New trailer for THE OCCULT SOURCES
The Abode of Chaos and the Organ Museum have released the new trailer for THE OCCULT SOURCES.
September 2nd, 2014 – The second trailer has been released for THE OCCULT SOURCES from The Abode of Chaos and the Organ Museum. A dark, dreamlike tale, the web-series and the following film traces the initiatory journey of two children deep inside the labyrinth of the Abode of Chaos. Between dread and wonder, the revelation of a shifting zone at the Gates of Future and Hell.
THE OCCULT SOURCES was directed by Laurent Courau, whose previous release, Vampyres, has gained international recognition by documenting the vampyre subculture both in the USA and Europe, whilst the script was co-written by Thierry Ehrmann, sculptor, author of the Abode of Chaos and founder of the Server Group and of Artprice, and Laurent Courau.
The web-series will be launched this autumn on Vimeo, followed by the film in the beginning of 2015. Both will be released for free, to pay tribute to the hundreds of volunteers who participated to THE OCCULT SOURCES. Also an obvious choice with regard to our will to remain independent, self-sufficient and respect the DIY ethic that has nourished us for years.
ABOUT THE ABODE OF CHAOS:
The Abode of Chaos has been the subject of more than 1,800 press and media reports in 72 countries. According to the New York Times, it is “one of the greatest artistic adventures in the twenty-first century.” The vision of the Abode of Chaos emerges at a curve in the road at Saint-Romain-au-Mont-d’Or, a village at the heart of the bourgeois Mont d’Or region with its detached homes and quaint buildings built in the local golden sandstone. In fact the Abode is a large property with high walls and gates, typical of the Lyon region where it is essential to avoid the gaze of others.
Everything started in a very simple way. In 1999, Thierry Ehrmann, then founder of Server Group and of Artprice since 1987, was involved in the Lyon Biennale of Contemporary Art, Partage d’Exotisme. Artprice (as its name indicates) is the global leader in art market information and this approach may be understood in a very intuitive way. Not long after, this Lyon based artist/sculptor and business leader mentioned the idea of creating a Contemporary art museum where he would take his own works and his collection.
Thierry Ehrmann soon realized that his project risked becoming institutionalized. Should we hire a curator, what form should the collection take? All questions that were essentially contrary to his conception of life. No… he did not want to accumulate his own works and his personal collection of art works, and even less to store his works and end up with a prestigious artistic program over 7 to 9 years. If he had to choose a reference, it would not be that of an art foundation, but the type of art practiced by Andy Warhol. The Factory was one of the best systems ever organized. A space with indistinct boundaries, where creation lived from day to day, in the disorder of the senses, accompanied by the rhythm of pure energy.
Global events precipitated the creation of an artistic community. Events that were both public and private. First, there was September 11. Like it or not, there is a before and an after, as if the strength of the images that flowed from that event had destroyed any linear concept of history. To Thierry Ehrmann, it was suddenly urgent to be present in the world, to remain alert and aware of the constant erosion of our daily freedom of action and reflection.
The project was conceptualised like 1970s art. Who created it was not important… what mattered was the idea. The notion of the designated space for the creation of art no longer mattered. Art is everywhere and it began slowly seeping into the body of the Domaine. The photographs and paintings on the walls began to overflow onto the walls. First Thierry Ehrmann painted a salamander, then a whole battalion of these spooky critters. As though endowed with life, they occupied the whole territory and invaded floors and cabinets. Engraved and tattooed, they rejected the idea of framed work and abolished notions of inside and outside. They ran accompanied by text , the word and figure in perfect tandem on the theme of life and death.
The Abode became porous to the world, and News travels through it, penetrates it… But does that make it resemble chaos? The Abode has been burnt, sections were turned to charcoal black like the after effects of a disaster. But it still maintained its basic architecture and it carries the scars of its disembowelment like decorations. In truth, the whole place has become, if not a work, certainly a museum. It offers the eye what other exhibition rooms hide and gives a view of art as something living, part of our everyday lives. An open-air museum with more than 4,509 works reflecting what Thierry Ehrmann likes to call our tragic and sumptuous century.
