galerie xippas

108, RUE VIEILLE-DU-TEMPLE

75003 PARIS
TL + 33 1 40 27 05 55
GALLERY@XIPPAS.COM
cleste boursier-mougenot
cleste boursier-mougenot
Cleste Boursier-Mougenot started his carrer as a musician. From 1985
to 1994, he was the composer of the Pascal Rambert Theatre Company.
In the early 1990s, he decided to make his music independent by creating
installations in places dedicated to contemporary art. By extracting the
"musical potential" of various situations and objects, he creates installa-
tions where sound and movement merge and that are meant to be using
the entire exhibition space, depending on its location, its architecture
and its environment. For the artist, these mechanisms and "their installa-
tions" are the necessary conditions for the emergence of works of art
that live in the present and evolve through their surroundings.
By giving equal importance to music as a "listening form" and to the
modalities of its production and presentation, Cleste Boursier-
Mougenot invites us to be listeners who also see, who explore the moda-
lities of permanence and present and to be, as he calls it, "distracted lis-
teners". Noises in our daily environment or residual noises that are not
made for a musical purpose are rich in a potential that Cleste Boursier-
Mougenot's installations transform into a "listening experience" that
brings the visible and the audible together and where "the one who
contemplates" becomes, temporarily, a full part of the work of art.
The sound of a car driving by, of a chair that's being dragged, the fami-
liar hum of appliances or the clinking of porcelain bowls floating in a kids'
pool: those are all the fleeting data and materials used by Cleste
B o u r s i e r-Mougenot to conceive the installations that accompany the phy-
siological rhythm of our life and that extend the expectations of "environ-
ment music". He uses the flaws of his systems and technical incidents
like audio or video feedbacks; he plays on the mismatching of sources
with virtuosity: video signals are treated like sounds, he connects harmo-
nicas to vacuum cleaners or uses electric guitars as bird tables... Since
2006, with works like b r u i t f o r m , f l a m B y f r a m e, v i r u s or r e c y c l e, he has
been transposing the principles of feedback and transduction - which
founded his vision - to the fields of sculpture, object or image.
zombiedrones
The first version of z o m b i e d r o n e s is an installation set up for an
audience. It constitutes a television receiver and a plasma screen pla-
ced in front of a leather sofa upholstered in the Chesterfield style.
One can, as usual, sit down to watch the television and change the
channel with the remote. However, the device controlling the z o m b i e -
d r o n e s instantly encrypts the images, edits them so that only the
moving elements of each frame appear on the screen. The computer
programme that makes all the immobile elements disappear encrypts
the image on every channel. The effect this has can be, for instance,
that only the eyes, the mouth, and the hands of a television presenter
are visible; all the rest - scenery or dcor - vanish into the dark whilst
the presenter's face glows with a strange luminosity. The gripping
effect of transformation of the image emptied of its message places
the viewer in an advantageous position. There is a certain pleasure in
observing the vacuity of gesticulations, in identifying these ghostly
figures, be they media-related or minor politicians, who devote them-
selves so willingly to this cathodic conspiracy. By changing channel, by
watching and connecting these disparate and lacunary instants, the
viewer expands his understanding of what can be considered a univer-
sal enslavement.
The humming sound that accompanies the playing of the film is issued
from the auditory translation of the images.
cleste boursier-mougenot
zombiedrones
Mixed media, variable dimensions, 2008.
Plasma screen, TNT reciever and remote control,
computer, programme, Chesterfield sofa.
Exhibition view, Galerie Xippas, Paris, France, 2008.
from here to ear
Following the works undertaken in 1995 with sparrows for the installation
entitled d'ici ici, four different pieces were created from 1999 to 2007
under the generic title from here to ear. If these installations share the
same title and are founded on a common principle - an aviary in which the
public is invited to enter and mix with the finches whose activities gene-
rate a live musical piece - each construction should be considered as a uni-
que piece, living and ephemeral, determined by the givens of its situation
and linked to the circumstances of its present.
The first version of from here to ear was created in 1999 at P.S. 1 in an
exhibition room. The soil delineates a surface on the ground which, while
following the contours of the space, permits the circulation of the public
around it. Above the earth, a large suspended mobile, on which the finches
can perch, is constructed with a multitude of identical coat hangers hoo-
ked one on the other and held up by tuned steel strings stretched between
the walls. Metal vessels containing the seeds and water are suspended at
different points of the mobile. The suspended ensemble, sonorised by
dozens of contact microphones linked to a sound processing and broadcast
system, constitutes an instrumental dispositif which reacts to the slightest
contact by producing widely varied sounds. In pecking, in drinking or in lan-
ding here or there of the coat hangers, the finches produce the different
sounds of the musical piece, which is broadcast live and which is an inte-
gral part of the environment. The seed that the finches let fall onto the
earth from the feeders germinate, grow and flower over the duration of
the exhibition. An appropriate lighting system stimulates the growth of
plants, the young shoots of which provide the finches with a nutritive sup-
plement necessary for their growth. Nests, assembled in clusters and sus-
pended, allow the finches to settle and reproduce. In entering the environ-
ment, the visitors witness the unfolding of the music influenced by their
presence or movements and discover that the music's principle is both
aesthetic and technical.
The second version of from here to ear reformulates and refines the prin-
ciple of the piece created the preceding year at P.S. 1 in a more compact
and sculptural version, placed in the center of a largeroom of the art cen-
ter of Cincinnati.
