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CABANE, a project of anne collod and mathias poisson.
how to put forward an experience of a bonded group and a moving structure, a reconfiguration, and to present a shifting group in it’s structural dimensions, imaginary and social?
how to present a site through the presence and displacement of a half-human, half-plastic, passing and changing hybrid form?
how to create a space of intimacy and inwardness in an open space that’s permeable and can be shared out?
at the base of these reflections i’ve participated to the following proposition: the construction of cabins and choreographies according to partitions.
it is at the same time an experimentation of different objects and materials conserving the link between the place and the whole group.
creating living and moving cabins, permanent reconfigurations that interact with the surroundings.
it is also creating “structures”, a network of connections, lines and marks.
a symbolic dimension penetrates into the functional dimension of the cabin.
quoting roland barthes, being a cabin means being the body and the world at the same time, a space of peaceful inwardness. the luxury of the cabin comes from it’s freedom: it is a subtracted structure of all the convention and force.

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i'm in charge of measuring the room of a gallery in order to highlight its dimensions and make the distances visible.
highlighting the elements that cohabit there... highlighting a time... highlighting oblivion... or a passage.
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signification of the space... measuring the empty... freezing the space.
what's the measure of existence?
what's our place at the hands of three meters of concrete of a wall?
is it the same as in facing ten centimetres of leaf of a plant?
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as a surveyor, i measure the ground, i mark the lines and take notes.
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what's the shape of the incommensurable?
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i’ve asked also the visitors to measure one body part and leave that measure in the space.
how are they going to construe their place, see their existence in the site?
next to an element, in communion, where are they going to take place far from everything, hidden and lonely?
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in a political and social sense.
are the lines of the surveying translated as borders or limits?
a poetic action in order to place us better in the world that surrounds us and become conscious of the scale of the surrounding things.
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in progress

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to give a certain visibility for the things that hide themselves.
to make visible the invisible.

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an optical cube, a comparison of different spaces.

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an exploration of space with eyes bandaged. a loss of one of the senses in order to develop the others.
an analysis of how a “handicapped” body can adapt with the different “forces” of the street.
how does the body take place and behaviour at the hands of other contingencies.
a study of the manner in which the body apprehends the space, not in a visual way anymore, but in a sensory one.
a walk with a different point of view to rediscover the world.
to walk fumbling...
to analyse voices, moves of air and smells for orientation.
the body in action have to take the risk of getting lost, getting wounded, facing the hesitation.
orchestration of the fear and the accidents.
in recife… there are noises everywhere, the streets are bigger and more grounded, there are more accidents.
an analysis of different stages of the body’s behaviour.

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to reinvent the space, creating new spaces in an already familiar space.
the comparison of the virtual and the real.
preoccupation and occupation of the space.
a game of perception, an illusion that appears only by giving a stead for the spectators.
the piece of art exist here and not there.
to go about the look…to go about the senses.

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||h|e|r|m|e|n|e|u|t|i|c|s||
we, the ones who are receiving, don’t receive the message as they should, seen from another angle like the transmitter would like us to do.
is there just one message to receive? can there be many interpretations?
are the interpretations different, and are they determined to our experiences and thinking?
at what point the interpretation of the one receiving has to be considered, and is it valid?
we, the transmitters, can’t restrict the comprehension or the interpretation because they’re unconfined.
to experiment by reading, with the senses of reading.
to transform a message, because it is not unchanging.
to the contrary, you can treat it as you please.
the conclusions enclose the dialogue and the exchange. should we conclude with questions?
in order to find different meanings for messages, let’s change the way of reading.
or, does the new message become more productive and more comprehensible by changing the way of reading?
let’s question the meaning of the writing as well as the way of reading.
let’s experiment the texts and its words, sounds, meanings, letters, pronunciation, voooocaaalisaaatiiiiooooon, face, body...

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hello
h
e
l
l
o
he
hl
hl
ho
eh
el
el
eo
lh
le
ll
lo
lh
le
ll
lo
oh
oe
ol
ol
hel
hel
heo

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hello
h ello
he llo
hel lo
hell o
hello
h e llo
h el lo
h ell o
h ello
h e l lo
h e ll o
h e llo
h e l l o
h e l lo
hello

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a national diploma of fine art

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sound compositions, a field for sensibly the hearing.
can the reinvention of the visual space lead us to reinvent the sonorous space?
can we speak about a sonorous land-surveying?
how can we construct the sound?
reinvent the listening… reinvent the composition.
using the electromagnetic waves, acoustic waves, electro-acoustic waves, the seismic waves and the radial waves.
a new sonorous cartography in order to give a privileged position for the act of listening.

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transience in the temporality of an action…of life.
the use of water, vital element for life and creation, as an instrument.
questioning the world’s temporality and, at the same time, temporality of a piece of art.

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at which point we are in connection with our surroundings?
are we conscious of the things surrounding us?
if the geo-biology studies the connection between man and his surroundings…
if the occident uses the notion of “artificial” or “non-natural” to the nature, and in addition emancipates it for the purpose of dominating it…
if, from a cognitive point of view, the nature produces its waves systematically changing them, they are captivated by our brain…
if the phenomenology tries to give a new viewpoint for the phenomena, in order to understand them better…
if olafur eliasson, between art and science, recreates natural phenomena for a better understanding of nature…
how can we speak about an artificial character of the reality?
how can we confront the reality from his fiction?
that’s a start.