{"id":149840,"date":"2026-02-24T00:28:00","date_gmt":"2026-02-24T05:28:00","guid":{"rendered":"https:\/\/panm360.com\/?post_type=agenda&p=149840"},"modified":"2026-03-01T17:06:49","modified_gmt":"2026-03-01T22:06:49","slug":"le-vivier-architek-percussion-contrechamps-kino-sonique-semaine-du-neuf-au-studio-theatre-de-ledifice-wilder","status":"publish","type":"agenda","link":"https:\/\/panm360.com\/en\/agenda\/le-vivier-architek-percussion-contrechamps-kino-sonique-semaine-du-neuf-au-studio-theatre-de-ledifice-wilder\/","title":{"rendered":"Le Vivier \/ Semaine du Neuf : Architek Percussion & Contrechamps – Kino-sonique \/ Les mots de la direction artistique"},"content":{"rendered":"\n

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Cr\u00e9ations crois\u00e9es suisses et canadiennes, entre technologies d\u00e9tourn\u00e9es, avatars num\u00e9riques et objets du quotidien, ce triptyque de concerts explore les multiples visages du son contemporain. De Suisse, Daniel Zea propose une performance pour reconnaissance faciale o\u00f9 l\u2019avatar num\u00e9rique r\u00e9v\u00e8le les tensions entre expression humaine et algorithme. De Montr\u00e9al, Nicole Liz\u00e9e fait revivre les machines du pass\u00e9 dans une cr\u00e9ation quadriphonique o\u00f9 le glitch devient mati\u00e8re po\u00e9tique. Enfin, de Suisse, Alexandre Babel renverse les hi\u00e9rarchies sonores en sculptant la beaut\u00e9 brute de sons \u201cpauvres\u201d, issus d\u2019objets trouv\u00e9s et de gestes simples.<\/strong><\/p>\n\n\n\n

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\u00c0 ce titre, PAN M 360 a recueilli les propos de son directeur artistique, Jeffrey Stonehouse, qui a \u00e9t\u00e9 t\u00e9moin d\u2019un portion du travail helv\u00e8te en septembre dernier”<\/p>\n\n\n\n

” En fait, je suis all\u00e9 en Suisse pour la cr\u00e9ation de l’\u0153uvre du compositeur suisse Alexandre Babel. \u00c7a, c’\u00e9tait une co-commande du Vivier et de l’ensemble Contrechamps, mais \u00e9crite pour Architek Percussion qui est est all\u00e9 jouer \u00e0 Gen\u00e8ve en septembre dernier. Le programme comprend donc cette \u0153uvre mais aussi une nouvelle \u0153uvre de Nicole Liz\u00e9e pouf ensemble instrumental, vid\u00e9o et \u00e9lectronique. L\u2019autre \u0153uvre au programme, soit du compositeur Daniel  Zea, ‘est une commande de l’ensemble Contrechamp avec les Art Zoyd Studios.  Daniel Zea  a con\u00e7u  une sorte de partition pour visage et reconnaissance faciale. Tout \u00e7a se passe en direct, donc les mouvements du visage de l’avatar d\u00e9clenchent et contr\u00f4lent la partie.\u201d<\/p>\n\n\n\n

Plus pr\u00e9cis\u00e9ment, le programme indique:<\/p>\n\n\n\n

Trois \u0153uvres qui, chacune \u00e0 leur mani\u00e8re, interrogent notre rapport \u00e0 la technologie, \u00e0 la m\u00e9moire et \u00e0 l\u2019imperfection \u2014 et red\u00e9finissent la fronti\u00e8re entre humain, machine et mati\u00e8re. Fascin\u00e9e par les technologies obsol\u00e8tes, Nicole Liz\u00e9e explore le dysfonctionnement et l\u2019esth\u00e9tique de l\u2019imperfection pour \u201caller sous la surface des choses\u201d. Elle int\u00e8gre dans ses \u0153uvres des instruments atypiques \u2014 Atari 2600, omnichords, stylophones, jeux Simon\u2122 ou bandes de karaok\u00e9 \u2014 ainsi qu\u2019un dispositif vid\u00e9o et une quadriphonie dans sa nouvelle cr\u00e9ation pour Contrechamps.<\/p>\n\n\n\n

Daniel Zea met en sc\u00e8ne le contraste entre un visage analys\u00e9 par ordinateur et son avatar num\u00e9rique. Gr\u00e2ce \u00e0 une partition pour visage et reconnaissance faciale, ses mouvements animent l\u2019avatar et d\u00e9clenchent l\u2019\u00e9lectronique, tandis que les instrumentistes r\u00e9agissent en compl\u00e9ment ou en contraste, soulignant la tension entre digital et acoustique. Command\u00e9e pour Architek Percussion, The brown gardener r\u00e9unit quatre percussionnistes jouant sur des plaques-cloches en mat\u00e9riaux simples. Les motifs rythmiques superpos\u00e9s cr\u00e9ent un contrepoint en \u00e9volution continue. Le titre \u00e9voque un oiseau indon\u00e9sien qui compose des assemblages d\u2019objets, rappelant le soin apport\u00e9 au choix des instruments.<\/p>\n\n\n\n