In 2002, as part of the contemporary art event "Le Parcours Saint-
Germain", a monumental version of the piece was constructed in the Cour
vitre [Glass Courtyard] of the Beaux-Arts de Paris. For this project, the
focus was the construction of a "place within the place" within which the
aviary is arranged and the public invited to enter. A self-supporting struc-
ture constructed with a modular scaffolding system forms a cube forty feet
high covered by a white veil which allows the light coming from the glass
roof to pass through. In the aviary, above sixteen feet high, thirtytwo piano
strings were stretched and tuned to support more than five thousand coat
hangers suspended one from the other which formed a cubic trellis of six-
teen fee length per side.
The fourth version of from here to ear, constructed for the exhibition
"FutureSystems: Rare Moment", takes up the very first project designed
for finches and guitars at the beginning of the 1990s and never previously
exhibited. The large mobiles made of coat hangers of the three preceding
versions of from here to ear are replaced by three top-model electric gui-
tars plugged into high-quality amplifiers. The guitars, maintained in a hori-
zontal position above the ground by chrome stands, serve as perches for
the finches. The guitar cases, buried in the earth, are filled with seeds or
with water. A new genre of habitat, which evokes modern architecture,
replace the clusters of suspended nests of the preceding versions of the
piece. To enter the aviary, the visitor passes, without the hindrance of any
curtain, through an entry tunnel that is painted red and that vibrates with
stroboscopes, which dissuades the finches from venturing outside the
a v i a r y.
For this first exhibit at Xippas Gallery, Cleste Boursier-Mougenot puts
together from here to ear that has recently been shown at the Lentos
Kunstmuseum of Linz.
cleste boursier-mougenot
from here to ear
Fourth version
Mixed media, floor dimensions 26 x 42 ft., 2007.
Floor in tinted MDF, earth, linseed and millet seed,
electric guitars, chrome stands, tube amplifiers,
guitar cases, birdhouse, stroboscopes, constructed
entrance corridor, red paint, finches.
Exhibition view
Lentos Museum of Modern Art, Linz, Austria, 2007.
cleste boursier-mougenot
from here to ear
Fifth version
Mixed media, variable dimensions, 2008
Wooden platform, lino, earth, seeds, electric guitars, chrome
stands, tube amplifiers, guitar cases, birdhouse, finches.
Exhibition view, Galerie Xippas, Paris, France, 2008.
cleste boursier-mougenot
recycle
Mixed media, 2006
Video cameras live, electronic modulators, nine air fans.
Exhibition view, Frac Champagne Ardenne, Reims, France, 2006.
recycle
Cameras focused on the leaves of a tree detect the least breath of air
moving the foliage. By the action of a modulator like those which are
used in nightclubs to animate the projectors to the rhythm of the music,
the movement caused by natural wind in the foliage is transmitted
directly to nine air fans fixed on the wall, which form a square array of
artificial wind.
A second module of recycle utilises, as a video source, an uncut shot of
the foliage of a tree recorded and played on a black and white surveil-
lance monitor placed near the fans. The audio track of the video sequence
which results from the transformation of the movement of the foliage into
noise, is not broadcast; it serves only to animate the fans.
cleste boursier-mougenot
recycle
Mixed media, 2006
Video loop broadcast on a monitor, electronic
modulators, nine air fans.
prototype pour index
Many systems of denomination of musical notes are either alphabetical
or syllabic. Musical scores frequently contain indications concerning the
playing which appear in abbreviated forms. According to these two
considerations, any text can be apprehended as duration punctuated,
rhythmed, by words, syllables, letters, utterances, which in following
one another determine the appearance of sound events of variable
tempi according to the speed of reading, enunciation or writing. In fol-
lowing this logic - of relating text and musical notation - the software
of index was designed to analyse the scriptural activity carried out on
the computer keyboard, in order to extract from it the elements of a
score and transmit them in the form of "Midi code" to a Disklavier
acoustic piano which plays them live.
The index project, posing this general principle, gives rise to various pie-
ces; the first, prototype pour index, was produced on the occasion of the
exhibition tats seconds. With this first piece, the visitors passing
through the courtyard of FRAC Champagne Ardenne (France) hear first
the phrasing of a piano, then on entering into the building, they see the
instrument place obliquely in the middle of the space; finally, approa-
ching, they discover a person seated in profile whose administrative
work on a computer generates the music which the hear. The catalogue,
tats seconds, of which a large part of the text is converted into
music, constitutes the second piece issuing from the index project.
For the third phase of the index project, Cleste Boursier-Mougenot
invests the space of the Gennevilliers theatre for the 2008-2009 sea-
son, making the life of the space resonate with his musical invention.
The project consists of computers sharing a network and linked to a
grand piano placed in the entrance stairway and leading through
accoustic devices into three of the performance spaces. In the space of
the theatre, work of architects Patrick Bouchain and Nicole Condorcet,
a dozen computers and their peripheral systems (internet, printers) are
placed at the disposition of visitors. By using the computers, the thea-
tre goers, those who dine in the theatre's restaurant, the theatre staff,
will simultaneous register bits of music in the accoustic volume of the
theatre, thus trace of their presence, echo of their passing.
cleste boursier-mougenot
prototype pour index
Mixed media, 2006
Disklavier acoustic piano, computer and soft-
ware, office furniture.
Exhibition view
Frac Champagne Ardenne, Reims, France, 2006.
scanner
First opus of the scanner series, the piece prototype pour scanner pre-
sents for contemplation the amblings of a balloon which floats in space,
and correlatively presents to our hearing the music of this wandering.
