this project emulate Poème Symphonique (1962) compositions by György Ligeti.

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Poème symphonique

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Poème symphonique is a 1962 composition by György Ligeti for one hundred mechanical metronomes. It was written during his brief acquaintance with the Fluxus movement.

The piece requires ten “performers”, each one responsible for ten of the hundred metronomes. The metronomes are set up on the performance platform, and they are then all wound to their maximum extent and set to different speeds. Once they are all fully wound, there is a silence of two to six minutes, at the discretion of the conductor; then, at the conductor’s signal, all of the metronomes are started as simultaneously as possible. The performers then leave the stage. As the metronomes wind down one after another and stop, periodicity becomes noticeable in the sound, and individual metronomes can be more clearly distinguished. The piece typically ends with just one metronome ticking alone for a few beats, followed by silence, and then the performers return to the stage (Ligeti 1962).

The controversy over the first performance was sufficient to cause Dutch Television to cancel a planned broadcast recorded two days earlier at an official reception at Hilversum‘s City Hall on 13 September 1963 (Ligeti 1997, 7, 11; Morrison 2012). “Instead, they showed a soccer game” (Ligeti 1997, 12). Ligeti regarded this work as a critique of the contemporary musical situation, continuing:

but a special sort of critique, since the critique itself results from musical means. … The “verbal score” is only one aspect of this critique, and it is admittedly rather ironic. The other aspect is, however, the work itself. … What bothers me nowadays are above all ideologies (all ideologies, in that they are stubborn and intolerant towards others), and Poème Symphonique is directed above all against them. So I am in some measure proud that I could express criticism without any text, with music alone. It is no accident that Poème Symphonique was rejected as much by the petit-bourgeois (see the cancellation of the TV broadcast in the Netherlands) as by the seeming radicals. … Radicalism and petit-bourgeois attitudes are not so far from one another; both wear the blinkers of the narrow-minded. (Ligeti, cited in Nordwall 1971, 7–8

Poème symphonique was the last of Ligeti’s event-scores, and marks the end of his brief relationship with Fluxus (Drott 2004, 222). The piece has been recorded several times, but performed only occasionally.

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 Applauding symphony for 100 

Inspired by Ligeti’s Symphony for 100 Metronomes, my intention is to prepare its manifestation in three complementary corpus; of repetition, of accumulation and of distancing.

Listening to Ligeti’s work and a sound recording of audience applause, we can hear rhythmic, tonal and atonal correspondences.

In addition to this observation, I wish to amplify the paradoxical filiation between the capture of a sound “action” and its addition to the “surface” of a shot (try to consider it as well as an iconoclastic concept).

I hope to develop coherent narrative arguments based on a series of drafts produced before my residency. 

How Applause Starts and Spreads 

Is Oddly Scientific

“As one 2003 scientific paper explains, one theory is that audience applause is triggered by a few individuals who have a lower threshold of <ahref=”https: science.howstuffworks.com=”” life=”” inside-the-mind=”” emotions=”” blush.htm”=””>embarrassment than the rest of the crowd. These brave enthusiasts’ clapping lowers the “embarrassment cost” for others.”</ahref=”https:>

The Why Factor

Why do we clap?

Becky Milligan uncovers how the highly contagious nature of applause has been exploited by everyone from Roman emperors to today’s politicians . She explores the different styles and rhythms. And how it can make us feel on top of the world or make us want to crawl under a stone.




Some have said that clapping is like high-fiving yourself in a positive response to something that someone else has done. Clapping is the most common sound that we, as humans, use without our voice chords. We do it as a social gesture to show approval and admiration in groups, crowds, or by ourselves, and more so in the setting of being presented with something like a show or performance.


