RESIDENCE « VILLA MEDICIS HORS LES MURS » IN INDIA

November 2006 > Febuary 2007

REPORT - B2Fays

My residence “Villa Médicis hors les murs” (outside the walls) could make think of a tour in India, " The tour of B2Fays" It was not the case, I left home to make a research and creation work… I was not fascinated at all, at that time, by the Indian culture, nor by its landscapes, its dances, its Gods... I was attracted by the faculty of the Indians to cross the ages, to make irruption in the advanced technologies while remaining rooted in traditions, to compete with the American cinema while keeping a spiritual life. This attraction was mixed with a diffuse terror: the fear of not being able to find a language corresponding to this depth and this strangeness. How to speak with a free voice when I would probably only be heard as a "white Western" that definitely wouldn’t care a lot about the destiny of the Indian people ? So I decided to start to develop, much faster than it was planned, the computer program allowing to automate the displacement of a guest immersed in my multimedia creation. A creation confronting the guest with his own image, his own voice, a bit like a painter confronted with his painting, his own emptiness, his creation. A creation allowing the immersed guest to use his body, his movements, his sound modulations, to create his own pictorial and musical composition. A creation that will perhaps reveal him another “himself” and will make him wonder about his relationship with the world. With this device, I took what was needed to generate an entertaining, aesthetic and media event, of course! I especially took with me a tool allowing me to establish a dialogue, to build a bridge: a language, a workshop, a structure of mobile and open thought to meet the other for a common creation. And the Indians started to be interested in it. Of course, I was aware of the avant-gardist aspect of such an artistic and technical device in India, but several testimonies showed that the first interest they had about the innovative aspect was quickly relayed by a deepest desire of understanding. A bond between the man and the creation is made daily in India, in a so strong or obvious way that it almost becomes tangible. Even if it is difficult for me to appreciate the content and the depth of this bond, it seems that the Art and the new associated technologies could really become tools of exploration and privileged discoveries. I think that it wouldn’t be difficult to build a device allowing a "collaborative" space of creation: between the artists on one hand, and between the artists and the public on the other hand. In this way, some bridges could be made in order to allow the establishment of a dialogue between the people and between the people and their structures even if the followed directions, the memories, the behaviours and the stakes would be different. So I left home well-aware of all the changes that would involve me and my work: well-informed that from that moment on, everything would take a new twist. I engaged myself in this work as in a journey from which you never really come back: a huge joy and a deep terror will accompany me until the moment I will start again to paint and to move in my own building site. Here are some personal reflections, questions and impressions pell-mell, even if the writing is not my predilection media (!), in order to express why this stay actually transformed my work and myself. My painting is in India Concept or reality Anecdote : international language Kalaripayattu – Multimedia immersive installation of interactive creation Mixed femininity and masculinity Professionalism Cinema & Contemporary Art Short correspondences – meetings by chance Collaborative Work

