Denis BRUN - The International Contemporary Art Exhibition at Habu Harbor,Izu-Oshima,Tokyo,Art Islands in Tokyo.










My esquisse proposal will be to draw (with marker or ink with brush) dress patterns on a big sheet of white paper. Then I will use the 4 different partterns of the dress to draw on them with brush, ink and markers. I will draw a dead spider on a hand, front and back and upside down. Why ? Because in 2016 when I participate to Tokyo Art Island Festival, I did a picture with a big dead spider in my hand, and I love that picture. It's a great memory from that time. Also, I love spiders (alive of course) but I am really afraid to touch them. But touching a dead one was the first step to accept fear then going through it (I'm still afraid but really less and less). I have a fake big spider in plastic, so I will use it as a model for the drawing session. So, if I can draw that "dead spider in my hand" on a dress, I'll transform also the "fear acceptance" concept into someting totally different, fun-tragic, ridiculous, out of subject, surrealistic, dadaïst. The important thing to know is that I'M NOT A GOOD DRAWER so that exercise for me will be quite difficult. Then when I'll have finished to draw the "spider on my hand" on the parts of the dress, I will hand-sew the dress and take it in photography, front and back. ORIGINS OF MY WORK ON DRESSES Since 1998, I hand-sew the same model of dress (chasuble, size 42). Only the hems of the 8 different parts of the dress are sewn on the sewing machine. I created about 70 dresses based on the same pattern, and 3 other «remix-versions» of second-hand dresses. It’s my own reflexion about the possibilities of evolution of a garment : each time you create it, you change one thing (the textile, the front lenght, the back lengh, you add long sleeves, a hoodie, etc...) then, from the same shape you create a range of possibilities. I considere that work as experimental fashion/low-couture/ sculpture/contemporary art. I really like Martin Margiella, Hussein Chalayan and Walter Van Beirendonck as well as Jeremy Schott or Alexander Mc Queen. I think about them when I sew, but my job as a visual artist, remains very simple and basic. It is more oriented towards the search for harmony engendered by the repetition and substitution of the tissues eternally linked to a single matrix.

Denis BRUN

www.denisbrun.com







タイトル：「READY, STEADY...NO !」内容：過ぎゆく時間、自然、生態学的/詩的なナンセンス、瞑想、シュルレアリズム、そして現在について語るミュージカルビデオ。コメント; 私がどのように音楽とビデオを作ったか、そしてその理由についてお話します。技術的に可能であれば、動画を流しながらライブ演奏します。何よりも、自分でも驚くほど、これまで制作した作品の中で、最も満足のいく動画/音楽作品となっています。日時：10月5日 (月曜日)　20:00より所要時間：1時間 Speaker : Denis Brun Title : READY, STEADY...NO ! Contents : A musical video talking about the passing time, nature, ecological/poetical non-sense, contemplation, surrealism and present. Comment : First I'll talk about how I made the music, then, how I made the video and maybe why I did all that. I'll play live during the diffusion of the video, if it's technically possible. Date :　October 5 (Monday) Time : ２０: ００ (JST, 9 hours ahead of GMT)




READY, STEADY...NO !

So I started that video adventure with 3 notes on an accoustic guitare that created a very simple melody. Quickly I was obsessed by that melody so I worked intensively on it, with other few notes then I added synths and other loops wit other instruments. After a week, I had a 3O something minutes of music. I decided to make a video to go with the music, in order to illustrate my participation to Tokyo Art Islands 2020, and also to make someting with nature and my modest person in that nature. I filmed the Durance then some scenes in l'Isle sur la Sorgue, near Avignon. I didn't premeditate any action, I just came to my friend's house with some feathers, with a mirror mask, a glue-pistol, 2 cameras and a tripod. Then I just did some silly actions, symbolic-friendly but totally inconscient. I embraced somehow my environnement... made a funny reference to Bill Viola's "Reflecting pool" historical video work... and finished the shooting in a bird's house. The cool thing was that the feathers I used and the boa were the same colors than the birds... When I made the editing, I realized that my artistic purpose started with my relation with nature but that was going much further on and revealing the fact that my life had changed a lot, recently but also for a long time... I had in front of my eyes a kind of personal metaphoric evolution process that popped up from "nowhere" and stood up in front of me. I guess that was the signal that I finally accepted, artistically assumed and loved the 20 first years of my life that I spent in the middle of nature. It also showed me that I accepted myself and finally felt happy with life. PS : the "pink noïse" you can hear between the melodies is in fact the real sound of the Durance.


