Dominique Petitgand, Les heures creuses, 2019

Dominique Petitgand, Les heures creuses, 2019

Installation view, Grand plateau, T2G-Théâtre de Gennevilliers, 2019
Photo Madeleine Decaux

Sound installation with 8 speakers for an empty theater
Edition 1 (+ 1 A.P.)

Imagined for the T2G-Théâtre de Gennevilliers, it occupies the large stage of the theater, taken as a whole: the aisles, the bleachers, the hall, the stage and the gaping verticality of the stage cage. It is aimed at a solitary and mobile audience, free to move around during the day throughout the space of this large performance hall.
This installation plays on our emotion to enter a huge empty room, usually populated and in performance, to immerse ourselves in our self-esteem, a mental space inhabited by voices (which tell us about a fire, an obstacle, a hunger, a special pain, a song, an oblivion), unstable silences, sound and musical appearances perceived near or at great distance, detached elements (wind, water, electricity) of a landscape to invent, layers of sound suspended in the great void, in dialogue and resonance. Intimacy and solitude in an enveloping cavity, for a total resonant machine.
With a system of 8 speakers (three speakers on feet for the voices on stage and in the stands, a speaker hidden at the back of the room for the distance and four speakers all high in the hangers for the musics and atmospheric elements), this unprecedented experience is the support of a long open and plural narrative, of a possible ction, without fixed duration and with changing mood, playing on the freedom of our listening, our movement, of our expectation, our fear or our memory.

Dominique Petitgand, Les heures creuses, 2019

Installation view, Grand plateau, T2G-Théâtre de Gennevilliers, 2019
Photo Madeleine Decaux

Sound installation with 8 speakers for an empty theater
Edition 1 (+ 1 A.P.)

Imagined for the T2G-Théâtre de Gennevilliers, it occupies the large stage of the theater, taken as a whole: the aisles, the bleachers, the hall, the stage and the gaping verticality of the stage cage. It is aimed at a solitary and mobile audience, free to move around during the day throughout the space of this large performance hall.
This installation plays on our emotion to enter a huge empty room, usually populated and in performance, to immerse ourselves in our self-esteem, a mental space inhabited by voices (which tell us about a fire, an obstacle, a hunger, a special pain, a song, an oblivion), unstable silences, sound and musical appearances perceived near or at great distance, detached elements (wind, water, electricity) of a landscape to invent, layers of sound suspended in the great void, in dialogue and resonance. Intimacy and solitude in an enveloping cavity, for a total resonant machine.
With a system of 8 speakers (three speakers on feet for the voices on stage and in the stands, a speaker hidden at the back of the room for the distance and four speakers all high in the hangers for the musics and atmospheric elements), this unprecedented experience is the support of a long open and plural narrative, of a possible ction, without fixed duration and with changing mood, playing on the freedom of our listening, our movement, of our expectation, our fear or our memory.

Dominique Petitgand, Les heures creuses, 2019

Installation view, Grand plateau, T2G-Théâtre de Gennevilliers, 2019
Photo Madeleine Decaux

Sound installation with 8 speakers for an empty theater
Edition 1 (+ 1 A.P.)

Imagined for the T2G-Théâtre de Gennevilliers, it occupies the large stage of the theater, taken as a whole: the aisles, the bleachers, the hall, the stage and the gaping verticality of the stage cage. It is aimed at a solitary and mobile audience, free to move around during the day throughout the space of this large performance hall.
This installation plays on our emotion to enter a huge empty room, usually populated and in performance, to immerse ourselves in our self-esteem, a mental space inhabited by voices (which tell us about a fire, an obstacle, a hunger, a special pain, a song, an oblivion), unstable silences, sound and musical appearances perceived near or at great distance, detached elements (wind, water, electricity) of a landscape to invent, layers of sound suspended in the great void, in dialogue and resonance. Intimacy and solitude in an enveloping cavity, for a total resonant machine.
With a system of 8 speakers (three speakers on feet for the voices on stage and in the stands, a speaker hidden at the back of the room for the distance and four speakers all high in the hangers for the musics and atmospheric elements), this unprecedented experience is the support of a long open and plural narrative, of a possible ction, without fixed duration and with changing mood, playing on the freedom of our listening, our movement, of our expectation, our fear or our memory.