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My painting is in India Eyes painting, body painting, painting of the senses, subtle or radical movements, danger of death or means of transport... India is this painting I’m looking for. And I’m finding it: : in this red ground mixed by the seasons, this energy accompanying the transformation of the Mankind with the passing of time. Concept or reality I left home with all my concepts, of course well-packed...: my vision of the digital palimpsest was developed with the software "MAX MSP Jitter" by the artist-programmer Mathieu Constant and the interactive multimedia device made in this way, presented to the public and used with a splendid intelligence by handicapped people at the “Espace Mendès-France” of Poitiers right before my departure. But a concept, even if it can be shared between sensitive, open, and intelligent people having the same cultural code, always remains an idea and as Louis Malle says "to film the phantom India, we followed our senses, our emotions, but not our ideas". So I found out that "my" palimpsest, a concept that was completely erased from our Western space of contemporary life, is a daily reality shared by all the Indians: they cross the time, the spaces, the languages. God constantly takes multiple and superimposable appearances, this is an evidence... I have to say that, even if I was helped by an army of intelligent, patient and subtle souls, I really needed many years to describe how I manage to move through the images and how each crossed layer can influence the next movement! It was necessary to write so many files to formulate and share, through my creation, this concept of changing data, mobile visions and multiple listening, beyond its own borders, time and language. Such an amount of doubts and loneliness to be shared with such few people, while here.... there’s no need to make a breach... the cloud, the torrent, never allowed to build walls. I only run up against a torrent of shared emotions. Anecdote: international language Before leaving, I was called an irresponsible because I did not speak English at all. Indeed, although Oxford English was replaced by Hinglish and although some English-speaking people had some problems of being understood in India, this journey would have been more "useful" for somebody fluent in the Shakespeare language. Happily for me, creation is not a product you can easily buy in shop... Quite to the contrary and all for the better: there would be too many people and certainly invading tourists if not invaders. I learned to speak with my fears, my doubts, my emotions, my doubts and my weakness... All this allowed to create new spaces in which the other, this unknown, the other myself could be engulfed without being surrounded by my certainties. Today, since the breach of doubts is wide-open, I’m listening to Hinglish with great pleasure. Right now, I’m still at the "rickshaw1 level ", I guess , I feel there is always a wall (with a breach of course), but this music is talking to me. Kalaripayattu - immersive multimedia Installation of interactive creation I met Gireesh TA, a Kalaripayat dancer and I took several pictures of him. Each time, I was touching the painting... I believe that my starting point is there: Kalaripayattu would come from "Kalari", the place, the arena, the space of dialogue and "Payattu", the exercise... When I’m painting, the shadows are first registered in my body before being able to trace them on the space of the painting. This internal experiment is really important for the painting, I believe this is the essential part of it: the objectified shadow simply confirms this lived experience and allows, if possible, to be shared. The "Digital palimpsest" immersive and interactive multimedia installation is a representation of this space of perception. A place allowing the dialogue between the body and its shadow dropping out in the space when it moves. This is a space of gestation where you find yourself all alone dialoguing with the other yourself. "Univers palimpseste", my next creation, will invite the guest to use a creation process in a similar way. On the other hand, if the conversation between the strange and the familiar continues, this new configuration will make the installed dialogue become more complex. In fact, this matrix connected to another installation is no more hermetic. Connected to the network, it becomes porous and allows the interaction of another distant guest, engaged in this experiment as well as his own experiment. This porosity modifies our perception and moves the borders: internal or external world, private or collective space, all these become confusing and changing concepts. It seems to me that the Kalaripayat queries the space and the trajectory of this stranger of the inside, by exercises and defined movements of the body. The apprenticeship is made through a personal experimentation; the transmission is being practiced in a space of predefined dialogue. The tools of the painter are not the same ones as those of the dancer, but the method seems to have common points: there are movements leaving shadows, others that do not. 1 Often, in India, the drivers of rickshaw (or autorickshaw) speaks a more than approximate English.

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It is necessary to let yourself be carried away by the motion, accept the transformation that it exerts in us, without any repentance, nor possible return... If the artist remains external to his creation, if he observes it without living it, he remains an observer and does not become a creator. It is necessary that the creation becomes the proper motion because otherwise the energy will never be able to spring out from him in order to meet his media. This is the tool that I would like to (and need to) make: I am more and more convinced that the Art is not a show but a state of consciousness of every moment and the general public is misled when “art” is sold to him as a product for current human consumption. Here in France, I’m working with the “Espace Mendès-France” of Poitiers in order to develop a “pilot” therapeutic workshop : the mental and physical handicapped people are there dancers and they reveal us, teach us what can bring such a device by trying it and, by doing this, they also transcend the borders that a more traditional interpretation of a work of art would create. The Indians are very sensitive to the human experiment lived in the "Digital palimpsest” device: some of them addressed themselves to the projected image as to themselves. The children of “Marica School” (a school of Hyderabad open to all the children, in particular those rejected for various reasons: poverty, handicap...) that tried the device, seem to have perceived such a space of freedom from it, to make them say they “will remember it for all their life". Following these reports, I really wish to manage to create my device and the "workshops of expression" with the Indian and French artists. The Indians are the only foreigners with whom I have the impression to be able to completely share my culture and it seems to me that only this country could start such a building site with France. Mixed femininity and masculinity In India, my perception of femininity and masculinity is actually waving: the representation of femininity and masculinity is different; it does not seem so closed as it is in Europe. I met some leading women, some beautiful and balanced personalities from whom was emerging a soothing, generous and productive sensitivity. Anyway their curvy and splendid femininity combined to a determination without any boundaries also had a splendid virile force. In addition, I met some men with both an exacerbated femininity and masculinity: their voices, as soft as could be real caresses, could be accompanied by a behaviour of a conquering male. One day, in the train, I was rocked by the song of a man that was murmuring his prayer close to my ear: I was compressed by the people around and at the same time it was like being in my mother’s arms. Obviously, I do not speak about the position of the women and the men in this society, because the separation and the differences are huge: to be born a woman in India (if you manage to) must not be easy everyday. Professionalism The "professionalism" of some Indians, is not at all as the one we know and we are used to in Europe, their professionalism is actually subtended by a human engagement : a need to understand why the action is important before proceeding. To sum up, I could say that our professionalism is only a combination of movements, precise and meticulous, of course, but basically mechanical movements. Their professionalism is closer to the work of art, it is alive, you can feel it breathe, it has a heart and this is why, as far as I’m concerned, I feel it deeply human. As an artist, I’m lining up more easily with their supple and flexible conception than with the rigorist and inflexible one of the Occident. As a director, it is anyway necessary to admit that, sometimes, in the world of the production, especially when advanced technologies are used, it is quite obligatory to pass stages without any delay or approximation, stages which precision determines the following of the operations and the success of the final result. This explains why, during the preparation and the assembly of the "Digital palimpsest" multimedia installation, the Indian and French teams sometimes had some reciprocal misunderstandings and were consequently mutually irritated, appalled, or even ravaged. This also explains why everything is possible, open and why nothing is definitive. Cinema & Contemporary art The Indian businessmen I met (in the world of the cinema) seem to have an extreme and efficient perspicacity. They observe our researches and our developments with great interest. I believe they wish to make evolve the cinema towards something else: the interactivity, the real time, the integration of the guest in a creation, are now finalized technologies and they are starting to be interested in this. I would be very happy to collaborate with India, because if the means of the cinema could be moved towards the multimedia creation, in order to allow the guest to become the actor of his own creation, it could be a chance for our societies. Anyway, I hope that if there will be a meeting: it will be between artists and businessmen, rather than between businessmen and show technicians. The first possibility could bring an enrichment to our cultures while the second one could be excessively dangerous for our freedom.

