Mélodie Duchesne

✗ CREATIVE TRANSVERSALITIES & Contextual Process

~ Sound Compositions in Electroacoustic Creations, Music for images & Applied Music ~

Composer, graduate in Electroacoustic (CEM at Conservatory of Marseille), she performs her pieces on acousmonium (in Marseille : "Oreille concrète" at CNRR • GMEM-CNCM • "Tintamarres" at Cité de la musique • "Semaine Acousmodrôme" at Vidéodrôme2 • "Vibération" on P_node • "Supersonique" at Comptoir de la Victorine ; in Toulouse : "Sonoptic" at Mix'Art Myrys ; in Amiens : "JNME – SIMEC"), and broadcasts on the waves "concerts under headphones" (P-node radiostream, Radio Nunc)

Also graduated in Music for image, (DEM at Conservatory of Marseille) she composes for Short films (Original soundtracks or rescoring for experimental & animated films), documentaries or creations for exhibition's projects (Sound editing, Sound design, mixing) and also Ciné-concerts, which are scoring for plectrum quintet, chamber orchestra or mixted music : for acousmatic interpretation and real time instruments (Marseille at CNRR • "Festival Music & Cinéma" at Artplexe Cinéma • Theater La Criée • Festival "Propagations" at GMEM_CNCM • "Semaine Acousmodrôme" at Vidéodrôme2, "Festival Belle de mai" at Gyptis Cinéma • Les Variétés Cinéma • "Mandol'in Marseille" Festival at CPBM • Friche Belle de Mai...)

~ Sound Practices as Interprete & Member in Ensembles ~

In parallel, Mélodie refines her listening skills through long-term practices within ensembles :
– instrumental with “Gamelan Bintang Tiga”

de Gaston Sylvestre, Jérémie Abt,

Indonesian Melodic Percussions for 25 musicians

: Traditionnal Music from Bali & contemporary music (since 2010)
– vocal with “Chœur Tac-Til” de Natacha Muslera,

Écosystèm sighted and blind for 9 voices.

(since 2012)
and through residences, collective laboratories on improvised, experimental, electroacoustic, radiophonic, traditional Balinese & Javanese projects... She participates in sound creations : “Goze, a blind ecosystem“ de Natacha Muslera, Chœur Tactil & Lionel Marchetti ; “Spin” by Éryck Abécassis ; “Tri Bhuwana” by Philippe Boivin ; “Bala Ksatria” by AA Krishna Sutedja ; “Ngayah” by Bintang Tiga & Puspawarna ; “Home” by Jean-Luc Guionnet & Éric La Casa; “Dewi Sri” by Pantcha Indra & Sanggar Pamor, in Java ; “Nist-Nah” by Will Guthrie.

Her curiosity for traditional arts and ritual practices led her to travel to Indonesia and also question the acoustic space that unfolds there...

~ Living Arts : Performances, Experimental Theater, Dance ~

Performer & multidisciplinary artist, her artistic research focuses

(since 2006) on Performance experiments,

which seeks to cross the boundaries of expression fields. Interested by processes and transversal languages, art practicies, her work is exposed in collective exhibitions,

(Installation, Vidéo),

& for living arts

(European Tour : "Diverse Universe" Estonia, Latvia, Lithuania, Bulgaria, Greece, Germany, France, Spain, Finland | Artistic Encounters & Intercultural Exchanges : South Korea, Seoul "KoPas" • Germany "Month of Performance Art - Berlin" • Berlin "Survival" • Bulgaria "Sofia Underground" • Marseille "Préavis de désordre urbain" • Spain, Ténérife Canaries "Arte en Predicado" • Valencia "Ada Festival" • Bilbao "MEM Festival"... | Festivals, Résidences de Créations, Laboratoires : • "Ungemütlich" Marseille & Berlin • Germany, Karlsruhe "Nordbecken Performance" • Finland, Jakobstad "Artopus Festival" • Paris : "Résurgences", "Corpus in Act" & "PLZ" • Toulouse "Mix'Arts Myrys" • Italia, Roma "Crack Festival" • Indonésia, Surakarta "Banjaran Karya"...).

It borrows from the visual arts, performance, dance, experimental a/o immersive theater, vocal improvisation, traditional & contemporary music, electroacoustic projects & compositions, as well as feeds through numerous collaborations.

In a desire to let herself porous to a favorite discipline, the body investment becomes the kinesthetic vector to action.

Mélodie Duchesne works both, for the Institutions and unusual spaces. Her approach explores the diversity of intervention venues

(museum, gallery, theater or extemporaneous spaces, natural environments, urban or industrial area...)

She is invested in contextual performances, and mostly related to the improvisation.
Attentive to relational issues,

the tension of the performative gesture is proportional to the feedback - questioning at the instant - which provides its own chain of events.

Physically engaged, she sometimes risks herself towards an act of surpassing…

Sensitive to Art as Intrusion, the use of diversion gives rise to some landslides.

‘‘The contextual practices by their inherent undetermined articulations, open an experimental playground. A challenge for the performer, as ‘‘modest catalyst’’, is to readjust its expression’s tools to every new situation’’.

Working on improvisations as interrelated to the “space-time context”, according to the Surrealists and Situationists influences, she accentuates and digs into the contradictions of everyday life, its routine, rituals, vices and taboos.

The themes question the Society of Control; the Economy and Consumer Society; Education; the Status of the Artist; Pagan Rituals; the notion of Deterritorialization & Original Fantasies... The notion of Foreign Body runs through her practice and reflections. A common thread that oscillates between fiction and reality and is expressed in her performances and videos.