Under the influence of the air fan placed in the center of the exhibition
room, the balloon, which transports a wireless microphone, explores the
space within and all around a circle formed by eight suspended louds-
peakers. The displacement of the switched-on microphone between the
active loudspeakers produces an audio feedback, a stridency. The sound
of the feedback is analysed, resynthesised and broadcast in real time by
a sound processor, which causes its pitch and texture to vary as a func-
tion of its volume. Using the dynamic principle of feedback while overco-
ming the stridencies, the self-regulated system of s c a n n e r is a musical
generator moto perpetuo.
cleste boursier-mougenot
scanner
Prototype, mixed media, floor dimensions 26 x 26 ft., 2006.
Latex balloon inflated with helium, wireless microphone,
multichannel sound processing and broadcast system, air fan.
Exhibition view, Frac Champagne Ardenne, Reims, France, 2006.
flamByframe
The video sequence entitled f l a m B y f r a m e results from experimentation
on feedback and signal propagation through different physical media
( a i r, electricity, analogue audio) and digital media (new media).
A flame goes out as an effect of the breeze, which is produced by the
wavering of the light; when that filmed light becomes image, the image
is transformed into sound and the sound diffused by the membrane of a
loudspeaker produces the wind. The video recording, of the minute
before the flame goes out, is slowed down eighty times. The slow
motion reveals all the phases of distortion of the flame, which appears
as an abstract object, an ectoplasm, a model for a primitive animation
or a being wracked by internal contingencies.
cleste boursier-mougenot
flamByframe
Video loop for projection on 4:3 format
matte black screen, 80 minutes, silent,
variable dimensions, 2006, edition of 5 + 2 AP
harmonichaos
The dispositif is constructed of thirteen finely ingineered vacuum clea-
ners, silent at the mouth (suction nozzle), into which is inserted a small
diatonic harmonica chosen for its tonality. Each vacuum cleaner is an
autonomous module which, to function, depends on an integrated on-
off electronic control composed of an electric switch and a modified
guitar tuner of which the microphone captures the surrounding
sounds, analyses their frequencies, and commutes the power to the
vacuum cleaner according to the sound frequencies detected by the
microphone. As the tuner is a measuring instrument which accurately
identifies a single note, the complexity of a chord perturbs its analy-
sis. Located within the dispositif formed by the thirteen working
vacuum cleaners, the disoriented tuners hesitate, contradict one ano-
ther, and through breakdown of analysis unexpectedly activate the
functioning or stopping of the vacuum cleaners. The ensemble gene-
rates, live, a chromatic orchestration for harmonicas which is as
unpredictable as it is nonreproducible. In the darkness of a presenta-
tion space, the arrangement of the vacuum cleaners is effected accor-
ding to the acoustic properties and dimensions of the space, these
givens determining a musical form and a sound space as much as a
visual layout. Each of the thirteen modules incorporates a system of
lighting which illuminates and extinguishes according to the module's
sound activity.
cleste boursier-mougenot
harmonichaos
Mixed media, variable dimensions, 2000-2006.
Thirteen modules each constituted of a vacuum
cleaner, a harmonica (modified major diatonic),
an on-off electronic control, a lamp.
Exhibition view
Paula Cooper gallery, New York, Etats-Unis, 2006.
videodrones
Commenced in 2000, the series of audio and video installations grouped
under the generic title videodrones uses the technical principle of the
same name constituted by a musical system of which the sound source is
the image. The video output of a camera connected to the input of an
audio amplifier produces a continuous humming, and generates a drone
which modulates in function of the quantity of light received by the
camera, of the luminosity, of the speed and of the size of the objects
which cross its frame. The processing consists of bringing about the
audio transduction of the video signal, then extracting and amplifying the
signal modulations to activate audio filters which will act on it, changing
the tuning or the timbre. Several video cameras are placed at the exterior
or around an exhibition site to film in a continuous shot the surrounding
activity (passing of vehicles and people in the street). The images captu-
red by the cameras are broadcast live and continuously by several video
projectors placed in the exhibition space, the architecture of which deter-
mines the size and configuration of the projections. Each flux of images
originating from a camera becomes a sound source which adds to the
composition. The choice of shots and the framing of the images develops
as much from the visual possibilities of the environment as in relation to
the sound potentials of the images relative to the frequency of movement
and its proportions in the chosen framing. The video projectors can mix
and simultaneously project the images coming from several cameras. It is
possible thus to combine in the same frame a general view with a close-
up, or two shots in which the movement is inversed, crossed or disjunc-
tive. The resulting effect is a polyscopy - the simultaneous diffusion of
images of the same moving object filmed from several different points of
view - which recomposes reality. This recomposition activates the huge
fictional potential of the most banal situations and objects. The multipli-
city and the over-dimensionality of the images projected, ruling out an
exhaustive reading, immerse the visitor in an altered reality. The conti-
nuity of the drone and the synchronicity of its modulations with the image
which generates it creates an effect of hypnotic suspense. The installa-
tion is completed by large sofas on which the visitors can sit, lie or col-
lapse at will, and rest as long as they like.
cleste boursier-mougenot
videodrones
Audio and video installation, mixed media,
variable dimensions, 2000-2002.
From five to ten video cameras, five video
projectors, multichannel sound processing
and broadcast system, various sofas.
schizoframes
Taking on and developing several of the constitutive elements of
videodrones like the transformation process of the video signal into
audio or the furnishing of the exhibition space with sofas for the visi-
tors' use, schizoframes is the generic title of a series of audio and
video installations started in 2003, which explores the resources of
video feedback. Video sequences were produced via a video camera
placed facing a monitor which reproduces the images filmed by the
camera. Different geometric patterns evolving with diverse rhythms
are obtained depending on the position, the angle and the direction of
the camera facing the screen, the shutter speed... The video sequen-
ces are subsequently corrected to be projected in full daylight and on
the existing architecture of the presentation space (or on the scree-
ning walls constructed for the occasion) facing a sofa, with an inte-
grated system of subwoofers, on which the visitor is invited to lie
down to perceive with their body the vibrations which result from the
audio transduction of the images.
