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BIO
Matthew Biederman works across media and milieus, architectures and systems, communities and continents since 1990. He creates works where light, space and sound reflect on the intricacies of perception. Since 2008 he is a co-founder of Arctic Perspective Initiative, with Marko Peljhan working throughout the circumpolar region. He has served as artist-in-residence at a variety of institutions and institutes, including the Center for Experimental Television on numerous occasions, CMU’s CREATE lab, the Wave Farm, the Finnish Bioarts
Society and many more. His work has been featured at: Lyon Bienniale, Istanbul Design Bienniale, The Tokyo Museum of Photography, ELEKTRA,
Ars Electronica, Bienniale of Digital Art (CA), Artissima (IT), SCAPE
Bienniale (NZ) and the Moscow Biennale (RU), among others.
Alain Thibault's music has been presented locally and internationally in many contexts, including contemporary music and digital art events in North America, Europe and Asia. As a curator and artistic director in the fields of contemporary digital art, electronic music and sound art, Alain Thibault is also the founder of two major events in Montreal: ELEKTRA, an activity presenting digital art performances since 1999, and BIAN, the International Digital Art Biennial, oriented towards exhibitions, installations and public art since 2012.
Whatever decisions are to be made, there are only two possible attitudes. One is to be confident, the other is to be uncertain. It is precisely this Incertitude that Matthew Biederman & Alain Thibault's eponymous performance is about, merging analog material and digital control. This is how paintings with radical forms are modulated, literally contaminated by the synthetic sonorities of a resolutely repetitive music in the manner of a Philip Glass on steroids which, regularly, is tinged with granulosities of different natures. Incertitude thus oscillates between two states going from musical to sonorous and from formal to particulate. It is interesting to note that such machines can only be used in conjunction with more "conventional" computers, both in input and output. This allows us to approach a certain form of complexity that the last part of the performance Incertitude illustrates perfectly via its algorithmic granularity evoking this experimental tendency of the cinema which never denies itself any of the fields of the possible.
Dominique Moulon