Dispositifs-mondes

Collection of sound and interactive installations - Les Tanneries, contemporary art center, 2026

Protocol: Interactive sound installations combining architecture, ceramics (works on loan from artist David Munoz), and electronics.

© Mathilde Mazars

Dispositifs-Mondes unfolds as an embodied fiction, a composite and cybernetic organism, where the works never present themselves as closed forms but as open, self-regulating systems in constant transformation.

Each device operates according to logics of flow, feedback, and interdependence, integrating the environment, bodies, and human actions as active parameters of the work. The exhibition offers a journey: that of a world divided into structures, flows, and organs, where every sound, plastic, filmic, or drawn element contributes to a single narrative body. In the Grande Verrière, six dispositif-mondes occupy the space.

They form an archipelago of sound sculptures, conceived as a fragmented and systemic body. The installations are distributed according to an organic cartography, linked to the consumption and digestion of flows, to the interface between instinct and memory, to the structuring of information circulation, to regimes of the gaze and surveillance, as well as to power and decision-making. Each installation functions as an autonomous entity while remaining interdependent with the others. Sounds, vibrations, air currents, and signals circulate from one module to another, creating an evolving polyphony.

This interplay connects organic forms with architectural structures, creating a dialogue between living beings and the structures that both organize and constrain them. The whole maintains an unstable equilibrium, sensitive to environmental changes and human presence, and sketches out a dystopian landscape in which architecture, the body, and technology coexist in a constant relationship of cooperation and tension.

The installations house works on loan from visual artist David Munoz: ceramics created using Raku and Pit Fire techniques. Their cracked surfaces, marked by fire and chance, introduce an organic and unstable temporality. Here, the mineral engages in a dialogue with the electronic, matter with vibration.

Within these sound sculptures, a body takes shape. Sound is contained, modulated, and amplified by volumes that evoke organs. The installations, both autonomous and interconnected, form a network of interdependencies through which flows, signals, and vibrations circulate. The ensemble generates a polyphony in constant flux, responsive to interactions and presences. The visitor becomes an active parameter, participating in the shifting equilibrium of this ecosystem.