Since 1999, the two plasticians produce complex devices, lean and functional, which evoke the industrial universe. Imprinted with rationality, even radical in nature, their devices are at the core of their production but are not its finality. Indeed, the work intended is musical and is stored in encoded form in the device. Latent, it reveals itself to the public when the device is operated, either by the public in the case of interactive installations, or by the artists in the case of performances. Their devices do not deliver a unique and pre-defined content, but combine and organize information according to variable parameters. Random, ephemeral, multidimensional, their work reveals itself each time different, infinite.
The devices created by Cod.Act translate physical movement into a sound phenomenon. They process the whole of the information they receive by a transfer mechanism. Thus, in the artists’ performances, starting with Siliknost I, toilsome actions (for example shoveling sand or pulling a rock) become the subject of the performance. Repeated to exhaustion, the gesture, codified and relayed by the device, generates a musical work, dense and complex, which spreads itself into space. The triteness and repetition of movements are in contrast to the subtlety of the work. Triteness is transgressed, absurdity becomes pertinence. Audacious, this transformation contains precisely the poetical dimension of the artists’ work.
Cod.Act presents, through the description of various creations, its artistic activity in the domains of installation and sound performance. More particularly, on the research which they've pursued for years, on the relationships between movement and sound and the links that these researches have with sciences and technology. Through the description of some previous works, the artists explain how and under what shapes their research is articulated, and how their artistic language has evolved.