Clara Iannotta, Chris Swithinbank
I listen to the inward through my bones
octoberoct 7 – 18
© Académie de France à Rome (Villa Médicis, 2019) ©
Monday october 7
10h - 12h
Monday october 7
14h - 17h
Tuesday october 8
10h - 12h
Tuesday october 8
14h - 17h
Wednesday october 9
10h - 12h
Wednesday october 9
14h - 17h
Thursday october 10
10h - 12h
Friday october 11
10h - 12h
Friday october 11
14h - 17h
Saturday october 12
10h - 17h
Monday october 14
10h - 12h
Monday october 14
14h - 17h
Tuesday october 15
10h - 12h
Tuesday october 15
14h - 17h
Wednesday october 16
10h - 12h
Wednesday october 16
14h - 17h
Thursday october 17
10h - 12h
Thursday october 17
14h - 17h
Friday october 18
10h - 12h
Friday october 18
14h - 17h
Concept Clara Iannotta, Chris Swithinbank.
Acknowledgements Église Saint-Eustache
With the support of the Sacem
In partnership with La Muse en Circuit
The Festival d’Automne à Paris is producing this installation.
With the support of
Clara Iannotta's project is to listen to the city and its various life-forms, in a space, that of a church, which a priori preserves those inside from the noises outside. She does so by means of an electronic installation designed for the acoustics of the Church of Saint-Eustache, a building with a rich musical tradition, ranging from from Rameau to Berlioz.
Clara Iannotta has been familiar with the architecture of the Saint-Eustache church for a long time. With a fascination for its reverberations, rustling noises and crackles, she took full measure, in an in situ manner, of this exceptional and monumental acoustic space with the collaboration of composer Chris Swithinbank. The unique filtering that the building operates became the driving force for her piece. What we perceive is the centre of Paris, a collection of external noises which, as soon as they enter the church, become sound frequencies. The artist did not seek to merely present a work in the midst of this host of echoes, but rather to reveal through sound the incredible effect of the stone, wood, canvases and glass. She does so by means of a deambulatory performance. Clara Iannotta has recorded Paris at various times of the day, its streets, neighbourhoods and arrondissements, and retained the voices and tumult of traffic going by. She then exalts this city, filtered by the specificities of the nave, its aisles and chapels, galleries and tribunes. Like a cloud of sound hovering above the listener, the piece opens up different stopping points, or windows on the world, both outside and inside.
Interview with Clara Iannotta
See also
Clara Iannotta echo from afar (II) ; They left us grief-trees wailing at the wall ; glass and stone ; a stir among the stars, a making way
What are the relationships between a spider's growth, the sound experience of radiotherapy and the lights and clicking sounds of old-fashioned slide viewers? The work of Clara Iannotta, of which this concert offers a journey through its recent years, is a mode of self-knowledge, or an autobiography in which sound and body are intimately linked.
Clara Iannotta, Dmitri Chostakovich, Franz Schubert
Spanning three centuries, these three works speak of self-care, the incessant quest for new languages, crisis and renewal, and the inherent element of wandering in our lives. And of the landscape in which each point, equidistant from the centre, reveals itself to a traveller who moves around there without moving forward.