La Cellule d’Intervention - Metamkine

TIMETABLE -> sharp (no entrance after the show has started)

18:00 – 18:35 modul – 1st Show METAMKINE | Please reserve a Spot in advance, limited Space available

19:00 – 19:35 modul – 2nd Show METAMKINE | Please reserve a Spot in advance, limited Space available

Christophe Auger, Xavier Quérel: films and projectors 16mm
Jérôme Noetinger: electroacoustic devices.

La Cellule d’Intervention - METAMKINE is an open-ended group including musicians and filmmakers researching the relationship between image and sound. Since 1987 different concepts have been carried out and performed in festivals, galleries, cinemas and contemporary art spaces, in France, Europe, Canada, USA, Japan, Australia and New Zealand. Since 1995 they develop collaborations with other groups or artists like Nachtluft (Switzerland), Kinobits (France), Loophole Cinema (England), Tom Cora (USA), Le Cube (France), la Flibuste (France), Voice Crack (Switzerland).

Through the magic of mirrors, multiple projectors and highly ingenious live on stage editing, Metamkine produces and directs a new film with each of their performances. Working around a core narrative, they spill eddies of impromptu vignettes, accompanied by a live soundtrack of tape fragments and ancient synthesiser sounds. These, three collaborators, who have worked together for more than 10 years, have succeeded in pushing the boundaries of film and soundtrack into the realm of live performance – Utterly unique.

„Metamkine offers us the rare experience of music liberated from servitude to cinema, and a live cinema projected like music itself, the projectionists enjoying the spontaneity of an instrumentalist. Their performances have a visceral impact that does not bypass the brain.“ Tom Cora, New York (USA).

„Cellule d’Intervention Metamkine, the team of French projection and sound artists came on at some time close to midnight for a 50-minute set when many of us in the audience had very little left to invest; however their dynamism was worth the wait. There is an orchestral quality, a Hitchcock-Herrmann grandeur to the work that is both perplexing and invigorating. The very hands-on manipulation of light is alchemical and magical, the structure of the set intriguing in its use of internal climactic steps and troughs. It felt like we were in the hands of dream masters… and when it was over we stumbled out shell-shocked and hazy, trying to remember our way home.“ Gail Preist – Sidney (Australia)