Dimitri Coppe

Dimitri Coppe

During a philosophy class at St Luc, Dimitri Coppe discovers, lying in the dark, Come out by S. Reich. Following this double experience -electroacoustic sound, acousmatic listening-, he experimented on his own with a microphone and a 4-track tape recorder. Later he took the electroacoustic composition course at the Mons Music Conservatory. From a double filiation, empirical and academic (1), he develops performances that freely associate composition, improvisation and spatialization. The spatialization of sound is the center of his approach and he develops his own concert instrument made up of groups of inhomogeneous loudspeakers: studio monitors supplemented by horns, piezos, totem... A game interface is developed in collaboration with the Henri Pousseur Center. His approach to sound plays on the ambiguity of sources, sounds, movements, intentions, even perception. This instrument, more expressive and poetic than linear and faithful, is in constant evolution. Privileging the concert, ie the meeting of the public, the collective listening, the live performance, the installation in situ, it does not record.

Alongside personal projects, he collaborates on unusual formats. Olbers' paradoxe is a night concert from 11 p.m. to 6 a.m. (Grüttli theatre, Geneva). 6x + 1 is a mixed improvisation collective: instruments + electronics + spatialization (Schaffhauser Jazz festival). Siren solo is an outdoor performance with siren sounds (Geneva Biennale of Independent Arts). More recently, Et tout se tut- Und alles schwieg, a composition based on the Sonnets to Orpheus by R. M. Rilke, first intended for radio, was adapted for the concert (Makaronic sound poetry festival, Geneva). His performances are presented at the Brigittines, Bellone, Flagey, Théâtre Varia, Théâtre de la Place, and in various festivals: Variasons, Semaine du son, Images sonores, Musique & architecture, Ars musica, Propulse... Abroad, he has notably played at Kukuk (Aachen), @PTT (Geneva), National Taiwan Museum of Fine Arts (Taiwan), CMC (Chaux-de-Fonds), and in various festivals: Présences Electroniques (Paris), Archipel (Geneva), But what are you streaming? (France), Futura (France), Elefanten (Geneva), Elefanten accross the ocean (Taiwan), Elektra (Montreal), Music (Marseille), Hardware stores (France)...

Privileging the depth of listening specific to the concert, he occasionally collaborates with cinema (Trouble and Zeria by H. Cleven, Smoke by G. Grosjean), dance (Log, W. Vandekeybus), theater (Transquinquennal) and radio (Radiophon'ic, Ars acustica Art's Birthday). He taught at the Mons Conservatory and gives composition, spatialization and listening workshops: HEAD (Geneva), NTMoFA (Taiwan), Archipel festival (Geneva), CMC (Chaux-de-Fonds), ACSR (Brussels) , Academy (Brussels, Liège), Jeunesses Musicales and IPPJ, Art and Creation Workshops (Brussels, Liège), International Summer Academy (Libramont). His compositions have been winners or nominated in various competitions: First prize in the Noroît competition (France), Phonorgia Nova (France), "acoustic art" category, UK Radio Drama Festival, Special Prize in the Ear competition (Hungary), Honorable Mention of the Russolo competition (Italy), Music Prize of the Gerardmer Fantastic Film Festival, Finalist of the Phonurgia nova competition, Sound Arts category. (1) First prize and higher prize in electroacoustic composition from the Mons Conservatory, a degree in musicology from the Free University of Brussels