Curated by Invisible°Show

[What led you to create this duo?]

Arnaud: The name A_R_C_C comes from combining our names: A_R from me and c_c from Edouard, who actually performs under that moniker. I don’t use A_R as a solo name, but it felt like a natural combination. Regarding the project’s origins, we started by merging our solo setups, using the same equipment we had separately. At first, it was a very maximalist approach - lots of gear, a big table filled with equipment. Over time, we decided to refine our sound, focusing on a specific set of elements. For the past year and a half, we’ve been working with lights, which has shaped our performances into something unique compared to our other projects.

Édouard: For me, it all started when I saw Arnaud’s solo performance and really loved it. Not long after, we met, and I quickly asked if he would be interested in playing together. We both enjoyed it, and that’s how the project started—very simply and spontaneously.

[Can you describe the process behind choosing the instruments you use for A_R_C_C ? Where do these objects come from, and was there a particular method in selecting them?]

Édouard: The process involved a lot of trial and error, experimenting with different materials and sounds. Over time, we found that lights could produce interesting sonic results. At first, we used random lights we found in stores, experimenting to see what sounds they could make and how they interacted with our setup. Eventually, we collaborated with a synth builder, who helped us develop a dedicated light-based instrument—a kind of modulated light synthesizer designed specifically for our project.

Arnaud: During the COVID-19 pandemic, we were invited to play in Germany, and that period made us reconsider our approach. We spent time exploring new directions, particularly focusing on the performative aspects of electronic music - not just turning knobs, but considering the visual and theatrical elements.
For example, during that period, we requested the longest table possible – two or three meters long – and placed it close to the audience. This setup forced the audience to choose whom to watch, as they couldn’t see both of us at the same time. That’s when lights became an obvious focus for us. The more we explored performative elements, the more we saw that light itself could be the core of our work.

[Your 2019 album Consensus & Compromis includes audience voices. How do you incorporate audience interaction into your work?]

Arnaud: We consider ourselves live musicians. We don’t just play electronic music; we actively engage with the audience. We often perform in the middle of the room, as close to the audience as possible, making sure they don’t just hear the music but also see the interactions and gestures that shape the performance.

Édouard: We’re definitely more focused on live performance than studio recordings. Improvisation is a key part of our process, and for both of us, playing live feels much more natural than composing in a studio. Even our tapes are collages of live recordings. Most of the recordings we have, even unreleased ones, come from live performances.

[You play in various venues, from clubs and punk spaces to more artsy performance places. Is there an ideal setting for A_R_C_C, or do you enjoy the diversity?]

Édouard: There’s no perfect venue for us. As long as the sound system is good, what matters most is the people and the atmosphere. Each performance is shaped by its setting, and that’s part of what keeps the project exciting.

Arnaud: That’s what makes touring interesting. Some venues we know well, others are completely new to us, so each night feels different. It prevents the performances from becoming repetitive. Improvisation plays a big role, and adapting to each space keeps our live act fresh.

[What led you to choose performance as your medium of expression rather than another form of art?]

I studied a BA in Fine Arts at a traditional academic university. The approach to art there was very much about mastering different techniques, which I wasn’t particularly interested in. So, I started researching performance art and exploring mediums involving the body, including photography. I delved into photography through self-portraits, and eventually, the performativity inherent in that medium took over. I then shifted my focus to actions and images, which gradually became my primary – though not exclusive – medium.

Another factor was the practicality of the practice. I never had a studio until this very month! Performance became a medium that allowed me to develop ideas within my room. My approach was very minimal in terms of production, focusing on actions with one or two accessible objects, without lights, sound, or complex setups.

^{_{Acción con Monedas I. performance 3h, Acción!MAD Festival, Matadero Madrid 2016}}

[What role does the audience play for you?]

In my early works, I focused on long-duration performances, often presented during events where other activities were happening simultaneously. This created a specific dynamic where the audience could engage with the work intermittently.

Now, my practice has evolved towards a more narrative form, where I request the audience’s attention within a specific time frame. In my performance practice, I hold great respect for the audience. I see my work as an offering - something I present to them. It could be emotional, contemplative, entertaining, or thought-provoking. Ultimately, the interpretation is up to the audience.

[In your work, you explore themes of identity from a social and cultural perspective, always through a personal lens. Could you share your thoughts and the urgency that drives you to address these themes through art?]