Dominique Petitgand, Les heures creuses, 2019

Installation view, Grand plateau, T2G-Théâtre de Gennevilliers, 2019
Photo Yasmina Hatem

Sound installation with 8 speakers for an empty theater
Edition 1 (+ 1 A.P.)

Imagined for the T2G-Théâtre de Gennevilliers, it occupies the large stage of the theater, taken as a whole: the aisles, the bleachers, the hall, the stage and the gaping verticality of the stage cage. It is aimed at a solitary and mobile audience, free to move around during the day throughout the space of this large performance hall.
This installation plays on our emotion to enter a huge empty room, usually populated and in performance, to immerse ourselves in our self-esteem, a mental space inhabited by voices (which tell us about a fire, an obstacle, a hunger, a special pain, a song, an oblivion), unstable silences, sound and musical appearances perceived near or at great distance, detached elements (wind, water, electricity) of a landscape to invent, layers of sound suspended in the great void, in dialogue and resonance. Intimacy and solitude in an enveloping cavity, for a total resonant machine.
With a system of 8 speakers (three speakers on feet for the voices on stage and in the stands, a speaker hidden at the back of the room for the distance and four speakers all high in the hangers for the musics and atmospheric elements), this unprecedented experience is the support of a long open and plural narrative, of a possible ction, without fixed duration and with changing mood, playing on the freedom of our listening, our movement, of our expectation, our fear or our memory.

Dominique Petitgand, Les heures creuses, 2019

Installation view, Grand plateau, T2G-Théâtre de Gennevilliers, 2019
Photo Madeleine Decaux

Sound installation with 8 speakers for an empty theater
Edition 1 (+ 1 A.P.)

Imagined for the T2G-Théâtre de Gennevilliers, it occupies the large stage of the theater, taken as a whole: the aisles, the bleachers, the hall, the stage and the gaping verticality of the stage cage. It is aimed at a solitary and mobile audience, free to move around during the day throughout the space of this large performance hall.
This installation plays on our emotion to enter a huge empty room, usually populated and in performance, to immerse ourselves in our self-esteem, a mental space inhabited by voices (which tell us about a fire, an obstacle, a hunger, a special pain, a song, an oblivion), unstable silences, sound and musical appearances perceived near or at great distance, detached elements (wind, water, electricity) of a landscape to invent, layers of sound suspended in the great void, in dialogue and resonance. Intimacy and solitude in an enveloping cavity, for a total resonant machine.
With a system of 8 speakers (three speakers on feet for the voices on stage and in the stands, a speaker hidden at the back of the room for the distance and four speakers all high in the hangers for the musics and atmospheric elements), this unprecedented experience is the support of a long open and plural narrative, of a possible ction, without fixed duration and with changing mood, playing on the freedom of our listening, our movement, of our expectation, our fear or our memory.

Dominique Petitgand, Les heures creuses, 2019

Audio extract

Sound installation with 8 speakers for an empty theater
Edition 1 (+ 1 A.P.)

Imagined for the T2G-Théâtre de Gennevilliers, it occupies the large stage of the theater, taken as a whole: the aisles, the bleachers, the hall, the stage and the gaping verticality of the stage cage. It is aimed at a solitary and mobile audience, free to move around during the day throughout the space of this large performance hall.
This installation plays on our emotion to enter a huge empty room, usually populated and in performance, to immerse ourselves in our self-esteem, a mental space inhabited by voices (which tell us about a fire, an obstacle, a hunger, a special pain, a song, an oblivion), unstable silences, sound and musical appearances perceived near or at great distance, detached elements (wind, water, electricity) of a landscape to invent, layers of sound suspended in the great void, in dialogue and resonance. Intimacy and solitude in an enveloping cavity, for a total resonant machine.
With a system of 8 speakers (three speakers on feet for the voices on stage and in the stands, a speaker hidden at the back of the room for the distance and four speakers all high in the hangers for the musics and atmospheric elements), this unprecedented experience is the support of a long open and plural narrative, of a possible ction, without fixed duration and with changing mood, playing on the freedom of our listening, our movement, of our expectation, our fear or our memory.