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European district, Strasbourg

2024-07-10T11:20:14+01:00

Aux marches du palais (On the palace steps)

Photo: ©Elisa Hahn

Details

Price: Free

Age: 10+

Duration: 45min – 1h

Partners

Lieu d’Europe and the Compagnie Rebonds d’histoires

Starting point

Lieu d’Europe
European District, Strasbourg

“Peut-être qu’en plaçant ici cette statue, la Grèce a souhaité renforcer son influence en Europe.

C’est un pari risqué tout de même, que de vouloir mettre les dieux à son service. Notamment Poséidon. Poséidon, un dieu complexe aux multiples facettes.

Poséidon est bien sûr connu pour son emprise sur les flots et le monde sous-marin, mais on le surnomme également « l’ébranleur du sol »”

This soundfiction takes place around the European district.

European buildings were built to enable countries and their inhabitants to meet, debate, make laws, discuss, celebrate and fight for ideas.

But that’s not all. When people move, their stories travel with them. So when Europe was made here, in Strasbourg, the stories, tales and mythologies of all Europe came too. And with the stories came all the characters and creatures that populate them.

The gods. The monsters. The elves. The fairies. A whole parallel world has settled here in Strasbourg, in this district.
In a good parallel world, it’s almost invisible, even if some of these characters like to be embodied in statues or trees. That’s what we’re going to find out during this soundfiction. So keep your eyes and ears open, and let us help you uncover the traces of this other world

A sound fiction available from May 05, 2024 on the dedicated app – GOH

Know more

Antoine Spindler – Trained at the Strasbourg Conservatory in the classes of Ana Haas (violin) and Claude Ducroq (viola), as well as at the University of Strasbourg in musicology, Antoine Spindler has trained (Ircam, Fastlane, PML…) and specialized in electroacoustic and mixed music. He teaches in the Electroacoustic Creation and Interpretation class at the Conservatoire and L’Académie Supérieure de Musique-Hear in Strasbourg. He currently plays with the trio Jafta, with whom he released the album Traces, and with the duo Svië, with whom he created the album Port Data. His experiences have enabled him to collaborate with various ensembles and musicians (Linéa, Live Animated Orchestra, the Ethos quartet, Plurium, Clara Olivares, Eve Risser etc.) as well as with different authors (Hélène Gaudy, Jean Fauque, Valérie Manteau, Sébastien Dicenaire, Lucie Taïeb etc.).

Annukka Nyyssönen was born in Finland to a Finnish father and an Alsatian mother. Developing a particular interest in stories, tales and myths, she has made it her profession, with a particular attraction to the repertoire of marvelous tales and myths. She performs on stage, often in media libraries, festivals and schools. For ten years or so, she attended the Ecole Noire sessions with Myriam Pellicane, a training course in the arts of the spoken word that delves into the sources of oral tradition. She was also part of the SISTAS adventure, which brought together some twenty female storytellers on the island of Oléron to explore the specificity of women’s art. Alongside her performances, she leads talks and cultural action projects, and is a keen participant in collective experiments and local projects, particularly with the Front de l’Est collective.

Matthieu Epp works as a professional storyteller, and has done so for some fifteen years. After studies in computer science and a career in popular education, he forged his tools through encounters and disciplines (music, dance, object theater, improvisation). He presents his shows throughout the French-speaking world (France, Belgium, Quebec…) in theaters, storytelling festivals, media libraries, retirement homes and schools. His repertoire ranges from mythology to science fiction, with a fondness for traditional tales and life stories. No two shows are alike. For each project, he’s keen to develop a form that will serve the issues as closely as possible. For example, he offers storytelling tours at home with acoustic instruments, as well as more spectacular forms with images and electronic music.

After studying classical piano as a child, Fabrice Kieffer entered the Strasbourg Conservatoire and discovered improvisation, percussion, jazz and traditional music. He developed a passion for the accordion, which he studied with the musicians of the Bal’us’trad collective. He is involved in all kinds of artistic projects: jazz, improvised music, traditional music with “en passant par la Montagne”, street shows, festive fanfare, theater music with the Baraban company. His identity is marked by musical eclecticism, curiosity and a permanent polyinstrumentism.

La Ville de Strasbourg , la Région Grand Est, le FEDER, la Collectivité européenne d’Alsace et la DRAC Grand-Est.

Credits

Text and voices: Matthieu Epp and Annukka Nyyssönen

Realisation: Gaëtan Gromer

Music:  Antoine Spindler

Hurdy-gurdy and accordion: Fabrice Kieffer

Sound recordings, mix: Antoine Spindler 

Application: GOH

Executive producer: Les Ensembles 2.2

Partners: Rebonds d’histoires and Lieu d’Europe

Reims

2024-07-10T13:46:56+01:00

Une conversation

Picture: ©Matëo Granger

Details

Price : Free

Age : 10+

Duration : 45min/1h

Partner

Saint-Ex, Culture Numérique

Place

Reims

Une conversation is a geolocated soundwalk that invites you to follow two women as they wander around the city of Reims.

Hélène and Lucie meet up after a long time apart. Hélène, who has lived in Reims all her life, has lost an object, and to find it she invites her friend to retrace the route they took the day before. Lucie discovers the city through Hélène’s memories.

They walk through the streets, and as they go, in between lines, we wonder: what has she really lost? What are they looking for? Who is Hélène? Elements escape logic and chronology, and little by little, in the dialogue, the past comes up. From one street to the next, through the different buildings and eras, the discussion operates by telescoping and breaking up: the strict framework of the present explodes.

Through past events and their present echoes, through the bodies of Hélène and Lucie and their presence in the city, the condition of women and their contradictions are also revealed.

A project under development with the support of Saint-Ex, Culture Numérique.

