Myriam Pruvot

Myriam Pruvot

Myriam Pruvot is a mul­ti­dis­ci­pli­na­ry vocal artist. Her work spans visu­al art and per­for­ma­ti­ve instal­la­ti­ons, dra­wing, per­for­man­ce, sound art, impro­vi­sa­ti­on, sin­ging and music com­po­si­ti­on.

Although both of her artis­tic appro­ach and prac­ti­ce bor­row from diver­se sup­ports, it is always dri­ven by the ques­ti­on of sin­ging’. Singing rather than song” — as a usa­ge or func­ti­on, of tho­se which may also ema­na­te from sour­ces other than that of human cul­tu­re. For this, she con­si­der field or docu­men­ta­ry recor­dings to have an equal func­ti­on to her own voi­ce. In return she herself some­ti­mes bor­row others’ voi­ces, through archi­ve or elec­tro­nic mimi­cry.

This hori­zon­tal appro­ach and the mul­ti­pli­ca­ti­on of uses of the­se voi­ces’ (acous­tic, sequen­ced, docu­men­ta­ry) has led her to jux­ta­po­se and to hybri­di­se dif­fe­rent musi­cal and sound regis­ters or gen­res. This way, she com­bi­nes medie­val and glitch music, sounds­ca­pe and impro­vi­sed music, dro­ne and/​or folk. The affects, tex­tu­res and reliefs of the­se sin­ging ani­ma­te her more than their poten­ti­al vir­tu­o­si­ty.

Reflecting on the cir­cu­la­ti­on bet­ween the one who pro­du­ces and the one who lis­tens, she appro­a­ches the cre­a­ti­ve pro­cess through a sonic and femi­nist per­spec­ti­ve re-enac­ting the radio metap­hor of the sen­der and the recei­ver as an artis­tic gestu­re and a poli­ti­cal posi­ti­on.

She gra­du­a­ted in Fine Arts School, whe­re she has taught edi­ti­on. She has also trai­ned in impro­vi­sa­ti­on, vocal tech­ni­ques and sound cre­a­ti­on. She has col­la­bo­ra­ted as an author and per­for­mer on many radio pro­jects (with artists Alessandro Bosetti, La vie mani­fes­te, Anne-Laure Pigache) musi­cals, (with Sylvain Chauveau, Stéphane Garin), cho­re­o­grap­hy (with Clément Aubert, Céline Cartillier, Collectif Groupenfonction, Isabelle Croxatto, Léa Pischke) or the­a­ter (Désorceler la Finance, Matthias Varenne) in Europe, South America and Canada.

After a long stay in Chile, she publis­hed in 2013LP mixing field recor­ding, impro­vi­sed music and phi­lo­so­p­hi­cal text entit­led Niebla. She will con­ti­nue the exis­ten­ce of this album in con­cert under the insu­lar name of Monte Isola in Belgium, France and Portugal. In 2015 she joi­ned Prototype II, a research pro­gram in cho­re­o­grap­hic com­po­si­ti­on entit­led ” The vocal pre­sen­ce in the cho­re­o­grap­hic sco­re” at Royaumont’s Abbey, as a com­po­ser. She anchors on this occa­si­on her voi­ce /​gesture appro­ach and cre­a­ted the per­for­man­ce La paro­le chan­ceu­se.

In 2017, she adapts this solo in radio cre­a­ti­on with the Empreinte grant and inte­gra­tes l’Atelier de Création Sonore Radiophonique. In the same year she acces­ses a resi­d­en­cy on the island of Comacina (Italy) as part of the Wallonia Brussels Federation. In 2018 she is invi­ted by Les Halles de Schaerbeek to stay in Morocco and makes a sound instal­la­ti­on Safar and a radio cre­a­ti­on Je par­le tou­tes les lan­gues, mais en ara­be.

In 2019 she was awar­ded a resi­d­en­cy at ISELP (hig­her insti­tut for visu­al art)in Brussels to con­ti­nue her research on ora­li­ty with a publi­ca­ti­on Singing Archives, a per­for­man­ce Engrammer and an instal­la­ti­on 3 x Tirésia.

Since 2011 she has com­po­sed a dozen sound cre­a­ti­on for the living arts and she regu­lar­ly acts as an artist and peda­go­gue on vocal dra­ma­tur­gy issues. She devel­ops during work­shops (Motérialité, Voix Impossibles) her own trans­mis­si­on tools and she now tea­ches in the fine art school of La Cambre.

Her work has been shown at the ECOS fes­ti­vals in Lisbon, MONOPHONIC and ARS MUSICA in Brussels, RE: FLUX in Quebec and more recent­ly during the fes­ti­val LES YEUX GRAND FERMÉS in Geneva or the exhi­bi­ti­ons VISION and BABEL in Halles de Schaerbeek and ISELP. Her latest col­la­bo­ra­ti­ons have been per­for­med at the Kunstfestivaldesarts and at the Galeries cine­ma in Brussels. She is cur­rent­ly wor­king on a radio cham­ber ope­ra for 2021.