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Programmation<\/strong><\/p>\n\n\n\n

-Daniel Zea: AUTORRETRATO EXTENDIDO , 2026<\/strong> (40\u2019 – Commande de l\u2019Ensemble Contrechamps, en partenariat avec Art Zoyd Studios) pour ensemble instrumental, vid\u00e9o et tracking facial  – cr\u00e9ation
-Nicole Liz\u00e9e: Nouvelle oeuvre , 2026<\/strong> (17′) pour ensemble instrumental, vid\u00e9o et \u00e9lectronique  – cr\u00e9ation
-Alexandre Babel: The brown gardener , 2025<\/strong> (15′ – Co-commande Contrechamps \/ Le Vivier pour Architek Percussion) pour quatuor de percussions  – cr\u00e9ation<\/p>\n\n\n\n

Program<\/strong><\/p>\n\n\n\n

-Daniel Zea: AUTORRETRATO EXTENDIDO , 2026<\/strong> (40\u2019 – Commande de l\u2019Ensemble Contrechamps, en partenariat avec Art Zoyd Studios) for ensemble instrumental, vid\u00e9o et tracking facial  – premiere
-Nicole Liz\u00e9e: New work for ensemble, video and electronics , 2026<\/strong>  – premiere
-Alexandre Babel: The brown gardener , 2025<\/strong> (15′ – Co-commande Contrechamps \/ Le Vivier pour Architek Percussion) for quatuor de percussions  – premiere<\/p>\n\n\n\n

POUR ACHETER VOTRE BILLET, C\u2019EST ICI!<\/a><\/strong><\/p>\n\n\n\n

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A collaboration between Switzerland and Canada, combining repurposed technologies, digital avatars, and everyday objects, this trio of concerts explores the many faces of contemporary sound. From Switzerland, Daniel Zea presents a performance for facial recognition in which a digital avatar reveals the tensions between human expression and algorithms. From Montreal, Nicole Liz\u00e9e brings the machines of the past back to life in a quadraphonic creation where glitches become poetic material. Finally, from Switzerland, Alexandre Babel overturns sound hierarchies by sculpting the raw beauty of \u201cpoor\u201d sounds, derived from found objects and simple gestures.<\/p>\n\n\n\n

As such, PAN M 360 gathered comments from its artistic director, Jeffrey Stonehouse, who witnessed part of the Swiss work last September.
“In fact, I went to Switzerland for the premiere of Swiss composer Alexandre Babel’s work. It was a co-commission by Le Vivier and the Contrechamps ensemble, but written for Architek Percussion, who went to play in Geneva last September. The program includes this work as well as a new work by Nicole Liz\u00e9e for instrumental ensemble, video, and electronics. The other work on the program, by composer Daniel Zea, was commissioned by the Contrechamp ensemble and Art Zoyd Studios. Daniel Zea designed a kind of score for the face and facial recognition. It all happens live, so the avatar’s facial movements trigger and control the part.”
More specifically, the program states:
Three works that, each in their own way, question our relationship to technology, memory, and imperfection\u2014and redefine the boundary between human, machine, and matter. Fascinated by obsolete technologies, Nicole Liz\u00e9e explores dysfunction and the aesthetics of imperfection to \u201cgo beneath the surface of things.\u201d She incorporates atypical instruments into her works\u2014Atari 2600, omnichords, stylophones, Simon\u2122 games, and karaoke tapes\u2014as well as a video device and quadraphonic sound in her new creation for Contrechamps.<\/p>\n\n\n\n

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Daniel Zea has designed a kind of score for faces and facial recognition. It all happens live, so the avatar’s facial movements trigger and control the piece.
More specifically, the program states:
Three works that, each in their own way, question our relationship with technology, memory, and imperfection\u2014and redefine the boundary between human, machine, and matter. Fascinated by obsolete technologies, Nicole Liz\u00e9e explores dysfunction and the aesthetics of imperfection to \u201cgo beneath the surface of things.\u201d She incorporates atypical instruments into her works\u2014Atari 2600, omnichords, stylophones, Simon\u2122 games, and karaoke tapes\u2014as well as a video device and quadraphonic sound in her new creation for Contrechamps.
Daniel Zea stages the contrast between a computer-analyzed face and its digital avatar. Thanks to a score for face and facial recognition, his movements animate the avatar and trigger the electronics, while the instrumentalists react in complement or contrast, highlighting the tension between digital and acoustic. Commissioned for Architek Percussion, The brown gardener brings together four percussionists playing on bell plates made of simple materials. The overlapping rhythmic patterns create a constantly evolving counterpoint. The title evokes an Indonesian bird that composes assemblages of objects, recalling the care taken in the choice of instruments.<\/p>\n\n\n\n

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