Sound fiction available in 2024 on the dedicated application – GOH

Know more

Gaëtan Gromer, born in 1978, is a sound composer, artist and director who lives and works in Strasbourg. He is the artistic director of Les Ensembles 2.2. He regularly brings his work into conversation with other disciplines, and has notably worked with Maria La Ribot, Valérie Manteau, Hélène Gaudy, Etienne Fanteguzzi, Sebastian Dicenaire, Eve Risser, Lucie Taïeb, Clara Olivares, LNLO, Samuel et Léo Henry, luvan, Zahra Poonawala, Stéphane Perger, Espèce de collectif…

He regularly performs and exhibits in Strasbourg (Musica, Ososphère, ONR, TNS, PMC, Maillon, Pôle Sud, etc.), as well as at MAMCO (Geneva), CAC (Vilnius), CCAM (Vandoeuvre), Gymnase (Roubaix), Laboral (Gijon), Transient (Paris), Accès)s( (Pau), Lieu Multiple (Poitiers), Contemporary Art Biennale (Sélestat), Nuit Blanche (Brussels), Digital Life (Rome), Electric Nights (Athens)…

Amélie Lucas-Gary was born in Arcachon in 1982 and lives in Paris. After studying History and Cinema at the Sorbonne, Amélie Lucas-Gary graduated from the National School of Photography in Arles in 2009. Since then, her practice has evolved, and she has published three novels: Grotte (2014), published by Christophe Lucquin Éditeur, Vierge (2017) and Hic (2020), published by Éditions du Seuil. The latter was written during a writing residency in New Zealand. All Amélie Lucas-Gary’s novels deal with the question of creation: that of the universe in Hic, the author’s genesis in Vierge, the beginnings of art history in Grotte. She regularly works with artists on catalogs, exhibitions and performances. Today, she uses photography, sculpture and writing in turn or in conjunction, proposing a form that resonates with the artist’s work and shifts the way we look at the works. In this way, her literary work is strongly influenced by her preoccupations with the plastic arts, which she uses to serve her appetite for romance and adventure.

Antoine Spindler – Trained at the Strasbourg Conservatory in the classes of Ana Haas (violin) and Claude Ducroq (viola), as well as at the University of Strasbourg in musicology, Antoine Spindler has trained (Ircam, Fastlane, PML…) and specialized in electroacoustic and mixed music. He teaches in the Electroacoustic Creation and Interpretation class at the Conservatoire and L’Académie Supérieure de Musique-Hear in Strasbourg. He currently plays with the trio Jafta, with whom he released the album Traces, and with the duo Svië, with whom he created the album Port Data. His experiences have enabled him to collaborate with various ensembles and musicians (Linéa, Live Animated Orchestra, the Ethos quartet, Plurium, Clara Olivares, Eve Risser etc.) as well as with different authors (Hélène Gaudy, Jean Fauque, Valérie Manteau, Sébastien Dicenaire, Lucie Taïeb etc.).

Ville de Strasbourg, Région Grand Est, FEDER, Collectivité européenne d’Alsace and DRAC Grand-Est.

Credits

Text: Amélie Lucas-Gary

Realisation: Gaëtan Gromer

Music: Gaëtan Gromer, Antoine Spindler

Voices: Pauline Leurent et Marie Seux

Sound recordings: Antoine Spindler 

Application: GOH

Executive producer: Les Ensembles 2.2

Co-production:  Saint-Ex, Culture Numérique

History & heritage consultant: Véronique Palot-Maillart

Acknowledgement: Eva Chanoir

Citadelle, Marseille

2024-07-10T13:09:56+01:00

L’île aux chiens (the isle of dogs)

Picture: ©Matëo Granger

Details

Price: Free

Age: 10+

Duration: 20/30 min

Organiser

La Citadelle de Marseille
Chroniques – La Biennale des imaginaires numériques

Place

Around the Citadelle
Marseille

When I was a kid, I dreamt of being a lighthouse guardian, and as things have turned out, I wasn’t too far off. When people ask what I do, I say I’m the Guardian of the Fort.

You might think my imagination is far too vivid, and you wouldn’t be wrong. The thing is, I have to imagine things, given that I’m on my own all day. It’s a pretty solitary line of work, but with the echoes of so many stories in my head, I’ve got plenty to keep my mind busy.

The opening of Fort Saint-Nicolas to the public in 2024, even if only partially, is a highly anticipated event for the residents of the city of Marseille. A heavy gate will finally open on one of Marseille’s most visible, best-identified buildings, most steeped in history – but also one of its most mysterious.

Valérie Manteau invites you to explore the sensitive shadowy areas that remain in the interstices of Marseille’s great heroic history, which was written stone by stone in the fort. A walk among the ghosts that plunges you into the mysteries of the Citadelle and sheds light on a little-known episode shrouded in fantasy and suspicion: the occupation of the Citadelle by hundreds of animals, under the aegis of the Army Health and Veterinary Service from 1978 to 2011.

By entrusting its evocation to a civilian who is simply a dog walker, this sound fiction, embodied at a human level, will accompany your journey and try to lift the veil on the taboos protected by the walls that stand in the heart of the city.

Sounwalk available from May 4 on the dedicated application – GOH

Know more

Valérie Manteau – is a French author, editor and columnist. Her first two books, Calme et Tranquille (2016) and Le Sillon (2018), are published by Le Tripode. For these first novels, she draws inspiration from Turkey, a country close to her heart, to weave her narrative. In 2018, she won the Prix Renaudot for her second novel, Le Sillon. A former member of the “Charlie Hebdo” team, she was also editor at Les Échappés from 2008 to 2013.
In 2013, she joined the Musée des Civilisations de l’Europe et de la Méditerranée (Mucem) in Marseille, as publishing and distribution manager. She now lives between Marseille and Istanbul.

