Pierre Leguillon

MUSICAL ERRATUM


An exhibition by Pierre Leguillon for Biennale Son at the Manoir de la Ville in Martigny

Opening, Saturday, August 30, 2025, 11 a.m.

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With : Josef Albers, Richard Avedon, Ben, Harry Bertoia, Marcel Broodthaers, Corentin Canesson, John Cage, Charlotte Centelighe, Matt Connors, Pablo Diserens, Stan Douglas, Marcel Duchamp, Jean Dupuy, Nathalie Du Pasquier, Charles and Ray Eames, Sylvie Eyberg and Olivia Degrez, Renée Green, Ana Jotta, Jannis Kounellis, Richard Hamilton, Takehisa Kosugi, Louise Lawler, André Messager, Annette Messager, George Nelson, Yazid Oulab, Nam June Paik, Gio Ponti, Mathias C Pfund, Dieter Rams, Steve Roden, Qihang Li and Seokyung Kim, Dieter Roth, Erik Satie, etc.

The musical section of the Musée des Erreurs, Erratum musical (after a phrase by Marcel Duchamp), houses mainly printed objects of little value, such as postcards, posters, magazine pages, film stills and other ephemera.

The Erratum musical exhibition brings together works and artifacts borrowed from various collections, including the Musée des Erreurs in Brussels, the Centre Pompidou in Paris, and the Musée du Son/Fondation Guex-Joris in Martigny.

Each room in this museum-exhibition represents a different typology of museum in Western culture: museum of painting, national museum, museum of arts and crafts, museum of folk arts and traditions, museum of anthropology, museum of design, menagerie, etc. In this way, the exhibition is presented as a free score, grouping together various cultural objects and exploring their modes of presentation.

By addressing the cultural and political stakes of the works, Erratum musical also questions our perceptions of art and music. This music, which has to do with "error" in its most positive sense, is produced by objects that are often not instruments (a lamp or a chair, for example), dog barking, frog croaking, etc.) - or even music that replays or even mishandles existing scores, including American martial music and the French national anthem, La Marseillaise.

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Le jour du kiosque on 78 rpm

Saturday, September 6, 2025
Bandstand, Manoir de Martigny

Pierre Leguillon, founder of the Musée des Erreurs in Brussels, and Pierre-André Perrin, director of the Musée du Son (Fondation Guex-Joris) in Martigny, are offering a 78-rpm listening session under the bandstand in the grounds of the Manoir de Martigny. A series of gramophones from different eras, preserved in the Musée du Son, will exceptionally descend from the attic of the Manoir to spin in the open air. Before turning their cranks, Pierre-André Perrin will detail the technical characteristics of the devices, while Pierre Leguillon will introduce the selected tracks.
The chosen tracks will echo the different rooms of the "erratum musical" exhibition, and will not fall under what is generally understood by the term "music". We'll be listening to wind and rain, a group of dogs playing boogie-woogie, Rufus the whistler, birdsong and more. And many other nuggets unearthed in the reserves of the Musée du Son, which recently acquired the collection of Jacques Goy, who owned thousands of 78 rpm recordings prior to 1950. These include ambient noises (a factory, a department store, street activity, etc.) and sound dressings that once belonged to the Radio Lausanne sound library.
An extract from the music composed by Erik Satie for the ballet Parade in 1917 will also be played. For this "cubist sound collage", Satie was the first composer to include ready-made sounds among the orchestral instruments: a typewriter, a lottery wheel, a pistol, a rattle or even a "bouteillophone", a kind of xylophone made from more or less full bottles, which can be tested on the reconstruction presented in the exhibition.
The session closes with Cathy Berberian's brilliant composition Stripsody (1966), a collage of onomatopoeia cut from comic strips, to which the singer lends her voice. Finally, Florence Forster Jenkins, another singer, will massacre - let's not mince words - the Queen of the Night's aria from Mozart's Magic Flute at Carnegie Hall in the early 1940s.
Next, the public will be invited to join artist Mathias Pfund at the Musée du Son, where he will present his sculpture for a piano keyboard, also based on Érik Satie, and evoke the Véritables Préludes Flasques (pour un chien) by the brilliant Satierik.

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Music on picture

La promesse de l'écran presents : La musique sur l'image, edited by Sylvie Eyberg (assisted by Olivia Degrez). Unpublished bonus proposed by Géréon Schlösser.
Cinéma Corso, Wednesday, October 1, 2025 at 8:30pm
Running time: 2 hours. All audiences.
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First opened by Pierre Leguillon in Paris in 2007 at the invitation of "architectures possibles" (Christian and Pascale Pottgiesser), La Promesse de l'écran is a retractable device as much projection as performance, which has taken many forms, adapting to a wide variety of public and private architectures. Sessions are devoted to aspects peripheral to cinema: credits, posters, recurring motifs, etc., or propose looking towards the screen from another medium: poetry, painting, drawing, music... As a full participant in DVD culture, films are rarely projected in their original format, but rather reproductions, from which extracts are viewed, enhanced by bonus features, sometimes performed live.

As the title suggests, the montage proposed by Belgian artist Sylvie Eyberg at Corso not only presents an anthology of scenes, some of them emblematic of the Hollywood musical, but also shows what music "does" to the image, how it works it, reminding us in passing that the fabric of the cinema screen is covered with micro-perforations to let the film's sound through.

"When I asked Pierre Leguillon if there was a Promise of the Screen dedicated to musicals, his answer took the form of an invitation: he made me promise to make it myself. When someone opens their home in this way, it becomes a meeting place, a public space. Musicals aren't a popular genre with everyone, but they're a common sight on the streets. The screenplay is often a mere pretext, the image constructed for the musical moments. The movement of the camera, that of the dancers and the rhythm of their steps, then take us through the thickness of the set, from the space of the street to that of the backstage area." S.E.

With Sylvie Eyberg, Pierre Leguillon and Géréon Schlösser.

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Pierre Leguillon

Born in 1969
Based in Brussels

After training in visual arts at the University of Paris 1- Panthéon-Sorbonne, he began his career as an editor and art critic. A protean artist, his work focuses on the production and reproduction of still and moving images, of which he owns a vast collection, now housed in the Musée des Erreurs, which he founded and installed in his Brussels apartment in 2013(The Museum of Mistakes, Edition Patrick Frey, Zurich, 2020).

From 1994 to 2006, his practice focused mainly on the projection of sound slideshows. In 2007, he created La Promesse de l'écranin Paris: a projection screen concealing a speakeasy - this retractable system has since become itinerant. More recently, his practice has focused on the production of artists' books, published mainly by Patrick Frey (Zurich), Triangle Books and Surface Utiles (Brussels). He was awarded the Bob Calle Artist Book Prize for Ads (Triangle Books), in 2021.

His work has been exhibited at the Louvre (Paris, 2009), Mamco (Geneva, 2010), Moderna Museet (Malmö, 2010), and more recently at Wiels (Brussels, 2015), the Fondation d'entreprise Ricard (Paris, 2019) and the Frye Museum (Seattle, 2019). He has taken part in Carnegie International (Pittsburgh, 2013), the Tirana (Albania, 2016) and Taipei (Taiwan, 2016) Biennales, and Phenomenon #5, Anafi (Greece, 2024).

His works are included in the collections of the Centre Pompidou in Paris, the Kadist Collection (Paris and San Francisco) and the Carnegie Museum of Art (Pittsburgh).

He was laureate of the Villa Médicis in Rome in 2003. He has taught at HEAD-Geneva since 2010.