Carbonari figli, 2018
painted wood, steel, speakers, obsidian stone,
sound piece 12’ (bass, zampogna, cymbal, pipita)
110 x 107 x 200 cm
link : http://soundcloud.com/fran-ois-bianco/carbonari-figli
painted wood, steel, speakers, obsidian stone,
sound piece 12’ (bass, zampogna, cymbal, pipita)
110 x 107 x 200 cm
link : http://soundcloud.com/fran-ois-bianco/carbonari-figli
Carbonari figli est un ensemble de cinq habitacles en creux qui exhalent des sonorités de contre-basse et de zampogna. Ces sculptures issues des méthodes de construction des carbonari s’agencent en un mausolée entre-ouvert, une cage thoracique grondante. Elles s’éclatent aussi dans l’espace et laissent la possibilité de traverser le paysage sculptural et sonore qu’elles
déterminent. Une partition verticale de fragments d’obsidienne se niche dansl’élément central, dédié à la diffusion des sonorités sourdes, terrestres. La pièce sonore s’apparente à une brise qui circule d’une cavité à l’autre, fidèle aux sons aériens de la zampogna. Carbonari figli est une respiration, un souffle d’une culture ancestrale qui tente de subsister à sa propre consomption.
Carbonari figli is a set of five hollowed-out housings that exude the sounds of double bass and zampogna. These sculptures, derived from the construction methods of the carbonari, are arranged in a half-open mausoleum, a rumbling rib cage. They also explode in space and leave the possibility of crossing the sculptural and sonic landscape that they determine. A vertical partition of obsidian fragments nestles in the central element, dedicated to the diffusion of muffled, earthy sounds. The sound piece is like a breeze that flows from one cavity to another, faithful to the aerial sounds of the zampogna. Carbonari figli is a breath, a breath of an ancestral culture that tries to survive its own consumption.
déterminent. Une partition verticale de fragments d’obsidienne se niche dansl’élément central, dédié à la diffusion des sonorités sourdes, terrestres. La pièce sonore s’apparente à une brise qui circule d’une cavité à l’autre, fidèle aux sons aériens de la zampogna. Carbonari figli est une respiration, un souffle d’une culture ancestrale qui tente de subsister à sa propre consomption.
Carbonari figli is a set of five hollowed-out housings that exude the sounds of double bass and zampogna. These sculptures, derived from the construction methods of the carbonari, are arranged in a half-open mausoleum, a rumbling rib cage. They also explode in space and leave the possibility of crossing the sculptural and sonic landscape that they determine. A vertical partition of obsidian fragments nestles in the central element, dedicated to the diffusion of muffled, earthy sounds. The sound piece is like a breeze that flows from one cavity to another, faithful to the aerial sounds of the zampogna. Carbonari figli is a breath, a breath of an ancestral culture that tries to survive its own consumption.
Fuga, 2018
steel, copper
165x35x45 cm
steel, copper
165x35x45 cm
Rullo, 2018
painted wood, steel
38x38x200 cm
painted wood, steel
38x38x200 cm
Lésions (extract), 2018
typographic poem
60x60 cm
photos © Götz Arndt
typographic poem
60x60 cm
photos © Götz Arndt
Lésions est extrait d’un ensemble de poèmes passés par le système de transcription de l’ordinateur. Certaines données ont été modifiées de manière aléatoire pour ne laisser lisible qu’un fragment du texte original. Toutefois, la présence d’une séquence d’écriture cubique, témoigne des emplacements passés du contenu textuel. Proche du fonctionnement de la mémoire, ce qui reste accessible ouvre une voie fantasmagorique et partiellement hermétique quant à l’origine de ce qui a disparu. L’extrait présenté se réfère à un temps lointain, altéré. Il conserve cependant son essence historique et géographique, tels les fragments encore visibles des mosaïques qui nous apprennent un peu plus d’où nous venons.
Lésions is extracted from a set of poems passed through the computer transcription system. Some of the data has been randomly edited to leave only a fragment of the original text readable. However, the presence of a cubic writing sequence, testifies to the past locations of the textual content. Close to the functioning of memory, what remains accessible opens up a phantasmagorical and partially hermetic path as to the origin of what has disappeared. The extract presented refers to a distant, altered time. However, it retains its historical and geographical essence, like the still visible fragments of the mosaics that tell us a little more about where we came from.
