toche - i accuse - livro de exposição em bruxelas em 1968

8/10/2019 Toche - I Accuse - Livro de Exposio Em Bruxelas Em 1968

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c h im ie u

ce veau

facu

t6s

d'app endre

I 'eau

potab le , 'a i r

que l 'on resp i re . . . permet ta

r a d o . .

dans

les rues

analyse

(amniographie,

amnioscopie)

man

pu

at ion

(nanochi-

rurgie nf n t6s imale,

v i ro logie, iochimie)

permettant

-

perle

acc6l6r6ede la

vie

priv6e

-

moyens

lus

ef f icace e

I 'espionnagebuggi

central isat ion

ouvernementale

e I ' informa

par

des cerveaux

lect roniquesoordonn6s

d6humanisat ion

cc6l616e

pr ise en main progressive e tout l 'appare

s oc i a l , 6c onom ique ,

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c i6t6

par

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logist ique

es

probldmes

e

l ' informat ion,

6lect ionn6e des

f ins d 'auto

loppement ,avec

pour

but ul t ime l '6v ic t io

I 'Homme, omme6tre

inf6r ieu

.


5/20


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8/20

I.

THE GIANT

MESSAGE

This work consists

f a

giant luminousmessagef 187 100watt floodlights

whrchwill sayal-

ternately,

n a

quick, flashing sequence ith

a short

period

of darknessn between

BURN

BABY and DROP

OUT. This socialmessage

mplies hat

youth

oday,

due o the

present

e-

cadence

f thi westernworld,

lias only two

possible hoices either o reiect

dre past otally n

order to construct

positivelya new world,

or to drop completely ut

of society. he ights are

burning the messagento the soul through he eyes dedicatedo Lil Picard).

2. SOCIETY

ESCAPES

NTO THE BEDROOM

This work

has

a

floor base

yards

by

1

yard

and

two horizontalwhite

borders

8 incheshigh'

into

which are set

en

300-watt

loodlights

on eachside.A black vinyl

mattress ccupieshe

space

etwen

he bordersand the

entire structures

mounted

on

heavysprings. he effect

of

this work

on the spectator

ho passeshrough t

is

threefold.

The

mattress nd springsmake

it

difficult for him

to keep his

balancewhile walking

through t.

Visual

stimulation s

pro-

vided n the

form of

the

programmed

llumination

of the lights,

which appear o rnovecont;

nuously

oward

the spectator.

uditory stimulation

s provided by the shrill

sound of two

alarm bells

which are

activated y two electric carpets

placednear

dre

center

and near the

far end under

he mattress.

3. THE LIVING

ROOM

God s Dead

Thereforew areLost n a Dark

Room,

This is a totally dark

room, oughlycircular,with ten openings.Eight

of theseopenings

re

falseexits eadingnowhere

the other wo are

he

entrance

nd the exit to the room.A loud-

speakers

placedaboveeachopening.

The

sound

an endlessepetition

f

:

-

is

programmedo

movearound he room counter'clockwise.

he effect of this

is that the

moment

he spectator nters

he room

he loses, ompletely

nd mmediately,

is sense f

orien-

tation.

This type of

sensorymanipulation s designedo cause

nxietyand

panic.

4. THE ACCUSERS

Accusser

1"

In this work, two 500-watt

loodligh*

alternate

with two

300"watt

loodlights in a slow

pulsa-

ting rhythm.

Not only is the

spectatorobliged to

pass

his obiect at close ange in order to con-

tinue through

the maze, but his walking is

made difficult by

the presenceof large

pebbles

on

the floor. The

sound or this, as

well as he other two

accusers,cot.tsists f a sharp, high-pit-

ched, repetitive clicking

sound.

Accuser 2

This

work consistsof a white

panel

supporting

12 loodlights

placed

as ollows

:

four 500-watt

lamps in the center, two l5Gwatt lamps abovethe center, two 150-watt amps below the cen-

ter,

two 300-watt

lamps ou the left

side, antl two

300-watt

amps

on the

right

side. By walk-

ing on three overlapping

electric mats

placed

about a

yard

from the

panel,

the spectatorwill

first activate the four 150-watt

amps, then the four

300-watt amps, and

finally

the

four

50&

watt lamps

;

all the

previous amps remain lit as he new onesare

added.The

last carpetwill also

activate a siren

(He is first

greetecl

by a strobe ight). This is an endurance est for the specta-

tor and offers him a

choice

betwen

several ntensities of lisht.


