Impulse
08.04.2024 - 13.03.2024 MUTEK / Roca Barcelona Gallery
Barcelona (ES)
Impulse is a suspended work of five juxtaposed parts. Each part is made up of two metal panels linked to each other by eight wires that light up in a computerized sound and light program.
In this project, Martin Messier proposes a poetic analogy with a technological twist to the functioning of the brain, in the form of the circulation of energy rendered visible by the paths of light travelling between one panel and the other.
1 drop 1000 years
05.04.2024 - 03.05.2024 On tour
The Hague, Barcelona, Gijòn
Martin Messier - 1 drop 1000 years, an original performance that reflects on a fundamental phenomenon for the balance of life: homeostasis. The Global Conveyor Belt is a huge ocean stream that stirs up the waters of the five oceans and conveys heat on a global scale. Seeking to highlight the finesse of our homeostatic system and the fragility of its balance, the artist proposes an artistic interpretation of these intimate and global currents that happens to be essential to the survival of our species and its environment.
Rewire Festival
5 April 2024
MUTEK Barcelona
11 April 2024
LEV Festival - Gijòn
3 May 2024
ECHO Chamber
11.11.2023 FIAV - Festival International d'Art Vidéo de Casablanca - du VHS à l'Intelligence Artificielle
Casablanca (MA)
ECHO CHAMBER by Martin Messier an audiovisual performance in several tableaus, Echo Chamber takes its inspiration from technologies that let us probe inside the body, such as ultrasound and acupuncture, generating a sound composition in which the idea of resonance predominates.
In creating a modular interface of three panels allowing multiple manipulations, Messier has determined the boundaries of the possibilities for the performance of a choreography of sound and light.
He wields long needles as if they were notes from an instrument, piercing through an audio-reactive plate that sets off sound sequences.
Like the ultrasound needle palpating the body to reveal what might be in its interior – a living yet invisible presence? – Messier’s performative gestures are the sources of images in which the body eventually appears, magnified as a transported shadow.
The Echo Chamber device is continually transformed during the performance: by a series of movements and position shifts, an entire scenography unfolds before our eyes. The panels increase in number; the light sources appear, disappear, multiply, and mutate.
Cut-outs of light cause visual elements to materialize in response to the sound echoes, to the magnetic resonances of the body left in shadow, now turned into a shadow.
The panels then become screens in which we see the body’s interior, where scintillating cells are in motion. Window to the interior, the function of the device is reversed: Messier takes us through to the other side, under the invisible skin.
The interface-membrane becomes a passageway, a porous surface through which time is transposed and transforms the living matter.
Carrier of an electric charge, the matter of the body itself is a vehicle, a vector. This is what the final sequence of Echo Chamber suggests: the link between the world and the self, between the outside and the inside – remanence emanating from the echo chamber.
Echo Chamber & Elusive Matter
18.11.2023 Hexagone Scène Nationale Arts Sciences
Meylan (F)
With Elusive Matter, a minimalist light and sound performance, Martin Messier transforms simple wisps of smoke into a veritable projection screen. In a room submerged in darkness, armed with a projector as his sole source of light, Messier draws a myriad of ghostly spaces, architectural shapes and dreamlike images from the intangible haze, juxtaposing light and sound in order to conjure atmospheres both ethereal and soothing.
ECHO CHAMBER by Martin Messier an audiovisual performance in several tableaus, Echo Chamber takes its inspiration from technologies that let us probe inside the body, such as ultrasound and acupuncture, generating a sound composition in which the idea of resonance predominates.
In creating a modular interface of three panels allowing multiple manipulations, Messier has determined the boundaries of the possibilities for the performance of a choreography of sound and light.
He wields long needles as if they were notes from an instrument, piercing through an audio-reactive plate that sets off sound sequences.
Like the ultrasound needle palpating the body to reveal what might be in its interior – a living yet invisible presence? – Messier’s performative gestures are the sources of images in which the body eventually appears, magnified as a transported shadow.
The Echo Chamber device is continually transformed during the performance: by a series of movements and position shifts, an entire scenography unfolds before our eyes. The panels increase in number; the light sources appear, disappear, multiply, and mutate.
Cut-outs of light cause visual elements to materialize in response to the sound echoes, to the magnetic resonances of the body left in shadow, now turned into a shadow.
The panels then become screens in which we see the body’s interior, where scintillating cells are in motion. Window to the interior, the function of the device is reversed: Messier takes us through to the other side, under the invisible skin.
The interface-membrane becomes a passageway, a porous surface through which time is transposed and transforms the living matter.
Carrier of an electric charge, the matter of the body itself is a vehicle, a vector. This is what the final sequence of Echo Chamber suggests: the link between the world and the self, between the outside and the inside – remanence emanating from the echo chamber.
Cycles
26.10.2023 - 29.10.2023 KIKK Festival
Delta, Namur (B)
Cycles is an installation where everyone is invited to become aware of the relationships linking cyclical and unpredictable phenomena. Harmony and chaos call out to each other in this space where the eight strings of light dance and unfold.
Despite the vivacity of its propulsion, the wire leaves an impression of floating. By marking the nuance between the purity of this suspended movement and the violence of the mechanism that fecundates it, the work proposes an experience where infinity cohabits with the restarts that are part of it.
These dialogues are also found in the sound space: the tuned engines envelop the music diffused with their elusive timbres and draw this landscape in which the harmony is built as much by its power as by its vulnerability.