The first version of schizoframes (prototype) presented in 2003 at the
contemporary art center of Languedoc-Roussillon in Ste, is constitu-
ted of an inflatable sofa, thirteen feet in length, placed in front of the
video projection presented as a painting in a neon-lit room. The
second version of schizoframes, produced in 2004 for the festival
Printemps de septembre, is constituted of a sofa twenty-three feet
long and a triple projection of the video image of which the patterns
are aligned edge to edge.
cleste boursier-mougenot
schizoframes
Prototype, audio and video installation, mixed
media, variable dimensions, 2003-2004.
Video loop, video projectors, white sofas in
imitation leather with integrated loudspeakers,
audio amplifiers.
Exhibition view
Frac Champagne Ardenne, Reims, France, 2006.
virus
Fragment of an experiment extracted from research carried out on video
feedback for schizoframes, the video sequence entitled virus is intended
to be projected on a white wall fully lit in a place of passage (corridor,
staircase, entrance or reception area...).
The appearance of projected patterns on the architecture is adjusted to
the limit of visibility.
cleste boursier-mougenot
virus
Video loop for 4:3 projection on white wall,
22 minutes, silent, variable dimensions, 2006
edition of 5 + 2 AP.
untitled
In an pool half-filled with water float and move forty or so pieces of eve-
ryday crockery: different sorts of bowls, salad bowls of all sizes, various
plates in porcelain or china, and stemmed glasses. An immersed water
pump produces a gentle diametric current, under the action of which the
objects drift and delicately bump one another, producing sounds depen-
ding on their contact. The temperature of the water is maintained at
around thirty degrees Celsius in order to favour the resonance of the
objects. Several series of pools on this same principle have been produ-
ced since 1997. Each pool can be presented alone or with others, in the
form of an installation. The pools of a given series are constituted of the
same number and type of technical components (inflatable pool, system
of water heating) and also of a collection of crockery objects apparently
s i m i l a r. However, each of these objects has been chosen for its unique
acoustics, for the pitch and the timbre that it produces when one makes
it ring. These sounds are discernibly different from one bowl to another
of the same model.
cleste boursier-mougenot
untitled (Series I, II, III...)
Mixed media, variable dimensions, 1997, 1999,
2000, 2001...
Pools, pumps, heating elements, porcelain
crockery, stemmed glasses, water.
Exhibition view
Paula Cooper Gallery, New York, USA, 1999.
keyboardchairs
The keyboardchairs are hybrid objects which result from the coupling of a
musical instrument and a chair. In the seat of the chair a small acoustic
keyboard of the portable harmonium type is inserted. The black keys of the
keyboard of the instrument level with the surface of the seat are activa-
ted when one sits down. The keyboard of each chair produces a different
chord from the two others. The combination of the three chords played
together comprises the structure of a major key. The dispositif requires
very minor participation of the people who, by taking their places on the
chairs, activate them, thus achieving the fusion of instrumentalists and
audience of a moment of music.
In 1997, for the first presentation of keyboardchairs, a dispositif of video
surveillance, constituting linked cameras and monitors, which reproduced
live a succession of shots taken in the installation, offered the visitors sit-
ting on the chairs the possibility of seeingsimultaneously the situation and
its framing from different filmed viewpoints. The video images, appealing
to the visual attention of the temporary protagonists, had the effect of tur-
ning aside the feelings of embarrassment and thus certain non-desired
attitudes.
At a more recent presentation of keyboardchairs, the video dispositif was
replaced by mirrors, which face the seated persons and send back their
image.
cleste boursier-mougenot
keyboardchairs
Mixed media, variable dimensions, 1997-2006.
Three chairs, three acoustic keyboards,
electric fans and networked cameras
and video monitors or mirrors.
Exhibition view
Frac Champagne Ardenne, Reims, France, 2006.
BIOGRAPHY
BIBLIOGRAPHY
108, rue Vieille du Temple
Tl. + 33 1 40 27 05 55
Fax. + 33 1 40 27 07 16
75003 Paris
gallery@xippas.com
www.xippas.com
UP SYSTEM APPLICATIONS
SA AU CAPITAL DE 1.414.727 !
R.C.S PARIS B 324 166 115
N Intracom FR 25 324 166 115
cleste boursier-mougenot
Born in 1961 in Nice, France. Lives and works in Ste, France.
Education, Grants, Residencies and Prize
2009 Les David Prize, Paris.
2004 FIACRE Grant.
1998/99 P.S.1 Institute for Contemporary Arts, AFAA Artists Studio Program.
1997 FIACRE Grant.
1985/94 Composer for the Pascal Rambert Theater Company ("Side one Posthume Thtre").
Solo Exhibitions
2010 No vinyl any more, la Maison Rouge, Antoine de Galbert Foundation, Paris, France (18 Feb - 23rd
May)
2009 World Financial Center, New-York Electronic Festival, New-York, USA
videodrones (version 6), Chagall Museum, Nice, France
Variation, Pinacoteca, Sao Paulo, Brasil, curator : Ivo Mesquita
index, virus, solidvideo, dtail, Galerie Paula Cooper, New York, USA.
2008/09 index, Thtre de Gennevilliers Centre Dramatique National, Gennevilliers, France.
(Autumn 2008 Spring 2009)
2008 from here to ear, recycle, zombiedrones, Galerie Xippas, Paris, France.
2006 harmonichaos & flamByframe, Paula Cooper Gallery, New York, USA.