9/20

B U R NB A B Y

DROPOU T

(dedicated

o Li l Picard)


10/20


11/20

Accuser

3.

The floor

of this corritlor

is trough-shapecl

v+haped).

on

the wall

at the far encl

of the

cor-

ridor,

facing the

spectator,are

two

30Gwatt floocllights

which rotate

n

a

spiral,

off-axis,

move-

mer.rt n opposite

directions

ancl at

different speeds.

The spectator

must

walk towarcl

the two

moving

lights in

order to exit from

the corridor.

This

particular

situation

offers

two kincls

of

overload

the shapeof

the floor makcs

t .lifficult

to mrintain

onels

balance

while walkils

through it, and the two lights, moving ir oppositeclirectionsand at rlifferent spee.is, ugmeni

the

difficulty of concentrating

n

the task of

walking (engineer

Per

Biorn

-

EAT).

5.

THE

CONFESSIONAL

OFFIN

Symbolic Death for

Rebirth

As the spectatorenters

the mausoleum,

he flocrs and

walls of

which

are covered

with wreaths

of flowers,

he seesan opcn

coffin with a

seriesof

powerful

ligl.rts

n movement.

From

the cof-

fin, a voice epeats,

he person

may

then, if he

wishes,

enter the

coffin ancl

lie on a

mattress

which

is

placed

on the

bottom

of tlie coffin

with the

foot

sliglitlv

liigher than the head.

The licl is then closed

nd

the person

irst

expcriences

l/2 minuf,s

oi

total clarkness ccompanied

by the sound of the voice.This is followed. as the voice continues.

by 1 1/2 minutes of

56

programmed

floodlights

of

100watts

each,

place.l

as

ollow

: in 4 rows

of 6 lights each

25" above he head

of the spectator,

rorn

the heal

to rbout

the

mid.lle

of the

coffin

;

2 rows of 6 lights

eachon cachside

of

the coffin placed

at

a height slightly

above he

heacl of the spectator

ancl

parallel

to the lights

above

the head

of the

spectator

ancl,

at the

middle

of the coffin in front of

the spectator

(ancl

at the

same height

as the

two

side rows)

two rows

of

4

lamps each. The lamps

are

programmecl

o

appear o move

away from

the

spec-

tator, thus

giving

him

the impression

he is falling

backwarcl.

This is followed

by l/2

minute

of

total darkness.

The

lid

of the coffin is then

opened,

allowing

the spectatoi

o

come out or

to start

a secondcycle.The general

effect

of this work

is to causegreat

anxiety

to the

person

experiencingt. He may

alsoclie n the process.

6.

THE HOAX

Tliis is a

panel

supporting 4 x 300-watt

loodlights

which will flash

for one seconcl

very 12 se-

conds.

The

panel

is

placed

n

a long rectangular box

with a peephole

o

allow the

spectator

o

look irto the

box ancl face the

4

lamps.

A demoniacal

augh will serve

o artract

the spectator

to the

peephole.

Wtih this

absurclity, mean to imply

drat

thc entire exhibition

and

evcrything,

ls an aDsurolty.

ART

= REL IGIO N

CULTURE HA

-

HA

-

HA

We

must think again

die totality

of the humain

problem,

keeping in mincl

the

greatestpotentiality

of

Man's

development

(not

his

exploitation),

ancl usirg new

methods.

To

do so, we must first

destroy the

,


12/20


13/20

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14/20

I haveknown

eanTochesinceOctober

1965

when

we met at the BoninoGal lery.

His deep concern

or

humandest iny,

is

passionateeel ing

o{

Existent ia l

engagement , epresents

he best t radi t ion

of the

quasi-Gal l ic

ntel lectual .

