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.
The series Clouds paintings by Benoît Maire features oil on canvas works in varying format, in which the artist depicts clouds, using a variety of tools, including a spray gun, paintbrush, or palette knife...
In 2010, Kadist Art Foundation, David Roberts Foundation and Nomas Foundation successively presented an exhibition of the work of Etienne Chambaud in collaboration with Vincent Normand: The Siren’s Stage / Le Stade des Sirènes...
Talking Head is a short film in black and white of Auder’s daughter Alexandra, hidden behind a hemp plant, playing with a plastic wrapper and babbling in an imaginative way...
The Parle Ment Metal Woman Welcoming You is a character originated from a series of works combining sculpture and video with a specific role— lying on the floor playing a romantic elevator tune, this Metal Woman welcomes and flirts with viewers in the space where she is posed...
In this work, Saâdane Afif quotes André Cadere’s round wooden batons using the copy share and remix principles...
silentstar, 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...
Created 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...
In 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...
Gastaldon has made a number of soft sculptures using materials associated with knitting and sewing that have alternately fetishistic, nightmarish or contemplative qualities...
In this work, Saâdane Afif quotes André Cadere’s round wooden batons using the copy share and remix principles...
Foreigners Everywhere is a series of neon signs in several different languages...
“Untitled” is inspired by the movie “Opening Night” by John Cassavetes with Gena Rowlands playing the role of a fallen woman, anguished by her distressed life...
Love Songs Best for Romantic Moments and of All Time - Artcentron Home » Love Songs Best for Romantic Moments and of All Time ENTERTAINMENT Jan 31, 2024 Ξ Leave a comment Love Songs Best for Romantic Moments and of All Time posted by ARTCENTRON Paul McCartney and Eric-Clapton-performing Something ...
The short film I Can Only Dance to One Song by Arash Fayez features a series of people from the migrant community in Barcelona singing along or dancing to songs of their choosing...
How Mariah Carey’s ‘All I Want for Christmas Is You’ Has Stayed So Popular | KQED Skip to Nav Skip to Main Skip to Footer Arts & Culture How Mariah Carey’s ‘All I Want for Christmas Is You’ Has Stayed So Popular David Bauder, Associated Press Dec 12 Save Article Save Article Failed to save article Please try again Facebook Share-FB Twitter Share-Twitter Email Share-Email Copy Link Copy Link A moment from Mariah Carey’s updated ‘All I Want for Christmas Is You’ video...