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    Genius QA

    An interview with the Frenchman making art history at Dallas Contemporary

    Kendall Morgan
    kendall Morgan
    Jan 17, 2015 | 11:31 am

    Equally adept at filmmaking, soundscapes and sculpture, French artist Loris Gréaud delights all the senses. Throughout his multilayered installations, he has designed a wall that vibrates to his brainwaves, written a hip-hop symphony for sea creatures, crafted a space ship-like habitat for ducks, and celebrated “underground activity” with a subterranean conceptual space that includes a vending machine selling candies that taste like nothing.

    Acclaimed for his monumental Cellar Door installation at Palais de Tokyo and the only artist to have simultaneous solo exhibitions at the Louvre and the Centre Pompidou in Paris, Gréaud is poised for a triumph in his first American museum show, “The Unplayed Notes Museum,” which opens to the public on January 18 at the Dallas Contemporary. His work is so transformative and boundary shifting, it wouldn’t be farfetched to assume the artist has synesthesia, the neurological phenomenon where sounds are colored and words recall taste.

    “Here, they’re open to any kind of idea,” Loris Gréaud says of the Contemporary. “I think it’s one of my best art experiences over the past 13 years working with an institution.

    “I wish I had synesthesia,” Gréaud laughs in a chat a few days before the exhibition is unveiled. Instead, his process begins with his unlimited imagination, moving through levels of collaboration with scientists, engineers, musicians, designers and filmmakers. For this show — an expansion on an idea he explored previously at New York’s Pace Gallery and Galerie Yvonne Lambert in Paris — Gréaud takes over all of the Contemporary’s 26,000-square-foot space, transforming it into a “new kind” of natural history museum.

    We captured a moment in the middle of installation for a quick conversation about the genesis of “Unplayed Notes” and what the future holds for this singular talent.

    CultureMap: Can you talk about the three dimensionality of your work? When you are planning a piece, what part comes first — the sound, a sketch on paper, a model? How does the complex chain of translation begin?

    Loris Gréaud: The point is always an idea — it’s always triggered by an idea. It’s mental. Then, when this idea is growing to be an obsession, then I start working on it and I start asking questions and travel and meet people and work with other people. My whole process is always about the original idea, whatever form it takes. It could be a movie, a fragrance, a blast of air or a full institution museum show.

    CM: In the past, you have referred to yourself as an “empirical machine?” Can you explain what you meant?

    LG: It was not about myself; it was more about my way of working. It’s the same king of thing that happened for a director in cinema when you want to shoot a scene. It has to go through different kinds of people — the guy who takes care of the lights, the actors. The momentum all of these people will transform what you want in the end.

    It was a metaphor of this kind of process. When I have an idea, it becomes an obsession and I try to bring in different people to insert different questions. The result is empirical, because it’s changing all the time.

    CM: Collaboration is very important to you. You’ve worked with David Lynch, Charlotte Rampling, Sonic Youth. Is there anyone you wish to work with that you haven’t? What is your dream collaborative team?

    LG: Basically I’m meeting all these different kinds of people, whether it’s David Lynch or a crazy scientist. I meet the right people to answer the questions on a project. The project defines the people.

    When I started my feature film [The Snorks: A Concert for Creatures], I started over three years making connections with the scientists who had knowledge of the depth of our oceans. That’s how I went to MIT, because I needed them to answer the questions to my obsession. The dream in collaboration will be always the best person to be able to answer a specific problem or question.

    CM: How did the idea of a natural history museum come to you?

    LG: “It’s a multilayered project, but it can be direct at the same time. We take the form of a natural history museum framework, and it folds from the real press release into a novel. When you read it, it sounds like fiction. My idea was to use that text [from the release] as a fiction and a self-fulfilling prophecy. I wrote it, and I trigger it in the reality and everything that’s read will happen in the opening [members only, January 17].

    You will enter a natural history museum, a world you know nothing about. ... We’re going to cut the heat in the museum, so when you open the door, you don’t even know if you’re supposed to be there or not. It’s really challenging. I always try to get excited by my projects, so I’m trying to do challenging things for me, as well.

    CM: Having achieved so much in your career, what inspired you to come to Dallas?

    LG: Basically I was filming for six months in South Asia for a project I’m doing, and I got a call from Peter [Doroshenko, the museum’s executive director]. I’ve known him since 2007, and since 2007 we’ve said we want to make a big project together. I traveled from Vietnam to Dallas and started with the idea of making a museum inside the museum, so basically at the moment we talked about the production itself to when we finished the modelization, the project took 11 months.

    I was waiting for the right proposal for me to be able to do this, and when I was walking through the space with Peter I thought, “This is crazy, but I love it.” I think it’s really related to Dallas or Texas, people are really, really helpful with this crazy idea. There was no way I could accomplish this in New York.

