Les cymbales du malentendant
for
Centre Pompidou
by Jean-François D'Or

Installation for Kanal Centre Pompidou



Les cymbales du malentendant.

By Jean-François D'Or featuring Emmanuel Mathot and Louis Favre.

 

VIDEO

Video presentation on Page 4.


DESCRIPTION

A rigorous regular interval line consisting of 15 large hanging luminaires seems to float at ground level.
The sound becomes luminous intensity, silence, clear, dark, alternating half-light and a ground sprinkled with diffuse light. Contrast and ambiguity between absence of sound and dotted lighting, between sound rhythms and speed of light.
Audio headsets are available to allow a second approach and interpretation of the installation.
Quiet interaction with visitors. 

A complex computer device reconstructs the rhythmic prowess of a percussionist by translating them into electrical impulses supplying this setup of luminaires that have become cymbals.

Dialogue, and resonance with the emblematic architecture of this Brussels place.


INSTALLATION

Between Art & Design, the Belgian scene exhibition, Centre Pompidou Kanal Brussels, Flanders DC and Design September.

Many thanks to Toss B for their participation.


DIMENSIONS

H 800 x L 2000 x 60 cm.


DESIGN

Installation concept and scenario by Jean-François D'Or.

Software and hardware by Emmanuel Mathot. 

Drums composition by Louis Favre. 

DISK, lamps collection, designed by Jean-François D'Or for Toss B edition.

 

Movie © Julien Henry. 

Pictures © LOUDORDESIGN studio.

Picture page : Birodrome Ixelles 1990 © Foto Nicolas Springael.



The rhythms played by a percussionist, transformed into electric pulses, feed 15 lamps that have become cymbals. By misappropriating his own lamps (themselves inspired by cymbals), Jean-François D'Or brilliantly slips from product design into artistic installation. Sound becomes light intensity, silence, clear, dark. Contrast and ambiguity between absent sound and diffuse lighting. 


Les cymbales du malentendant. Jean-François D'Or. Centre Pompidou Kanal. 

Text by Jean-Michel Leclercq.


This subjective selection focuses on a specific niche in the design sector, that of collectible design or design art. Limited series and unique pieces, sometimes hand-made, form the core of this exhibition, in which form takes precedence over functionality, which is relegated to the background. The selection includes objects in the grey zone between art and design, mainly pieces of furniture with a monumental allure. The various pieces exhibited testify to the eclecticism and influence of Belgian creativity. This exhibition highlights the importance of the questions that Belgian designers have around the choice of form and function in designs.
The tension between these two fundamental aspects of design was a key element in the selection of the items for the show. Function often plays an invisible role so that our focus is drawn exclusively to the form of an object. This tension also comes up in the research into and experiments in the techniques and materials used. The result is always a very personal design language. The common demands of any piece of furniture are not given priority here. The objects are no longer reduced to function alone, they are unconventional and anarchic; they invite interaction.


It offers us an ensemble that reflects the wealth and particularly the diversity of contemporary Belgian design. In this selection, the most striking aspect is the great artistic diversity that is also a strong characteristic of the world of visual arts in Belgium. The designers adopt a very independent and individual presentation style. They experiment with various techniques and materials and are consequently involved in the production process. But diversity is not just the result of an unusual choice of materials, technique or design language. It is also about peoples perception of an object. It may surprise, disturb or even amuse. 


Belgian designers remain, with a few exceptions, understated; their work is rarely obtrusive but truly characterized by a feeling for aesthetics, volume and proportion. And even that is their strength.

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