Aurélie Pertusot

Portfolio 2017

About my work

«My work defines itself by a series of experiments arising from my relationship to drawing and the notions of appearance and disap-pearance. Through ephemeral interventions, installations in situ and performances, i try to establish a dialogue with the place, and between the public and the work. My installations become inte-grated into the architecture and are conceived for the place where they are presented. Working with economy of means, the imper-ceptible and the invisible are in the heart of my research wich reflect a invisible reality subjacent. i try to give form to this virtuality in privileging the use of «low technology».

Biography

Born in 1983 in France, Aurélie Pertusot was awarded a diploma from L’Ecole Nationale Supérieur in Nancy (France) and by Sint Lukas Art School in Brussels (Belgium) with congratulations of the jury in 2007 (Master’s Degree in Art). Since 2008, she has been developing a work around drawing and around disappea- rance, and with Anne Moirier, she offers perfomances of sound, and par-ticipates regularly in festivals (France, Luxembourg, Germany). in 2010, by invitation of the curator of the museum of Fine arts of Nancy, she is creating an interactive ins- tallation with respect to the exhibition Beauté Monstres. She also participates in the exhibition «Regards», in the center of art Bastille in Grenoble (France) and to the nocturne étudiantes, to the Lorrain museum of Nancy (France). She receives a grant of residence in Berlin by the Conseil General de Moselle (France) and is interested in the art in the public place.

MELODIC LINES

https://vimeo.com/224675092

Eine Scheibe, die einen magnetischen Klang schafft, läuft langsam an einer holzverstärkten Gewindestange hinab. Wenn die Scheibe unten ankommt, überschwemmt die Stille den Raum. Dann dreht sich die Installation, die an einen Motor angeschlossen ist, um wie eine abgelaufene Sanduhr und die Scheibe beginnt ihren Lauf von neuem.

Dieses zufällig beobachtete akustische Phänomen geht zurück auf eine andauernde spiralenförmige Bewegung, die Schwerkraft und die benutzten Materialien. Es zeigt unsere eigene Wahrnehmung von Zeit, die, sagt man, abläuft. Mit Hilfe dieser Installation wollte ich mich auch dieser akustisch-magnetischen Flut bemächtigen. Es funktioniert wie ein Klangmarker, der das Ohr fasziniert und hypno-tisiert. Ich bin an den Themen Energie und Ritual interessiert, und habe in diesem Zusammenhang diesen Ton inszeniert, um sie mit dem Publikum zu teilen.

Als Hörer und Zuschauer wissen wir während des Abrollens der Scheibe, daß dieser Klang ein Ende haben wird und wir warten auf die Stille. Indem wir diese Entwicklung anschauen , die etwas Spektakuläres hat, stehen wir vor dem verrückten Kurs der Zeit und dem Verhängnis unseres zerbrechlichen menschlichen Zustands.

Life and died of a sound, a concerto for 3 slices, work in progress, sound sculpture, threaded rods, rings, wood, motor, arduino.

https://soundcloud.com/oreliep/glissements

14/03/2017 Performance insitu in Gymnase ENSA BourgesFestival Odyssée

protocol with 8 threaded rods and 4 performersRose Michaut, radio artist, Christophe Aslanian, composeur, Alix Gastineau musician and me.

Glissements, 2017, sound performance, threaded rods, 12 mn

Sans Titre, 2017, sound performance, Tumblers on tables, 15 mn

https://vimeo.com/206640407

07/07/2016 Sound performance with tumblersin HEAR, Strasbourg result of the workshop with the artist Carole Douillard

Elastophone, 2014, sound interactiv installation and performance, elastic, wood, nails, work in progress clous.

http://troisquatorze.no-ip.org/pb/gumi-projekt/gumi-performance.html

07/03/2014 Sound Performance and interactive installationin Kunsthalle Weissenseegroup exhibition Treshold

https://soundcloud.com/oreliep/marchewav

And in the town which is as empty at night as a theatre stage after closing, Aurélie Pertusot clicks her heels on the cobblestones and haunts the journeys of night-owl inhabitants, like an actress in a film without a story. The result is a little item of just under half an hour, a minimal Way forward resonating in the Chapel of the White Penitents, conjuring up the figure of Catherine Deneuve in Truffaut’s Dernier Métro. To this resistance which has come down through the centuries and incarnates itself in figures -anonymous or not- and collective or individual forms, Aurélie Pertusot summons up a last, contemporary type of resistance. Walking through the streets of Sarlat during the daytime, she is struck by the sound of the beige loudspeakers which create a climate of false wellness. With their commercial messages -subliminal or not- which we too easily tole-rate, do they embody what La Boëtie in the 16th century already described as «voluntary servitude»? In any case, the artist dreams of giving them another word to convey, that of the hidden night world, like the negative of a town whose reality is heightened in a different way.

Camille de Singly, PhD. in the history of contemporary art – February 2014

Marche à suivre, 2014, sound installation insitu, 28 mn loop

A sound, a place, a date, a time.

«To stop this expanding time-space quantum, Aurélie Pertusot tries to capture the contemporary world of sounds which, maybe, embo-dies the true life that escapes, hides – or is deliberately put to one side, as if it disturbed, bothered and prevented the real time journey from unfolding. The artist strolls around the deserted night streets, capturing the purring of air-conditioners or metal gates squeaking in the wind... The recordings become the Sound Portrait of Sarlat, that can be heard in the Maison de la Boëtie.»