This humanist icrai t

- -

which,

o our dishear len-

ment , s hal f forgot ten n the f lour ishing ubbleof

the uptownart business

pervades oche's work

and think ing,

nd is combined,

ia lect ical ly r

i ro-

nical ly ,wi th

the

' rery

product

of the

f lashy

n

up-

town technique

. . l ight .

Speaking

as one of {hg

"

pract ic ing

ight

ar t is ts

,

rnany l ight ar t wo rks current lybeing

shown are

of ten

oo

*

swcel and

"

decorat ive

.

This being

the case,

Toche

's

conscient ious nd aggressive

l ight

ar t s tands

ut ike a thunder-storm

n a muggy

summer f ternoon.

is work is

based

on the sc ien-

t i f ic s tudyof behavior ism nd psychologicalt ress,

which

br idges his

phi losophical

ommitment

nd

avant

garde

echn

que.

His

project a ser ies f l ight oomsand corr idors,

of

vary ing ntensi ty , onstel lat ion, onst ruct ion

is a sor t of

negat iveKatsuraRikyu.KatsuraRikyu,

the

most amous

garden

n Japan,and

doubi lessly

one of

the ear l iest xamples f

mixedmedia

em-

poral

environment , erves

o calm and moderaie

the

mind of the middle-aged oble as he st rol ls

through

t . Toche

s

l ight

garden

ampl i f ies ur ago-

ny, s tupi f ies ur sensibi l i t ies,isor ients ur direc-

t ion

;

but

in

a

paradoxical

ay, i t d i scharges ur

natural aggressivedr ives, our war inst inct ,and

Ieads o an Ar is totel ian athars is.

ln

the

latter days of the twen tieth century

-

after

Hiroshima nd

KonradLorenz KatsuraRikyu

s

trees,

brooks,and rocksshouldbe t ranslated

nto

187

X

100-wat i loodl ights, whi te-noise of f in,

and a

giant

uminousmessage.

NAM

JUNE PAIK


15/20


16/20

i3lii *gisiisii;iigigtg;i

iriiisii;

iiilggi

;!


17/20

I. LE MESSAGE

GEANT

Il s'agit d'un

message

umineux

gdant

(187 lampes

de

100

wath),

qui

fera apparaitre

alte nativement,

da

rythme rapide, entrecoup6 de

p6riodes

d'obscurit6 : BURN BABY, et

DROP OUT.

Par ce message

j'implique

que

la

jeunesse

d'aujourd'hui n'a

le choix qu'entre

deux

posibilitds,

vu la cldcadence

ctue

monde occidental :

ou bien le rejet

total

du

passl,

si I'on

veut

construire

positivement

un

monde nouvea

alors e dltachement

complet vis

I vis

de la soci6t6. es lampes brilent le message ans e

subconscient tr

les yeux (d4.th4 Lil Picard).

2.

LA

SOCIETESE

REFUGEDANS LA

CHAMBREA

COUCHER

Nous

avons ci un

parquet de

3

m de long sur 1 m de large, encadr6

de deux borclsblancs,

de 20

crn

de

clans esquelssont encastrds 0

lampes de

300 watts

chacunes

de chaque c6t6. Un matelas en vynil

noir

o

I'espace

ntre les cleux borclsblancs et le tout se trouve mont6 sur ressorts.Le

spectateur

qui

s'aventu

le matelas 6prouve

es trois sensations uivantes

le

matelas

et les essorts endent sacldmarche lifficile lors

traversie; une stimulation

visuelle

sous a forme d'une

programmation

umineuse ui

donne 'impressio

les

umidress'avancent ans

arrt vers ui; une stimulationauditive,

ous a

forme

de deux sonnettes 'a

puissantes, ctionn6es

par

deux tapis dlectriques,

plac6ssous

e matelas,vers e milieu et l'extrdmitd cle ce

las.

3. LE

LIVING ROOM

Dieu

est

mort;

d'oi nous

errofls,

pcrdus,

dans une chambre obscure.Notss avorrs ci une

chambre eo

tement noire,

presquecirculaire,

avec

clix ouvertures.Huit de

ces

ouvertures sont de fausses orties

ne m

nulle

part.

