Une installation sonore documentaire et collaborative par Léa Chevrier (artiste sonore) et Laureline Amanieux (réalisatrice) Production : Dorian Blanc RÉTROVISEUR PRODUCTIONS, Laureline Amanieux CIRCÉ PRODUCTION, et Cécile Cros NARRATIVE. TEASER vidéo de l'installation en cliquant ici ! Diffusion de la partie série documentaire sur la plateforme web de France Télévisions ici : france.tv jusqu'en septembre 2026. Diffusion antenne et coproduction avec France 3 Normandie. Relais de diffusion par la plateforme Art Explora et KUB. Presse : 3T dans le magazine Télérama. Avec le soutien de CNC Talent, du Fonds Transmédia de la ville de Paris, de la SACEM, de la Procirep-Angoa, de la région Normandie (avec Normandie Images) et de la région Bretagne avec la ville de Rennes et la Drac Bretagne, du Ministère de la culture pour l’égalité, la diversité et la prévention des discriminations, en partenariat avec le Centre National de la Musique.
A COMMITTED ARTISTIC AND DOCUMENTARY PROJECT PROMOTING WOMEN'S CREATIVITY
Bach, Mozart, Beethoven... we can all name classical music composers. But how many female composers do we know? Have there been no female musical geniuses? How can we feel legitimate today, as women, when we only know the names of men? How can we exist as female composers when the history of music lies by omission about female creation?
DECOMPOSE / RECOMPOSE is a multimedia installation (sound and audiovisual documentary) that questions the invisibilization of women composers, offering visitors the chance to reappropriate a different kind of music history. The installation introduces us to major but forgotten European women composers, from the Middle Ages to the 20th century.
DECOMPOSE
A multimedia installation
with a sound installation and an audiovisual series
RECOMPOSE
An audiovisual documentary series in 8 episodes of around 5 minutes each
Broadcast within the installation and on the web
DECOMPOSES, THE INSTALLATION
THE EXPERIENCE
Wooden music stands, traces of a ghost orchestra, silently welcome us. They display scores, period letters to female composers and current texts by sociologists and musicologists on the invisibilization of female composers. These elements are printed directly onto the wood of the music stands.
Gradually, voices begin to emerge from the music stands: breathing sounds, syllables, snatches of melody. These songs are constantly interrupted by the sound of paper being torn, then by the sound of flames, silencing them once again.
On the walls, screens simultaneously broadcast slow-motion images of sheet music being torn, crumpled, thrown away and then burned. After this phase of destruction, the voices begin to rise from their ashes. Snippets of music gradually make themselves heard in spatialized form until they are fully deployed: the music of the female composers gradually comes back to us.
Then, the faces of the female composers begin to appear on the screens like ghosts suddenly taking on flesh before our very eyes. The drawing gradually materializes, the lines appearing, as if under the action of an invisible brush or pencil. By standing in front of one of the screens, visitors trigger an episode of the audiovisual documentary series; the sound is diffused by sound showers, so as not to disturb other visitors.