Lésions is extracted from a set of poems passed through the computer transcription system. Some of the data has been randomly edited to leave only a fragment of the original text readable. However, the presence of a cubic writing sequence, testifies to the past locations of the textual content. Close to the functioning of memory, what remains accessible opens up a phantasmagorical and partially hermetic path as to the origin of what has disappeared. The extract presented refers to a distant, altered time. However, it retains its historical and geographical essence, like the still visible fragments of the mosaics that tell us a little more about where we came from.
Spinta II, 2018
concrete
216x32,5x155 cm
concrete
216x32,5x155 cm
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Innommées insomnies, 2018
concrete, marbles, steel
102x80x142 cm
concrete, marbles, steel
102x80x142 cm
Anonymes, 2016
silkscreen on oxydized copper
89x39,8 cm
silkscreen on oxydized copper
89x39,8 cm
Spinta, 2016
concrete, steel
300x170x180cm
concrete, steel
300x170x180cm
Untitled, 2016
concrete, copper, steel
200x40x40 cm
concrete, copper, steel
200x40x40 cm
Untitled, 2016
silkscreen on oxydized copper
62x41 cm each
silkscreen on oxydized copper
62x41 cm each
66th Jeune Création, 2016
ΗΤEΛEYΤΑIΑΠΝΟΗΤΟYKYKΛΩΠΑ, 2015
'Le dernier souffle du cyclope'
concrete
196x50x65 cm
'Le dernier souffle du cyclope'
concrete
196x50x65 cm
Octone, 2014
steel, concrete, marble
185x80x80cm
steel, concrete, marble
185x80x80cm
SPECIMEN Mute, 2013
steel, matrix, marble, caoutchouc
136x28x42cm
steel, matrix, marble, caoutchouc
136x28x42cm
SPECIMEN Unknown, 2013
tape recorder, marble
126x28x42cm
tape recorder, marble
126x28x42cm
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SPECIMEN Résurgences, 2013
steel, concrete, marble 200x40x40cm |
Joïk, 2013
MDF, audio system,
sound piece 9’39’’
300x270x60cm
soundcloud link : https://soundcloud.com/fran-ois-bianco/joik
MDF, audio system,
sound piece 9’39’’
300x270x60cm
soundcloud link : https://soundcloud.com/fran-ois-bianco/joik
SPECIMEN Unknown, 2013
16 steel stripes
198x113x0,8cm
16 steel stripes
198x113x0,8cm
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SPECIMEN Unknown, 2013
steel, copper, piezo
variable dimensions
steel, copper, piezo
variable dimensions
Substance, 2013
steel, copper, piezo, aluminium, caoutchouc, marble, concrete, tape recorder
variables dimensions
steel, copper, piezo, aluminium, caoutchouc, marble, concrete, tape recorder
variables dimensions
The installation Substance is composed of sculptures, audio recordings and video. The group of forms called SPECIMEN is an assembly of audio and sculptural elements. These two entities work like couples. They become the sculpture by merging : an encounter between diverse audio elements and steel structures, concrete, marble, rubber, etc. These contrasts between the textures of the materials give rhythm to the sculptures.
Joïk is an overlapping of a succession of white boxes. The boxes have cavities where speakers emit sounds.These sounds are recordings of vibrations travelling through the materials. This architectural landscape is erected like a rampart, a border between the space occupied by the sculptures and a second space, in this case empty, in which a video of mental images is projected.
The video depicts an accumulation of saturated images from the past: drawings, collages, photographs are projected in a deconstructed way over one of the exhibition walls. In other words, images appear over the architecture that hosts the installations. These memory fragments are perceived as luminescent remnants.
Tuska, 2012
steel, piezo, FX pedals, audio system
variable dimensions
Tuska is an installation only established by steel and audio devices. These sculptures are used as producers of echos through an intuitive musical construction. The original matter’sound become allied to its distorted counterparts.
steel, piezo, FX pedals, audio system
variable dimensions
Tuska is an installation only established by steel and audio devices. These sculptures are used as producers of echos through an intuitive musical construction. The original matter’sound become allied to its distorted counterparts.
Disease, 2011
concrete, tar
250x180x60cm
concrete, tar
250x180x60cm