"tats seconds", Le Collge/FRAC Champagne-Ardenne, Reims, France.
2004 untitled (Series IV), Le Maillon, Thtre de Strasbourg, Strasbourg, France.
2003 untitled (Series III), "Cerca Series Cleste Boursier-Mougenot" Museum of Contemporary Art, San
Diego, California, USA.
2002 videodrones & harmonichaos, Le Grand Caf, Saint-Nazaire, France.
2001 untitled (Series III), Rice University Art Gallery, Houston, Texas, USA. *
videodrones, Synagogue de Delme, Delme, France.
untitled (Series III), Eglise des Trinitaires, Frac Lorraine, Metz, France.
untitled (Series III), Herzliya Museum of Art, Herzliya, Israel.
videodrones, Paula Cooper Gallery, New York, USA.
2000 from here to ear & untitled (Series III), Contemporary Art Center, Cincinnati, Ohio, USA.
harmonichaos, Chapelle du Genteil, Chteau-Gontier, France. *
1999 untitled (Series II), Paula Cooper Gallery, New York, USA.
1997 untitled (Series I), Galerie du CAPC Muse de Bordeaux, France.
1996 cadre & cut-up, Galerie chez Valentin, Paris, France.
BIOGRAPHY
BIBLIOGRAPHY
108, rue Vieille du Temple
Tl. + 33 1 40 27 05 55
Fax. + 33 1 40 27 07 16
75003 Paris
gallery@xippas.com
www.xippas.com
UP SYSTEM APPLICATIONS
SA AU CAPITAL DE 1.414.727 !
R.C.S PARIS B 324 166 115
N Intracom FR 25 324 166 115
Group Exhibitions
2009 Moscow 3rd Biennal, curator : Jean-Hubert Martin, Moscow, Russia
LEsprit des Lieux, Domaine dpartemental de Chamarande, France
La confusion des sens, curator : Fabienne Fulchri, Espace culturel Louis Vuitton, Paris, France (18
Sept. 10 Janv. 2010)
Collections dautomne Voyage sentimental, Frac PACA, Marseille, France (15 Sept 12 Dec.)
Exposition des nomins, Meurice Prize, Htel Meurice, Paris, France
Assises, with Cleste Boursier-Mougenot, Michel de Broin, Vlatka Horvat, Philippe Ramette and
Lucas Samaras, Xippas gallery, Paris, France
Mutisme(s), Le Lieu Commun, Toulouse, France
Estuaire Nantes Saint Nazaire 2009, les halles, place du Bouffay, Nantes, France
Les David pour lArt Contemporain, Espace Pierre Cardin, Galeries Pierre Cardin, Paris, France
Invasion of sound, Zacheta National Gallery of Art, Varsovie
from here to ear, Festival du MONA FOMA, The Long Gallery, Hobart, Tasmania, Australia.
2008 flamByframe, "Le Renouveau du Temps", Maison Guerlain, Paris, France.
from here to ear, "L'art contemporain en Europe. L'Exprience Pommery #5", Domaine Pommery,
Reims, France.
approches, "Festival Indisciplines", Le Dojo, Nice, France.
harmonichaos, The Childrens Museum/Museo de los Nios, San Diego, California, USA.
untitled (Series IV), "Fragilits", FRAC Haute-Normandie, Sotteville-Ls-Rouen, France .
scanner, "Nouvelles du Mont Analogue", Muse Dpartemental d'Art Contemporain de
Rochechouart, France.
2007/08 La vida privada coleccion Josep Civit, centro de arte y naturaliza, fundacion Beulas, Huesca,
Spain.
untitled (Series V), "du machinique et du vivant", La Rserve, Pacy-Sur-Eure, France. *
2007 untitled (Series IV), Arsenal Metz, Galerie dexposition, Metz, France.
versus, "Nuit Contemporaine" (performance), Arsenal Metz & 49 Nord 6 Est, FRAC Lorraine, Metz,
France.
untitled (Series III), "Ensemble", ICA University of Pennsylvania, Philadelphia, Pennsylvania, USA.
untitled (Series III), "Soundwaves: the art of sampling", Museum of Contemporary Art, San Diego, La
Jolla, California, USA.
untitled (Series V), Arnhem Fashion Biennale, Arnhem, Netherlands.
from here to ear, "Futuresystems: rare momente", Lentos Museum of Modern Art, Linz, Austria.
2006 sans titre pour la glacire de Chamarande, "Accords excentriques", Domaine de Chamarande,
France.
scanner, "A Tale of Two Cities", Busan Biennale, Busan, South Korea.
2005 cadre, "Radio kills the video stars-side A", FRAC Champagne-Ardenne, Reims, France.
untitled (Series IV), "In-Formation", Galria Jna Koniarka, Trnava, Slovakia.
untitled (Series I), "Ambiance", K21 Kunstammlung Nordrhein-Westfalen, Germany.
untitled (Series II), "Vanishing Point - Hidden Beauty in Contemporary Art", Israel Museum,
Jerusalem, Israel.
harmonichaos, "AudioFiles", USF Contemporary Art Museum of Tampa, Florida, USA.
untitled (Series IV), "Synesthsies", Chapelle des pnitents, Aniane, France.
untitled (Series IV), "Ny voir que du bleu", Muse du pays de Sarrebourg, Sarrebourg, France.
2004 untitled (Series I), "O estado das cousas - O obxecto na arte contempornea 1960-2000", MARCO,
Museo de Arte Contempornea de Vigo, Spain.
schizoframes, "in extremis", Printemps de septembre 2004, les Abattoirs, Toulouse, France.
untitled (Series IV), "La mer quon voit danser", Muse Barrois de Bar-le-Duc, France.
untitled (Series II), Mary Goldman Gallery, Los Angeles, California, USA.
