Magritte Jaco is Marianne Jacquet, who lives and works in between Paris and Berlin since 2007.In her cross media practice, she creates a playful dialogue between ethology and conceptual art, music and performance .Her Fine Art diplomas at the Ecole des Beaux Arts of Caen quickly stringed together with a series of work in the Art industry where she stoically learnt what will be the core of her work: if art is the land of lies then let’s do the show! Using the tips from a friend from the Centre Pompidou, she applied with her performance collective Club Sand wich to the NEUROPOLIS festival in Berlin with a conference on the fictional artist SLIVAD RODGER. The immediate success convinced the whole participants to move to Berlin. Since then, theses aspects of a reality opposing the genuine experience of a performance became a recurrent theme in her work. In 2008, she co wrote a musical “Made In Berlin” dedicated to the post computer world filled with History and Hoax.
1: Art is the land of lies
2: 1+1 =3
3: Fire Walks Wit Me!
What is the biggest inspiration for your music?
A mash-up of anthropology and art. What triggers me, is the element that determines what a situation could be. It often seems that an attempt to control a versatile thing is the factor which nature and art have in common. I tend to think of music like a anthropological performance where logic shifts into an uncontrollable social experience. Influences: it s a big mix!
How and when did you get into making music?
When my 10 years old little brother taught me how to play guitar. Then I must admit, it was a succession of happy accidents in Toronto that gave me the guts to bring it on.
What are your 5 favorite albums of all time?
“Eat My Heart Out” by Kevin Blechdom
“Dry” by Pj Harvey
“Hei!” by Kim Hiorthøy
“Smile” by The Beach Boys
“Drukqs” by Aphex Twin
What do you associate with Berlin?
An open source studio.
What’s your favorite place in your town?
The Museum of Natural History.
If there was no music in the world, what would you do instead?
I would knit wall papers.
What was the last record you bought?
Mad Clown « Anything Goes » the Get Busy track is my a real mc bomb!
Who would you most like to collaborate with?
I would like to collaborate with Charly Le Mindu and do a performance.
What was your best gig (as performer or spectator)?
My best gig was as performer and also spectator, on last December in SO36 when Plateau Repas finally released its debut album with 10 out of control performers, French fries dancers who invaded the stage. It was perfect when the bar pop punk music becomes an cross bordered improvisation! Can’t wait to do it again at Yo Sissy festival this summer.
How important is technology to your creative process?
I had a dog, which I had called him wifi, but I am not keen on the HD supremacy! I implemented technology to the ESC.03 as it was an interactive installation, which was meant to be a dialog with the MEEBLIP midi synth. But the initial work was to confront raw materials with a strong picture and the noise of the log amplification. You do not need technology when we talk about it.
Do you have siblings and how do they feel about your career?
They think that music is a monkey business though they are still supportive.So I am a very lucky monkey!
Check out the interview also to Marianne Jacquet by Emilie Beffara.
Log Lady is dead, god save the log lady.
Walking through logs and wires, balanced between the organic sound of the wood and the electronic sound of the tools,
playing with a controler in looking at the people around being part of the sound coming from the sensors and coming out by the
controler, itself keeping the upcoming sounds between the sensors, the logs and the wires.
What is the trick of lady Marianne ?
Marianne Jacquet have presented her first sound installation ESC 3.0 at Berghain, the last October, 2015.
ESC 3.0 is a site specific interactive installation. It started as a primitive net art reflection on communication systems. The piece connects the operating room of Berghain to a circuit bending network of logs that reveal the hidden signal of the architecture and the people’s movement. Just like a ghost in a haunted house, the sound plays the role of the oracle as a reference to the famous character, The Log Lady in the TV show directed by David Lynch “Twin Peaks”.
Why do you love so much Twin Peaks ?
I found that tv show really bipolar, cute and pervert, cult and old fashion. I tend to remember my dream a lot and of course I recall to that strange atmosphere that David Lynch is developing the place where the good and evil tend to replace each other rand omly from a human perspective and on the purpose from another world’s eye.
When and why did the idea of this new project come out? How long did it take to make the idea accurate enough to start writing?
I was obsessed with the concept of internet servers, this incredible connection between people that provide a magical idea of a non physical world. But in fact it is just like a magic trick, the object is just hidden in somewhere else. So ” ESC” started as a primitive net art sound piece, a sort of pun where people projects their wish to hear the sound coming from the logs, when the sound would actually comes from a false connection. Then I pushed the piece to a real amplification of the space and finally made it sound sufficient, interactive and playable for the audience as an instrument.
You are exploring the relation between the object, which is actually the logs, and the sound coming from the log itself, but also from the movement catch by some acoustic sensor. Can you explain the system that you used to make it happen ?
The dynamics was to translate the audio noise generated by the central log into a midi signal so the audience could perform it on the Meeblip controller. It was a bridge between digital and analog process of making sound. Each log had a sensor that modulated the general sound when people are walking around the piece so at the end there was no possible control but a playful dialogue.
Opening the object, touching it and looking at it, contribute to the discovery of different aspects of the poetry. How would you like to react now with the tactile side of your project ?
The evolution of the sound installation into a instrument is definitely an exciting perspective. I was quite surprised by the first reaction of the audience to touch the logs, I mean usually it is quite obvious that you do not touch the piece in an exhibition but the wood was attracting them. It is a very sensual medium and I can’t wait to make a tactile version in the future.
It was your first performance on Wednesday, 15th October, 2015 at Berghain.How was the reception of the audience ?
I was overwhelmed, that people have been asking so many questions and having a lot of fun of making noise music, in spite of the wardrobe people who were desperate due to the repetitive aspect of the sound. Ironic, isn’t it?
Who is Marianne Jacquet ?
I could define myself as a creative activist, who elaborate art projects, promote musicians, have band s, make illustration on t-shirt and spread pirate radio shows. My practice is diverse, supporting other artists is also part of my process. I have been influenced by the artist collective, Instant Coffee in Toronto, Grand Magazine in France, the artist gallery Mercer Union. Discovering an independent way to generate art and knowledge as a collective was a real input in my artistic path, and most of my project are collective. I am sensitive to the idea and intension regardless of the media, my work is fed by anthropology, ethnology, science fiction, the newspaper and of course music.
So now we know that we want to have experience of her tricky game again and again.
We love nature and even more listening at her the ear stick on the log.