| TAL HADAD | |||
| A LISTENING ROOM | |||
| INIGO CABO, MATTHIEU CLAINCHARD, TAL HADAD, FRANCK LEIBOVICI, BETTINA SAMSON, VITTORIO SANTORO, ERIC STEPHANY | |||
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Appareillage Paris, 2008, installation sonore, technique mixte, peinture, bois usiné |
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| Du bout des lèvres, 2008, avec Kate Fichard, vidéo, couleur, traduction de la lecture labiale, 3’, édition 1/5 + 1EA | ||||
| Vert Star, Mauve, Opotente, Rose, Rose Yellow, série Aparelhagens do Para, 2008, impressions sur toile, chaque 90x120 cm | ||||
The universe of tecno-brega, a Portuguese term that could be translated by "techno-kitsch", founds its origin in the North of Brazil and more precisely in the region of Belem. In this territory, local DJ's utilize Orkut website to diffuse their music, their iconography and their identity. The tecno-brega scene, besides being a big popular movement in Brazil, exists intensely on the Web. One of Belem's DJ's features, and more specifically of DJ's from Para city, is the construction of "aparelhagens" ("equipments"), i.e. entirely tuned DJ cabins. These large structures, made out of enamelled wood and metal highlight the theatrical function of the DJ regarding his/her public. Tal Hadad's Paris Equipment evokes these Brazilian productions by images on the walls, and pays hommage to tecno-brega's universe while adopting a chaotic, deconstructed shape. It represents the application of the favela aesthetics to the field of functional sculpture. This large sound-system, diffusing tecno-brega songs every twenty-five minutes, is the first prototype of a series of aparelhagens that will be used for the Global Heart Me event during Sao Paulo's White Night.
This video work is an intervention on a typical Bollywood videoclip. On the subtitles, one can read a possible translation of the song by means of lip reading technique. This operates a shift regarding the original language of the track. Such a technique allows as well reconstructing imaginarily the meaning of the lyrics, erasing virtually the difference between languages. It produces involuntary and playful effects, that join those of automatic writing or concrete poetry.
Tal Hadad (1976) has developed along the last 5 years a large project called Global heart me, a new concept of music creation and broadcasting where the common music tendencies of global cities (Istanbul, Beijing, Sao Paulo) become experimental territories that inspire events, albums and exhibitions. His musical works are closely related to multimedia, visual and performance arts. He has collaborated in sound projects with diverse artists as Cao Fei or Mark Leckey. His latest inteventions have talken place in Le Plateau, Paris (2008, with Cao Fei), Kunst Werke Art Center in Berlin (2006) and DIAF contemporary art festival in Beijing (2006), or ISM Istanbul and Istanbul Biennial (2005).
ph. Rémy Lidereau