Gaëtan Gromer, born in 1978, is a sound composer, artist and director who lives and works in Strasbourg. He is the artistic director of Les Ensembles 2.2. He regularly brings his work into conversation with other disciplines, and has notably worked with Maria La Ribot, Valérie Manteau, Hélène Gaudy, Etienne Fanteguzzi, Sebastian Dicenaire, Eve Risser, Lucie Taïeb, Clara Olivares, LNLO, Samuel et Léo Henry, luvan, Zahra Poonawala, Stéphane Perger, Espèce de collectif…

He regularly performs and exhibits in Strasbourg (Musica, Ososphère, ONR, TNS, PMC, Maillon, Pôle Sud, etc.), as well as at MAMCO (Geneva), CAC (Vilnius), CCAM (Vandoeuvre), Gymnase (Roubaix), Laboral (Gijon), Transient (Paris), Accès)s( (Pau), Lieu Multiple (Poitiers), Contemporary Art Biennale (Sélestat), Nuit Blanche (Brussels), Digital Life (Rome), Electric Nights (Athens)…

Antoine Spindler – Trained at the Strasbourg Conservatory in the classes of Ana Haas (violin) and Claude Ducroq (viola), as well as at the University of Strasbourg in musicology, Antoine Spindler has trained (Ircam, Fastlane, PML…) and specialized in electroacoustic and mixed music. He teaches in the Electroacoustic Creation and Interpretation class at the Conservatoire and L’Académie Supérieure de Musique-Hear in Strasbourg. He currently plays with the trio Jafta, with whom he released the album Traces, and with the duo Svië, with whom he created the album Port Data. His experiences have enabled him to collaborate with various ensembles and musicians (Linéa, Live Animated Orchestra, the Ethos quartet, Plurium, Clara Olivares, Eve Risser etc.) as well as with different authors (Hélène Gaudy, Jean Fauque, Valérie Manteau, Sébastien Dicenaire, Lucie Taïeb etc.).

The City of Strasbourg, the Région Grand Est, the ERDF, the Collectivité européenne d’Alsace and the DRAC Grand-Est.

Credits: 

Text: Valérie Manteau

Production: Gaëtan Gromer

Music: Gaëtan Gromer, Antoine Spindler

Voice: Stina Soliva and Matëo Granger (french version), Ella Perrin and Richard Doust (english version)

Sound recordings, mix: Antoine Spindler 

Application: GOH

Executive producer: Les Ensembles 2.2

Partners: La Citadelle de Marseille, Chroniques – Biennale des imaginaires numériques and Radio Grenouille

Belfort

2024-07-10T13:20:09+01:00

Ouwa

Ouwa - fiction sonore géolocalisée

Picture: ©Matëo Granger

Details

Free

Age: 12 +

Duration ≈ 45min/1h

Partner

Espace Multimédia Gantner

Place

Etang des Forges (forges pond)
Belfort

“Les plantes chantent les affects – aux premiers rangs desquels la tendresse et l’attachement – et les émotions – parmi lesquelles on notera, en territoire d’Ouwa, une prédominance de la joie et de la mélancolie.” 

Ouwa is a geolocated soundwalk around the Forges pond, offering an immersive experience that makes living things audible.

During this fictional journey, you are projected into the distant future, where the Forges pond is now part of Ouwa territory. Author luvan invites you to an encounter with the world of plants. A utopia where strange sensory mutations enable a few individuals, known as “flora singers”, to hear, see and smell plants. 

Immerse yourself in a world where the boundaries between humans and plants become blurred. Follow this poetic trail, let yourself be guided and explore a world where nature speaks in mysterious languages. 

Welcome to Ouwa territory, where every step is an encounter with the unexpected.

Inspired by the therolinguistics of American science fiction author Ursula Le Guin, the Ouwa soundwalk offers an immersion in a “What if we could hear the rest of the world”.

A project in development with the help of the Espace multimédia Gantner.

Soundwalk available in 2024 on the dedicated application – GOH

Know more

luvan is an author. Her work focuses on the creation of complex imaginary places, both utopian and dystopian, enabling her to comment on and anticipate current events. For her, fiction is a tool for social and political reflection. Passionate about sound and traditional oral materials, she also writes plays, performs and creates radio programs. She is an active member of the Zanzibar science fiction writers’ collective, alongside Sabrina Calvo, Alain Damasio, Catherine Dufour and Léo Henry, among others. Trained as a historian, luvan (real name Marie-Aude Matignon) lived in Africa, the Pacific, France, China, Scandinavia and Belgium before settling in Germany.

Gaëtan Gromer, born in 1978, is a sound composer, artist and director who lives and works in Strasbourg. He is the artistic director of Les Ensembles 2.2. He regularly brings his work into conversation with other disciplines, and has notably worked with Maria La Ribot, Valérie Manteau, Hélène Gaudy, Etienne Fanteguzzi, Sebastian Dicenaire, Eve Risser, Lucie Taïeb, Clara Olivares, LNLO, Samuel et Léo Henry, luvan, Zahra Poonawala, Stéphane Perger, Espèce de collectif…

He regularly performs and exhibits in Strasbourg (Musica, Ososphère, ONR, TNS, PMC, Maillon, Pôle Sud, etc.), as well as at MAMCO (Geneva), CAC (Vilnius), CCAM (Vandoeuvre), Gymnase (Roubaix), Laboral (Gijon), Transient (Paris), Accès)s( (Pau), Lieu Multiple (Poitiers), Contemporary Art Biennale (Sélestat), Nuit Blanche (Brussels), Digital Life (Rome), Electric Nights (Athens)… 

Antoine Spindler – Trained at the Strasbourg Conservatory in the classes of Ana Haas (violin) and Claude Ducroq (viola), as well as at the University of Strasbourg in musicology, Antoine Spindler has trained (Ircam, Fastlane, PML…) and specialized in electroacoustic and mixed music. He teaches in the Electroacoustic Creation and Interpretation class at the Conservatoire and L’Académie Supérieure de Musique-Hear in Strasbourg. He currently plays with the trio Jafta, with whom he released the album Traces, and with the duo Svië, with whom he created the album Port Data. His experiences have enabled him to collaborate with various ensembles and musicians (Linéa, Live Animated Orchestra, the Ethos quartet, Plurium, Clara Olivares, Eve Risser etc.) as well as with different authors (Hélène Gaudy, Jean Fauque, Valérie Manteau, Sébastien Dicenaire, Lucie Taïeb etc.).

