Pop (blue time)
2005 - Installation (Installation)
Saâdane Afif
Blue time is a song co-written by artists Saâdane Afif and Lili Reynaud Dewar. Collaborations are frequent in the work of the Afif, as is the case of the exhibition “Lyrics” which opened at the Palais de Tokyo in 2005, in which Saâdane Afif asked artists and musicians to translate his artworks into song lyrics and interpret them. The lyrics written on the wall produced a silent story, in a musical way that remains implicit (unlike certain installations by the artist where lyrics can be heard on headphones). The writing in hologram print displayed on the wall recalls the iridescent surface of CDs. The refrain “I’ve be waitin’…” introduces temporality and musicality in the field of meaning. This song is a commentary on pop music with a meta-poetic dimension. It depicts the life of a songwriter: “I ‘ve been waitin’ for the producers […] I left home when I was a kid […] I’ve been on the road indefinitely […] I played in bars, hotels, parties.” Like in “Actualité” a 16mm film by Matthia Poledna from 2001, Saâdane Afif and Lili Reynaud Dewar paint a nostalgic and idealized portrait of the artist as a pop star. Saâdane Afif practices the quote: “I belong to a generation of artists who {…} discuss art as a form of language, with which you play upon, you deform, you transform, without focusing on the object as it was before.” Such strategies of
Saâdane Afif practices the quote: “I belong to a generation of artists who {…} discuss art as a form of language, with which you play upon, you deform, you transform, without focusing on the object as it was before.” Such strategies of re-appropriation insert themselves inside a context of idea circulation, as a form of remixing and remaking. In the work “Pirates Who’s Who,” tactics of assemblage are recognizable on all levels. The artist makes use of an eccentric shelf by designer Ron Arad, displaying dripping paint on the wall while the shelf itself holds a collection of books on piracy, compiled together by the owner of the work. “Power chords” (2005), perhaps the most ambitious project by the artist to date, is both a work for publication and several exhibitions. The installation depicts automatic electric guitars, playing scores orchestrated by a computer program. The chords are defined by color sequences derived from André Cadere’s wooden segments. Yet with Afif’s displacement, the artist hints to the color and rhythmic sound dimensions vis-à-vis Cadere, inside a genre of synesthesia. In an age of numerical technology, Cadere’s rhythmic system echoes in a particular manner together with the processes of digitization. Afif suggests a principle of encoding the world underlying the real, or rhythmic language before the Tower of Babel. Saâdane Afif was born in 1970 in Vendome, France. He lives and works in Paris and Berlin.
Colors:
Related works sharing similar palette
© » KADIST
Duane Linklater
2020silentstar, delicacy by Duane Linklater is a replica of a baby pink hoodie that the artist wore as a teenager, embellished with hand-painted elements and band patches...
© » KADIST
Robert Zhao Renhui
2014Created during Zhao Renhui’s residency at Kadist SF in 2014, Zhao Renhui began observing and cataloguing insects inspired by the scientific impulse towards exhaustive taxonomy of Sacramento-based Dr...
© » KADIST
Marcelo Cidade
2010Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
© » WHITEHOT
Matthew Barney’s REPRESSIA (decline) at the Los Angeles County Museum of Art advertise donate post your art opening recent articles cities contact about article index podcast main December 2023 "The Best Art In The World" "The Best Art In The World" December 2023 Matthew Barney’s REPRESSIA (decline) at the Los Angeles County Museum of Art Matthew Barney, Cremaster 5 (production still), 1997 (fig...
© » ARTFORUM
Title, Theme Announced for Sixth Aichi Triennale – Artforum Read Next: ART BASEL REVEALS EXHIBITOR LIST FOR 2024 SWISS FAIR Subscribe Search Icon Search Icon Search for: Search Icon Search for: Follow Us facebook twitter instagram youtube Alerts & Newsletters Email address to subscribe to newsletter...
© » KADIST
Marina Rosenfeld
2019The installation Music Stands: Free Exercise 7, 8, and 9 by Marina Rosenfeld consists of music stand-like structures and a corresponding set of panels and acoustic devices that direct, focus, obstruct, reflect and project sound in the gallery...
© » KADIST
Robert Zhao Renhui
2014Created during Zhao Renhui’s residency at Kadist SF in 2014, the photographic grid features a selection of some 6,000 members from single family of flies –hoverfly– identified over the last 25 years by Sacramento-based Dr...
© » KADIST
Milena Bonilla
2009Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
© » KADIST
Michelle Handelman
2009In Dorian, a cinematic perfume, video is used as a community gatherer, a tool to speak about particular subcultures, in this case the trans-gender drag queen New York community, past and present...
© » KADIST
Gan Chin Lee
2019In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory...
© » KADIST
Bruce Conner
1995Bruce Conner is best known for his experimental films, but throughout his career he also worked with pen, ink, and paper to create drawings ranging from psychedelic patterns to repetitious inkblot compositions...
© » KADIST
Jessie Stead
2017Jessie Stead’s Punched Interlude works are made out of found police barricade tape that she punches holes in and then runs through a music box, the music is composed by her as audible reflection on barricades and no go zones throughout the city of New York in area of Donald Trump...
© » KADIST
Vidya Gastaldon
2011Gastaldon has made a number of soft sculptures using materials associated with knitting and sewing that have alternately fetishistic, nightmarish or contemplative qualities...
© » KADIST
Laura Gannon
2017The impressionistic surface of Wild Money (2017) recalls the 1950s paintings of Philip Guston...
© » KADIST
Karl Haendel
2011Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
© » KADIST
Asli Çavusoglu
2020In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...
© » KADIST
Voluspa Jarpa
2014In her work, Fantasmática Latinoamericana, Jarpa works from photographs of five public funeral processions following the mysterious deaths of five Latin American presidents...