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  • Bétonsalon - Center for Art and Research

    9 esplanade Pierre Vidal-Naquet

    75013 Paris
    +33.(0)1.45.84.17.56
    Postal address
    Bétonsalon - Center for Art and Research
    Université de Paris
    5 rue Thomas Mann
    Campus des Grands Moulins
    75205 Paris Cédex 13
  • Presentation
  • Off-site/ “Les cris” (The Cries): Anna Holveck’s residency at the Évariste Galois secondary school, (Paris 13th). September 2022 to June 2023

    Anna Holveck’s residency with pupils from Évariste Galois secondary school, (Paris 13th). September 2022 to June 2023.


    Anna Holveck, Amour, Amour, 2016-2022, Sound performance, approx. 10’.

    Anna Holveck’s pro­ject "Les cris" is based on the scream as a sound form. Screaming calls upon over­whelming and cre­ative emo­tions such as joy and excite­ment or anger and pain, but can we detach it from its emo­tional charge to observe its musical qual­i­ties? Starting from the ambient hubbub in the class­rooms, the artist works with the stu­dents on the cre­ative poten­tial of the sound of their voices as well as on lis­tening to their envi­ron­ment. For the stu­dents, these work­shops are an oppor­tu­nity to work on orality, the sense of lis­tening to them­selves and to others and, through this, to explore the tools of voice and sound recording.

    In this pro­ject, shouting is seen as a way of expressing one­self - lit­er­ally to squeeze out - of acti­vating one’s vocal cords through acoustic pres­sure that is imparted to the space. The stu­dents work on the posi­tioning of the screaming voice, and its exten­sion to the speaking or singing voice, to learn to scream without hurting them­selves or others. From the new­born whose lungs are opening, to the spon­taneity of reflex cries as well as the end­less number of animal cries, the shouted sound is pri­mary but it can also be elab­o­rated. Once artic­u­lated, the cry becomes a syl­lable and then a word. How do you shout in writing? This allows stu­dents to explore what makes them want to shout.
    In con­trast to this form of out­burst, these work­shops are also an oppor­tu­nity to listen to the quality of the silence after this explo­sive sound. The scream has a social, polit­ical and artistic his­tory. By going through it, the stu­dents will be able to ques­tion, for example, how do we teach chil­dren to shout? What does the cry of a single person or a group mean? This lib­er­ating, per­mis­sive and com­plex ges­ture is an oppor­tu­nity to make spaces sound, to pro­duce sound and to listen to it rever­berate.

    This research res­i­dency will lead to the pro­duc­tion of a resti­tu­tion with the pupils.

    This pro­ject is con­ducted in part­ner­ship with the Evariste Galois sec­ondary school (Paris, 13th dis­trict) and the City of Paris’ Actions Collégiens scheme. It takes place within the frame­work of the Art Pour Grandir artistic res­i­den­cies in sec­ondary schools and is sup­ported by the City of Paris.


    Anna Holveck, Bouches à oreilles, 2021. Collective performance, score, 11 minutes, Bétonsalon - art and research centre, Paris


    Anna Holveck, Flutées, 2019, Actoral Festival, Montevideo Marseille, 2020

    Anna Holveck is a visual artist, com­poser and singer, and was born in 1993. She lives and works in Paris.

    She explores the rela­tion­ship between sound pro­duc­tion devices and the voice with space, through the mediums of per­for­mance, video and sound instal­la­tion. The phys­ical impulses of the voice, the main medium of her research, enable her to listen to the qual­i­ties of the sur­rounding space by ques­tioning it from the artic­u­lated space of the mouth, in a back and-forth between inte­ri­ority and exte­ri­ority. In the same way, the micro­phone and the loud­speaker, always borne by the body, are the sound pro­duc­tion devices that let us listen to, trans­late or mimic the vibra­tions of the acoustic and polit­ical land­scape in which they are embedded. Her per­for­mances, instal­la­tions and videos create immer­sive lis­tening sit­u­a­tions that involve both the body that pro­duces the sound and the body that per­ceives it, at a vague boundary between the ear and mouth.

    Several of her pieces have recently been added to the public col­lec­tion of the Frac Ile-de-France as well as that of the Frac Franche-Comté in 2017. Her work has been shown at the Centre Pompidou, the Pernod Ricard Foundation, Le Creux de L’Enfer, La Vitrine of the Frac Ile-de-France and Bétonsalon, among others. It was recently shown at the Institut d’Art Contemporain Villeurbanne during the exhi­bi­tion Des voix traver­sées and at Instants Chavirés in Montreuil.

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