KINDRED SPIRITS IN THE RADICAL, ARPA RESEARCHERS SYNTHESIZE MODULAR ELEMENTS INTO NEW FREQUENCIES THAT REVERBERATE ALONG THE SHARED WAVELENGTHS OF SMELL AND SCENT. NOTES OF FRAGRANCE AND NOISE MOVE IN CONCERT TO CREATE MUTUAL SENSORY AMPLIFICATION, COMPLICATION, AND TEXTURE.

‘TO PORTRAY THE IDEA OF WANTING TO STAY IN THIS BEGUILING PLACE LONGER, BUT YOU CAN’T BECAUSE OF THE HEAT.’

Cyrus Bayandor

SIDE A: Dallol pt 1 (Approach)
SIDE B: Dallol pt 2 (Departure)

COMPOSED BY: Cyrus Bayandor
ARTWORK BY: Nathalie Du Pasquier

I was keen to portray the idea of wanting to stay in this beguiling place longer, but you physically can’t because of
the heat.” In the departure from the acid bath is not only
the beginning of consciousness but also the first moment
of the-landscape “reacting to you.”’

Cyrus Bayandor
DALLOL PT1 (APPROACH)

‘HUMAN SCENT USES APPROXIMATELY 400 OLFACTORY RECEPTORS WHILE
ALL THE COLORS WE CAN PERCEIVE IN THE VISUAL SPECTRUM ARE THE RESULT OF ONLY THREE TYPES OF VISUAL COLORS.’

Erwan Sene

SIDE A: Quanta
SIDE B: Dull Orange Object

COMPOSED BY: Erwan Sene
ARTWORK BY: Nathalie Du Pasquier

‘Multiple grains layered on 50% of each other, and played
at different speeds, phases, volume, and frequencies to create new bridges between sense receptors with the sound. To use the idea of color in music, that is open to reformulation.’

Erwan Cene
(QUANTA)

WHAT TOUCHES ME ABOVE ALL WITH SYNESTHESIA IS PRECISELY THIS: ITS ENCOURAGEMENT TO JOIN WHAT IS DISJOINTED, TO WEAVE INVISIBLE BONDS.’

Joseph Schiano Di Lambo

SIDE A: Ce que la sylve révèle de l’astre jeune
SIDE B: De l’astre sage

COMPOSED BY: Joseph Schiano Di Lambo
ARTWORK BY: Nathalie Du Pasquier

‘I like the idea that the watchtower, originally designed to kill, was only used here to watch the star being born and fall between the trees.’

Joseph Schiano Di Lambo
(Ce que la sylve révèle de l’astre jeune)

‘IT WAS ALL ABOUT COLORS, SMELLS AND SENSATIONS. THE PIECE HAD TO BE MORE ‘BURNT’, ‘LIQUID’, OR ‘YELLOW’. I REALLY WANT YOU TO FEEL THE WATERINESS IN ‘ I SAW THE MANTA’— FEELING YOUR BODY FLOATING, SURROUNDED BY BUBBLES IN HALF-LIGHT.’

Cédric Streuli

SIDE A: I Saw the Manta
SIDE B: Sparkles Master

COMPOSED BY: Buvette
ARTWORK BY: Nathalie Du Pasquier

‘I just had to imagine that I was deep under the sea, or in the belly of a whale,’ writes Streuli. Having no formal training, he eschews the vocabulary of time signatures, diatonic scales and tempo, and communicates instead via the language of ‘sensations, dream memories […], smells, tastes and panoramas’ when collaborating with others

Buvette
(I Saw the Manta)

‘MANY OF MY COMPOSITIONS ARE RESIDUAL NOTES FROM MY BODY TO MY MIND, HELPING ME TO RECALL WHAT CAN’T BE WRITTEN IN WORDS.’

Clément Variéras

SIDE A: 11-11
SIDE B: 7-7

COMPOSED BY: Clément Varièras
ARTWORK BY: Nathalie Du Pasquier

Using fading smoke as a metaphor for the phenomenon of disappearance, Variéras engages multiple synthesizers, including an Arp Odyssey, in delay effect and repetition, to ‘erode the original source at every iteration, and thus make it slowly disappear, like a curl of smoke in the air.’

Clément Varièras
(11-11)

‘SOUNDS ARE DIRECTLY LINKED TO A MOMENT. THEY CAN FORM A BASIS FOR WORK, OR ACCOMPANY OTHER SOUNDS. BLENDING SOUNDS, CREATING LAYERS, IS THE KEY.’