The City of Strasbourg Ville de Strasbourg, Région Grand Est, ERDF, Collectivité européenne d’Alsace and DRAC Grand-Est.

Credits: 

Text: luvan

Production: Gaëtan Gromer

Music: Gaëtan Gromer, Antoine Spindler

Voices: Sébastien Bizzotto, Florine Chevrolet, Regis Kante, Pauline Leurent

Sound recordings, mix: Antoine Spindler 

Application : GOH

Executive producer: Les Ensembles 2.2

Partner: Espace multimédia Gantner

Wacken, Strasbourg

,
2024-07-10T13:40:05+01:00

Dompter les rivières (Tame the rivers)

Photo: ©Naohiro Ninomiya

Details

Price : Free

Age : 10+

Duration: 1h

Organiser

Festival Musica
Le Maillon – Scène européenne

Place

Wacken district
Strasbourg

Starting point: Theatre le Maillon

DOCUMENTARY . PATCHWORK . MUTATION

A geolocated soundwalk also available in German – Die Flüsse zähmen – from April 18!

“WELCOME TO WACKEN!

Bounded by the Ill to the north-east,

Avenue Herrenschmidt to the west,

the Place de Bordeaux to the south and crossed by the Aar and the Marne-Rhine canal.

Wacken means

“small stones”

We are
where the Rhine used to run.

here, for a long time, it was nothing

the end of the town

wet land

where no one lives”

Dompter les rivières (Tame the rivers) is a multi-faceted, polyphonic, geo-localised soundwalk that takes you on a stroll through the many facets of Wacken, a patchwork district undergoing constant change.

A guiding character, inspired by the Tunisian fortune-teller who was present at the 1924 colonial exhibition, takes us through centuries and spaces. She allows us to navigate between her present, our present, and a more distant future (2123). Her voice intersects with others that are more neutral, factual, passionate, poetic or political. Dompter les rivières is also the story of a place that stages itself according to the ideologies that inhabit it. A wild place, veined with water, which little by little, from one narrative to the next, gives way to a utilitarian environment, completely under control.
But beneath the backdrop of this perpetual comedy, the water is always flowing peacefully, looking for the right gaps to gush out.

A soundwalk available on the dedicated application – GOH

Read more

Gaëtan Gromer, born in 1978, is a sound composer, artist and director who lives and works in Strasbourg. He is the artistic director of Les Ensembles 2.2. He regularly brings his work into conversation with other disciplines, and has notably worked with Maria La Ribot, Valérie Manteau, Hélène Gaudy, Etienne Fanteguzzi, Sebastian Dicenaire, Eve Risser, Lucie Taïeb, Clara Olivares, LNLO, Samuel et Léo Henry, luvan, Zahra Poonawala, Stéphane Perger, Espèce de collectif…

He regularly performs and exhibits in Strasbourg (Musica, Ososphère, ONR, TNS, PMC, Maillon, Pôle Sud, etc.), as well as at MAMCO (Geneva), CAC (Vilnius), CCAM (Vandoeuvre), Gymnase (Roubaix), Laboral (Gijon), Transient (Paris), Accès)s( (Pau), Lieu Multiple (Poitiers), Contemporary Art Biennale (Sélestat), Nuit Blanche (Brussels), Digital Life (Rome), Electric Nights (Athens)… 

Eve Risser is a composer, pianist and improviser whose music is rooted equally in jazz, improvisation, the written tradition and contemporary music. After entering the jazz class at the Conservatoire National Supérieur de Musique et de Danse de Paris, she won a conservatory prize in 2008, as well as a soloist prize at the Concours National de Jazz de la Défense. In 2019, she created the Red Desert Orchestra, following a strong interest in Africa and a reflection on the place of the musician in Occident.

Antoine Spindler – Trained at the Strasbourg Conservatory in the classes of Ana Haas (violin) and Claude Ducroq (viola), as well as at the University of Strasbourg in musicology, Antoine Spindler has trained (Ircam, Fastlane, PML…) and specialized in electroacoustic and mixed music. He teaches in the Electroacoustic Creation and Interpretation class at the Conservatoire and L’Académie Supérieure de Musique-Hear in Strasbourg. He currently plays with the trio Jafta, with whom he released the album Traces, and with the duo Svië, with whom he created the album Port Data. His experiences have enabled him to collaborate with various ensembles and musicians (Linéa, Live Animated Orchestra, the Ethos quartet, Plurium, Clara Olivares, Eve Risser etc.) as well as with different authors (Hélène Gaudy, Jean Fauque, Valérie Manteau, Sébastien Dicenaire, Lucie Taïeb etc.).

Lucie Taïeb was born in Paris in 1977. She passed the German agrégation in 2002 and obtained a PhD in comparative literature in 2008. She is currently a lecturer in Germanic Studies at the University of Brest. Her writings span a range of genres, including poetry, novels and essays, and she regularly works with artists. Lucie Taïeb has published several collections of poetry, as well as two novels, both published by Éditions de l’Ogre. Her second novel, Les échappées, was awarded the Prix Wepler in 2019. She is also a translator, notably of Austrian poets including Ernst Jandl and Friederike Mayröcker.

The city of Strasbourg, the Région Grand Est, the FEDER, the Collectivité Européenne d’Alsace (CEA), the DRAC Grand-Est and CREAA – University of Strasbourg

Credits

Text: Lucie Taïeb

Realisation: Gaëtan Gromer

Music: Antoine Spindler, Eve Risser

Voices: Fayssal Benbahmed, Pauline Leurent, Maxime Pacaud and Marie Seux

Voices (German): Amélie Belohradsky, Katja Harsdorf, Christophe Palz, Moritz Pliquet

Recording studio: Innervision

Text translation: Tatjana Marwinski

Sound recordings: Antoine Spindler

Application: GOH

Production: Les Ensembles 2.2

Co-production: Festival Musica, Theater le Maillon – Scène européenne

Schiltigheim Ouest

2023-03-03T17:30:20+01:00

Oniropolis

Photo: ©Naohiro Ninomiya

Details

Price : Free

Organizer

Festival Musica

Location

Parc des Oiseaux
Schiltigheim

ANTICIPATION . DREAMS . TECHNOLOGY

10+ years old

Duration: 45/60 min

In the near future, Oniropolis, a new kind of social network, is a craze among teenagers. It allows you to record, geolocate and share your dreams. Thanks to its famous dream map, it also allows you to glean the dreams of other users. 

