jerome poret
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Jérôme Poret's express biography.
Born and lived part of his childhood in Paris's southern white middle class suburb. After an adolescence lived between students strikes in Paris and the pogo of alternative rock and more particularly the Béruriers Noirs's, he travels to Berlin and discovers Einsturzende Und Neubauten in a concert taking place in a disused plant where metallic farms were cut with a circular saw above the band and the audience. But he also discovers Test Dept in Glasgow, during the dockers strikes against Tatcher's politic, who were singing christmass songs wile using a fix dry tanker as a percussion... At the end of the 80's, he travels to western sahara right in the middle of the conflict between Polisario front and Marocco. He Goes back to study in the 90's and more particularly at the Beaux-Arts. He settles in Bourges, region centre, where he meets Emmetrop and the Claude Lévèque project of occupied apartment. He also discovers other places as the CAPC in Bordeaux and le Creux de l'Enfer in Thiers.
He designs a wall for his diploma by tilling one breeze block for each day in a year of college study and taking a photograph a day of the teacher's room and rendering the process as a flip-book after attempting to destroy it with an amplified drifter during the Bandits-Mages festival. The next two years proms saw the emergence of artists such as Saâdane Afif, Rebecca Bournigault, Lina Jabbour Rainier Lericolais, Pierre Malphette,Mathieu Mercier or eaven Sammy Engrammer.
In Jully 1995, just after his diploma, he's one of Arteleku's post student workshop «intervonciones urbanas» conceived by Antony Muntadas. He designs his first sound work (some bootlegs of it are still available) and broadcast it on libertarian radios in Hernani, one of ETA's stronghold. During this workshop, the encounters with Vito Aconci, Hans Hacke, the basque tension and the Arteleku's artistic laboratory has been determining in the next events.
From 1997, he moves a lot around France and meets in Bordeaux the 500 Diables, the 102 and Brise Glace in Grenoble (Founded by Laurent Faulon and Samuel Rousseau among others), in Nantes, around Pierre Gicquel's post-diploma, he meets Guillaume Janot and becomes one of his photograph's model. Partly settled in Bourges, he collaborates with Emmetrop and Bandits-Mages on their own actions. He works as a microphone stand in a Tétine Noire's Concert and wonders around the Hopital Ephémère and spends nights in the building's boiler room. He invents the abstract-dub term by inviting Cédric Pigot as a guest star of Improvisator Dub for a noise - industrial set. The overall concept is to trigger frontal confrontation between audiences dedicated to given places. Back in Berlin he discovers ATARI TEENAGE RIOT in eastern Berlin. Meanwile, in Paris, the garage hosts one of Pan Sonic's first live performance, Rioji ikeda and and an installation designed by Nicolas Moulin (with wich he will establish some kind of friendly relationship). He takes part in some controls of assistance in relation with exhibition like CCC's Bruit Secret and Nick Van de Steeg's in Centre d'art de Pougue les Eaux, last opus by Catherine Arthus-Bertrand.
He founds Transpalette in 1997, atypic contemporary art space with Emmetrop for wich he's in charge of artistic direction and programmation until today. Theyre will meet artistic all generation between the second part of the 20th century and today, as Daniel Buren, Michael Snow or Lawrence Wiener...
He went back to school in Bourge's Consevatoire National in electroacoustic class led by Roger Cochini, former Pierre Schaeffer's student and prom mate of Michel Chion, Robert Cahen or Daniel Terrugi.
Yet another important encounter is Steven Parrino, invited by Hubert Besacier, teacher in ENSBA in Bourges, for wich he records a performance, edited with le Consortium from Dijon. He visits him in New York and discovers the last spams of the nowave. He gives him an Homage in 2005 by designing a system for noise bass guitar entitled : « Dark Shell Splinter and Burst of Aluminium» and performs it at Confort Moderne's 20th anniversary in Poitiers. Since then, form of bass solo appears and are performed in various contexts.
He creates a disk label as Labelle 69 in 2003 to design multiples works shaped in vinyl discs used as means of broadcasting and spaces for exhibition for artist duet. In 2004, in Tours, he meets Sarkis at his school, settled within the city's castle as part of the artist's exhibition called Le Souffle, de Saché à Villejuif and organized by Anastassia Makridou-Bretonneau. This encounter will be of a dramatic importance in the choices of life and work. He decides to go back to an artistic activity deployed in sounds arts after an exhibition at FRAC Pays de Loire as Laurence Gateau's guest in 2006.On Mouvement's invitation as part of #42, February 2007 issue, about some sort of sound art in france, in wich he tryes to draw links between objective art's esthetics, as described by Michael Fried in 1969, and nowadays art scene's one.
Mouvement
.n° 42 .janvier/mars 2007 Au sommaire : >>> Dossier : Espace son > Daniel Deshays, L'expérience du sonore : dans un entretien avec Pierre-Yves Macé, le théoricien et ingénieur du son Daniel Deshays explique à quelles conditions le son peut être un instrument et un outil permettant d'« enrichir les hypothèses et la qualité des mondes ». > Théâtre musical. Un object poétique rêvé, par Catherine Heyden : retour sur un « genre » qui, en faisant sortir les musiciens de la fosse d'orchestre, a rendu au théâtre sa dimension plurielle. > Roland Auzet, Meta machine : entretien avec un percussionniste qui s'ingénie à croiser sur scène sa double pratique de la musique et du cirque. > Josse de Pauw, L'homme concertant : les spectacles de ce metteur en scène flamand traduisent une conception sensible de la musique. > De la ville scène à la ville instrument, par Julie Bordenave : comment, en faisant irruption dans l'espace urbain, les musiciens, tour à tour performeurs et inventeurs, réenvisagent leur pratique et sa transmission. > Musiques industrieuses, par David Sanson : nombre de figures de la scène musicale industrielle et expérimentale des années 1980 travaillent aujourd'hui dans le spectacle vivant. Enquête. > Peter Rehberg, Actionniste viennois : patron du label Mego, musicien sous le nom de Pita, l'Autrichien a noué, avec les chorégraphes Meg Stuart et, surtout, Gisèle Vienne, de fructueuses collaboration. > Scott Gibbons/Romeo Castellucci, « Un même effet vibratoire... » : regards croisés sur la collaboration entre le metteur en scène italien et son compositeur attitré. > L'écoute comme alternative du coprs regardeur : à travers l'exemple de quatre plasticiens sonores, Jérôme Poret envisage la présence du son dans l'expérience esthétique.
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