Cédric Marszewski

SIDE A: First Time (The Garden)
SIDE B: First Time (The Rhythm)

COMPOSED BY: Clément Froissard, Pilooski
ARTWORK BY: Nathalie Du Pasquier

Memory and the ocean underpin two compositions resulting from a collaboration between French DJ Cédric Marszewski—better known as Pilooski—and musician and composer Clément Froissart.

Clément Froissard, Pilooski
First Time (The Garden)

‘THE OVERARCHING MOTIVATION BEHIND ANYTHING I DO I S ALWAYS TO TESTIFY, OR TRANSMIT, THE FUNDAMENTAL BEAUTY THAT I FEEL FOR CONTRASTS AND CONTRADICTIONS WITHIN PIECES OF MUSIC AND ART.’

Pierre Rousseau

SIDE A: Nolina
SIDE B: Ils Annoncent De La Pluie

COMPOSED BY: Pierre Rousseau
ARTWORK BY: Nathalie Du Pasquier

Invited to transfigure ‘matter’— the essential base of this first sequence, present in each of its preceding constituents—as sound, Pierre Rousseau envisaged a sort of talisman: ‘a constant to be carried around regardless of context, modifying any space passed through by the wearer’.

Pierre Rousseau
(Nolina)

NATHALIE DU PASQUIER
Arpa Icon

A founding member of the influential Memphis Group, whose explorations developed space in painting and graphic in the dimensional, Nathalie Du Pasquier moved her focus from industrial design to painting in 1987, and has painted every day since. Her piece exclusively for Arpa, rendered in wet, dark greens, draws on the artist’s singular visual identity and describes a recombinatory landscape, in which the elusiveness of scent is mingled with the solidity of built environments to “illustrate the ethereal,” as Du Pasquier says. Titled “A 3d perfume” (2020), the oil on paper piece is part an “adventure that has taken me from object to space and from representation to abstraction,” and marks the visionary artist’s ongoing traverse across expressive categories.

Main Sounds Image 1

19°25.57N, 99°75.9W

SOUNDS

KINDRED SPIRITS IN THE RADICAL, ARPA RESEARCHERS SYNTHESIZE MODULAR ELEMENTS INTO NEW FREQUENCIES THAT REVERBERATE ALONG THE SHARED WAVELENGTHS OF SMELL AND SCENT. NOTES OF FRAGRANCE AND NOISE MOVE IN CONCERT TO CREATE MUTUAL SENSORY AMPLIFICATION, COMPLICATION, AND TEXTURE.

CYRUS BAYANDOR 1
CYRUS BAYANDOR 2

‘TO PORTRAY THE IDEA OF WANTING TO STAY IN THIS BEGUILING PLACE LONGER, BUT YOU CAN’T BECAUSE OF THE HEAT.’

Cyrus Bayandor

SIDE A: Dallol pt 1 (Approach)
SIDE B: Dallol pt 2 (Departure)

COMPOSED BY: Cyrus Bayandor
ARTWORK BY: Nathalie Du Pasquier

[Read More]

I was keen to portray the idea of wanting to stay in this beguiling place longer, but you physically can’t because of
the heat.” In the departure from the acid bath is not only
the beginning of consciousness but also the first moment
of the-landscape “reacting to you.”’

Cyrus Bayandor
DALLOL PT1 (APPROACH)

ERWAN SENE 1
ERWAN SENE 2

‘HUMAN SCENT USES APPROXIMATELY 400 OLFACTORY RECEPTORS WHILE
ALL THE COLORS WE CAN PERCEIVE IN THE VISUAL SPECTRUM ARE THE RESULT OF ONLY THREE TYPES OF VISUAL COLORS.’

Erwan Sene

SIDE A: Quanta
SIDE B: Dull Orange Object

COMPOSED BY: Erwan Sene
ARTWORK BY: Nathalie Du Pasquier

[Read More]

‘Multiple grains layered on 50% of each other, and played
at different speeds, phases, volume, and frequencies to create new bridges between sense receptors with the sound. To use the idea of color in music, that is open to reformulation.’

Erwan Cene
(QUANTA)

Joseph Schiano Di Lambo 1
Joseph Schiano Di Lambo 2

WHAT TOUCHES ME ABOVE ALL WITH SYNESTHESIA IS PRECISELY THIS: ITS ENCOURAGEMENT TO JOIN WHAT IS DISJOINTED, TO WEAVE INVISIBLE BONDS.’