But for a few hours, the application has been down. A bug seems to have been triggered in the program, somewhere in France, probably in Schiltigheim. The company decides to send someone into Oniropolis to determine the source of the failure and clean up the system. That person is you.

Oniropolis is an open-air audio story, created and produced by Les Ensembles 2.2. It is a story to be listened to in the streets of Schiltigheim that transports you to an imaginary world through a science fiction narrative.

The author, Sebastian Dicenaire, lives and works in Brussels, but was born in Schiltigheim. With the Strasbourg-based composer duo Svië, he returns to his home town to create an audio story that explores the world of dreams and social networks. 

Take your phone, download GOH, put on your headphones and start wandering. The buried secrets of the Oniropolis application await you in Schiltigheim…

Read more

Oniropolis is the fruit of a creative process familiar to the three artists: immersion in the territory, then the use of the material collected – sounds, stories, testimonies of the inhabitants – as inspiration for the writing and composition. 

For Schiltigheim, this content was enriched by the participation of pupils from eight classes in the town’s schools, who shared their view of their living environment through anecdotes and stories, real or imaginary. Some students even had the opportunity to create a ‘detour’: a small exclusive soundwalk, the result of the educational work carried out with them.

All this material served as a starting point for the artists to create an intriguing literary and sound universe that was immersed in the place. The result is accessible on the GOH mobile application, which uses geolocation to offer you an immersive experience that evolves throughout your walk.

Sebastian Dicenaire was born in Alsace, and now works in Brussels. Writer, poet, author of radio fiction and podcasts, he uses language both in writing and through sound and video. He has published works of poetry (Döner-kebab, ed. Héros-Limite; Personnologue, ed. Clou dans le fer; Dernières Nouvelles de l’Avenir, ed. Atelier de l’agneau… ). In his performances, he tries to push the limits of the spectator’s imagination by encouraging them to create their own ‘mental cinema’, mixing text and sound. His radio fiction blends many genres – poetry and science fiction, mythology and technology – and has won awards at several festivals. 

Svië is a duo made up of Gaëtan Gromer and Antoine Spindler, sound artists and composers of electro-acoustic music.

Gaëtan Gromer leads a creative activity at a crossroads between composition, performance and multimedia installation. He uses the astonishing power of suggestion and immersion of sound to deliver a certain view of the world, a particular point of hearing, to ‘tell’ with sound. He is one of the winners of the Imagina Atlantica 2012 European Digital Arts Prize in Angoulême and wrote the music for Samuel Henry’s Juste l’embrasser, which won the SABAM prize at the Brussels International Fantastic Film Festival in 2008.

Antoine Spindler is a violist and teacher at the Haute école des Arts du Rhin. A member of the Ethos Quartet and the Plurium Ensemble, he has also played with the Linéa Ensemble and the Strasbourg Philharmonic Orchestra. He has performed on several stages, including the Festival Musica in Strasbourg, the Tonhalle in Zurich and the Asian-Pacific Contemporary Music Festival in Seoul, South Korea. He specialises in electroacoustic and mixed music, notably with the Live.Animated.Orchestra or as a member of the Jafta trio.

Region Grand-Est and DRAC Grand-Est

Credits

Artistic director: Gaëtan Gromer

Text: Sebastian Dicenaire

Music: Svië (Gaëtan Gromer, Antoine Spindler)

Sound recording: Svië

Visual: Naohiro Ninomiya

Voices: Pauline Leurent, Milan Morotti

Pedagogical contributors: Arthur Gander, Hugo Siclier, Sylvain Debrock

Derush interviews and workshops: Valentin Hetzel

Production: Les Ensembles 2.2

Co-production: Festival Musica

Acknowledgements: Sylvie Zorn, the students and teachers of the different schools for their involvement in the project.

Belval, Esch-sur-Alzette

2023-03-03T17:30:01+01:00

Acid Reine Cie.

Illustration: ©Valérie Etterlen

Details

Available until december 2023

Organiser:

Esch2022

Location

Belval, Esch-sur-Alzette, Luxembourg

Start :
8 Porte de France, Belval
10 years old +
Duration : 30 / 45 minutes

SCIENCE-FICTION . ANTICIPATION . DATA

10 years old +

Duration : 30 / 45 minutes

Welcome to Belval, home of the Acid-Reine company, the most promising digital company of recent years. Why exactly did you come here? And what do you know about the Acid-Reine company?

In this futuristic soundtrack, an innovative company offers to recycle your digital data into almost unlimited green energy. But this success is tinged with mystery: of the two founders of the company, one went mad, and the other disappeared in unexplained circumstances…

The story invites us to ‘cross the border’: between the visible and the invisible, the real and the imaginary; between Belval and the rest of the world. The musical composition conveys the strangeness of the neighbourhood: a modern, changing, multi-layered place on the borders of the unreal.

Acid-Reine Cie. was created as part of the In the field project for Esch2022, European Capital of Culture.

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Belval is a delimited space, a place rich in history, which does not leave much room for the imaginary, for wandering, for the margin, for the unfinished. This gave the authors the desire to propose a counter-narrative, to imagine the other side of the scenery.

Thus, the neighbourhood served as a place of embodiment for the text, setting its shape and limits. The geography of the streets structured the narrative, imposed chapters, divisions, breathing spaces, a dividing line. This transposition of the fictional universe into the real world also served as a backdrop for the various themes of the story: data processing, the relationship between the digital and the living, the abuses of new technologies, etc.

