15 sequences, total duration 28'54
Voice : Emilie Mousset
Mixing : Jules Wysocki
Son’arles (bis) is the first sound work created specifically for the Chambre d'Ecoute (The listening room) of the Musée Réattu (at the invitation of Marc Jacquin and Daniel Rouvier). It draws its material from multiple fragments drawn from exercises produced in the ‘Creative Sound Documentary’ workshops led by Kaye Mortley in Arles between 1989 and 2017, aimed at young artists from all backgrounds: radio, cinema, music, visual arts, and performing arts. The ambition of this course, one of its kind in France, was to encourage participants to become ‘authors’ using the sounds of the world – in this case, the sounds of Arles. On opening the boxes of archives, accumulated over thirty years, we discover the joyful and astonishing "sketches" of reality which they contain: the purpose of this new work is to invite you to close your eyes and experience Arles differently.
Born in Australia and based in Paris for the past 40 years, Kaye Mortley began ‘writing with the sounds of reality’ after discovering France Culture's ACR (Atelier de création radiophonique) in the 1970s, while still working for Australia's public radio station, ‘the ABC’ (Australian Broadcasting Corporation)...This was a time when radio writers (like some filmmakers) were leaving the studio for the streets, in search of new directions. The extreme finesse of her mixes and the formal quality of her productions have earned her awards at numerous international festivals, including the Prix Futura Prize in Berlin (1979, 1985, 1991, 1998, 2001), the Prix Italia (2005), the IRIB Grand Prix (2006) and, in 2017, the Grand Prix de la SCAM for the body of her work. Her productions are broadcast throughout Europe and beyond. She has led numerous conferences, workshops and seminars on creative documentary film making. (Especially in Arles, since 1989, where she has frequently participated in the jury for the Phonurgia Nova International Competition Awards.) Her personal work seeks to question the specificity of the creative documentary: exploring the boundaries between reality and fiction, creating a radio syntax and vocabulary, and constructing a narrative form which can only fully exist in the dematerialised space of ‘radio’.
