The machine of being, or drawing to be looked at sideways
2016, production of Overtoon
2019-2020, expansion with Samuel Beckett's (W)hole
Machine Cabinet (dimensions 150x150x25cm) fixed on metal construction (50cm height), Mignon Index Typewriter, Inox Rods, Step Stools, Episcope Projector, 7 Typewritten Pages, Booklet
11 Channels conducted sound
Both individuals with normal or impaired hearing (problems of the outer and/or middle ear) can perceive sound
I abject all signs.
I create only machines of instant utility.
The work circulates a subjectile idea that will always betray in visitor's minds through contact with the machine. The parts of the installation compose an expanded inner speech around the clash between the self and the Other, capitalism and being, abjections and obsessions with signs, words, vibrations, and numbers.
The inside part of the machine's cabinet is a functional metamorphosis of Antonin Artaud's pictogram: The machine of being, or drawing to be looked at sideways (1946). On the backside of the machine's cabinet, a diagram connecting holes filled with sound or stocked with silence indicates the conjunctions between 6 characters: Antonin Artaud, Carl Solomon, Allen Ginsberg, Wilhelm Reich, Erik Satie, and Samuel Beckett. The sound/voice inside each hole is transmitted inside the head of each visitor when inserting a metal rod and leading the mouth on it. With this physical act, the visitor fills the installation with her/his body and becomes part of the machine, or the machine becomes part of the body, conveying their own metonymic status of the human-machine subject (humanizing the machine or mechanizing the human).
The correspondence between the characters and the sound conducted by each hole is decoded in the pages projected. The text, written with the hacked Mignon index typewriter on both sides of the transparent paper (objective – subjective side) emphasizes the conjunctions (sound-holes on the machine) between life events and the work of the characters involved. The reversed writing refers to both completion and split between the sides. The readable side is the trace of the original and each page is meant to be looked at sideways. Printed booklets, available for the visitor, include letters written in the first person trying to articulate the reasoning of the work.
There is no specific side for looking, reading, or perceiving this work, neither start, middle, endpoint. The whole work and every single part of it can be conceived from a very personal point of viewing, hearing, or being, subjective experience of time, or thinking process.
MAAC, Brussels, Belgium (14 April – 14 May 2016)
© Photos : Pierre Ghyssens, Renaud Schrobilgten
Où sont les sons? CENTRALE For Contemporary Art, Brussels, Belgium.
(20 April 2017 – 10 September 2017)
Photo © Philippe De Gobert, Marc Wathieu
download two-sided printing