The musical compositions convey the strangeness emanating from Belval. A modern, changing, multi-layered place, but one that seems to float permanently on the edge of unreality, where it is sometimes difficult to distinguish between what is authentic and what is not, what is ‘finished’ and what is being built. A feeling that strongly coloured the music.

Belval is a place of visible traces, of sounds that are interpreted rather than identified. The composers wanted to play with this boundary by proposing ultra-worked sounds which nevertheless seem perfectly natural or by using almost raw recordings which, out of context, seem completely stylised. If you listen carefully, certain sounds seem to stand out, but each time, something sows a seed of doubt…

Sebastian Dicenaire was born in Alsace, and now works in Brussels. Writer, poet, author of radio fiction and podcasts, he uses language both in writing and through sound and video. He has published works of poetry (Döner-kebab, ed. Héros-Limite; Personnologue, ed. Clou dans le fer; Dernières Nouvelles de l’Avenir, ed. Atelier de l’agneau… ). In his performances, he tries to push the limits of the spectator’s imagination by encouraging them to create their own ‘mental cinema’, mixing text and sound. His radio fiction blends many genres – poetry and science fiction, mythology and technology – and has won awards at several festivals.

Svië is a duo made up of Gaëtan Gromer and Antoine Spindler, sound artists and composers of electro-acoustic music.

Gaëtan Gromer leads a creative activity at a crossroads between composition, performance and multimedia installation. He uses the astonishing power of suggestion and immersion of sound to deliver a certain view of the world, a particular point of hearing, to ‘tell’ with sound. He is one of the winners of the Imagina Atlantica 2012 European Digital Arts Prize in Angoulême and wrote the music for Samuel Henry’s Juste l’embrasser, which won the SABAM prize at the Brussels International Fantastic Film Festival in 2008.

Antoine Spindler is a violist and teacher at the Haute école des Arts du Rhin. A member of the Ethos Quartet and the Plurium Ensemble, he has also played with the Linéa Ensemble and the Strasbourg Philharmonic Orchestra. He has performed on several stages, including the Festival Musica in Strasbourg, the Tonhalle in Zurich and the Asian-Pacific Contemporary Music Festival in Seoul, South Korea. He specialises in electroacoustic and mixed music, notably with the Live.Animated.Orchestra or as a member of the Jafta trio.

With the support of Esch2022, European Capital of Culture, as well as the French Ministry of Culture, the DRAC Grand Est, the Région Grand Est, the Centre National de la Musique, the Collectivité Européenne d’Alsace, the Département Meurthe-et-Moselle, the Ville d’Esch-sur-Alzette, the Ville et Eurométropole de Strasbourg, the LISER (Luxembourg Institute of Socio-Economic Research), the Musica Festival and the Puzzle Thionville.

In partnership with Residhome Luxembourg and the Cottage Luxembourg.

Credits

Text: Sebastian Dicenaire

Music: Svië (Gaëtan Gromer, Antoine Spindler)

Sound recording: Marc Namblard

Illustration: Valérie Etterlen

Voices: Matëo Granger, Yann Hartmann, Pauline Leurent (French version), Richard Doust, Ella Perrin (English version)

Voice Studio: Innervision

Artistic director: Gaëtan Gromer

Production: Les Ensembles 2.2

Acknowledgements : The Belval Fund

Lasauvage

2023-03-03T17:29:09+01:00

LaSauvage

Illustration: ©Valérie Etterlen

Details

Available until december 2023


Price : Free

Organizer

Esch2022

Location

Lasauvage, Differdange
Luxembourg

Start

Rue principale de Lasauvage, au niveau de l’église

FANTASY . STRANGE . LEGEND

12+ years old

Duration: 45 / 60 min

Here, there are stories under the ground. Noises. Echoes. Voices. Listen carefully and you will hear them. They ride along the slopes. They ride the morning mists. They linger after the sun has fallen behind the hills.

LaSauvage was written by Steve Toase and set to music by Eric Holm. This soundwalk is inspired by the legend of La Femme Sauvage, from which the village where it is located takes its name: a mysterious woman living in the surrounding woods, sometimes a healer, sometimes a witch.

The narrative was formed from several stories, which underwent a series of transformation processes inspired by those used in the extraction and working of iron. The industrial past of the region is thus at the heart of the texts, merging with the legends. The music gives rise to an intriguing atmosphere, transcribing the soul of the place and its hidden stories.

LaSauvage was created as part of the In the field project, for Esch2022, European Capital of Culture.

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Influenced by Jeff Noon’s approach in Cobralingus, the texts have been distorted, reworked and reconstructed to create something new. By merging the legend of La Femme Sauvage with the valley’s industrial past, the latter becomes central to the story and the text is completely transformed.

The trail gives an important place to borders, which are at the heart of the folklore surrounding the legend of La Femme Sauvage: borders between our world and the underworld, between human and animal, between civilisation and wild life, between the damned and the saved. Some boundaries are already present in local myths, such as that of the Cron Stone, under which La Femme Sauvage lay, allowing herself to be drawn into the underworld. Others are generated by the random process used for writing: this creates a tension where the writer does not have full control of the final form of the stories and the structure of the text, constantly standing at the border between readability and chaos.

The music, for its part, lets us perceive chords ‘in suspense’, which never really end, creating a tension, an uncertainty as to the emotions transmitted. The chords are played in sequence but also alone, each one almost overflowing on the next, each one constituting a transition towards a new state of perception. All of this occurs in parallel with a shimmering, shifting ambience in the background, made up of sounds mostly recorded on site. These are shaped to evoke a sense of life, to show the soul of the place, but also the stories hidden behind the rocks and trees, under the houses, buried in the mines and in the earth itself.