BIOGRAPHY
BIBLIOGRAPHY
108, rue Vieille du Temple
Tl. + 33 1 40 27 05 55
Fax. + 33 1 40 27 07 16
75003 Paris
gallery@xippas.com
www.xippas.com
UP SYSTEM APPLICATIONS
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harmonichaos, "collection agns b.", les Abattoirs, Toulouse, France.
untitled (Series II), Mary Goldman Gallery, Los Angeles, California, USA.
...and you'll get breakfast, "Cachez ce quotidien que je ne saurai voir", Frac Languedoc-Roussillon,
Montpellier, France.
2003 schizoframes, "Lendroit du regard", CRAC Languedoc-Roussillon, Ste, France.
untitled (Series I), "Objets ? Objets !", CAPC Muse de Bordeaux, France.
untitled (Series IV), "Projet Grand Est", Galleria Civica dArte Moderna e Contemporeanea, Torino,
Italy.
untitled (Series IV), "Paradoxe", Le trait dunion, Neufchteau, France.
2002 untitled (Series IV), "Estudio Abierto", Buenos-Aires, Argentina.
from here to ear, "Parcours Saint-Germain", Ecole des beaux-arts de Paris, France.
untitled (Series III), "Art Unlimited", Art Basel, Basel, Switzerland.
untitled (Series IV), "digression la frontire", Stadtgalerie-Frac Lorraine, Sarrebruck, Germany.
videodrones, harmonichaos, untitled, "Dialogue" CRAC Languedoc-Roussillon, Ste, France.
2001 untitled (Series III), Ezra and Cecile Zilkha Gallery, Wesleyan University, Connecticut, USA.
untitled (Series I), "Ondes", CAPC Muse de Bordeaux, France.
2000 videodrones, festival "Mettre en Scne" - La Crie, Rennes, France.
untitled (Series III), Paula Cooper Gallery, New York, USA.
untitled (Series III), "New Media, New Face, New York", ICC, Tokyo, Japan.
1999 from here to ear, "1999", PS1 Contemporary Art Center, New York, USA.
untitled (Series I), "cho-systme", Le Grand Caf, Saint-Nazaire, France.
harmonichaos, "cte ouest", Exploratorium, San Francisco, California, USA.
1998 untitled (Series I), FRAC Limousin, Limoges, France.
keyboardchairs + video, "A Moveable Feast", Galerie Luc Queyrel, Paris, France.
1997 ...and you'll get breakfast, "Artists Respond To 2001: A Space Odyssey", Williamsburg Art and
Historical Society, New York, USA.
esd, interventions sonores dans un tunnel de Central Park, New York, USA.
recursivity, 9me symposium d'arts plastiques de la ville de Prigueux, France.
1995 actiondogs, performance, Galerie chez Valentin, Paris, France.
d'ici ici, "propositions", Galerie chez Valentin - L'cart, Montreuil, France.
* Exhibition catalogues
Collections
2008 MONA FOMA, Tasmania, Australia.
Muse national dart moderne - Centre Georges Pompidou, Paris, France.
2007 The Marieluise Hessel Collection, CCS Bard, Annandale-on-Hudson, USA.
2006 Domaine de Chamarande, France.
FRAC Champagne-Ardenne, Reims, France.
FNAC, France.
2004 The Israel Museum, Jerusalem, Israel.
2003 FRAC Languedoc-Roussillon, Montpellier, France.
2002 FRAC Champagne-Ardenne, Reims, France.
Museum of Contemporary Art, San Diego, USA
2001 FRAC Lorraine, Metz, France.
1997 Capcmuse de Bordeaux, France.
FRAC Limousin, Limoges, France.
BIOGRAPHY
BIBLIOGRAPHY
108, rue Vieille du Temple
Tl. + 33 1 40 27 05 55
Fax. + 33 1 40 27 07 16
75003 Paris
gallery@xippas.com
www.xippas.com
UP SYSTEM APPLICATIONS
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N Intracom FR 25 324 166 115
Solo Show Catalogs
2007/08 Cleste Boursier-Mougenot, tats seconds, Analogues/Le Collge Frac Champagne-Ardenne,
Reims, France . *
2001 Cleste Boursier-Mougenot, untitled (Series III), Rice University Art Gallery, Houston, Texas, USA. *
2000 Cleste Boursier-Mougenot, Chapelle du Genteil, Chteau-Gontier, France. *
Collections and Group Show Catalogs
2009 Les David de lart contemporain, catalogue / edition 2009, pp. 14-17.
2008 French Connection, ditions Black Jack, France, pp. 144-151. *
Dictionnaire international de la sculpture moderne et contemporaine, ditions du Regard, France,
pp. 77-78. *
L'art contemporain en Europe, Exprience Pommery #5, Beaux Arts ditions, France. *
2007 1996-2006, troisime poque, Frac Limousin, Limoges, France, pp. 58-59 & 271. *
futuresystems: rare momente, Lentos Kunstmuseum, Linz, Austria, pp. 28-33. *
2006 A Tale of Two Cities, Busan Biennale, Busan, South Korea, pp. 64-65. *
Accords excentriques, Domaine de Chamarande, France, pp. 8 & 12-13. *
In/Visible Collection Productions, Frac Lorraine, Metz, France, pp. 98-99 & 288. *
2005 Clbration !, Frac Champagne-Ardenne, Reims, France, pp. 208-209. * .
2004 Printemps de septembre Toulouse 2004 Volume 1 : "In Extremis", Toulouse, France, pp.85-87. *
El estada de las cosas, Marco de Vigo Artium de Vitoria, Spain, p.45. *
2003 Collection SANS Frontires, Galleria Civica dArte Moderna & Contemporanea, Torino, Italy, pp.32-
33 & 63. *
2000 New Media New Face / New York, Intercommunication Center, Tokyo, Japan, pp. 18-21. *
Press Reviews
2009 Gilles Renault, Histoires dEstuaire, Libration, 17 July, pages 20-21.
Emmanuelle Lequeux, Estuaire, promenade dans la cration contemporaine au fil de la Loire , Le
Monde, 2 July, page 23.
