Text, context, pretext
The Instrument|Monument project takes a great part of its content from within the very context: it is above all the sound and scenographic properties encountered in situ that determine the creation's progression.
“The work of an urbanist architect is to harmonize the city.” Le Corbusier
Instrument|Monument is thus apart of a fundamental work on context, and more specifically that of the urban everyday life. In the field of street arts, and in that of art in general, which forms are the most relevant to offer to today's public? One can take notice that, for the most part, the current creations are generally rooted in tried and true traditions. They find effective performance forms and sources of inspiration there: parade, fairground in and out stands, theatre - burlesque or not, physical feats …The text, content, theme, and progression are generally preconceived, written, fixed, although reasonably adaptable or perturbable depending on the places, reactions of the public, weather conditions, etc. …
And yet, the Instrument|Monument project takes a great part of its content from within the very context: it is above all the sound and scenographic properties encountered in situ that determine the creation's progression. It's also the memory of the place, its signification in the public space, and its resonance with the experiences of its inhabitants and users. How can we them create what could be called a text? What share of pretext is in this project? And how is this odd trinity organized?
In The Glass Bead Game, Hermann Hesse imagined an ideal game, with no winners or losers, which consisted in associating symbols, mathematical formulae, musical constructions, stellar conjunctions, in the single goal of lifting the players' mind towards beauty. Here, we organize a game of possible associations between the site's natural propositions (spaces, materials, forms, volumes, sounds...) and an ensemble of pre-existing elements (tools, techniques, characters, accessories, costumes, words, pattern and rhythms, choreographies, tableaux...) The construction of the text, the scenario, the story, and the musical piece will “play” on this “game” between context and pretext.