As part of the Meyer Foundation's residency program, dedicated to young creators in the field of writing.
Research, composition and recording residency.
Parfois de l'or parfois du gris is a mixed piece that explores the boundary between music and soundscape.
Clément Vercelletto's writing is based on misappropriation, repetition and a singular instrumentarium: the Le Petit Vertige stereophonic organ, the boha and a modular synthesizer.
His approach is based on playing, recording and experimentation. His aim is to create a dialogue between a fixed score and a living interpretation, nourished by errors, accidents and unexpected instrumental gestures. Le Petit Vertige, with its spatially distributed chromaticism, mobile bevel and foot-controlled bellows, opens up new ways of thinking about harmony and dynamics.
His work also questions the boundary between noise and music. He draws on the notions of geophony, biophony and anthropophony to reveal the poetry of residual sounds: disjointed timbres, unstable air pressures, feedbacks or minute variations in play.
Over the course of his residency, Clément Vercelletto will seek to invent forms of notation capable of capturing these nuances. His aim is to create a landscape work, in which each sound becomes a material to be discovered and a space to be inhabited.
Production
MEYER Foundation
Partnership
GMEM
Clément Vercelletto
Sound artist
Clément Vercelletto is a musician and stage director. His artistic approach tends to find points of friction and clarity between these two practices, or how sound becomes a postulate for activating the body and voice of performers on stage. Sound, music as a means, a vector for improvisation, writing for the stage, staging. He sees music above all as a material (in the energetic and organic sense of the term), a material to be kneaded with the hands, with the body. His approach is to offer performers sound processes that they take over as formal frameworks, postulates, raw materials for engaging the body and/or the voice. The materials collected in this way gradually become the basis of the piece's writing, in a constant back-and-forth with the stage. There's also the idea of revealing (in the photographic sense of the term) the fictions that lie potentially before our eyes/ears. Another way of putting it would be to say that the theater, the fable, is there everywhere, all the time, just waiting to be activated. In essence, in the spinal cord of each of these attempts to produce sound, there is theater, dance and fiction to be brought to life. In this sense, he works with reality, on what is already there, on perception, on the visible and the invisible, on the infra-ordinary, on what makes an event. His work is shown in venues/contexts such as: Pompidou Kanal Brussels, Le Palais de Tokyo Paris, Café OTO London, Festival MUSICA Strasbourg, La Gaité Lyrique Paris, Musicas Hibridas Bogota, Kunstenfestivaldesarts Brussels, Impulse Tanz Vienna, Théâtre de la Bastille Paris, USINE C Montréal, Biennale du GRAME Lyon, Festival Actoral Marseille, Grrrnd Zero Lyon, FRAC des Pays de la Loire, Le Bal Paris, Festival Sonic Protest Paris, Les SUBS Lyon, Festival de la Citée Lausanne ...
His music appears on labels such as : Opal Tapes, In Paradisum, Standard Infi, Three Four Records, Un Je Ne Sais Quoi, Les Disques du Festival Permanent, Tomaturj, A100P, La République des Granges ...
His projects are supported in co-production by : La Scène Nationale d'Orléans, CCN de Caen, La Soufflerie Rezé, La Muse en circuit CNCM, Les SUBS Lyon, Musica Festival Strasbourg, GRAME CNCM Lyon, Le GMEA CNCM Albi, as well as the Drac ARA and the city of Lyon.
Between 2021 and 2023 he is associate artist at La Soufflerie in Rezé (director Cyril Jollard).
Clément Vercelletto
composing and recording
Léo Maurel
violin making
