# Le Champ Du Yaourt

## Aurélie Pertusot

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**Electronic version**

URL: https://journals.openedition.org/transposition/7744

DOI: 10.4000/transposition.7744

ISSN: 2110-6134

**This article is a translation of:**

Le Champ Du Yaourt - URL : https://journals.openedition.org/transposition/7717 [fr]

**Publisher**

CRAL - Centre de recherche sur les arts et le langage

**Electronic reference**

Aurélie Pertusot, "Le Champ Du Yaourt", *Transposition* [Online], 10 | 2022, Online since 29 June 2022, connection on 02 July 2022. URL: http://journals.openedition.org/transposition/7744 ; DOI: https://doi.org/10.4000/transposition.7744

This text was automatically generated on 2 July 2022.

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La revue *Transposition* est mise à disposition selon les termes de la Licence Creative Commons Attribution - Partage dans les Mêmes Conditions 4.0 International.
# Le Champ Du Yaourt

## Aurélie Pertusot

1. My installations, drawings and performances transform our perception of time and space and create an interaction with the spectator or the listener. I am interested in the notion of passage and the ghostly character of sound, its ability to reveal an architectural and/or mental space, an inner landscape. I make my sounds to explore the sonic and evocative qualities of materials, summoning a memory and a collective memory. The loss of reference points, the illusion or the cycle are leitmotivs present in my pieces. My creative process is based on listening, experimentation and a certain economy of means: I use everyday materials and recycled objects (paper, rope, adhesive tape, etc.) that I divert.

2. Many of my pieces are not photographable. I find it difficult to put them on a website or in a digital portfolio because they rely on a certain perception of space and require a particular attention linked to a physical experience of reality. Often, these are works that must be activated by visitors to appear and/or be seen, and even within an exhibition space the public sometimes misses them. This pushed me to play with this "flop effect", to claim a certain form of autonomy of the work, which remains however problematic when one needs to present them virtually.

3. Thus all the flops are not equal and this is why I wanted to use a medium more "adapted" to the temporality of digital spaces: video. The flop explored here is thus finally another flop...

4. The video *Le champ du yaourt* is part of the series of performed sound sculptures called *Sounds with no genre*, created from an instrumentarium of found objects and diverted instruments. Combining dissonance and resonance, the performances give life to inanimate objects which, recycled, become inhabited by sound matter.

5. The acoustic installation of the yogurt field is composed of a large nylon rope and a makeshift resonator: a giant yogurt pot. To activate it, I develop a repertoire of gestures by moving my hand and a bow on the string. My goal is to play with the perception of the space of the place by creating a visual gap between the sound source and its diffusion.
6 During this performance, I created a dialogue with Sosana's vocal research.

7 This media file cannot be displayed. Please refer to the online document http://journals.openedition.org/transposition/7744

# INDEX

**Keywords:** : performance, sound art, Pertusot, yaourt, flop

# AUTHOR

**AURÉLIE PERTUSOT**

Born in 1983 in France, Aurélie Pertusot is a visual and sound artist. She graduated from the École nationale supérieure d'art et de design de Nancy and the Sint Lukas Art School in Brussels in 2007 and lives and works in Nancy and Berlin. Co-founder of the performance projects Les Trotteuses - radio clock players - with visual artist Anne Moirier, Feu Moyen, Ana Colute, and Loop-loupe, she was part of the sound research group Arthésis at ENSA Bourges from 2016 to 2018 where she was taught by Lê Quan Ninh, Annette Vande Gorne, Alexis Degrenier and Michel Chion.