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Without denying the undeniable value of the genius and personal artistic expression of the artist, and without wanting to standardize the methods, I rather believe that it is important (and urgent) to associate the public to the present creation and allow him to really take part in a collective contemporary creation made by international artists each one representing their country of origin. The arrival of Marc Caro as a co-author and co-director of the future "Universe palimpsest" device shows that not only the Indian artists are interested: here in occident we "also" need to come out of our traditional production structures, because, nowadays, we are forced to pass by very complex filters to be able to “broadcast” what we wish to transmit. The world of the cinema on one side, the contemporary Art on the other side, solidify us in a "show tradition" which, still too often, does not correspond any more to the current ways of life, and does not either bring any satisfactory answer to the desires and the needs. In the middle of this world where the multiple communication networks weave an always denser net, the feeling of loneliness still grips the artist, and yet I acquired the conviction that men never needed as much to meet and to make their creations meet. Short correspondences – meetings by chance Fortunately I have a guide line (“fil d’Ariane”), otherwise I would lose myself in wanderings within these new spaces (physical, psychic, spiritual...) with the risk to deaden my clearness. I like this country, you should see it: the colours, the men... are such beautiful... and in front of the horror, the dirtiness and the human stupidity (this last one never disappears! ... and perhaps this is why I have the vague impression to have already met these behaviours elsewhere! ...), it simply seems so miraculous. Here you can only paint and pray... What can I say: a country without any extreme violence? Yes, this is what I saw. What can I think: a cherishing country where the least voice undulation, the flickering of a lash, are only real softness? Yes, this is what I felt. This energy, crazy as any energy you receive head-on. This exuberant force confronted to a confusing inertia, these noises and these untold things, the sweetness and the extreme violence.... This red ground... these voices that are so soft: these are real caresses... This radical, noisy, unfair violence... a fine boundary between life and death as a razor wire: this is painting. This radical oscillation between two extreme situations sends me back to the heartbeats of my own pictorial action where two shadows are opposed, one born in a world of noises and sufferings pushing me in a dark interrogation, the other making emerge, from this noise, the intuition of a generous, radiant, soft and fertile happiness, and both ending up finding a balance in a creative movement offering an understandable vision of the world, the life and the death. Sometimes, I would like to paint with red, yellow... with an affection for the hard life, a desire for grabbing hold of all kinds of sensations, visual, olfactory, auditory,... complex and unknown sensations, in order to make disappear the familiar feelings. Sometimes this is a feeling of opacity, loneliness and incomprehensible rebellion. Here, there is no wrapping indicating that it is ready to consume: everything is in front of you without any order, you must chose by yourself... and quickly! Because everything is profusely and in all senses... It is necessary for me to learn how to select, to grasp the meaning of the things with my instinct. I must listen to it and trust it. These behaviours are so strange and that’s why these are familiar to me. I wanted to invite children from the street, I was told that there was a school of poor children just beside but that it was something not usual to invite poor children in a rich school, for their own good, because they wouldn’t really know how to behave themselves, but also because the parents of the rich students wouldn’t understand their presence. I can’t manage to understand this. I met Kuparaj, a self-educated 3D computer graphic expert who makes lace... Mathieu has just arrived, he does not have too much time to visit, but apparently, India is smoothly entering in him with its blasting klaxons, the men’s cherishing voice and the incredible energy, nearly apocalyptic, which surrounds us. I think that his creation will be transformed by all this. Some Indians are happy to learn that I am an autodidact, because to be an artist in India, it is absolutely necessary to have patents (it is therefore necessary to pay very expensive prices to go to the schools of Art...). I would like to collaborate with the local painters and musicians. They are willing to work : I like that.... I am in an extreme state of sensitivity when I am in contact with them, and they really understand what I want to do : the state of emergency, the desire of independence and the desire to organize a direct network of work between the artists, without any intermediary in our creation. There are already various artists that would like to see, to understand, to collaborate... I must now count on the passion that animates them, on the passion they’re transmitting me and on my desire to make it. Pooja Sood (Curator of Apeejay Media gallery, Director of KHOJ) thinks that, right now, this is the right project for India, to manage to bring together the tradition (painting, dance, music.) and the new technologies. The difference, in fact, seems quite big... Composite work I cannot finish this report without speaking about those who share, accompany, and even support this "beginning of work" that would not exist without their multiple collaborations.