Sound design is not intended to serve as background noises for storytelling, but to complement, contrast, and, in some places, conflict with stories. By walking from one place to another in Lasauvage, the sound environments offered to the listener bring out specific aspects of the places and interweave them with the writing. This approach has extracted elements that fully connect the listener to words and earth, sometimes suggesting hidden things just beyond the bounds of immediate perception and consciousness. Listened to through headphones, the sounds create an incredibly close experience of the place, while connecting the listener to a hidden character that is not easily visible on the surface of Lasauvage.

Steve Toase is an author. Born in the north of England, he currently lives in Munich, Germany. In his disconcerting works of fiction, trees can hitchhike and bears play chess in sunny squares. He regularly writes for the monthly Fortean Times and the webzine Folklore Thursday. His fiction has been published in numerous magazines, as well as in The Best Horror of The Year anthology. From 2014 he worked with Becky Cherriman and Imove on the Haunt project, about the homeless in the town of Harrogate and the disturbing contrast between their situation and the town’s economic prosperity. His first collection of short stories, To Drown In Dark Water, was published in April 2021 by Undertow Publications 

Eric Holm is an American sound artist and composer. His work is tied to specific locations: he uses field recordings, inspired by various places, to create immersive soundscapes. A diver for 20 years, his compositions are based on the many dimensions of the sea and his personal relationship with it. His first LP, Andøya (2014), was a field project made from recordings of communication pylons that connected listening stations on a remote island in the Norwegian Arctic. It was followed by Barotrauma (2016), made from recordings near Oslo. His latest work, Surface Variations (2020), a reflection on Debussy’s Sea, was made during a dive on the south coast of England. Eric has performed throughout Europe and the UK. His work is published on Subtext.

With the support of Esch2022, European Capital of Culture, as well as the French Ministry of Culture, the DRAC Grand Est, the Région Grand Est, the Centre National de la Musique, the Collectivité Européenne d’Alsace, the Département Meurthe-et-Moselle, the Ville d’Esch-sur-Alzette, the Ville et Eurométropole de Strasbourg, LISER (Luxembourg Institute of Socio-Economic Research), the Musica Festival and Puzzle Thionville.

In partnership with Residhome Luxembourg and the Cottage Luxembourg.

Credits 

Text: Steve ToaseMusic: Eric HolmSound recording: Eric Holm, Marc NamblardIllustration: Valérie Etterlen

Voices: Mathilde Melero (French version), Ashley Billings (English version)

Voice studio: Innervision

Artistic director: Gaëtan Gromer

Production: Les Ensembles 2.2

Acknowledgements: Frédéric Humbel, Minett Park

Audun-Le-Tiche

2023-03-03T17:28:48+01:00

La Borne de Fer

Illustration: ©Valérie Etterlen

Details

Available until December 2023


Price : Free

Organiser

Esch2022

Location

Audun-Le-Tiche
Moselle

Start: Near the Fond de Kahler, Ottange

Parking : marker 16 of departmental road 15

10+ years old

60/90 minutes

FANTASY . TALES . QUEST .

10+ years old

60/90 minutes

Together, we will go in search of a mysterious creature that has been haunting the woods for an eternity. Unfortunately, I am no longer able to move around, but this app will help me guide you. Moreover, it will also let us capture and hear the voice of this mysterious creature, to understand who it is and what it is doing there. If everything works out as planned, that is.

La Borne de Fer is a sound trail where participants are guided by the designer of a ‘sound emission zone detector’. The aim is to discover what has been hidden in the woods since Roman times, by finding bits and pieces of stories scattered around the forest.

Based on the history of the region, this quest is also inspired by the poetic and legendary potential of the Borne de Fer forest and its mining landscape.

La Borne de Fer was created as part of the In the field project, for Esch2022, European Capital of Culture.

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The stories span several eras, from the time of the Romans to modern times. They are intrinsically linked to the forest and to the mining activity that has structured the region over the centuries. Since La Borne de Fer does not have any legend, the artists themselves invented legends from the history of iron mining and a character who had haunted the woods since antiquity.

In the writing of the stories, the theme of borders is very present. It is approached at different levels: the first, most obvious, is that which concerns the border between the space of the forest and more civilised spaces (town, fields, farms, etc.). Another has been established between the human and the monster, or rather the way we view the monster. We can also envisage a boundary between the time of the walk and the spaces of time summoned by the stories.

Other themes are reflected in the texts, in particular that of the lure of profit. The traces of iron mining in the landscape, visible everywhere in the forest, are a reminder of how many people throughout history have sought to enrich themselves in this territory. The trail chooses to transpose this quest for wealth by creating a legend in which the men are not only looking for ore, but a real treasure hidden in the heart of La Borne de Fer.

The musical composition is part of an already very rich sound landscape.

At the beginning of the journey, the voice of a narrator appears on a large path separating forest and field. The male voice is that of the person who created the app that the listener is using to find a lost treasure. We also hear a female voice trying to lure the listener into the forest, as she has been trapped there since ancient times.

The contrast between these two voices creates a clear boundary between the wilderness (the woman trying to lure the listener into the forest) and the civilised world (the game master who created the app). Throughout the trail, we hear a voice that oscillates between the spoken and the sung, in order to recall the world of tales, which have been accompanied by instruments since the dawn of time. Antoine Spindler plays pizzicato (plucked strings) on his viola to recall this aspect.

Matthieu Epp is a professional storyteller who performs in France, Belgium and Quebec; on theatre stages, and also in storytelling festivals, media libraries, retirement homes and schools. Between 2013 and 2018, he developed the project ‘Il y a des portes’ (‘There are doors’), a mix of live performance, podcast, video game, digital writing and improvisation. Winner of the Tango&Scan scheme, he has been giving video game creation workshops in secondary schools since 2017. He is also developing the YouTube channel of the company Rebonds d’histoires, and has created ‘Les Runes d’Odin’, a show that combines video games and narration, where the audience’s participation influences the story told.

Svië is a duo made up of Gaëtan Gromer and Antoine Spindler, sound artists and composers of electro-acoustic music.

