Description
Joachim Montessuis develops an experimental contextual practice mainly around voice, drone, noise and resonance since the early 90’s. His current work is directed towards conceptual experimental processes of the issue of observation and perception of reality through a non-dual approach. His vocal performative work explores various states of trance through the extreme potentialities of amplification and electronic transformations of screams, throat singing, and also words. He designs his actions as processes, “noise poetry-codes reality fertilizers”. He has shown his work in many festivals around the globe (more than 200 performances) and he has collaborated with more than 100 artists. He also is the editor of the CD label Erratum Musical devoted to art, noise and experimental sound poetry – which he started in 1993. He occasionally curates experimental poetry events and exhibitions. He lives in Paris and teaches sound and intermedia art at HEAR in Strasbourg.
Julien Ottavi is a mediactivist, artist-researcher, composer / musician, poet and tongues destroyer, experimental film maker and anarchitect. Founder and member of Apo33, Ottavi is involved in research and creative work, combining sound art, real-time video, new technologies and body performances. Since 1997, he develops a composition work using voice and its transformation through computer. Active developer of audio / visual programs with Puredata, he has also developed since many years DIY electronics (radio transmitters, oscillators, mixers, amplifiers, video transmitters…etc) in the perspective of knowledge sharing on technological development. Main developer for the Gnu/Linux operating system APODIO for digital art and A/V & streaming diffusion. His practices is not limited to the art spheres but crosses different fields from technological development to philosophy / theoretical research, biomimetic analysis and experimentation. For many years he reflects on the relations between experimental practices and collective practices within the creation of autonomous collective groups, putting in question the authorship strategy of the “art ideology”.