Joseph Schiano Di Lambo

SIDE A: Ce que la sylve révèle de l’astre jeune
SIDE B: De l’astre sage

COMPOSED BY: Joseph Schiano Di Lambo
ARTWORK BY: Nathalie Du Pasquier

[Read More]

‘I like the idea that the watchtower, originally designed to kill, was only used here to watch the star being born and fall between the trees.’

Joseph Schiano Di Lambo
(Ce que la sylve révèle de l’astre jeune)

Buvette 1
Buvette 2

‘IT WAS ALL ABOUT COLORS, SMELLS AND SENSATIONS. THE PIECE HAD TO BE MORE ‘BURNT’, ‘LIQUID’, OR ‘YELLOW’. I REALLY WANT YOU TO FEEL THE WATERINESS IN ‘ I SAW THE MANTA’— FEELING YOUR BODY FLOATING, SURROUNDED BY BUBBLES IN HALF-LIGHT.’

Cédric Streuli

SIDE A: I Saw the Manta
SIDE B: Sparkles Master

COMPOSED BY: Buvette
ARTWORK BY: Nathalie Du Pasquier

[Read More]

‘I just had to imagine that I was deep under the sea, or in the belly of a whale,’ writes Streuli. Having no formal training, he eschews the vocabulary of time signatures, diatonic scales and tempo, and communicates instead via the language of ‘sensations, dream memories […], smells, tastes and panoramas’ when collaborating with others

Buvette
(I Saw the Manta)

Clément Varièras 1
Clément Varièras 2

‘MANY OF MY COMPOSITIONS ARE RESIDUAL NOTES FROM MY BODY TO MY MIND, HELPING ME TO RECALL WHAT CAN’T BE WRITTEN IN WORDS.’

Clément Variéras

SIDE A: 11-11
SIDE B: 7-7

COMPOSED BY: Clément Varièras
ARTWORK BY: Nathalie Du Pasquier

[Read More]

Using fading smoke as a metaphor for the phenomenon of disappearance, Variéras engages multiple synthesizers, including an Arp Odyssey, in delay effect and repetition, to ‘erode the original source at every iteration, and thus make it slowly disappear, like a curl of smoke in the air.’

Clément Varièras
(11-11)

Clément Froissard, Pilooski 1
Clément Froissard, Pilooski 2

‘SOUNDS ARE DIRECTLY LINKED TO A MOMENT. THEY CAN FORM A BASIS FOR WORK, OR ACCOMPANY OTHER SOUNDS. BLENDING SOUNDS, CREATING LAYERS, IS THE KEY.’

Cédric Marszewski

SIDE A: First Time (The Garden)
SIDE B: First Time (The Rhythm)

COMPOSED BY: Clément Froissard, Pilooski
ARTWORK BY: Nathalie Du Pasquier

[Read More]

Memory and the ocean underpin two compositions resulting from a collaboration between French DJ Cédric Marszewski—better known as Pilooski—and musician and composer Clément Froissart.

Clément Froissard, Pilooski
First Time (The Garden)

Pierre Rousseau 1
Pierre Rousseau 2

‘THE OVERARCHING MOTIVATION BEHIND ANYTHING I DO I S ALWAYS TO TESTIFY, OR TRANSMIT, THE FUNDAMENTAL BEAUTY THAT I FEEL FOR CONTRASTS AND CONTRADICTIONS WITHIN PIECES OF MUSIC AND ART.’

Pierre Rousseau

SIDE A: Nolina
SIDE B: Ils Annoncent De La Pluie

COMPOSED BY: Pierre Rousseau
ARTWORK BY: Nathalie Du Pasquier

[Read More]

Invited to transfigure ‘matter’— the essential base of this first sequence, present in each of its preceding constituents—as sound, Pierre Rousseau envisaged a sort of talisman: ‘a constant to be carried around regardless of context, modifying any space passed through by the wearer’.

Pierre Rousseau
(Nolina)

Portrait 1

NATHALIE DU PASQUIER
(Arpa Icon)

A founding member of the influential Memphis Group, whose explorations developed space in painting and graphic in the dimensional, Nathalie Du Pasquier moved her focus from industrial design to painting in 1987, and has painted every day since.
Her piece exclusively for Arpa, rendered in wet, dark greens, draws on the artist’s singular visual identity and describes a recombinatory landscape, in which the elusiveness of scent is mingled with the solidity of built environments to “illustrate the ethereal,” as Du Pasquier says. Titled “A 3d perfume” (2020),
the oil on paper piece is part an “adventure that has taken me from object to space and from representation to abstraction,”
and marks the visionary artist’s ongoing traverse across expressive categories.