Artists Remake the World
The Author

The Author : Vincent Epplay


Vincent Epplay is a french sound artist. Since the early nineties, he develops an unclassifiable artwork exploring the interaction between sound process and visual shapes. He starts to develop a peculiar and prospective approach to electronic music, focused on aleatory composition, learnings of musique concrete and a poetic/humorous reappropriation of vintage sound/film material. He has produced a dozen of records for various music labels: Blackest ever Black, Grautag record ,AKA, Planam alga marghen, LDDR… He keeps on archiving anomalous novelty/library/spoken words records and vintage 8mm educational movies. Vincent Epplay is a creator of material sonic environments. He creates loci for listening by staging sound and interrogating its mode of distribution and reception. From sonic device installations to live performance, the context of production and dissemination, as well as the behavioural dynamics of listeners-spectators. In his work, the visual artist and musician Vincent Epplay focuses on the notion of experience linked with music. This interest takes shape as a reflection on the process of listening, the transmission and reception of sound, the different ways it is placed in an environment, its temporality and its context. Epplay’s various set-ups for listening sound installations and live interventions delve into the connection between sound and image, offering visitors an experimental terrain, as they become attentive listeners as well. Created in a public area, on the Web, his pieces occupy particular spaces to create individual and collective listening conditions.

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Interview by Vincent Epplay
Magneto Vincent Epplay
30 July 2020

School of Spontaneity Interview with Vincent Epplay on his film Atelier des sons et expressions spontanées

Interview by Vincent Epplay
Magneto Vincent Epplay

The film Atelier des sons & expressions spontanées is a free interpretation of the experimental artistic practices undertaken in schools in the 1960s and 70s, in particular sound experimentations conducted with schoolchildren as part of the Freinet pedagogical method. The film is documented by a collection of audio archives (vinyl 45’s) and magazines (Art Enfantin) published by the Institut coopératif de l’école moderne (ICEM, Freinet method), a rather exhaustive collection reunited specifically for this project. These sound archives, replayed especially for the occasion and juxtaposed with film scenes of diverse origins, generate a kind of joyful ambient chaos, offering a phantasmagorical account of these pedagogical excursions into utopian experiments that hoped to counteract the monotony and boredom in schools.

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