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Upcoming concerts at Gallery 345.

T256 (Music and Game)
VIDEOSPREAD – Laurent Chambert
at Gallery 345, Toronto

Saturday October 3rd 2009

Gallery 345 and Videospread are pleased to present an installation / performance by French artist Laurent Chambert
T256 ( Music and Game ).

T256 (Music and Game) installation/performance

Key words : Visual labyrinth, Electronic music, Virtual visit, Musical combination / arrangement, Game.

Installation / performance description :
Originally conceived and produced in 1999, T256 is a visual labyrinth composed of animated sequences connected to each other by hypertext links. The first digital version was released in June 2000 and presented at the Contemporary Art Centre in Castres, France.

The concept of this new version is based on the creation of dedicated electronic music partitions for every sequence of the original visual project ( 12 sequences in total ).

The installation is composed of a screening of T256 ( a virtual visit ) and a performed musical combination / arrangement, following the course of the visual elements projected.

The installation / performance is designed as a game, made up of 5 different moments during which the audience is be able to view and listen to the artist’s live performance. During the artist’s time off ( not performing ), T256 continues to show
different sequences of its labyrinth. The audience is invited to choose the access to the different visual sequences.

Performance schedule:
Performances at Gallery 345 : 9 pm, 10 pm, 11 pm, 12 am and 1 am

Laurent Chambert
Born in 1967. Lives and works in Paris, France.
Classically trained in piano and with a passion for Visual Arts, Laurent Chambert then studied Fine Arts at l’Ecole Nationale Supérieure des Beaux-Arts de Saint Etienne ( Ensba ), France.

His approach to musical composition and visual creations is strongly influenced by a spatial dimension, which in its infinite possibilities can make sound exist as an independent component. The sounds Laurent Chambert produces are usually found through research, often with the help of electronic machinery or computer assistance. Much of the time he begins a musical project with no predetermined idea of the fi nal object. The fl ow of creation is free and frequently finds complementary existence to a visual creation.

Laurent Chambert’s visual artwork is not about making obvious a global universalist vision, a relation to the world, but rather of making possible a state of perceptive consciousness by the use of fragments of commonly-used references and symbols ( images from mass medias, systems of representation of the universe ). This fragmentation is not rigid and leaves the possibility of reconstructing a unity. Neither univocal, nor generic, each action, each artwork draws from various signifi cation fields, from different domains of knowledge. Laurent Chambert does not reproduce permanent or autobiographical objects,
which naturally proceed from a particular view of the universe, and the apparent self-suffi ciency of his projects does not originate from a systemized method of deconstruction, of opposition or categorization.

Whoever has visual memory has the capacity to read and diagnose the work. Given the information of our world’s incarnations and their perception, but faced with the diffi culties of an individual or collective understanding, Laurent
Chambert’s work is a key to a fi ner comprehension of what surrounds us.

Discography :
Eurêka ( 50’ ) ( 2008 ). Réalisé dans les studios de l’INA-GRM.
Suspense ( 50’ ) ( 2007 ). Qwartz Experimental / Research, 2008
Qu’elle heure est-il? ( 20’ ) (2007)
Du sable dans les yeux ( 20’ ) ( 2004 ). With ( 20’ ) ( 2004 ). With Gilles Sivilotto.
Aether ( single ) ( 2008 ). With Jac Berrocal.
Project The Other Colors. With Marie Moor.
361 ( album ) ( 2008 )
Project Rose Et Noire. With Marie Moor.
Tracé dans le bleu ( album ) ( 2006 )
A la folie ( 30’ ) ( 2004 )
Rose et noire ( album ) ( 2003 )

Videospread, is a non-profit organisation based in Marseilles, France. Since 2006, Videospread has been researching and developing the concept of production and circulation of silent video art programs dedicated to screening in public spaces.
Taking advantage of the rapidly growing sector of urban displays, the programs curated by Videospread question the capacity of Art having a direct impact on the general viewing public which is usually confronted with advertising. Through
this new approach of visual content, Videospread wishes to encourage and promote critical thinking, as well as challenge the way we look at moving images

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