// Date: Monday, May 7, 2012
// Time: 19h00
// Language: English
Gilles Aubry – Movies without pictures
The art work Pluie de Feu is the result of a field research by sound artist Gilles Aubry in collaboration with sociologist Gerda Heck, cameraman Arnold Maluamyangila and journalist Massy Nguvu. During his stay in Kinshasa in july 2011, Aubry has documented the activities of the neo-pentecostal Libambu Ministry church, as well as acoustic signs related to the presence of numerous other religious communities and individuals in Kinshasa's public space.
Pluie de Feu presents a selection of sounds from this documentation, including a soul deliverance session from the church’s weekly religious service, the preparation and performance of an evangelization campaign in Ngiri-Ngiri and prophet Libambu's own video archive. The soundtrack also contains excerpts from Nigerian Nollywood and Western horror movies which were recorded inside small informal movie theaters.
Gilles Aubry will present excerpts of Pluie de Feu (2011) and The Preview (2012), as examples of his experimentations with radical iconoclast film formats, that is movies without pictures that consist solely of a soundtrack and projected subtitles. He will discuss the conditions and theoretical implications of such works regarding sound representation in a stable context of reception (the cinema room): What are the correspondences between the audible, the sayable and the absent yet possible image? Which new regimes of truth are emerging out of this absence? In what extent does the sensible get redistributed in this configuration? The presentation will end with a short sound performance based on a quadraphonic recording of a soul deliverance session by the Libambu Ministry church in Kinshasa.
Holding a Master's degree in Sound Studies, Gilles Aubry is a Swiss sound artist based in Berlin since 2002. His artistic practice is based on an auditory approach of the real informed by researches on cultural and historical aspects of sound production and reception. Combining ethnography, critical discourse and formal experiments, Aubry's work somehow fits in a Western tradition of art documentary. His sonic images (phonographies) of more or less identified situations stand as an attempt to challenge problematic aspects of visual representations.
More information on Aubry: click here