Un haut-parleur

est placd au dessusde chaqueouverture.Le son,une rdp6tition ncessante e >,

st programmd de

faEon

) se

mouvoir

autour

de la pidce,clans

e

sens

oppos6d'une montre. Dd

le spectateurentre dans cette

pidce,

l

perd

imm6diatement, et de faqon compldte, tout sens de directio

type de

manipulation sensoriellea

pour effet

de

provoquer

de I'anxidtd

et

dc la

panique.

4, LES TROIS ACCUSATEURS

L'ACCUSATEUR

Deux

lampes de

500

watts

alternent dans une pulsation trds lente avec

deux lampes cle 300 watts. Non

ment le spectateurdoit

s'approcher rds

prds

de cet objet

pour

pouvoir continuer

dans

le

labyrinthe,

mais

s

marche est

rencluedifficile

par

des

galets trds

larges

pos6s

sur le sol.

Le

son

pour

cet accusateur, insi que

les deux autres,

consisteen une haute frdquence rds aigue, r6pdt6e ans un rythme

trls

rapide.

L.ACCUSATEUR

Il s'agit ici d'un

par.rneau lanc supportant 12 lampes plac6es le a faEon

suivante :

4

lampes

de 500 wat

milieu; au clessus,eux lampesde 150watts; en dessous, eux lampes de 150 watts; sur le c6td ga

deux lampes

de

300

wans;sur le c6tddroit,6galementdeux ampes

de 300watts.En

marchant

sur trois

superpos6s, t

plac6s

environ 1

mdtre

du

panneau,

e spectateur allumera successivementes

4

lamp

150watts,

puis

les

4

lampesde

300

watts, et enfin l es 4 lampes de

500 watts,

jusqu')

ce que le

tou

allum6. Le dernier tapis actionneraen

m6me

temps une sirlne de

police.

Ceci est un test d'endurance

po

spectateur,

qui

estcl'abordaccueilli

par

une lumidre stroboscopique)et lui

offre un

choix

entre

plusieurs

sitdsde lumidres.


18/20

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4 =

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J

: H f p a - E

i - E ' B ; I

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>

u . g ? ' t r

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- - 5

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- ; ! : - 6 9

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19/20

REFERENCES

CREDIT

ON AGGRESSION

Dr.

KonradLORENZ

Doctor

at

the

MAX-PLANCK nst i tuteor

behavioral

physiology

n

Bavar ia) .

THE YEAR2.000:

Dr. Herman

KAHN

(Direcior

of the

Hudson nsi i tute)

nd Anthony

J. WIENER

(Chairman f the Hudson nst i tu ie) .

SENSORY EPRIVAT ION:

y m pos iume lda t

the

HarvardMedical

School ,L ibrary

f Congress,

Card N" 61

-

6353.

PSYCHOLOGICAL

TRESS: Mort imer

H. APPLEY,

(Dean

of York

Univers i ty , oronto)

and Richard

T R U M B U LL D i r ec t o r

f t he P s y c ho log i c a l

c i en -

ce Department .

Of f ice of

Naval Research,Was-

h n

glo

n).

THE STRESS F L IFE :

H ansS ey le ,M D

( D i r ec t o r

f

the Inst i tuteof Exper imentalMedecineand Sur-

gery;

l \4ontreal) .

ARCHITECT

and COORDINATOR

Jean Phi l ippe

COUNART,

ENGINEER

-

CesarPUTZEYS,

-

G ee r dS E E G E R S ,

-

P e r

B I O R N

E a t ) .

PHOTOGRAPHY:

u l ieABELES

cover,

he BecJroom,

' f

he Accuser) .

Henr i KESSELS The

message,he cof f in) ,

ELECTRONIC

OUIPMENT

Time-O-lVat ic

a \ ^ i + ^ Q + ^ ^ ^ t i ^ L + i ^ ^

ABCO

BLOCS TALLON

PRINTER

J.

VERMAUT,

WEWISH OAKNOWLEDGE

URGRATITUDEO

THECITY

OF BRUSSELS,

OR TS

COOPER

JeanTOCHE s born n Bruges

n 1932,

and l ives

n

New York s ince 1965.


20/20

HOSTILE

^/ORKSH

toche - i accuse - livro de exposição em bruxelas em 1968

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