J'ai donc commencé cette aventure vidéo avec 3 notes sur une guitare acoustique qui ont créé une mélodie très simple. Rapidement, j'ai été obsédé par cette mélodie alors j'ai travaillé intensément dessus, avec quelques autres notes puis j'ai rajouté des synthés, et d'autres boucles avec d'autres instruments. Après une semaine, j'ai eu 3O minutes de musique. J'ai alors décidé de faire une vidéo pour accompagner la musique, afin d'illustrer ma participation à Tokyo Art Islands 2020, et aussi de faire quelque chose avec la nature et ma modeste personne dans cette nature. J'ai filmé la Durance puis quelques scènes à l'Isle sur la Sorgue, près d'Avignon. Je n'ai prémédité aucune action, je suis juste venu chez un ami avec quelques plumes, avec un masque miroir, un pistolet à colle, 2 caméras et un trépied. Ensuite, j'ai juste fait des actions idiotes, symboliques mais totalement inconscientes. J'ai "embrassé" en quelque sorte mon environnement ... j'ai essayé de faire un clin d'œil au travail vidéo historique "Reflecting pool" de Bill Viola ... et j'ai terminé le tournage dans une volière. Ce qui est cool, c'est que les plumes que j'utilisais et le boa étaient les mêmes couleurs que les oiseaux ... Quand j'ai fait le montage, j'ai réalisé que ma démarche artistique artistique coïncidait avec ma relation avec la nature. En vérité, cela allait beaucoup plus loin et révélait le fait que ma vie avait beaucoup changé, récemment mais aussi depuis longtemps ... J'avais devant les yeux une sorte de processus d'évolution métaphorique personnelle qui surgissait de «nulle part» et se dressait devant moi. Je suppose que c'est le signal que j'ai finalement accepté, assumé artistiquement et aussi aimé les 20 premières années de ma vie j'ai passées au milieu de la nature. Cela m'a aussi montré que je m'acceptais tel que j'étais et que je me sentais enfin heureuse de vivre. PS : le "bruit rose" que vous entendez entre deux boucles mélodiques est le véritable son de la Durance que j'ai enregistré en la filmant.





THE GIANT DOG OF OSHIMA

It all started with a joke. In 2016 when my friend Lunnah Menoh came from L.A to Oshima Island to participate to the art festival, I asked her to buy for me a bottle of red wine. She bought a bottle at Narita Airport, so the price of the wine was written in Yen. When she gave me the bottle, I decided to draw another zero on the price tag. Then I took a photo of the bottle and published it on Facebook, tagging Lunnah, me, and her husband ( my friend Tosh Berman) to make « funny trap » about the expensive price of the wine. When Tosh (in Los Angeles) saw the picture on Facebook, he was like « O.M.G. what did Lunnah bought… ». That was it ! we had a good laugh with that little childish trick. I was into that spirit when, last week, I found that dog origami model in cardboard. At that moment, I had no really good new idea for a publication or a new esquisse project about something impossible to make in real life. Suddenly I thought about the extra zero added on the bottle price tag, and decided to change the dimensions written on the box of the origami dog model. I simply crossed out a letter (C - for centimeters) in the decimal indications of the dimensions, written on the box. So, centimeters became meters and I could imagine my little origami cardboard dog being a huge sculpture, enthroned in the nature in Oshima Island. The reality was twisted, the imagination took control, and that little cardboard dog could be a monumental sculpture project (possible to achieve with lot of money and heavy technical assistance). So ideally, that sculpture would be made of copper and chrome and would be 31/11/16 meters. It would be placed in the location indicated on the two landscape photos of Oshima. I also created a music that could be heard (through QR code) while visiting the giant dog site. The QR code would be placed near the sculpture therefore visitors could hear it on their mobile phone, while walking around the sculpture. The name of that monumental sculpture could be : THE GIANT DOG OF OSHIMA*. The meaning of that sculpture could be the protection and prevention of the island's people, concerning the coming of the God Aeolus for his holidays.
























