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Fanny Libert (Belgium) is building an original sound oeuvre through various collaborations with musicians. In Breathing Matter, she gives the textile works and the house their own score, adding layers to unravel.

 

The installation takes possession of the space and offers a moment of expectation and suspension. Silence becomes sound. The visitor is challenged to actively engage with the artworks. The artist creates the space and openness necessary for general awareness by paying attention to coincidences; the more or less fortuitous encounters of a ray of light through the blinds, a door slamming a few floors down and the visitor's privileged presence in their liminal space.

 

On the trail of your...

2024

Composition for flute, cello, pre-recorded sounds and steps

Live performance in the staircase on Saturday 25 May  at the opening of Breathing Matter

Floor 1

This is the recording of ‘On the trail of your...’ made at the exhibition opening on Saturday 25 May. The performance marks the transition from an intimate, private dialogue between oneself and a material, to sharing it with the public and putting it into space. Straddling the boundaries between the exhibition and the concert, the musicians (Lydie Thonnard and Eugénie Defraigne) bring this moment of transition to life. They fill it with their presence and their perceptions, somewhere between those of the artist and those of the audience. The intermingling of an embodied and fully invested present, and different layers of memory, more or less faithful, diffuse or distorted.

 

Floor 2

A sample of intermingled voices, traces and memories of working with Jana Visser, of discovering her practice, in dialogue with the musicians rehearsing.    

Anchored in the world of sound through a variety of outlets, Fanny Libert combines the roles of performer of written and oral music, improviser and composer, responding to different needs for expression and different visions, traditions and relationships to music.

She studied piano with Boyan Vodenitcharov at the Royal Flemish Conservatory in Brussels, composition with Claude Ledoux at the Royal Conservatory in Mons, and regularly takes part in workshops and courses with Wim Henderickx, Joëlle Léandre and other traditional musicians.

Here she forges special links with performers of her generation, with whom she sets up various types of projects, ranging from instrumental ensembles (chamber and solo) to certain forms of musical theatre and mixed music, or involving other media.

Her compositional practice revolves as much around writing for different ensembles and performers as it does around more collaborative forms of composition, with particular attention paid to exchanges with instrumentalists throughout the creative process.

Interview during the residency at Queens Brussels. Watch here:

00:00 / 11:27
00:00 / 04:47
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