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In France: Palmina d'Ascoli (responsible for the residence pole of CulturesFrance) a personality, a subtle mixture of intuition, intelligence and force. Palmina seemed to say that, anyway, she only did her job; however, I would feel guilty not to quote her! Jean-Rene Tillard (historian) and Patrick Treguer (ECM - Space Mendès-France), two generations of deeply uncorrupted and indefectibly present personalities. Bernadette Guilloteau, a doubly faithful translator (language and friendship). Bernard Bats, a permanent guide and artistic adviser. The team that accompanies and makes this creation: - Mathieu Constans, he develops the computer program with intelligence, sensitivity and tenacity. - Marc Marchand, a large multimedia technologies expert combined to a spirit of synthesis and stability that gives security. - Lotfi Zitouni, a talented composer and an initiating partner of the process. - Cyrille Gauclin, a programmer and a perspicacious computer researcher. - Daniel Boursin, the initiator of the therapeutic workshops. - Franck Barton, an untiring manager on all occasions. - Catherine Amiot, an inflexible bookkeeper. All the personalities from the DRAC and from the Région Poitou-Charentes: Jean-Claude Sénéchal, Chantal Denis, Michael Saludo, Nelly Bore, Maud Brun, Thomas Kocek, Sylvain Pothier... true work partners. Eve Lemesle, from the “Point Ephémère”, she introduced me in India thanks to her excellent contacts and thanks to the quality of her presence. Louis Bec (System zoologist – President of Cyprès) and André Fertier (Composer, Cultural accessibility expert - Author - President of Cemaforre and Eucrea France, In charge of formation at the University Paris V), sponsors of the project. Pierre Bongiovanni, Alexandra Quien, Elen Riot, Gregory Sedek, Dany Beltran-Smadja, Bodin Dawn, Marie Helene Popelard, Antoine Saugier, Hubertus Von Amelunxen, and all the others I cannot quote... In India: Benedicte Alliot (Cultural Officer – French Embassy in India), efficient, careful and very reactive. Let’s not forget the team that surrounds her with talent: Nitin Chauhan, Shaifali Jetli-Sury... Frederic Dart (Director - Alliance Française of Hyderabad), he has a very acute vision of the partnership and can be surrounded by a forceful and energetic team, at the service of an intelligent broadcasting of the French culture. The team that accompanies and makes this creation: - Paul Jacob (Indian producer musician), talented musician and producer, he can create bonds between the East and the

