Décor Sonore

The inspiration for I|M

"I had the intuition of hearing the concrete vibrate, in both a "musique concrète" and a… concrete music. I was clearly envisionning the gesture of a musician-dancer-athlete, like the emblematic figure of the Rank Organisation, hitting this construction with a giant mallet in order to make it sound. This instant sound image haunted my subconscious, without me further questioning its feasibility, its place, or its development into any sort of form." Michel Risse

“The aim of every artistic utopia today is to make things in ignorance of what they are.” Th. W. Adorno

Not long before the founding of Décor Sonore, while Pierre Sauvageot and I were working on his Faux Vent (False Wind) project in Marne-la-Vallée, the site (a social housing project by the architect Ricardo Bofill, called le Théâtre) and the sound creation context would give me the vision of an architecture which was both a stage, monument, liveable space, and musical instrument. I had the intuition of hearing the concrete vibrate, in both a "musique concrète" and a… concrete music. I was clearly envisionning the gesture of a musician-dancer-athlete, like the emblematic figure of the Rank Organisation, hitting this construction with a giant mallet in order to make it sound.

This instant sound image haunted my subconscious, without me further questioning its feasibility, its place, or its development into any sort of form. While pursuing a constant reflection upon music in “open space”, the creations that would then mark Décor Sonore's path would move me away from this intuition which was so lucid; but the project Instrument|Monument belongs to what lives inside of you, develops and guides you through all your existence.

After the seminal wrinting and production of Les Monstrations Inouïes !, the PlayTime project, by questioning the relation between gesture and sound on electronic instruments from all ages and technologies, I came back to this vision which was so direct, so simple and powerful, the one which had appeared to me in 1983, and had to cross further with other notions met along the way, such as contextual art, the theatricality of music, the origins of the musical instrument, instrumental gesture, public art, rite, artist's function, writing...

Michel Risse