The Bourse de Commerce — Pinault Collection invites the French experimental music composer Anne Gillis to present her new musical creation Brouhas (2022), for cassette players, unwound ribbons, and magnetic songs. The evening will end with a live performance by English composer John T. Gast, whose ghostly presence will invade the Auditorium stage. .
John T. Gast
The British composer John T. Gast is elusive. It is difficult to know where the man was born and where he works as information is scarce. His appearances come in the form of album releases under various pseudonyms and labels. In the early 2010s, he is said to have collaborated with Hype Williams, a group made up of artists Dean Blunt—in residence at the Bourse de Commerce — Pinault Collection in November 2021—and Inga Copeland, for their album Black is Beautiful, which is proof of his enduring commitment to London’s underground music scene. In 2015, he accompanied his album Excerpts with these words: “The majority recorded early 2014 in SW England / A particularly fierce winter / Woman reasserting power / Man fighting in the dark / The Cold War continues.” In this thick fog, the sound created by John T. Gast becomes a directional instrument. The artist draws on old melodies and classical compositions, introducing both industrial techno and Irish folk rhythms into his electronic tracks with psychedelic overtones. In 2017 he released the esoteric-sounding album wygdn on the Blackest Ever Black label. He now releases his music on his label 5 GATE TEMPLE. Following a recent collaboration at the ICA (4 Body Problem), John T. Gast will be joined by Charlie Hope (UK) on lights for his live at the Bourse de Commerce.
Anne Gillis is a French artist who emerged in Bordeaux, in the wake of the post-punk, experimental, and industrial scene of the 1980s. She made a name for herself with her radical approach at the Divergences/divisions and Sigma festivals, with her sculptural approach to sound and fascinating play on repetition. Anne Gillis creates repetitive music, made up of short tracks, “pasted” noises from found objects and her own voice, muffled and rumbling. Everyday life is her main source of inspiration. Her performances often go back to the sources of foetal life, in which she choreographs her sound-noises. For almost fifteen years, Anne Gillis disappeared, sustaining a sense of mystery. She resurfaced in 2016 with the performance “Psaoarhtelle” pour plissés, frottements d’air, et ombres projetées, ..., fifteen years after “Oyshoss” pour fandango utérin, cordon ombilical, et signes des langues, ... (2001). Last year she released the album ... some twenty-seven years after its previous release. In 2022, she is presenting her new creation Brouhas, taking over the Foyer and the stage of the Auditorium, turning it into a field of experimentation. Anne Gillis has designed several exhibitions-installations such as Tultim, Pour magnétophone-horloge, sur le thème de l’angoisse du musicien devant la bande magnétique vierge in 1984 at the Centre Pompidou. In 2017, she presented her performance Psaoarhtelle at the Sonic Protest Festival at the Générateur in Gentilly.