Alan Lockwood, Dont Shoot the Player Piano, The Brooklyn Rail, April, New York, USA, p. 47*
Robert Shuster, Celeste Boursier-Mougenot at Paula Cooper, The Village Voice, 8th April, New
York, USA.
Lily Alexander, " Cleste Boursier-Mougenot at Paula Cooper", Whitewall, March 27.
Damien Sausset, "Cleste Boursier-Mougenot et la petite musique des objets", Connaissance des
arts, n669, March, pp. 60-65.
2008 Patricia Boyer de Latour, "Collections d'art, Les choix des Femmes", Madame Figaro, supplment
Figaro n2004, November 22, pp. 68-69. *
"Arte sem fronteiras", L+arte, n51, August (cover). *
Joana Neves, "Cleste Boursier-Mougenot", ArteContexto, n 18, Summer, pp. 112-113 *
Rahma Khazam, "Cleste Boursier-Mougenot", The Wire, June, p. 71 *
Valrie Da Costa, "Distortions d'oiseaux", Mouvement, May. *
Guy Boyer, "Les oiseaux musiciens de Cleste Boursier-Mougenot", Connaissance des arts, May. *
Carine Soyer, "Les interprtes", Buybuy, n2, May 12-26. *
Charles Barachon, "Cleste Boursier-Mougenot", Technikart, May. *
"Cleste Boursier-Mougenot", Le Journal des arts, May 9-22.
BIOGRAPHY
BIBLIOGRAPHY
108, rue Vieille du Temple
Tl. + 33 1 40 27 05 55
Fax. + 33 1 40 27 07 16
75003 Paris
gallery@xippas.com
www.xippas.com
UP SYSTEM APPLICATIONS
SA AU CAPITAL DE 1.414.727 !
R.C.S PARIS B 324 166 115
N Intracom FR 25 324 166 115
Jean-Max Colard, "Chambres d'cho", Les Inrockuptibles, May 6-12. *
"Cleste Boursier-Mougenot", Les Inrockuptibles, April 29 - May 5. *
S.J.R, "Riffs hi-fi en galerie", Libration, April 21. *
Harry Bellet, "Composition pour vent, oiseaux et guitares", Le Monde, April 19, p. 26. *
2007 Christian Pichler, "Musik Unter Fingerngeln", sterreich, March 22, p. 9.*
"Rare Momente und Realer Dreck", Spotz, April, pp. 4-5.*
Verena Konrad, "Rare Momente", Die Tiroler Strassenzeitung, May.
"Lentos: Finken spielen E-Gitarre" ooe.ORF.at
"Die Zukunft in der Gegenwart trumen", Sims Kultur, April.*
2006 "Cleste Boursier-Mougenot", The New Yorker, October 16, p. 35.
Philippe Piguet, "Cleste Boursier-Mougenot", Art press, n 327, October, pp. 85-86. *
"Cleste Boursier-Mougenot", Time Out N.Y., September 21-27, p. 69. *
"Cleste Boursier-Mougenot", The New Yorker, September 18, p. 12.
Sandrine Aubry, "Stanze : recycle, 2006", Semaines, n 1, pp. 5-13 + cover.*
Etienne Bernard, "Repeat to fade", 02, n 39, Autumn, p. 42. *
Emmanuelle Lequeux, "Cleste Boursier-Mougenot, Airs conditionns", Beaux-Arts Magazine,
September, pp. 60-65. *
Bndicte Ramade, "Les paysages sonores de Cleste", Lil, June. *
Frdric Bonnet, "Exprience enveloppante", Vogue, n 868, June. *
2005 Lennie Bennet, "Listen", Floridian, September 16. *
Lennie Bennet, "Wow, this blows in a good way", Tampa Bay Times, September 21-27. *
2004 Michel Guerrin, "Plonge sensorielle au festival Printemps de septembre", Le Monde, September
30, p. 27.
Magali Jauffret, "Des photos qui viennent de lart et y renvoient", lHumanit, September 28.
Richard Leydier, "La collection dart contemporain dAgns b.", Art press, June, p. 73.
Marie de Brugerolle, "Lendroit du regard", Art press, March, p. 82.
Christophe Domino, "Emotions optiques", Le journal des arts, n 185, January/February, p. 12.
2003 Henrique Martins-Duarte, "Frac Attack ! ou comment dfaut dombre on se rafrachit tout en se
cultivant", 02, Autumn, p. 10. *
2002 Rafal Magrou, "Cleste Boursier-Mougenot, Mobile sonore vivant", Techniques & Architecture,
August/September, pp. 84-87. *
Eleanor Heartney, "Cleste Boursier-Mougenot", Art press, February, pp. 73-74. *
Camille Labro, "Cleste Boursier-Mougenot, Prise de Son", Beaux Arts Magazine, February, pp. 52-
57.*
Barbara A MacAdam, "Cleste Boursier-Mougenot", ARTnews, January, pp. 118-119. *
James Trainor, "Cleste Boursier-Mougenot", Frieze, January, pp. 98-99. *
Gregory Williams, "Cleste Boursier-Mougenot", Artforum, January, p. 141. *
2001 "Art gallery presents a visually and acoustically intriguing exhibit", Rice News [Online], March.
