Date
Title
December 2021
Oblivion
Review
Related
⊗
⊗
Preface to Oblivion, December 2021
I wanted to write something about sleep and listening, about the experience of time and what had silently transformed me in the last few months. It turns out that in writing what I imagined to be a reasonably short essay, this piece became more extensive. It includes fictional passages, others theoretical, while at the same time being crossed by something autobiographical. Initially, the text was not intended to be read, and I thought of accompanying it with a soundtrack. This musical extension would have been a translation or a sound extension, a kind of background that would have revealed specific non-textual sources. Once again, upon reading, the text proved to have its autonomy, and an audio version, very different from what I had imagined, was realized with the collaboration of composer Eric Desjeux. It emphasizes one of the ideas at the origin of Oblivion, that of a work that one could experience while sleeping, which raises the question of the latent powers of passivity, or, precisely, of activity per somnia.
Date
December 2021
Title
Oblivion
Curated by
Nathalie Rebholz (Joyfully Waiting)
Artists
Yann Chateigné Tytelman (text, voice)
Eric Desjeux (recording, music)
Christian Bili (graphic design)
Press Release
⊗
Review
⊗
Related
⊗
Preface to Oblivion, December 2021
I wanted to write something about sleep and listening, about the experience of time and what had silently transformed me in the last few months. It turns out that in writing what I imagined to be a reasonably short essay, this piece became more extensive. It includes fictional passages, others theoretical, while at the same time being crossed by something autobiographical. Initially, the text was not intended to be read, and I thought of accompanying it with a soundtrack. This musical extension would have been a translation or a sound extension, a kind of background that would have revealed specific non-textual sources. Once again, upon reading, the text proved to have its autonomy, and an audio version, very different from what I had imagined, was realized with the collaboration of composer Eric Desjeux. It emphasizes one of the ideas at the origin of Oblivion, that of a work that one could experience while sleeping, which raises the question of the latent powers of passivity, or, precisely, of activity per somnia.