Gaëtan Gromer leads a creative activity at a crossroads between composition, performance and multimedia installation. He uses the astonishing power of suggestion and immersion of sound to deliver a certain view of the world, a particular point of hearing, to ‘tell’ with sound. He is one of the winners of the Imagina Atlantica 2012 European Digital Arts Prize in Angoulême and wrote the music for Samuel Henry’s Juste l’embrasser, which won the SABAM prize at the Brussels International Fantastic Film Festival in 2008.

Antoine Spindler is a violist and teacher at the Haute école des Arts du Rhin. A member of the Ethos Quartet and the Plurium Ensemble, he has also played with the Linéa Ensemble and the Strasbourg Philharmonic Orchestra. He has performed on several stages, including the Festival Musica in Strasbourg, the Tonhalle in Zurich and the Asian-Pacific Contemporary Music Festival in Seoul, South Korea. He specialises in electroacoustic and mixed music, notably with the Live.Animated.Orchestra or as a member of the Jafta trio.

With the support of Esch2022, European Capital of Culture, as well as the French Ministry of Culture, the DRAC Grand Est, the Région Grand Est, the Centre National de la Musique, the Collectivité Européenne d’Alsace, the Département Meurthe-et-Moselle, the Ville d’Esch-sur-Alzette, the Ville et Eurométropole de Strasbourg, LISER (Luxembourg Institute of Socio-Economic Research), the Musica Festival and Puzzle Thionville.

In partnership with Residhome Luxembourg and the Cottage Luxembourg.

Credits

Text: Matthieu Epp

Music: Svië (Gaëtan Gromer, Antoine Spindler)

Sound recording: Marc Namblard

Illustration: Valérie Etterlen

Voices: Sylvie Brucker, Matthieu Epp (French version), Richard Doust, Julia Whitham (English version)

Voice Studio: Innervision

Art Direction: Gaëtan Gromer

Acknowledgements: Jules Ferry Elementary School (Russange)

Production: Les Ensembles 2.2

Schifflange – Kayl

2023-03-03T17:28:21+01:00

Ruby

Illustration: ©Valérie Etterlen

Details

Available until december 2023


Price : Free

Organizer

Esch2022

Location

Réserve naturelle de Schifflange
Luxembourg

Start : Jean Jacoby stadium car park

10+ years old

Duration: 60 / 90 min

SCIENCE-FICTION . BIOGRAPHY . RADIO ASTRONOMY

10+ years old

Duration: 60 / 90 min

Look into the distance. You see the inexpressive mass of the Belval Springboard. Its articulated tentacles erect vertically, like the spikes of a sea urchin foraging the sky, the vertebrae of a brachiosaurus. The Springboard. Our pride in glass and steel.

Ruby is the brainchild of author Luvan and composer Charo Calvo.

The story is directly inspired by the places: the red earth similar to the plateaus of Australia, the thousand-year-old plants, the view of Belval, the remains of mining operations… and takes us to discover the exceptional destiny of Ruby Payne-Scott, an Australian radio astronomer with a passion for botany, who would have been perfectly at home in this setting.

The text, punctuated by scientific references, leaves plenty of room for science fiction elements, inspired by the striking, ‘extra-human’ view of Belval.

Ruby was created as part of the In the field project, for Esch2022, European Capital of Culture.

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A land of extremes, both an ancient fossil quarry and a place of renewal, of lichens, mosses and orchids. A place of extraction and exploitation, but also of rebirth. Scientific references are present throughout the text. It also includes biological and naturalistic principles.

All these themes are dealt with in parallel with the theme of borders. These are numerous: between the earth and the cosmos, between the past and the future, between the surface and what lies beneath. We also explore the frontier of reality: what if there was another Earth? What if the Schifflange Nature Reserve was where two dimensions intersect?

Luvan is an author. Her work focuses on the development of complex imaginary places, both utopian and dystopian, allowing her to comment on and anticipate current events. For her, fiction is a tool for social and political reflection. Passionate about sound and traditional oral materials, she also writes plays, performs and makes radio productions. She is an active member of the science fiction writers’ collective Zanzibar alongside, among others, Sabrina Calvo, Alain Damasio, Catherine Dufour and Léo Henry. A historian by training, luvan (real name Marie-Aude Matignon) lived in Africa, the Pacific, France, China, Scandinavia and Belgium before moving to Germany.

Electroacoustic composer, sound engineer and teacher, Charo Calvo is originally from Spain and currently lives in Brussels. After performing as a dancer with the Belgian company Ultima Vez, she studied electroacoustic composition at the Brussels Conservatory. Her work is developed through different media, and is broadcasted at international events. She has received several awards, including the Marulic Prize 2018 Croatia and the Grand Prix Nova Bucharest 2019. She was selected to represent Belgium at the ISCM 2020 World with her work ‘The Grass’ and is the winner of the Phonurgia Nova 2021 Prize with ‘Vagues de Chaleur’ (‘Heat Waves’).

With the support of Esch2022, European Capital of Culture, as well as the French Ministry of Culture, the DRAC Grand Est, the Région Grand Est, the Centre National de la Musique, the Collectivité Européenne d’Alsace, the Département Meurthe-et-Moselle, the Ville d’Esch-sur-Alzette, the Ville et Eurométropole de Strasbourg, LISER (Luxembourg Institute of Socio-Economic Research), the Musica Festival and Puzzle Thionville.

In partnership with Residhome Luxembourg and the Cottage Luxembourg.

Credits 

Text: luvan

Music: Charo Calvo

Sound recording: Marc Namblard

Illustration: Valérie Etterlen

Voices: Florine Chevrolet, Nelly Henrion, Agnès Sternjakob, Matëo Granger (French version), Florine Chevrolet, Nelly Henrion, Julia Whitham (English version)

Voice Studio: Innervision

Artistic Director: Gaëtan Gromer

Production: Les Ensembles 2.2

b: Laura Daco of the Musée National d’Histoire Naturelle de Luxembourg, Laure Caregari of the Schungfabrik, Marieke Jarvis of MUAR-Musee vun der Aarbecht Luxembourg

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