La Dispersion du Fils exploits the vast library of images and sounds created by LFKs between 1999 and 2007, concerning the Tragedy of Actæon, by assembling them into a single immense object: the entrails of a dog; a form of visceral, writhing infinite cynema.

The heliacal belly of the bitch

Having mistakenly eaten their young master, whom the naked and brazen Artemis had reshaped into a stag, the hounds of Actaeon roamed the mountains for a whole year in search of him; for they loved him. And though they could find him nowhere, they could sense him everywhere, for his blood was swilling in their guts, his flesh feeding their flesh. In the forests, their hunt grew more frenzied as they unwittingly dispersed their master in their shit and in great jets of piss against the trees. Thus, wherever they searched for him they left something of him behind, which maddened them all the more, for now he was truly everywhere and nowhere.

After a year, the pack burned with such frantic desire and despair that the mountains themselves began to heat, and then the whole Earth, which threatened to combust as does the Sun, which too seemed to draw ever closer. Soon, between planet and star there was nothing more than a narrow breach, into which, on the dawn of the first day of the second year, the hounds of Actaeon finally threw themselves, deranged and exhausted.

Thus the constellation of Sirius the torrid was born, our Canicule, whose heliacal rising every 365.25 days withers crops, blackens forests, inflames tempers and enrages the soul, spreading epidemics of suicide and rage.

In La Dispersion du Fils, we travel to and fro between dog and star, viscera and aether. We witness the transfiguration of animal body into celestial body, and back. All around us revolve and recur the memories of Actæon, borne by the dogs that search for him. Like this, Actæon persists, rent in pieces, fragments of his own experience, suspended in a matrix of blood and spite.

The technological wonder of AVIE allows a return to a place we have never been, to the archaism of Artemis and Actæon, by paths never before taken. It permits our own imperceptible ascent towards an unattainable destination. Ultimately, it allows each of us our own anabasis. Si poteris. Si poteris, licet.

Project Directors: Jean Michel Bruyère, Matthew McGinity, Delphine Varas, Thierry Arredondo

Programmers: Matthew McGinity, Xin Guan, Ardrian Hardjono, Jared Berghold, Alex Kupstov

2008 – 2017

360 panoramic 3D real-time projection, 12.2 channel audio

  • Le Manège, 2018
  • Halles de Schaerbeek, Schaerbeek, 2018
  • DigitaLife@Romaeuropa, Rome, 2017
  • Art of Immersion, ZKM, Karlsruhe, 2017
  • A4 Art Museum, Shanghai, 2017
  • Chorus Art Center, Shanghai, 2014
  • Avignon Festival, Avignon, 2011
  • Matière-‐Lumière, Bethune, 2011
  • STRP Festival, Eindhoven, 2010
  • ALIVE, Hong Kong City University, Hong Kong, 2010
  • Digital Life, La Pelanda, Rome, 2010
  • Seconde Nature, Aix-en-Provence, France, 2009
  • Un Volcan Numérique II, Le Volcan, Scène Nationale du Havre, Le Havre, France, 2009
  • eArts Festival, Shanghai Science & Technology Museum, Shanghai, China, 2008