Space Regained

IRCAM, the Factory of Sonic Dreams, is back in full view with ManiFeste. In 2022, our concert hall, the Espro, will finally reopen its doors to the public. A homecoming or the discovery of a unique space, which can be modulated at will through its variable scenographic design and acoustics. A place of experimentation and expression for artists, scientists, and the public, the Espro echoes the current mood that attracts musicians and performers, multimedia artists and researchers to the heart of Paris. Back to the roots after eight nomadic years, a return, but by unmarked paths, during a renewed festival in collaboration with the Centre Pompidou. The reconstitution of Iannis Xenakis' Polytope de Cluny, fifty years after its creation, and the conception of a contemporary Polytope celebrate this rebirth. Xenakis was the name of a dream alliance between science and art, the learned and the popular, formalization and direct expression.

ManiFeste-2022 is the stimulation of the imagination by artificial intelligence and of the orchestra by electronics (Orchestre de Paris, Philharmonique de Radio France, Orchestre national d'Île-de-France for the Élan Prize) with Misato Mochizuki, Jesper Nordin, and Marco Stroppa; ManiFeste is also the revolution of Anton Webern in music and the revolution of Alan Turing in science. The dazzling and dramatic trajectory of this visionary of computer science, defector of code and life, inspires a new series of events, the Fictions-Science, travelling from the power of science and art to the power of technologies and cultural industries, from the minority to the majority and back again. In 2022, ManiFeste celebrates the birthdays of two eminent musical figures, Kaija Saariaho and Philippe Manoury, whose founding series Sonus ex machina will be reinterpreted by soloists from the Ensemble intercontemporain.

The festival and the IRCAM Academy are intensively devoted to the generation of Pierre Jodlowski and Alexander Schubert and to emerging signatures, where immersion and interaction, works and devices are mixed, technology meets melancholia.

The space regained for electronics and for a new season, for concerts and interactive science, for the command and strength of a "recommended" repertoire, such a space must resolutely "broadcast" to diverse and very distant audiences. For there are no new worlds without the ability to inhabit them, here and now.

In this sense, like any rebirth, this one has the taste of a first time.

Frank Madlener, IRCAM director

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