ErikM

ErikM : topologie del rischio, geologie del gesto

erikm — 2026-04-13T12:28:44Z

www.thenewnoise.it

C'è un punto, nell'opera di ErikM, in cui il suono smette di essere semplicemente un fenomeno e diventa un modo d'esistenza. Basta ascoltare il francese mentre maneggia un giradischi modificato, un nastro strappato, un oggetto trovato ; o guardarlo mentre tocca il mondo come se fosse un corpo instabile, un animale che cambia pelle a ogni gesto. La sua pratica sfugge alle etichette : non è elettronica, non è turntablism, non rientra nella vaga costellazione della “musica sperimentale”, che tende a includere tutto e a illuminare poco. È piuttosto un laboratorio di metamorfosi : un luogo in cui il suono impara a cambiare stato, attraversando fratture, ustioni, oscillazioni di senso. È in questa zona di rischio che la filosofia si avvicina come un animale notturno. / ...

hQme

erikm — 2026-01-16T10:23:21Z

MuMaBoX > Home « Movies »
Musée d'art moderne André Malraux - MuMa, le Havres . France
07.01.2026 - 6pm
Projection by ERIKM, HQME
2007 / Mini DV / color / sound / 1E / 7' 47

Home movie is the English translation for film de famille, meaning amateur film shot within a family setting, made at home. In our program, home should be understood as referring to one's dwelling place, one's household, and home movies as representations of this domestic space.
The familiar setting in which daily life unfolds says a lot about its occupants. Furniture, objects, images, the organization of space : everything is a sign and reveals the psyche of those who, day after day, evolve there as if on a playground patiently constructed—or deconstructed. Let's view this session as a series of visits where we move from one interior to another (in the style of Georges Perec's Life : A User's Manual), where the intimate and social lives of the characters (present or absent) will be partially revealed to us.

Observations

erikm — 2026-01-10T09:00:00Z

ErikM & Pierre Bastien

With one exception, this record is a live recording of a concert performed at Les Ateliers Claus in Brussels, in March 2024. It was preceded by three short hours of improvisation over the two previous days, during which ErikM and I carefully observed each other's playing.
Both of us had brought several cases of equipment—enough, really, to perform multiple concerts without ever repeating ourselves. Erik had brought his turntables, along with sophisticated electronic devices and a near-infinite sound bank. As for me, I came with both a mechanical orchestra and a wide range of acoustic instruments.
Over the course of two sessions, we eliminated the superfluous and the ineffective. On the night of the concert, it was through close listening—of each sound, each direction taken by one or the other, each intention, each break—that we composed this record in real time : vigilant and observant, like the pairs of eyes on the album cover.
Jean Dubuffet used to define his music as something untidy and dirty. But here, it's a Dubuffet returning from a long trip to Africa, with haunting rhythms that go as far as trance, corrupted by ErikM's UK-Drill.

Les Presses du reel

Sub Rosa

BIDULE 2.0

erikm — 2026-01-09T14:49:00Z

« Unpublished » sound objects by Pierre Henry / Reload and original composition by ErikM

The project
Bidule 2.0 is organized in two parts, the first being an acousmatic composition for a minimum of 8 loudspeakers and the second an electronic live performance, two practices that characterize ErikM's work.
In the acousmatic version, these two approaches will consist solely of unused original sounds by Pierre Henry. In the live electronics version, other unpublished sounds by Pierre Henry will be mixed with ErikM's sound materials.
Duration
2 X 20 minutes Total : 38.43mn

Sonoris records

Sam & Gaby

erikm — 2026-01-08T20:35:00Z

Sam & Gaby is a documenteur film made in 2025 and 2026, two free spirits who have lived outside the norm for half a century. Between
Gaby's cabins and Sam's house-studio, incredible anecdotes,
family archives, and political reflections emerge. Through their intimate stories, their lively exchanges,
and their silences, the film retraces their atypical journeys, marked by love,
rebellion, and an incessant quest for freedom. A true ode to friendship and the power of
conviction.

