Préface 37

The 37^th issue of the Bulletin offers a critical look on the physical space of the residency, on the relationship the object sustains with sound and on the playful and performative dimension of video and film.

In the fall of 2012, Brazilian artist Karina Montenegro stages an intimate garden that chronicles her experience of the residency. The geometric sculptures cast a shadow on the wall, thus dislocating the relationship to the time and location inhabited by the artist and the visitors. For Miguel Monroy, the context of residency becomes a performative space and a mise en abîme. LA CHAMBRE BLANCHE’s team members and the artist intervene in the physical and video space in order to claim the material and intangible aspects of research. In 2013, Japanese artist So Kanno creates sound and visual phenomena with ingeniously manufactured objects. The hum and pulse are noticeable in the peculiar acoustics of the place. Subsequently, Bruno Caldas Vianna builds devices capturing images and time. He questions the camera obscura’s process by reconstructing the primitive optical instrument with digital tooling. In 2014, Croatian artist, Božidar Jurjević, first offers a retrospective of his performance work. Subsequently, he experiences the oppositions between the Mediterranean and Northen environments through visual and digital arts practices. During the same year, Montrealer Emmanuel Lagrange Paquet explores cinema in a playful and interactive perspective. For Jurjević, the performative aspect of the work is held up by the artist while for Lagrange Paquet, it is the visitors who are invited to perform the work through a playful device hailing from video games. The notion of performances takes a meaning differentiated from the body with the use of new technologies.

The 2012-2014 programming opening on sound, space, body and object marks once more the critical input of LA CHAMBRE BLANCHE in the art community both locally and on the international scene.