I’ve always been interested in identity, society, culture, and politics. Earlier in my career, my work was inspired by the context I lived in - specifically the 2008 economic crisis in Spain. During that period, my work was conceptually explicit, directly responding to the socio-economic situation, with little emphasis on personal elements.

In the past 5–6 years, I’ve approached similar themes through a more personal lens, addressing topics like class, politics, and social justice intertwined with personal experiences of love, belonging, and care.

For me, addressing these themes in my practice is a way to respond to and reflect on the current political and social context and how it intersects with my own personal challenges.

^{_{Deepfaked Ocaña Wishing Me Goodnight, 2021. A project of Lucía Vives and Eloy Cruz del Prado for Rietveld UnCut. Graphics by Tomás Queiroz, mastering by Maja Chiara Faber.}}

Deepfaked Ocaña Wishing Me Goodnight

rietvelduncut.rietveldacademie.nl

[In your opinion, what is the role of the artist in society today? What is the purpose of art today?]

The role of the artist in society today has multiple answers. Artists fulfill many roles with diverse intentions and purposes.

For me, art and culture have the capacity to bring people together, and that is immensely powerful. It’s also why art and culture are often repressed when a specific narrative seeks to dominate.

[What is your relationship with the art world/system?]

I believe there are many art worlds and systems. I have a positive and stimulating relationship with aspects like art schools, residency networks, and local art scenes. However, when it comes to art fairs, the market, and questions of value, my relationship is more complicated.

I don’t (yet?) live off my practice, which impacts my creative process since finding a way to sustain myself financially is essential. This has led to a desire to enter spheres like the art market and academia - not only for financial stability but also for the validation they offer. This ambition ties back to my roots as an aspirational working-class kid.

In resume, It’s a complicated relationship 🙂

^{_{HUNDRED SECONDS LONGER AND ITS OVER. LOOKING FOR REAL? FOR REAL. Cállate, que menudo polvo echaron tus padres para tenerte. THERE IS NO LOVE, BUT I CALL THEM LOVERS. CARETAKER. HEART-SHAPED PIGGY BANK}}

[How do you envision – or how would you like – the art system of the future to be?]

The future feels incredibly uncertain these days... I would like an art system that doesn’t censor artists who speak out against genocide and imperialism. I’d like to see a system where the primary value of art isn’t its price but its capacity to inspire, provoke thought, move people, and resist oppressive forces.

[Which past or present artists, from various fields, have influenced or continue to influence your work?]

I’ve been inspired by many artists, and they’ve likely influenced my work in different ways. The artists I feel most connected to often share traits such as the physical intensity of their pieces, monumentality in some cases, and narrative or thematic depth. These include visual artists, musicians, drag queens, and writers. Notable names include Félix González-Torres, Matthew Barney, Francesca Woodman, Jean Genet, and Arca.

[Can you tell me about your work series Good Job, Good Boy and, specifically, the performance you’ll be presenting at the Performatorio? How did it come about, and why?]

With "Good Job, Good Boy I", I started reflecting on labor, something I had previously explored during my BA studies, but this time it was intertwined with themes of love, sexuality, and gender. "Good Job, Good Boy II (sketches I-VI) were the first formal manifestations of this series and remain a work in progress. However, "Good Job, Good Boy II" is actually the first fully developed piece in the series.

After graduation, labor and even professional careers became an important and weighty topic for me. My previous work, "Hundred Seconds Longer and It's Over", explored the role of resistance in the development of love, sexuality, and care. I wanted to understand how labor intersects with our sense of belonging or validation, and what role it plays in love or affection.

There were two elements I wanted to incorporate, not necessarily together: footage of my grandfather working in the countryside, and the castañuelas, the folkloric instrument I played when I was part of the folkloric dance group in Cenicientos. I began exploring the possibilities of combining these elements with movement and text.
Eventually, I found a narrative in the clip I selected from the documentary, which presents two characters: my grandfather and the mule that appears in the video. Ultimately, I connect the narrative of these three characters –the grandfather, the mule, and myself – in how labor becomes a shared tool for validation that all three of us use.

^{_{From Dawn to Dusk, video}}

I am also exploring the possible forms this work or research can take, with a material approach such as drawings, sculptures, or installations. More to come soon.

(Cover photo © Carmen Gray)