"Cleste Boursier-Mougenot", The New Yorker, November 12, p. 28.
Daniela Medeiros Epstein, "Cleste Boursier-Mougenot", Artlies, Summer, p. 75.
Hlne Jourdan-Gassin, "Heures tranquilles Chelsea", Art Jonction Le Journal, December, p.18.
Smadar Sheffi, "Cleste Boursier-Mougenot", Ha-Aretz, September 28, p. 16.
Smadar Sheffi, "Reflection of Water and Space", Ha-Aretz, September 12, p. 37. *
Smadar Sheffi, "A European Playground", Ha Aretz, September 9. *
Maria Stalford, "The Rice Gallery: Spring Installations", Ballyport, p. 6.
Maria Stalford, "Random noise harmonizes into symphony at Rice Art Gallery", The Rice Thresher,
March 16, p. 12.
Mercedes Vicente, "Cleste Boursier-Mougenot", Lpiz (Madrid), November, p. 68.
2000 "Cleste Boursier-Mougenot", The Cincinnati Enquirer, January 4.
"Cleste Boursier-Mougenot", Cincinnati Woman Magazine, February. *
"Cleste Boursier-Mougenot", Monthly Art Magazine Bijutsu Techo (Japan), vol. 52, n 782,
January, pp. 92-93. *
BIOGRAPHY
BIBLIOGRAPHY
108, rue Vieille du Temple
Tl. + 33 1 40 27 05 55
Fax. + 33 1 40 27 07 16
75003 Paris
gallery@xippas.com
www.xippas.com
UP SYSTEM APPLICATIONS
SA AU CAPITAL DE 1.414.727 !
R.C.S PARIS B 324 166 115
N Intracom FR 25 324 166 115
"Cleste Boursier-Mougenot", Very New Art 2000.
"Digitally-Contrived New Art Exhibition", Shitsunai (Japan), June.
"Enjoying the Floating Sensation in a VR space, ICC", Figaro japon (Japon), May 2. *
"Evolutionary Form of Latest Media Art", pen (Japan), June.
"From Here to Ear. Cleste Boursier-Mougenot", The Contemporary Arts Center, Winter, p. 4. *
"Art from NY! ", Toyko Walker (Japon), April 25. *
"ICC: Expressing Future Communication in the Form of Art", Fine Boys (Japan), May.
"Looking Ahead", The Cincinnati Enquirer, January 21.
"Machines that Awaken a Rich Poetic Sentiment", Marie Claire (Japan), June.
"New Media New Face/New York", Asahi Shimbun (Japan), May 17.
"New Media New Face/New York", Bijutsu Techo (Japan), June.
"New Media New Face/New York", Nikkei Design (Japan), May.
"New Media New Face/New York", Plaza (Japan), May.
"New Media New Face/New York", Tokyo Classified (Japan), May.
"New Possibilites for Media Art", Axis (Japon), May/June.
1999 P.S. 1 Studio Program Exhibition", OCSNews, vol. 25, n 598, March 12.
"Cte Ouest: A Season of French Contemporary Art", Art in America, August, p. 33.
"Fine Feathered Art", Astoria Times, vol. 2, n 6, February 11.
"Fall Preview: Sculpture and Installation", New York, September 13, p. 112.
George Baker, "Cleste Boursier-Mougenot", Artforum, November, p. 141. *
D.P., "Our choice of NY contemporary galleries", The Art Newspaper, n 95, September, p. 72.
Dawn Fulcher, "previews", Contemporary Visual Arts, n 24, p. 24. *
John Goodrich, "Celeste Boursier-Mougenot", Review, October 1st, pp. 15-16.
Max Henry, "Gotham Dispatch: Soundgarden", Artnet.Com, October.
David Humphrey, "New York e-mail", Art Issues, November/December, pp. 36-37.
Alan Lockwood, "From Here to Ear: Cleste Boursier-Mougenots P.S.1, Installation Enhances,
NYCs Sound Environment", Juxtaposition E-Zine, pp. 1-3.
Alan Lockwood, "An Installation by Cleste Boursier-Mougenot at the Paula Cooper Gallery",
Juxtaposition E-zine, October.
Alan Lockwood, "Cleste Boursier-Mougenot at the Paula Cooper Gallery", The Brooklyn Rail, n 30,
October, (www.thebrooklynrail.com).
Robert, Mahoney, "Cleste Boursier-Mougenot", Time Out N.Y., October 14-21, p. 67.
Victoria Pedersen, "Gallery Go Round", Paper, October, p. 148.
Nancy Princenthal, "Cleste Boursier-Mougenot at Paula Cooper", Art in America, November, p.
139. *
Colin Berry, "Exploratorium Draws Out Its Artistic Side", bayarea.citysearch.com, November 10.
Lilly Wei, "Cleste Boursier-Mougenot", ARTnews, December, p. 171. *
1998 Stphane Carrayrou, Entre-fictions, Actes Sud, Arles, France, p. 27. *
Jade Lindgaard, "Le maestro des casseroles", Les Arts, 21-27 January, p. 25.
1997 Didier Arnaudet, "Cleste Boursier-Mougenot", Art press, n 230. *
Olivier Renaud "Water Music", Technikart, n 16, p. 111. *
Gilles-Christian Rthor, "Petites mlopes arbitraires", Sud Ouest, October 1st.*
Claire Daigle, "Just what do you think youre doing, Dave?", Art Papers, n 57, November/December.
1996 Elisabeth Lebovici, "Joyeux vernissages", Libration, September 14, p 32.
* Illustrations