BARON LANTEIGNE | EXHIBITION

BARON LANTEIGNE
23.02 — 23.03 / 2024
Dans le cadre du 50e anniversaire du centre, Sporobole présente l'exposition Cinématographie de la matière virtuelle de Baron Lanteigne!

Opening reception : Friday, February 23, 2024 ‑ 17 H

Presented as part of Sporobole’s 50th anniversary celebrations;

 

DOUBLE OPENING ; join us for the opening night of Baron Lanteigne’s gallery exhibition and Érick d’Orion‘s sound artwork in the sound showcase!

After a brief introduction by General Manager Éric Desmarais, artist Baron Lanteigne will give a short performance about his work. The following day, he will be joined by Vicky Chainey Gagnon, our artistic programming director, for a friendly discussion and light snack.

ARTIST TALK ON SATURDAY FEBRUARY 24 AT 2 P.M.

 

Cinematography of Virtual Matter – Ongoing research

 

By delving into the aesthetic languages developed by various online communities, Baron Lanteigne explores a seemingly out-of-sync connection to the real world: the digital technologies that filter our experience in the virtual world add friction to our daily lives. Inspired by musical improvisation and performance art, the artist manipulates this filter to intensify or diminish such friction. He explores the ambiguities and imperfections hidden in the moments of transition between states where the degree of friction either brings us closer to or separates us from the virtual.

For this iteration at Sporobole, he presents a screen-based installation whose content unfolds in a virtual world that has been performed in real-time within the gallery space.

Cinematography of Virtual Matter is a research project that combines installation, animation, and performance. The screens act as a fragmented portal to a dynamic world where the artist explores technological resistance to create moments of ambiguity and imperfection. Motion sensors allow him to interact with organic forms in the virtual world, revealing a glitch aesthetic as these simulations are pushed to the extreme. The manifestation of this “virtual matter” diverts digital tools and explores new aesthetic possibilities. The multi-screen installation, with its cables and computer components, materializes this spontaneous interaction with the virtual. It questions the ergonomics of technology and the contortions undergone upon contact with them. The artworks that emerge from this open and vulnerable system are merely traces of this research, rather than its final outcome.