Occident. - Kupuraj, a 3D computer graphic expert, he makes lace. - Gireesh TA, a Kalaripayat dancer, yoga teacher and Ayurvédique masseur, large expert of the psychic, physical and

spiritual connections. Estelle (Etoile du Sud South - Auroville) a diplomatic and creative enterprising woman. Lydia Chakrabarty, a strong artist, clear-sighted and whose independence of mind opens doors. Viswanadhan (Painter and founder of Cholamandal Artist village in Injambakkam) and Jayachandran (Choreographer, founder and artistic director of Attakkalari Center for Movement Arts in Bangalore), the Indian artists whose work is really meaning something. Manoj Dixit, Shiva KUMAR, Vagatessan, some young painters of Pondicherry able to share their passion. The Spirit Studio Team (Rama Naidu Studios) and in particular Viren Thanbidorian (Vice-president), Rana Daggubati (Managing Director), Ashwin Raj Operations Vice-president), Ramakrishna Reddy M (Visual effects supervisor) and Madhu Babu (3D Computer graphic expert), for their cordial and professional reception. And finally, Marie-Christine de Rochemonteix (Director - Marica School - NGO elimination of illiteracy) and the 80 children that came to try the device in Kalahita Art Gallery of Hyderabad; Bernard Rouhaud (Director – Alliance Française of Mumbai) ; Pooja Soon, (Curator - Apeejay Media gallery, Director - International KHOJ Artists Association); Koeli Mukherjee Ghose (Curator & Art historian - Gallery Kalahita Art Foundation); Sharan Apparao (Director - Apparao Galleries); the team of the Alliance Française of Chennai and in particular Marie-Paule Tightens (Director) and Manisha Narayan (Cultural Responsible); Prashant Lahori (Director - Kalakriti Art gallery); Parameshwar Raju (Director - Gallery Kalahita Art Foundation); the students of Srishti (School of Art, Design and Technology) and in particular Sophie Nevoux; Sreesh (3D Computer graphic expert); Bruno Saint Bosoms (Priest – Foreign missions); Vishnou Vardhani (Professor) and Ashwin Rajan (Researcher); Bholekar Srihari (Painter); Uttaman Mr. K (Research scholar - Hyderabad central university); Selvaraj Mariapragasam and the team of the Dune; Magesh (Yoga teacher); the students of IIT Bombay (Indian Institute of Technology) and in particular Rajat Sharma Kumar, Sandeep, Mayank Mehtail, Sangharsh, Sidhart, Vishvanath or Vish, Vaibhava Kumar, Ashutosh Juvalec, Ashish Garg, Mohiti Chamania; and all the others I cannot quote...

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Digital Palimpsest in India – « Villa Médicis hors les murs (outside the walls) »

Stage 1: “Fil d’Ariane - Univers palimpseste” Description of the multimedia device / Realization and broadcasting calendar / partners / review / press / testimonies.

“Digital palimpseste”, a creation process in real time immersing the guest in a visual and sonorous interactive show, was presented in India from January to February 2007. The presentation of "Digital palimpsest" in India was a first stage for the project "Fil d'Ariane - Univers palimpseste": a network of interactive multimedia installations generating a creation between France and India in real time. The proposal for the Indian public was to try the multimedia device physically and it showed and demonstrated me the interest of the Indian public for this completely precursory type of creation in India. In addition, this presentation was the occasion to meet various partners: artists, technicians, production and broadcasting structures... They could directly apprehend the installation as a tool of expression, exchange, communication, creation... and therefore understand their interests in joining the future collective work "Univers palimpseste”. This preparatory mission allowed to start “Univers palimpseste”, the creation of a network of interactive multimedia installations in real time between France and India (production scheduled from June 2007).

SCHEDULE November 14th, 2006 - January 3rd, 2007 / Chennai – Pondicherry / Realization residence > B2Fays - Dune – Etoile du Sud

- Development of a local Database starting from sound recordings and photographs. January 8th > 14th, 2007 / Hyderabad / Realization residence > Spirit studio Rama Naidu

- Integration of local visual and sonorous data starting from the creations realized in India. January 11th, 2007 / Hyderabad / Presentation > Kalakriti Art Gallery - 50 persons

- Press Conference (50 artists and Art professionals). January 19th, 2007 / Bangalore / Presentation > French Alliance of Bangalore - 18 persons

- Press Conference (5 journalists, 3 photographers/cameramen, 10 other persons). January 15th > 20th, 2007 / Bangalore / Broadcasting > Srishti School of Art, Design and Technology - 181 persons

- Installation - 68 guests (30 children, 2 Attakalari dancers, 1 journalist, 15 Srishti staff members, 20 students) - Workshop - 60 participants (20 students during 3 days) - Conference - 53 persons (3 professors, 50 students).