    In the past year I did this really crazy thing at the Pompidou with a drop tower and people falling all day, and there were so many issues with security, the office fighting with the institution. But here, they’re open to any kind of idea. I think it’s one of my best art experiences over the past 13 years working with an institution. All the team is with me and behind me, so I’m really thankful.

    CM: Will this piece travel to different spaces after its time at the Contemporary is done?

    LG: I think the project will end at the end of the show. We will release a monograph that will explain all the process, the “unplayed notes.”

    CM: Since you’d never done a solo show in a gallery and now you have, what is your next dream to accomplish? What are the museum shows you have planned for the next two years?

    LG: After this show, I will take a few weeks off! The next project is really, really exciting. In 2015, it will be specific project for LACMA [Los Angeles County Museum of Art], and it’s the first time the LACMA has commissioned a feature film. Then in the beginning of 2016, [I’ll be showing at] the Hermitage State Museum in Saint Petersburg.

    After that I will retire [laughs]!

    ---

    “The Unplayed Notes Museum” by Loris Gréaud is on display from January 18-March 21 at the Dallas Contemporary. The artist will give a free chit chat January 18 at noon at the museum.

    Loris Gréaud, One Thousand Ways to Enter, 2012. Courtesy Loris Gréaud Gréaudstudio.

    Loris Gr\u00e9aud
      
    Fahd El Jaoudi - Minsk Studio
    Loris Gréaud, One Thousand Ways to Enter, 2012. Courtesy Loris Gréaud Gréaudstudio.
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    Theater news

    Dallas' Theatre Three asks public for urgent help to keep lights on

    Stephanie Allmon Merry
    May 13, 2025 | 5:13 pm
    Natasha, Pierre, and the Great Comet of 1812 Off Broadway.
    Photo by Chad Batka
    "Natasha, Pierre, and the Great Comet of 1812" ran Off Broadway.

    A longtime Dallas theater company is asking for urgent help. Theatre Three (T3) has made a plea to the community for $200,000 in donations to stay in business.

    In a Facebook post on May 13, they say, "Without immediate and substantial help from our community, we will be forced to close our doors."

    They say they've suffered several years' worth of financial hardships, including effects of the COVID-19 pandemic, and more recently, cuts in arts funding.

    The post says, in part:

    "For 64 years, Theatre Three has been a cornerstone of Dallas’ creative spirit — bringing bold, innovative productions to life and showcasing the extraordinary talent of our local artists, designers, and creatives. We have been an intimate stage for everyone. But now, we face the greatest challenge in our history.

    "After mourning the loss of our beloved Jac Alder, and then, under the leadership of the incredible Jeffrey Schmidt, surviving the immense toll of the COVID-19 pandemic, we find ourselves once again at a significant crossroads. The ongoing erosion of support for the arts has dealt a devastating blow to our funding ...

    Our goal is $200,000. This is not the news we want to share, but it is news that we believe you all would want to know."

    The post is signed by board members Jessica Turner Waugh, Suzanne Burkhead, Rosa Medina-Cristobal, Scott T. Williams, Robert McCollum, Harrison Herndon, David G. Luther, Mia Glogau, and Jon Collins.

    Donations, they say, will help support local artists, staff and creatives to produce their next show, Xanadu; counter the rising costs of rent, insurance, and production; and allow them to retain staff.

    "We know times are tough. But we also know what this theater and its people mean to our city and to the generations who have found meaning, joy, and belonging within its walls," they say. "And that is why we are making this urgent plea. Help us preserve this Dallas institution."

    They end the post with a link to their donation page: https://www.theatre3dallas.com/support/.

    T3's black-box theater Theatre Too's final show of the season is The Mystery of Irma Vep, a fast-paced and campy parody that is on stage now through May 18.

    Theatre Three will close out its current season with Xanadu, a high-energy, roller-skating extravaganza that brings the 1980 cult film to life. Douglas Carter Beane is behind the hilarious book, and music and lyrics are by John Farrar and Electric Light Orchestra (ELO) founding member Jeff Lynne. It is set to run June 5-July 6, 2025.

    In addition to a full season of mainstage productions, Theatre Three offers additional programs for the community throughout the year.

    Monday Night Playwright features unique and affordable opportunities for local writers to showcase their works. Fight Night provides the community and artists alike with movement and other physical skills through monthly stage combat classes.

    The Norma Young Advanced Acting Lab, a collaboration with Booker T. Washington High School for the Performing and Visual Arts, is in its fifth year. Students have access to masterclasses hosted by industry professionals and exclusive insight on the professional production process at Theatre Three, then the course concludes with a professionally produced showcase.

    Theatre Three is located at 2688 Laclede St. in the Quadrangle in Uptown Dallas. For more information in productions and programs, visit their website.

    ---

    Lindsey Wilson contributed to this story.

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