Saâdane Afif, Blue Time vs. Suspense, 2007
Saâdane Afif plays with notions of displacement, collusion and contrast. He uses objects, scale models and installations, sounds and writing to mirror in the work of art itself the dialogue arising between the artist and the viewer. This dialogue makes allusions to psychological, historical, social and cultural elements.
Thanks to this extended formal vocabulary, borrowed as easily from the history of art as from the world of the media and music, Afif creates installations made up of unexpected encounters between objects and disciplines. Power Chords, produced for the Lyon Biennial in 2004, and for which he won the International Prize for Contemporary Art from the Fondation Prince Pierre in Monaco, is a sound installation for eleven electric guitars controlled by informatics. Each guitar emits its own note at random, in order to compose “key” harmonies from Rock history that are the musical transcription of mathematical harmonies played by artist André Cadéré with the drumsticks.
Blue Time vs. Suspense is especially produced for the Xavier Hufkens Gallery. It makes a synthesis between two older projects: Blue Time and Suspense. Blue Time vs. Suspense comprises three guitars/black clocks hung like suspension points, attached to three amplifiers via audio cables. The sound produced is similar to that of three out-of-tempo metronomes.
“To produce a musical instrument related to time, is to recall that the mastering of the latter lies at the heart of an artist’s preoccupations”.
The lyrics of the two songs about the older pieces, from which this new work originates, are stuck on the walls in adhesive letters. They accompany a text created for the occasion referring to the new work. Playing alone, the musician Vale Poher performs these texts, accompanying the songs on electric guitar. This is broadcast via headphones placed on a stand upon which the visitor can sit.
The style of music and the instrument perfectly match the project.
A screen-printed poster features the titles of the album and by extension, the titles of the works. It is a kind of exhibition ‘credits’.
A CD, also produced for the occasion, is a recording of the exhibition in words and music.