January 22nd > 27th, 2007 /Mumbai / Broadcasting > IIT Bombay Indian Institute of Technology - 975 persons

- Installation (300 students each evening during 3 days, 30 Bombay artists, 15 US-Australia-France artists, 30 IIT staff members).

February 1st, 2007 / Hyderabad / Presentation - Broadcasting > Kalahita Art Foundation - 30 persons January 29th, 2007 > February 3rd, 2007 / Hyderabad / Broadcasting > Kalahita Art Foundation - 335 persons

- Installation (40 children Pranava school, 10 students Okridge International school, 40 employees Color chips studio of animation, 10 women of ICFAI, 10 students Jawaharlal Nehru Technological University, 25 students in Fine Arts Central University of Hyderabad, 10 Spirit Studio employees, 75 Marica school children, 10 journalists & photographers & TV team, 35 artists and guests, 70 of the various public) .

November 27th, 2006 > February 12th, 2007 / Contact partners: Real Image Media technologies Pvt. Ltd – Chennai / Apparao Galleries - Chennai & Delhi / Spirit studio Rama Naidu studios – Hyderabad / Sarai MEDIA LAB – Delhi / Marica School – Hyderabad / Bodhi Muzzik productions – Chennai / Kalahita Art Foundation – Hyderabad / Viswanadhan - painter – Cholamandal / Paul Jacob – composer – Chennai / Manoj Dixit - painter – Pondicherry / Shiva Kumar - painter – Auroville / Vengatesan - painter – Pondicherry / Gireesh TA – Kalaripayat dancer - Trichur Distic / Kupurag – 3D graphic designer – Auroville / Jayachandran - scenographer dancer – Hyderabad / French consulate in India – Pondicherry / Etoile du Sud Studio – Auroville / French Alliance of Delhi, Chennai, Hyderabad, Bangalore, Pondicherry / Bodhi Art Gallery – Mumbai / Appejay Media gallery - Delhi / KHOJ International Artists Association - Delhi. March 3rd, 2007 > May 30th, 2007 / Paris – Angoulême / Realization residence > Fil d'Ariane - et alors productions

- Creation of a website relating the broadcasting of "Digital palimpsest" in India

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PARTNERS CONTRIBUTING TO THE REALIZATION OF « DIGITAL PALIMPSEST IN INDIA » INDIAN PARTNERS

FRENCH PARTNERS

ARTISTIC AND TECHNICAL:

- Paul Jacob: Interpreter composer – Chennai - Kupurag: 3D graphic designer – Auroville - Dora Babu: 3D graphic designer expert - Hyderabad - Gireesh TA: Kalaripayat dancer - Trichur Distic

COORDINATION - COMMUNICATION:

- French Embassy in India - Delhi - French Alliance - Hyderabad - Étoile du Sud Studio - Auroville

RESIDENCE - BROADCASTING:

- Spirit studio - Rama Naidu studios - Hyderabad - IIT Bombay - Indian Institute of Technology - Mumbai - Srichti - School Art, Design and Technology -

Bangalore - The Dune - Pondicherry - Kalakriti Gallery - Hyderabad - Kalahita Art Foundation - Hyderabad

OTHER: - French Alliance - Bangalore - French Alliance - Chennai - Bodhi Muzzik productions - Chennai - Marica School - Hyderabad

ARTISTIC AND TECHNICAL:

- Lotfi Zitouni: Interpreter composer – Angoulême - Mathieu Constans: Programmer - Bruxelles - Marc Marchand: Technical director - Paris - Béatrice de Fays: Multimedia artist - Angoulême

COORDINATION - COMMUNICATION:

- Point Ephémère - Paris OTHER:

- ECM - Espace Mendès-France – Poitiers - Et alors productions – Paris - La grande Fabrique – Dieppe

MEETING PARTNERS IN INDIA FOR THE REALIZATION OF « UNIVERS PALIMPSESTE » ARTISTIC AND TECHNICAL:

- Viswanadhan: Painter - Cholamandal - Paul Jacob - Interpreter composer - Chennai - Manoj Dixit: Painter - Pondicherry - Gireesh TA: Kalaripayat dancer - Trichur Distic - Kupurag: 3D graphic designer - Auroville - Avishek: Painter - Delhi - Jayachandran: Scenographer - Hyderabad

FRENCH STRUCTURES:

- French Embassy in India - Delhi - French Alliance - Hyderabad - French Alliance - Chennai - Étoile du Sud Studio – Auroville - Marica School - Hyderabad