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october - 2001

refléchir par hasard pour un espace public agile

maneuver - videography - photography

Maneuver by artist Christian Barré in public space. The artist is looking for Mercedes-Benz brand cars on which he affixes mini-CDs containing a video. by Marie-Josée Roy

“Among the range of his maneuvers, there is, for example, that entitled Reflect by chance. For an agile public space (2001), the work of which, which comprises several stages, is the fruit of a reflection on the car, not only as a vehicle which allows us to move over a vast territory, but also as a brand image, a consumer good and an identity symbol. As with all of his projects, we must see and recognize in this work these qualities dear to the artist that are the movement and the extension of the concept of space. At the corner of Peel and Sherbrooke streets, in Montreal’s urban space,

Christian Barré notably applied loving mini CD-ROMs to forty-two Mercedes-Benz. On these CDs were engraved video images where we find itinerants who applaud. Under the camera’s eye, they also become the only spectators of the action. It is therefore, as we can see, a project which speaks of two solitudes, a project in which poverty and wealth meet.

As the artist states, “there has been a gesture between life and art, or at least what can remain of it. It was a way of dislodging technological mediums to join a heterogeneous reality, more and more codified, split, marginalized by its differences of access to the means of production. “


maneuver - videography - installation

Idea and action:

The informations about global financial crisis was just coming out. I had the chance to have access a corridor leading to the Stock Market of Montreal, The Nuit Blanche exhibition give me a 300 $ to organise a typical intervention. I decided to spend the money on homeless people asking them to applause the camera for one minute for 5$.

The screen was place in front of a mirror. The audience had to find a point of vue and include itself in the picture to be able to read the subtitle.


With 42 homeless from the shelter:

Old Brewery Mission (oldbrewerymission.ca)

As part of the exhibition: ART SOUS TERRAIN, NUIT BLANCHE 2010
Until March 3, 2013 Free Admission
Available February 27, 2011

Script – Direction – Christian Barré

subtitles from Karl Marx: Writings of the Young Marx on Philosophy and Society

Ooh-oo child, things are gonna get easier…

maneuver - videography

Idea and action:

A child is applauding in the middle of an empty parking space. He is standing on a chair. When he stop, the audience discover that he was applauding a Wallmart store and that the chair was coming from a Cultural Center (Maison de la Culture, Mont-Royal).

Avec Christophe Barré Johnson
collaboration Sonia Johnson

Dans le cadre de l’exposition: ANAGRAMME D’UNE CHAISE
Jusqu’au 25 août 2013 Entrée Libre
Disponible le 20 juin 2013
Maison de la culture du Plateau-Mont-Royal

Cure de rajeunissement pour la maison de la culture du Plateau-Mont-Royal. En effet, après 25 ans de service, les chaises de son espace théâtre sont remplacées par un nouveau mobilier. Avec Anagramme d’une chaise, 53 artistes s’approprient, recyclent et transforment en œuvres d’art l’une de ces anciennes chaises qui ont accueilli des milliers de spectateurs et d’artistes. Combien d’apparences une chaise peut-elle revêtir? Anagramme d’une chaise est un jeu rassembleur qui se veut aussi une fête pour la communauté.

Script – Direction – Christian Barré
Musique: The 5 Stairsteps (Stairsteps Five) by Ooh Child

didactic cards 2

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Space21 is a sound art exhibitions in Iraqi Kurdistan. Since 2017, Space21 organized exhibition in the cities of Slemani, Erbil and Duhok presenting works by national and international artists in public spaces throughout the three cities. Space21’s vision is to promote sound art for audiences by using public spaces as an artistic arena. Moreover, Space21’s goal is to explore new perspectives onto the culture of everyday life through sound. By focusing on listening, Space21 aims to open possibilities for audiences to have new experiences of the places where they live and work, nurturing new understandings of modern society and its struggles.

A brief history of Space 21; this exhibition started in 2017 when I went back to Kurdistan with my own audio equipment. I wanted to experiment by presenting contemporary art that included sound, such as video art, in various public spaces in Slemani and Erbil. The art works were by various local and international artists including sound artists Hanna Hartman, Brandon LaBelle (was also co-curator 2017-2018), Ylva Nyberg Bentancor, Klaas Hübner, visual artist Soran Ahmad and many others. After this event I realized that there is a crucial need of this art form in our culture; to think through sound. This approach motivated me to start with the idea of Space 21.

Founder of Space21
Hardi Kurda

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