2 April 2024

09:50 – 10:35

Amphi 2

Johann Baron Lanteigne

Baron Lanteigne hijacks digital technologies to reveal their materiality and potential. The traces that result from this research take the form of sculptural screen portals opening in unison onto interconnected virtual worlds. The very essence of his work is a significant emergence from his many collaborations and impregnations within multiple Internet communities. Her work is an integral part of online collections and events such as The Wrong Biennale, Real-fake.org, Electrofringe, SPAMM, Glitch Artist Collective, FeltZine, MoCDA and many others. A connected creative practice, presented around the world in renowned venues such as the Ludwig Museum in Budapest (HU), the Centre Culturel Canadien in Paris (FR), the Centre des Arts d’Enghien-les-Bains (FR), the Gwangju Media Platform (KR), the Kunsmuseum in Bonn (BE), and many others. Baron Lanteigne’s work has been shown at many digital art events, including ISEA 2023, Mapping Festival (CH), Mirage Festival (FR), MUTEK (CA; JP), Dutch Design Week (NL), Sónar+D (ES), CPH:DOX (DK), and the 6th International Digital Art Biennial by ELEKTRA (CA). Crédit: Elias Djemil

How do you inject movement into the relationship between artist and digital medium?

Our relationship with the virtual is inevitably filtered by the technological interface, which adds friction to our daily lives. Inspired by musical improvisation and performance art, I modulate this filter to intensify or diminish this friction. I explore the ambiguities and imperfections that lurk in the moments of transition between these states, where the degree of friction brings us closer to or separates us from the virtual.
Digital technology democratizes access to software and its source code, allowing artists to modify or design the tools that color their creative processes. Designing the tool and creating with it are two states that can be brought together to the point of overlapping. The interoperability of digital tools allows me to oscillate between interdependent periods of conception of my audiovisual instrument and exploratory play, enabling me to create spontaneous works that document the evolution of this research. This contact with virtual matter deals both with the ergonomics of the technology, its shortcomings, and the contortion one undergoes as a result of its contact. In other words, I try to inject movement into the relationship between the artist and the digital.