INDIAN STRUCTURES:

- Real Image Media technologies Pvt. Ltd - Chennai - Apparao Galleries – Chennai - Delhi - Spirit studio - Rama Naidu studios - Hyderabad - Sarai MEDIA LAB - Delhi - Marica School - Hyderabad - Bodhi Muzzik productions - Chennai - Kalahita Art Foundation - Hyderabad - KHOJ International Artists Association - Delhi

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REVIEW

From an artistic and technical point of view, this device is a completely new creation for India. According to Pooja Sood, the director - curator of the International KHOJ Artists Association: this creation timely arrives in India as it could allow a junction between traditional arts and new technologies. The reaction of the public, which told us to like the show and its direction, is excellent: the artists, the children and the teenagers are the most enthusiastic users. Sometimes, considering the crowds (for example, some groups of more than 40 children coming from the Marica School), there was no time for the participants to try the device in a complete way; in this case, some long-term workshops of expression would have been interesting. The Indians are often very sensitive to the human experiment lived in the device: some of them addressed themselves to their projected image as to themselves. In the frame of a device allowing to meet, in real time, guests from other continents, this sensitivity, coupled with an innate talent in the Art of the discussion, would present much interest.

About the partners met and their interests in this creation: - some young painters are wishing to take part in it in order to use a contemporary mode of collaborative creation; - some artists (often the most confirmed) are seeing in it the opportunity of a different lighting on their works; - some structures are wishing to join a media event to have a modern image; - others think that it could become a real evolution tool for the creation, the holdings, the artists, the publics and the

mentalities; - in addition, some persons are studying the artistic concept and the technical development in order to understand how

to evolve the world of the cinema towards interactive technologies in real time: this helps to delight the programmers and the computer graphic experts in lack of new developments.

From a strictly technical point of view, the software MAX MSP Jitter used for the computer development of the device (in part produced and developed by IRCAM) is interesting the companies of cinematographic production, the structures of musical productions and the artists.

PRESS ARTICLES - TV & RADIO BROADCASTING

January 16th-31st, 2007 - Chennai - Madras "The most striking new year greeting" - An image from the device was greeted by the Madras newspaper (newspaper distributed in the mailboxes of Chennai) as being the best of the year (this image was used by the French Alliance of Chennai for its 2007 greetings card) January 17th, 2007 - Hyderabad - The Hindu "Connecting to art future" January 20th, 2007 - Bangalore - Deccan Herald "Share your world with another" January 20th, 2007 - Bangalore - The Hindu "Giving a new dimension to digital art" January 20th, 2007 - Bangalore - Resonance Fm - Sound report - English Radio January 2007 - Mumbai - www.techfest.org "An interactive multimedia device" February 3rd, 2007 - Hyderabad - The Hindu "Let' s enter the painting? " February 2007 - Hyderabad - Jumelles "A full interactive immersion device" February 3rd, 2007 - Hyderabad - Vaartha "Digital art in Kalahita" (Newspaper in Telugu > translation attached) February 3rd, 2007 - Hyderabad - Telugu TV - TV Report - Information newspaper

TESTIMONIES OF GUESTS

Children of Marica school

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Vaartha translation – India – 03/02/2007

Translation of Telugu by Vishnou Vardhani - on February 3, 2007 in Hyderabad Art DIGITAL in Kalahita There are borders neither for numerical technology, nor for the beauty and the creativity. Beatrice de Fays brought digital glory to Hyderabad (Bagianagaram). She exposed the capacity of multi-media in the Kalahita gallery (in Panjaguta Nagarjuna Hills). This installation will be held during two days from 11 a.m. to 8 a.m., and we suggest to the public benefiting from this opportunity. This program is organized with Alliance Française of Hyderabad and the Embassy of France in India. This program does not show only one original creation, it also makes the amateurs take part. The musicians Lotfi Zitouni and Paul Jacob have collaborated for 3 months with B2Fays, as well as the Kupuraj graphic designer, the technical director Marc Marchand and the programmer Mathieu Constans. The images of DIGITAL Palimpsest are to be seen. India thanks France to have made come this Art DIGITAL for the first time to India. This program has been shown in Hyderabad, Mumbai, Bangalore and Mamalapuram.

