\u00ab\u00a0Come on, come on, come on.\u00a0\u00bb
The bells ring.
\u00ab\u00a0Come on, eh, oh.\u00a0\u00bb
They call out to each other, shout to each other.
\u00ab\u00a0Come on.\u00a0\u00bb
They search, stalk.
\u00ab\u00a0Come on, Come on, Come on.\u00a0\u00bb
So, I search for them, stalk them.
\u00ab\u00a0Come on, damn it\u2026\u00a0\u00bb
Three assemblages of recycled leather are suspended in the dimness of the exhibition room. They form a scenic space arranged frontally at different depths. On this \u00ab\u00a0immobile theater,\u00a0\u00bb moving images of a forest are projected. Distant voices, bell sounds, and barking resonate throughout the space. The perforated the leather allows the projected light to spill onto the walls to compose the space of this \u00ab\u00a0theater-installation.\u00a0\u00bb The projection and the light and shadow effect distort perceptions. The skins metamorphose into camouflage to become the projected forest. The shadows suggest at times foliage, at other times animal silhouettes. If the shouts and bells initially suggest shepherds, the sudden gunshots transform this perception: they turn into invisible hunters. Animals, furtively crossing the projection space, occasionally reinforce this hypothesis. Conceived as a film unfolding in space, the installation is non-narrative. The editing is orchestrated to create a growing tension, favoring suggestion over explicit revelation. This approach invites viewers to construct their own interpretations, navigating between reality and imagination. The visitor can observe the installation frontally from a bench placed facing the work, transforming themselves into an observer-tracker of these invisible presences. This bench covered with leather fragments, adds an olfactory and tactile dimension to the experience, enhancing sensory immersion. The more adventurous may wander through the scenic space, fully immersing themselves in this illusory forest\u2014at the risk of becoming prey themselves.<\/em><\/p>\n\n\n\n
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Jeannie Brie<\/strong> est une artiste plasticienne dipl\u00f4m\u00e9e de l\u2019ENSAD-Nancy en 2014. Elle r\u00e9side et travaille \u00e0 Nancy, o\u00f9 elle est engag\u00e9e au sein d\u2019Ergastule et du GRAVE – groupe de recherche audio et visuelle exp\u00e9rimentale. Son travail prend principalement la forme d\u2019installations et de performances audiovisuelles, o\u00f9 elle utilise la vid\u00e9o comme une mati\u00e8re-image pour sculpter et transformer les espaces. Elle y cr\u00e9e ainsi des environnements immersifs, engageant le spectateur dans une relation directe et tangible avec l\u2019espace. Entre prises de vues du r\u00e9el, images d\u2019archives et exp\u00e9rimentations d\u2019atelier, elle se compose des biblioth\u00e8ques d\u2019images qui forment ses \u00ab gammes visuelles \u00bb. En s\u2019appuyant sur des techniques de manipulation de l\u2019image comme le temps r\u00e9el, le mapping et l\u2019interactivit\u00e9, elle d\u00e9veloppe des r\u00e9cits non lin\u00e9aires qui interrogent notre rapport \u00e0 la m\u00e9moire et au temps. En 2018, elle red\u00e9couvre des bandes issues de ses archives familiales, qu\u2019elle questionne et r\u00e9interpr\u00e8te au sein du corpus Variations et Souvenirs. Les performances et installations cr\u00e9\u00e9es sont pens\u00e9es comme un ensemble de pi\u00e8ces ind\u00e9pendantes, qui se r\u00e9pondent et s\u2019inscrivent dans ce m\u00eame corpus. Ses recherches sur les relations entre image, son, geste et espace l\u2019am\u00e8nent \u00e0 collaborer r\u00e9guli\u00e8rement avec de nombreux artistes et musicien\u00b7ne\u00b7s. C\u2019est dans la continuit\u00e9 de ces axes d\u2019exploration au croisement du visuel et du sonore qu\u2019elle codirige le GRAVE depuis 2022. Le travail de Jeannie Brie a \u00e9t\u00e9 pr\u00e9sent\u00e9 dans des festivals tels qu\u2019Eurovid\u00e9o 2015 (Vid\u00e9ographies – Li\u00e8ge, Belgique) et Les 31e Instants Vid\u00e9os (La Friche Belle de Mai – Marseille). Elle a \u00e9galement perform\u00e9 en France et \u00e0 l\u2019\u00e9tranger, notamment au LPM (Amsterdam), \u00e0 Vision\u2019R (Paris), lors de Musique Action #36 (CCAM \u2013 Vand\u0153uvre-l\u00e8s-Nancy), \u00e0 Vid\u00e9oformes (Clermont-Ferrand) et pour l\u2019Oeil d\u2019Oodaaq (Rennes). Jeannie Brie b\u00e9n\u00e9ficie actuellement du soutien du CNC, de la DRAC Grand Est, de la R\u00e9gion Grand Est et de la ville de Nancy pour son projet Singuliers Pluriel.<\/p>\n\n\n\n Jeannie Brie<\/strong> is a visual artist who graduated from ENSAD-Nancy in 2014. She lives and works in Nancy, where she is involved with Ergastule and GRAVE – an experimental audio and visual research group. Her work mainly takes the form of audiovisual installations and performances, where she uses video as an image-material to sculpt and transform spaces. She thus creates immersive environments, engaging the viewer in a direct and tangible relationship with the space. Between real-life shots, archival images and studio experiments, she composes image libraries that form her \u00ab\u00a0visual ranges\u00a0\u00bb. Drawing on image manipulation techniques such as real-time, mapping and interactivity, she develops non-linear narratives that question our relationship to memory and time. In 2018, she rediscovered tapes from her family archives, which she questioned and reinterpreted within the corpus Variations and Souvenirs. The performances and installations created are conceived as a set of independent pieces, which respond to each other and are part of this same corpus. Her research on the relationships between image, sound, gesture and space leads her to collaborate regularly with numerous artists and musicians. It is in the continuity of these axes of exploration at the intersection of the visual and the sound that she has co-directed GRAVE since 2022. Jeannie Brie’s work has been presented at festivals such as Eurovid\u00e9o 2015 (Vid\u00e9ographies – Li\u00e8ge, Belgium) and Les 31e Instants Vid\u00e9os (La Friche Belle de Mai – Marseille). She has also performed in France and abroad, notably at the LPM (Amsterdam), Vision’R (Paris), Musique Action #36 (CCAM \u2013 Vand\u0153uvre-l\u00e8s-Nancy), Vid\u00e9oformes (Clermont-Ferrand), and for L’Oeil d’Oodaaq (Rennes). Jeannie Brie currently receives support from the CNC, the DRAC Grand Est, the Grand Est Region, and the city of Nancy for her project Singuliers Pluriel.<\/em><\/p>\n\n\n\n