Camille de Singly, PhD. in the history of contemporary art – February 2014

credits : Bernard Dupuy

Sans titre, 2014, sound installation insitu, mp3 + audio headphones

www.lestrotteuses.com

Les Trotteuses create sound performances and compose with an orchestra of electronic and mechanic alarm clocks. The composi-tions, based on a collection of 200 alarms, are played acoustics. The alarm clocks are programmed in advance, switched off or on during the performance.The alarm clock, an outdated and practical object, shows a lifestyle from our society : it is the symbol of work, the « duty to wake up early each morning ». The performances change the perception of this alarms, considered usually as unpleasant and agressive noises, in any case, a call to order.

credits : Priscillia Thénard

Les trotteuses, sound performance «composition for 15 alarm clocks», 2012

IMPALPABLES LINES

Hocus Pocus, drawing performance in public space, ink, 1 m, 2017

Fata Morgana, installation insitu in a old waterworks, rubber band, glass, polystyren, 80 Ø x 4,5 m, 2016.

Ligne d’eau, 2016, performance insitu, river’s water, with Pascal Brateau

La maison des livres, 2016, 20 drawings insitu with Pascal Brateau (permanent artwork ) fluorescente ink, UV light, Médiathèque Les Lumières, Lapugnoy (fr)

Trous Blancs, 2013, Interactive installation, 1,5 x 1,5 x 2 m, 3 drawings on paper, fluorescent ink, uv light, wood. Production: General Council of Moselle

Discover a drawing by fragments

video : https://vimeo.com/103895605

Aveuglement, 2014, interactive installation. Drawing on paper, wood, uv light. Production: ESPGG Paris.

En ligne, 2013, performance, nails, light, variable size

Schein, installation, Adhesive tape and nails on wall, 5 x 3 m, on 2011

LANDSCAPE’S LINES

Intervalle, 2016, drawing insitu with Pascal Brateau. Ecole primaire Pasteur, Bethune,

A circle in between public space (street) and privat space (school). A neutral area for discussions and games for children and adult, for teacher and parents.

Traversée, 2016, drawing insitu with Pascal Brateau (permanent work).Ecole primaire Curie Colette, Vendin-Les-Bethune.

About the borders and the property.

Etreintes 2, 2016, installation insitu. Halle du Frêt, à Bruay-la-Buissière Band and concrete molding.

Etreintes, 2015, installation insitu. Porte des Allemands, Metz (FR) Elastic and concrete molding. Production : Maison de l’architecture de Lorraine.

Hôte-couture 3 - die Verwandlung, 2015, triptych, installation insitu. Red ribbon. Rathaus Neukölln, Berlin (DE). Production : Fachbereich Kultur Neukölln in der Rah-men von 48 Stunden Neukölln

Use the architecture as a medium to redraw the landscape and create spatial and social links. Hôte-couture 2, installation insitu, triptych, red ribbon, 2013, place st Louis Metz

(FR) public commission Frac Lorraine / Centre Pompidou Metz.

Hôte-couture, installation insitu, triptych, red ribbon, 2012, Villeurbanne (FR) with the support of Komplexkapharnaüm, résidence Encours.

Futurs souvenirs, 2014, scraped postcards serie

Fôleries 2012, 3 installations insitu + installation in a galerie, white rope, cables metal . Variables size. Commission conseil général de meurthe et moselle (FR) Parc du château de lunéville.

Luftschloss, rope, installation insitu, nylon 4 x 4 x 5 m, 2010, Berlin (DE) support of conseil général de Moselle and Fachbereich von kulturamt Neukölln Berlin

Presque Rien 2009 installation insitu 10 x 6 m, 6 houses, rope, steel postsexhibition «En dehors des sentiers battus», Laxou (FR)

http://aureliepertusot.free.fr/presquerien.html

LINE AS SPACE

a+b, 2015, sculpture, concrete molding and rubber band.

Sans Titre, sculpture, 2016, wool thread, about 1,50 x 2 m

In Betwenn, performance with Akemi Nagao and Elma Riza, work in progress, 2014

https://vimeo.com/154870150

Divag(u)ations, 2015, installation insitu for «the Bento», 1 x 4 m, plastic and rope.production : centre d’art l’yonne en scène.

Ariane’s House, installation, wool thread, 5 x 4 x 3 m, 2011

Toile, 2013, video, 20 mn

https://vimeo.com/121258607

Projet 1321, 2010, installation insitu, wool thread, nylon, nails, 2 x 2 x 2 m

LINES AND PAPER

Ficelle n°19, ficelle n°20, 2015, sculptures. wool and paper, about 50 x 40 cm.

Ficelle n°15, n°14 et n°18, 2013, sculpture, wool and paper, 20x10 and 50x100 cm

Bordurie2012, 150 x 150 cm, circle fragments print on paper.

Froissures2013, 33 x 29,7 cm, pen on paper, nails.

Sur le fil, 2013, 265,8 x 50, 7 cm, pen on paper

Die Richtung, installation, paper A4, variables size, 2011

En Marge, 2013, 101,4 x 110,1 cm, pen on paper

Sans Titre (serie) ink on paper (traces of threads soaked in ink). 21x29,7, 2012