Vaartha traduction – Inde– 03/02/2007

Traduction du Telugu par Vishnou Vardhani – le 3 février 2007 à Hyderabad L’art DIGITAL à Kalahita Il n’y a de frontières ni pour la technologie numérique, ni pour la beauté et la créativité. Béatrice de Fays a apporté la gloire digitale à Hyderabad (Bagianagaram). Elle a exposé le pouvoir du multimédia dans la galerie Kalahita (à Panjaguta Nagarjuna Hills). Cette installation se déroulera pendant deux jours de 11 heures à 8 heures, et nous suggérons au public de profiter de cette opportunité. Ce programme est organisé avec l’Alliance Française de Hyderabad et l’Ambassade de France en Inde. Ce programme ne montre pas seulement une création originale, il fait aussi participer les amateurs. Les musiciens Lotfi Zitouni et Paul Jacob ont collaboré depuis 3 mois avec B2Fays, ainsi que le graphiste Kupuraj, le directeur technique Marc Marchand et le programmeur Matthieu Constans. Les images de Digital Palimpsest sont à voir. L’inde remercie la France pour avoir fait venir cet Art Digital pour la première fois en Inde. Ce programme à été montré à Hyderabad, Mumbai, Bangalore et Mahabalipuram.

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Testimonies - Marica School’s students

KALAHITA ART GALLERY / Digital Palimpsest

This exhibition was a great experience for our children. It seems that it is very hard for them to express their feelings. They say that they liked and even loved, but they are not able to say why, and to develop their ideas. It is because they are young, and especially because it’s the first time they all see this kind of thing. For them it is crazy, new, and unspeakable. But we can see their smile and their attitude when they speak about it: they are happy, beaming, and they have lots of great souvenirs.

1. Preet Singh, class VI (10 years old)

“I had a lot of fun at the exhibition. It was fantastic. At first, I was feeling nervous, then I went into the black tent, and everything went. I was feeling good and relaxed.”

2. Musaffar, class VI (10 years old)

“I enjoyed a lot. It was great, and above all; a great surprise for me. I thought it would be an Hyderabad exhibition [where they can buy things, it’s more a commercial than artistic exhibition], but it was crazy, beyond all I could imagine. Then I talked about it to my family. I was impressed. If I could see once again this kind of exhibition, sure I’ll go”

3. Syed Kifayatullah, class VII (12 years old)

“I was scared of what could be there, in this tent. But indeed it was fine, funny and beautiful. I was happy to visit Charminar that way: there are no steps to go to the top, I felt like a giant. Then I described it to my family, and everybody was very interested”

4. Mohammed Masi, class VIII (14 years old)

“I still feel happy when I speak about this exhibition! It was both exciting and frightening. I thought I would see drawings and paintings, but it was completely different. I will never forget this experience. I think this kind of art is useful and beautiful; it makes the people feel different. For example, I felt like an actor in the movie, and even like a creator. It’s better than going to the cinema! I was inside the movie.”

5. Sakina, class VII (13 years old)

“I felt it was like magic. At first I was frightened to go into the tent, because the boys were telling us that skeletons were there, and that it was not safe! But then I saw Charminar, the 7 Tumbs, and even the Tajmahal. It was so exciting for me, because I could see all these buildings right in front of me, I could visit them, and I’ve never been to the Tajmahal! It was like I could see everything in a second, it was amazing, really interesting. It was like imagination and dream, a dream of no barrier. I really would like to go and see this exhibition once again, with all my family. They would love to see all the buildings. The French lady said to dance, but we were feeling to shy to dance. Only Shaik Ishaq danced. But we were watched by the others while we were in the tent, that’s why we didn’t dare to dance”

6. Bushra Sultana, class VII (13 years old)

“This exhibition was excellent. It was mind-blowing magic. It was the first time I could see that; it was different. If I could go there many times, I would feel good, better than I am right now”

7. Syeda Uzma, class VII (13 years old)

“This exhibition was splendid and fantastic. First I was feeling a bit shy and frightened, but I loved to see everything, it made me happy. What I preferred was Charminar moving and turning with me. It was so funny!

8. Nisar, class VII, (13 years old)

“It was wonderful. The French lady was very nice, and I would like to see one of her others exhibitions”

9. Shaik Ishaq, class VII, (12 years old)

“It was mind-blowing. I felt very well and excited. Then an Indian Murfa came, and I felt free to dance. It was a kind of game at first, but then I felt very relaxed and good while dancing”

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Béatrice de Fays / B2Fays

+33 681 060 958 / France - +91 99443 42113 / India – b2fays@mac.com - www.fildariane.net - www.b2fays.com