BIO

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Louis-Philippe Demers makes large-scale installations and performances. He participated in more than seventy artistic and stage productions and has built more than 375 machines.

Demers' works have been featured at major venues such as Theatre de la Ville, Lille 2004, Expo 1992 and 2000, Sonambiente, ISEA, Siggraph and Sonar.

He received six mentions and one distinction at Ars Electronica, the first prize of Vida 2.0, mentions at Vida 12.0 and 15.0, two jury recommendations at the Japan Media Arts Festival, the Interactive prize for Lightforms 98 and six prizes for Devolution including two Helpmann Awards.

Demers holds a Ph.D. on robotic performances from Plymouth University.

Demers is now Professor of Creative Innovation and Director of the Creative Lab at the Queensland University of Technology.

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www.processing-plant.com

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BIO

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Based in Montreal, Bill Vorn is active in the field of Robotic Art since 1992. His installation and performance projects involve robotics and motion control, sound, lighting, video and cybernetic processes. He pursues research and creation on Artificial Life and Agent Technologies through artistic work based on the Aesthetics of Artificial Behaviors.
He holds a Ph.D. degree in Communication Studies from UQAM (Montreal) for his thesis on Artificial Life as a Media. He teaches Electronic Arts in the Department of Studio Arts at Concordia University (Intermedia/Cyberarts program) where he holds the rank of Full Professor.

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www.billvorn.concordia.ca

INFERNO is a participative robotic performance, an absolutely unique show. In this 75-minute involuntary choreography for 2 x 18 participants, the latter wear an exoskeleton that allows the artists to control their movements in synchronization with the music. In addition to the 18 exoskeletons, electronic music and lighting, the version presented at the Focus Québec ISEA Paris 2023 is augmented, with the addition of video and robotic cameras. The result is a unique immersive experience that participants will not soon forget.

 

The specificity of the performance lies in the fact that the portable robotic structures or exoskeletons created by the artists are installed on the bodies of volunteers from the audience. The participants become an active part of the performance: sometimes they are free to move, sometimes they are in a position of partial or total submission, forced by the machines to act/react in a certain way.

 

INFERNO takes its inspiration from the representation of the different levels of hell as described in Dante's Inferno or the Singaporean Haw Par Villa's Ten Courts of Hell (which is based on a Chinese Buddhist representation). In INFERNO, the concept of "circles of hell" is mainly an artistic framework, a general working theme under which the different parts of the performance are grouped.

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Participants limited capacity: tickets

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Produced with the help of
The Canada Council for the Arts
Coproduced with the help of ELEKTRA

La Maison des Arts de Créteil, Arcadi (Paris)
Le Conseil des arts et des lettres du Québec