Philippe-Aubert Gauthier & Tanya St-Pierre


Biography

 

Tanya St-Pierre graduated in Visual Arts at the Université du Québec à Trois-Rivières (Canada). Philippe-Aubert Gauthier is a self-taught sound artist, doctor in acoustics (Université de Sherbrooke) and professor at the École des arts visuels et médiatiques de l’UQAM. They live and work in Montreal. 

Each having their own solo practice, they combine their specializations for the realization of visual and audio installations. Their collaboration began in 2000. They did performance art under the name Noïzefer CWU in 2004. Their work has been supported by the CALQ (Conseil des arts et des lettres du Québec) and the CAC (Canada Council for the Arts), and has been presented in Canada, the United States, Morocco, Mexico, the United Kingdom, Germany and France. With a recurring preoccupation with sound, their practice is focused on the history of technological developments and media archaeology. In addition to sound, the working duo explores photography and computer-generated images as well as printing techniques and video.

 

Instagram | https://www.instagram.com/tanyastpierre/https://www.instagram.com/philippeaubertgauthier/

À propos de l'oeuvre

 

INTERTYPES (2019), Tanya St-Pierre and Philippe-Aubert Gauthier

Video, 3D animation, 13 min.

The INTERTYPES video is the result of a reflection on the cultural significance of 3D printing and its social imprint in the history of printing technologies. The work – coming from a larger installation corpus – explores how past innovations and accidents influence the cultures of our emerging technologies from the perspective of media archaeology, i.e. the readability of a thread through our contemporary artifacts. Intertypes, between types and periods, is always a continuous path punctuated by historical anchors: an industrial Canon VarioPrint i300 machine emerges from a puddle of liquid resin, like the materialization of a 3D print; light passes through the circular disc of a Lumitype-Photon printer, an iconic machine marketed in 1956 that moved typographic composition towards photo composition; clouds of smoke and powder, evoking lampblack, the historical basis of black ink and printing. The result is a blend of timelines, stories, lights, inks and resins.

The narration suggests a form of science fiction with slowed temporality functions that acts as a lens detailing a specific part of History: that of knowledge, technological developments and the notion of progress, which find their roots through the material clues of technical reproducibility. The relation to time is one of projection and vision towards the future that retains a look on the past.