being, to give him a function and use it. But the human is useful to itself through the natural program that compose it. That is the adaptation, the evolution and the ideological positionning, the choice. Braking or underlining a frame is intrinsic in my work, but I don't talk about it.
I am doing anti politic at the moment.

Does your videos have the ''reach'' when presented in different spaces ?
I am not able to say exactly what is the impact of the differents diffusion platforms for the moment.
What I like the most, is the contact with the public, to know what they though of it. Which is more probable in a gallery.
Internet is good, but people are consumming me, they don't exchange with me or very little.
But at least I know they saw my work and that, this or that thing intrigues them.
They have a more intims contact with my videos even with the distance and the lack of scenography.
Because indeed, my videos can be seen on the internet, I chose Youtube ! That doesn't remove the fact that I have a lot of visits on my blog.

-Does the art market as an influence on your production?

For everyone that want to live with there art.
The problem is that, regarding the country or even the city where you live, the parameters changes.

What is your biggest limitation ? -Physical?
-Psychological?
-Physicaly: I don't have any problem to move arround, its just a question of organisation. I sometimes adapt the projects reagarding the exhibition spaces.
-Psychologicaly: There is only myself that imposes me limitations regarding social and financial pressures.

Do you have any Taboos?
Yes, in the way to respect the liberty of others. But mostly, I express what I think.

Are you trying to brake taboos or prejudices with your art?
The world is so broad that I focus on problems that sometimes don't have any links to prejudice or taboos.
Only the act of bringing the vinyl discs out of the classical Dj world, was for me a huge prejudice braking act.
But I am not the only one to do this, so after a while, everyone make what they want.
We can put everything in categories and judge immediatly, but in that case it as to become a scandal and people must talk about it.

Does art theory and art history influences your production?
Yes, I make a lot of research about what is being done and said about art. Sometimes I even look to much about what is being done around me and I forgive what I make. But it's mostly just a phase, a stretch of inspiration.

Do you feel restraint by theory?

Theory is not either my main subject. I am more in the practical.
If I write about a theoratical text about my work, it's to push further my discourse or even to investigate writing as an artistic work in itself.

Do you think that contemporary art have a frame?
Contemporary art is framed from everywhere, from the beginning of art history up to today, in a certain total chaos and a certain possible futur that we suspect.
Art is marked, it's left to us to infiltrate the ''Zwischenraum'', the "sillons en construction".

Does galleries and museums gives you more liberties or restrictions?
More expectancy for the artist in general. I would of course love not to have to think about logistic and contacts building.
I would like to free myself of this to be more efficient in what I do and what I want to show to the public.

Anything you would like to add ?
I would like to say, that finally, it only belongs to you to create the frame.
It's really hard to be framed when finishing school, especially in Paris when you are young. Some people manage to get a gallery, sell works and show regularly right after finishing art school.
That is what we all want. No matter how important the exhibition is, you have to be a minimum strategic.
Just like Duchamps said, yours artworks are like chess pieces, you have to place them in the right place in the right time.