Studying at the University of Louvain (B) and very sensible to music, silence and noise, I was looking for a silent place to concentrate. I found the ultimate place of silence but I also found a big noise behind the wall: my neighbour. He was Baudouin Oosterlynck, once experimenting with the chords of his concert grand and accompanying an opera diva in his living room near my study room.
In the eighties "The Sculptor of Silence" Baudouin Oosterlynck coached me, selecting my compositions, and he pushed me to release my first music album and art productions. I wasn't the only artist he supported.
Baudouin OOSTERLYNCK (Belgium) got up yearly (in the seventies) notorious "processions of creativity" in which artists showed their creative products to the public. He composed alternative music pieces with sound objects, released music albums and published books about sound / art. He experimented with INDOOR soundprocesses and proclaimed in the eighties his PAX MUSICA (a periode on half-pay to restore silence in his life). Later Baudouin came up with OUTDOOR sound observations, focused on acoustic phenomena and physical acts of intimate listening. He has realized many performances and installations in Belgium, Holland, France, Germany, Spain, United States and other countries. Last but not least, Baudouin Oosterlynck is the spiritual presumptive of Marcel Duchamp, Ben Vautier and John Cage. His collection of modern art is a remarkable one.
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Sculptor of Silence
Prosthesis audio Opus 128 (94-95) "The artist takes me for a collector. The collector takes me for an artist. The designer takes me for a sculptor. The sculptor takes me for a composer. The composer takes me for a plastic artist. MD takes me for a lover. Saying that I am a professional physical educator, all people chuckles."
Acoustical Prosthesis (1994-1995) opus 122
In the Centre d'Art Contemporain (Center of Modern Art) of Vassivière (Limousin, F), created by Aldo Rossi, just as at the site "La Pommerie" of Saint-Setiers (Corrèze, F), I intended to explore at the center of modern art (Vassivière) the reverberation of a conic room with the form of a snail-staircase. In Saint-Setiers I was searching for the reverb of houses in a factory quarter where, in the winter, inmates sit down at the fire-place.
In Vassivière the audience was invited to set up a copper helmet for listening to a specific sound source (especially a human voice) in front of the acoustical prosthesis, made of the same material as brass instruments. The desorientation of this funny prosthesis concerns the position of the ears at the human skull. I consider the acoustic sites, the buildings and the material which transmits the sound of the sources, as the prolongation of human organs.
My phenomenological point of view considers a world that only exists in the contact field of the perceiving subject. Since 1978, I have developed this concept into several installations in which the listener is invited to move to the "music", sticking his ear to the ground (Pour Speelhoven, 1983), listening out the window-pane (Mausoleum, 1984), traversing a sonor curtain (Balayage stable, 1982) , dressing the invisible but audible clothes (Enveloppe ou Vêtement, 1978).
Instead of moving the sound source, the audio-visitor is moving himself to localize the different sound sources etc.
The art is as love: the instant of coincidence to you, to other people, to the world.
LA GLOIRE.mp3 Click and listen to the short excerpt (360k, in mp3 format) of my piece for voice and pianostring. LA GLOIRE (4:24) belongs to the CD on "The P-ART PROJECT : 12 PORTRAITS" (< click for info).
Please don't forget to return to this page: my contribution to the P-ART Web of Artists.
Baudouin OOSTERLYNCK Rue R. Boisacq 9 bte 1 B-1330 RIXENSART BELGIUM Click > mail to baudouinoosterlynck Visit my homepage: http://www.baudouinoosterlynck.be
Please scroll down for more about my sound projects
I recorded sounds from birds, chicken, human voice etc. I have deformed some sounds and guided them through the invisible hollow, 5 CM below the surface. Just like an Indian, the listener had to lie down to the ground listening carefully to "underground music"(Opus 49, 1983).
The Sound Journey Project (2006): a listening pavillion in collaboration with students of the department of architecture, National University of Singapore, and R. Casteels.
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