Lonely Dog Weeping Song Project

https://youtu.be/dkGJv3nkrj4





It's really hard for me to think in terms of drawing for any kind of project... But, last week I started a new serie of "copies" in drawing created with master's painting mixed together through the use of translucent paper. By chance that "concept" gave me the idea for making real drawings about my projects for Tokyo Art Islands 2020. Here are 2 pictures of the working process, then you can see the scans of "real drawings" (and multiple original copies made directly from translucent paper put on my laptop screen...).




A The Oshima Dress Project Drawing Process		B Giant Dog Poject Drawing Process




Gallery Yume 3C		Gallery Yume 2B




Gallery Yume 1A




SPC Gallery 4A		SPC Gallery 5B






" After I made the music (Lonely Dog Weeping Song) for The Giant Dog Of Oshima Project, I had the idea to remix the music. So I went back on my audio files to add some guitare tracks and other stuff. I wanted to transform a "soundtrack/soundscape" into a more articulate musical piece. Curiously my project turned into a jazzy-friendly thing... It was the first time in my musician life that I put my finger on a jazz musical approach. It took me time to realize that I may could do something with it, but not an autonomous musical piece ; rather another soundtrack but this time for a video because this new direction was rather visual than I was expecting. So, once I finished my "jazz/rock-friendly" version of the Lonely Dog Weeping song, I decided to create a video to complete it. I found video unused footages from my 2016 trip to Tokyo and Oshima. I also found video unused footages of a trip to Munchen with Uwe Jonas, a great German Artist that I met in Oshima. He kindly invited me to meet him again in Munchen, 10 days after I left Japan. Actually I was visiting the world famous Oktoberfest, in Munchen, and Uwe lives there. Such a great coincidence ! we met again and had a wonderful day together, visiting amazing historical places and his art studio too. So, about that new video, my main idea was to evocate an imaginary trip (after I have left Oshima) back to Japan, through different places I've visited too. I needed sequences that evocate movement, deplacement. I found unused video footages from Munchen (a girl surfing on a river to reach a world famous river surf spot), Linderhof Castel (Louis 2 of Bavaria), Antwerpen (Belgium), Antibes (stairs), Barcelone (reverse transparent walking on the highway), Lyon (highway), Nices/Cannes (train seascape), Avignon/Arles (train nightscape), Tokyo (ferry nightscape), Oshima (animated characters), then...Athens (Grece ) and Pourcheroux (the village where I am now for the lockdown and where my mother lives). I wanted to use the Athens footage at the end to make a reference point (the anemometer) with the Oshima Dog Projects who is supposed to protect Oshima people from typhoons created by the God of Winds : Aeole. The sound of the cicadas somehow also fits well with the music and reminds us that any trip/pilgrimage has an end, so you always have to go back home (in my case, in south of France where we also have lots of cicadas). On the left and right of the Athens sequence, I added a video double shot where I mix on my telephone, 2 images (one in photo, one in painting) to show how different and how similare, humans can be. It's a kind of funny trick that I fouded during the making of a photo to publish on Instagram, in several versions. In conclusion, through that sedimentation of sequences, I try to imagine in my present, a virtual back trip to Japan and Oshima by twisting memories and actual facts like I would do if I had a strange time machine."




Suddenly I was in Japan (The Happy Wind Drifting)





Finally I made my dress project in real. I took me a long time to dive into the reality of that dress because it was the first time that I was already happy with a project that didn't mean to be realized in 3 dimensions. But life is funny sometimes because, during the New Year's Eve I was supposed to have dinner with a friend but that never happened, I knew that I was also going to have a Zoom meeting with the Tokyo Art Islands 2020 crew. I wanted to do something "funny but not heavy", due to the context of course but also because, for more than a year now, I only use my phone connection to work on internet through my computer. Plus, I was in the middle of nowhere deep in the French country with only a minimum wifi connection. I couldn't make a big performance or anything too much complicate, so I decided to cut and start to build in real my original dress project. I cutted pattern pieces out of crystal paper. I did it for about 40 mn then my phone crashed and we were already in 2021. That was a good starting point, somehow. The next few days and week, I slowly continued to build the dress, without any pressure. I had a really good time and feeling constucting that "sculpture" then bring it back to Marseille in mid January. The last day of January I took pictures of the dress because it was also the last days of Tokyo Art Islands 2020. When I finished the photo session, I discovered "by accident" a small plastic bag in my studio. Inside, there were tiny paper flowers in light-blue tones. In the future, I may add those flowers to the dress, to keep the project living... To be continued..? "


OshimaDress