Érick D’orion
Alexandre St-onge

Sur f for fake
03.09–04.15.2017

F for Fake is a 1973 docu-fiction directed by Orson Welles. It is presented as a kind film essay on the ‘delicious lie’ of art, a variation on the relationship between the artist and his work, and the truth behind one of the world’s most notorious art forgers, Elmyr de Hory. From the film’s very beginning, the director promises that, “During the next hour, everything you hear from us is really true and based on solid facts”, but the film runs well over an hour… Welles talks about forgers, conjurors, and his own early days as a trickster. Moving from one story to the next, he manipulates the viewer, blending documentary imagery with his own film footage.

For this project, we have extracted all sounds other than Welles’s narration and reconstituted the film’s sound track by preserving the formal and temporal qualities of the master’s voice in its entirety.

Érick d’Orion

Érick d’Orion is an artist working in sound, installation and new media, a self-taught musician and composer for film and theatre, and a sound curator. In 2015, he relocated to Montreal, after having lived in Québec City since 1993.

While much of his research in sound focuses on digital maximizing, d’Orion creates work that is closely related to noize, musique concrète, free jazz, and electro-acoustic music. He is part of the duo morceaux_de_machines, the trio BOLD (with Alexis Bellavance and Nicolas Bernier), and the trio Napalm Jazz, as well as many other ad hoc formations. He has performed with such renowned artists as Evan Parker, Martin Tétreault, Otomo Yoshihide, Robin Fox, Ilpo Vaisanen, Diane Labrosse, Sam Shalabi, Gunter Muller, eRikm, and others. Since the summer of 2015, he has worked in collaboration with multi-disciplinary artist Catherine Lalande Massecar (Duo Massecar • d’Orion), combining a number of approaches including audio composition, context-based practices and clandestine dramaturgy.