Alexandre Castonguay

Générique, 2001

© Alexandre Castonguay • Photo: Richard-Max Tremblay

Alexandre Castonguay, Générique, © Alexandre Castonguay • Photo: Richard-Max Tremblay
Artist
Alexandre Castonguay
Title
Générique
Dimensions and medium
Computers and software, projector, amplifier and loudspeakers, and video surveillance camera, 1/2, Variable dimensions
Artwork description
Générique is a collaboration by artist Alexandre Castonguay and programmer Mathieu Bouchard. The interactive video installation invites the viewer to enter a passageway where a surveillance camera installed on the floor captures their image and movements in real time. Concealed in a control room, a computer analyses the information, retaining only the viewer’s silhouette. A computer code then transforms the likeness into a blurry double figure, inverts it to generate a mirror effect, then superimposes it onto a sequence of images projected on the wall of a darkened room. The work responds to the viewer’s actions, in turn causing the projected silhouette to move, copy and transform itself against an ever-changing backdrop of images resembling leaves, water or fire. Switching from green to blue to red, the images flow in response to the intensity of the viewer’s movement. Similarly, the work’s soundtrack varies the volume and frequency of its samples in subtle ways. A fully immersive piece, Générique uses an open experience to cast a critical eye on the nature and limits of interactivity as it existed at the end of the 20th century.

See Also

Le Terrain du dictionnaire A/Z, 1980, Styrofoam, wooden sticks, cardboard, and paper.
Rober Racine, Le Terrain du dictionnaire A/Z, 1980 Le Terrain du dictionnaire A/Z, 1980, Styrofoam, wooden sticks, cardboard, and paper.
Peinture sur/sous verre – Cadré / Encadré / Décadré # 58 I; Peinture sur/sous verre – Cadré / Encadré / Décadré # 59 J, 1990, 20 frames : plexiglass, wood, acrylic paint, and adhesive vinyl.
Daniel Buren, Peinture sur/sous verre – Cadré / Encadré / Décadré # 58 I; Peinture sur/sous verre – Cadré / Encadré / Décadré # 59 J, 1990 Peinture sur/sous verre – Cadré / Encadré / Décadré # 58 I; Peinture sur/sous verre – Cadré / Encadré / Décadré # 59 J, 1990, 20 frames : plexiglass, wood, acrylic paint, and adhesive vinyl.
Dervish, 1993-1995, Wood, aluminum, mirrors, strobe light, motor, 2 video projectors, 2 loudspeakers, computer, electronic controls, software, and videodiscs, 2/2.
Gary Hill, Dervish, 1993-1995 Dervish, 1993-1995, Wood, aluminum, mirrors, strobe light, motor, 2 video projectors, 2 loudspeakers, computer, electronic controls, software, and videodiscs, 2/2.
The Red Room - Child, 1994, Wood, metal, wire, glass, and wax.
Louise Bourgeois, The Red Room - Child, 1994 The Red Room - Child, 1994, Wood, metal, wire, glass, and wax.
Home, 1986, Glass, lamp back, painted wood, projector, metal support, and 16mm black and white film, loop, mute, 1 min 10 s.
Wyn Geleynse, Home, 1986 Home, 1986, Glass, lamp back, painted wood, projector, metal support, and 16mm black and white film, loop, mute, 1 min 10 s.
Things Men, 1991, Plywood, fiberboard, polystyrene foam, metal, plexiglass, black-and-white transparency, light box, and inkjet print.
Robin Collyer, Things Men, 1991 Things Men, 1991, Plywood, fiberboard, polystyrene foam, metal, plexiglass, black-and-white transparency, light box, and inkjet print.
Château d’eau : lumière mythique, 1997, Cedar wood, wood, metal, mirrors, ivory narwhal tusks, sound, and light.
Irene F. Whittome, Château d’eau : lumière mythique, 1997 Château d’eau : lumière mythique, 1997, Cedar wood, wood, metal, mirrors, ivory narwhal tusks, sound, and light.
Driven II, 1985, Transmission hologram and colour photography on painted wood panel, white light.
Michael Snow, Driven II, 1985 Driven II, 1985, Transmission hologram and colour photography on painted wood panel, white light.
Propos type, 1977, Black and white video, mute, 30 min, television, masking tape, and elastic tape.
Jean-François Cantin, Propos type, 1977 Propos type, 1977, Black and white video, mute, 30 min, television, masking tape, and elastic tape.
La Voie lactée, 1992, Light box, aluminum casing, and inkjet print on translucent canvas, 1/2.
Geneviève Cadieux, La Voie lactée, 1992 La Voie lactée, 1992, Light box, aluminum casing, and inkjet print on translucent canvas, 1/2.
L’Œil acoustique, 1997, 5 framed silver prints, 15 compact disc cases with inserted sheets and 5 painted wood moldings.
Raymond Gervais, L’Œil acoustique, 1997 L’Œil acoustique, 1997, 5 framed silver prints, 15 compact disc cases with inserted sheets and 5 painted wood moldings.
Claude Scratch, 1985, Steel, aluminum, vinyl, rubber, plastic, and paint.
Mowry Baden, Claude Scratch, 1985 Claude Scratch, 1985, Steel, aluminum, vinyl, rubber, plastic, and paint.
La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
Gilles Mihalcean, La Nativité, 1995 La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
The Column, 2013, HD video, colour, sound, 25 min 40 s, 5/6.
Adrian Paci, The Column, 2013 The Column, 2013, HD video, colour, sound, 25 min 40 s, 5/6.
Les Hôtes, 2007, reconstituted in 2009, Glass, mirror, cotton tablecloth, table, and integrated lighting system.
Claudie Gagnon, Les Hôtes, 2007, reconstituted in 2009 Les Hôtes, 2007, reconstituted in 2009, Glass, mirror, cotton tablecloth, table, and integrated lighting system.
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