McLarena just came back from Ottawa after a few weeks, and the public’s feedback is making us think about how we measure the impact of our work. Could the number of wedding proposals, friendlier police interactions or resiliency to unpleasant weather become new metrics to understand how a piece has been adopted by a community? Sometimes, a good public space means contributing to the local love affairs. ❤️
We sure hope they said oui!
We’ve heard exciting things about this city (Giant River Lights? “The First Gay President?” We’re intrigued…)
From July 30 to 31th, 2018, Daily tous les jours will be meeting with South Bend’s residents to imagine a new interactive artwork along the St. Joseph river.
Come meet Mouna, Pierre and Rebecca and participate in one of our three workshops designed to kick start this future project by the river.
South Bend, we can’t wait to listen to your stories and work with you!
Our Machine à Turlute is settling in at the Musée de la Gaspesie for a new exhibition dedicated to La Bolduc. Let’s turlute all summer long!
The Machine à Turlute is a time travelling musical installation, that takes us back to Quebec during the 1930s. Back then, Mary Travers – also known as La Bolduc – was a hit with her Turlute, a traditional folk singing style similar to Irish lilting. In order to “turlute”, the voice is used as a musical instrument, resulting in evocative phonemes: tam ta piou tam pidou. Native from Newport in Gaspésie, Mary is considered as the first singer-songwriter-composer in the province.
©Musée de la Gaspésie
Commissioned in 2011 for the musical documentary “Les enfants de la Bolduc“ in collaboration with Lusio Films, the Machine à Turlute is now back on the road to allow the public to (re)discover this typical Quebec heritage. The installation just outside the Museum of Gaspésie is open all summer long, and moves inside the museum until March 31st 2019.
More about the Machine à Turlute
More about Madame Bolduc on tour exhibition (in French only).
Us humans, we walk. That’s how it is.
In cities, walking might be a trivial action, but is also an opportunity to deconstruct the way we move, rethink the relationship between our body and the space around us, reinventing our conception of public space. When we shift the barriers of our environment, this simple act of walking has the capacity to shake up our understanding of space, but also our interaction with cities and the people in them. Then the more we walk, the more the city transforms, and we walk happier.
In March 2018, the Wellesley College in Boston (one of the oldest universities on the american east coast – still for women only), invited us to give a series of workshops as part of their Concert Series. Professor Jenny Olivia Johnson hosted members of our creative team, Mouna (co-founder), Rebecca (product and environment design) and Eva (technical lead) in her class, Studies in 20th Century Music: Interactive Sound Art with Electronics.
Together with her 18 students they worked to co-design and build an interactive sound installation prototype. In this collaborative effort they envisioned what would happen when a trivial sidewalk moves, shakes, rings, sings, rises or rotates… An opportunity to continue experimenting with the art of walking, a theme we presented a few times in our projects, such as Mesa Musical Shadows.
On Saturday, March 17 at 4:00 pm, Mouna will give a talk about participative design at Wellesley College, followed by a public presentation of the students’ prototypes.
More infos about this event
More about the art of walking:
Jean Verville’s dancing golden avenue
Hamish Furton’s walking performance
Walking on water with Christo in Italy