Director : ErikM
Director of photography : Mariusz Grygielewicz
T:52mn

Photo Angers 2

erikm — 2025-12-23T16:59:41Z

- photos HD / photos HD

unedansecontinue

erikm — 2025-12-05T19:24:21Z

Plateforme MÙA
Conception & direction artistique Emmanuelle Huynh
Music composition and live performance ErikM
Lumière et scénographie Caty Olive
Collaboration chorégraphique Catherine Legrand
Dramaturgie Gilles Amalvi
Interprétation Jérôme Andrieu, Lucie Collardeau, Elodie Cottet, Vera Gorbatcheva, Théo Le Bruman.

CNDC / Angers . France

Inks or Die

erikm — 2025-11-29T11:13:01Z

Stem cells
Paper & Inks 2 > 60cm x 60cm / 3 > 80cm x 60cm / 2 > 60cm x 40cm

ErikM's relationship with ink aesthetics and shodō calligraphy (書道, "the way of writing") began accidentally and empirically in 2010 with the Liquides series. The artist repurposed broken LCD, LED, and cathode ray screens, transforming their original function to reveal moving images : liquid landscapes born from the "death" of the device. This work already extended a critical approach to consumerism and technological repurposing that began in the 1990s. By exploiting the physical properties of prepared cathodes, ErikM created liquid images trapped within their glass sheets. The alterations applied to the screens generated evolving forms, products of the progressive reorganization of the device's physical structures. This paradoxical phenomenon, where the degradation of the medium engenders new visual forms, established an almost permanent cycle of transformation and recycling, until the current was switched off.
In 2011, he undertook a series of figurative drawings, primarily recorded in his Note Books and on a leporello. This first intentional jet of ink on paper directly followed the aesthetic continuity of the broken screens.
From 2014 onward, ErikM progressively moved away from digital art, driven by a demand for coherence with his ecological convictions. While repurposing and reuse had always been at the heart of his artistic and musical approach, the contradiction between his principles and the technological and energy impact of digital devices became increasingly difficult to ignore. His works, often presented in event contexts – festivals or institutions dedicated to electronic music – saw the technological dimension overshadow the meaning. Aware of these tensions, he chose to adopt a more sober and coherent economy of means. Like his sound installations, whether phenomenological, critical, or poetic, his work intentionally became "deaf," devoid of sound devices. Long before digital repurposing was theorized as glitch aesthetics, ErikM was already exploring error, artifact, and randomness as vectors of expression.
In March 2020, during lockdown, the artist, then isolated at Les Anthénors, a calanque near Marseille, returned to drawing on the occasion of the book-CD Échoplasme (2018), dedicated to Yōkai. Deprived of a studio and materials, he improvised on limestone, the only white surface available, letting the ink mingle with the waves. These ephemeral gestures, impossible to fix, brought him back to the essence of gesture, breath, and disappearance. To break free from his automatisms and figurative drawing, he made tools from materials recovered from nearby garbage bins. Each passing wave erased the previous trace, rendering the stone virgin again like a page offered to the unexpected or a scanner screen returned to immaculate whiteness. The impossibility of documenting these ephemeral inks led him to explore smooth and slippery surfaces, particularly glossy papers conducive to pareidolia. These gestures frozen on paper extended his practice as a performer : an exploration of instrumental gesture and its unconscious dimensions.
The recovery and recycling of obsolete objects have always occupied a central place in ErikM's practice. Initially motivated by economic necessity, this approach progressively asserted itself as a political and ecological positioning.
In 2021, settled in the Baronnies, he continued his research on larger formats. For lack of suitable tools, he painted with plush toys found in thrift stores : transitional objects par excellence, conducive to exploring the symbolic territories of childhood dreams and nightmares. By combining ink, paper, and plush toys, he sought to freeze the memory of a movement, to materialize the invisible.
Today, color fully enters his work. ErikM blends ink, glazes, and techniques from street art that he practiced in the 1980s, pursuing this continuity between sound, gesture, and matter : a fluid dialogue between trace and flow, between act and its erasure.

Bye bye shodō

erikm — 2025-11-29T11:04:08Z

さようなら書道。
Inks & Moore
Paper & Inks 3 > 60cm x 50cm
Paper & Inks 4 > 60cm x 60cm

- visual art / drawing & graphism

Katchina & Fading

erikm — 2025-11-29T11:00:00Z

Katchina Series
Paper Ink 1 > 80cm x 60cm / 2 > 60cm x 50cm
Fading Series
Paper Inks 1 > 60cm x 50cm / 2 > 80cm x 80cm

- visual art / drawing & graphism