Zad Moultaka will exhibit a multimedia work for the Lebanese Pavilion installed, from 13 May to 26 November 2017, in the church of Santa Maria della Misericordia, in the Cannaregio district, a prestigious site in the historic centre of Venice.
Emmanuel Daydé, art historian and critic, will be curator of this exhibition at the Lebanese Pavilion.
An internationally renowned composer and visual artist, Zad Moultaka, in his creation, combines ‘musical invention with visual research in an approach where technology takes inspiration from the archaic’ (Emmanuel Daydé). Zad Moultaka’s pictorial gesture responds to and harmonises with his musical compositions, centred on common motifs: wrench and separation, the time immemorial and violent of Earth, memory and the instant facing the mute silence of heaven, the impossible reconciliation of opposites. Using large-format papers, painted then torn, on which the natural elements (water especially) come to infiltrate a fragile material, Zad Moultaka creates evolving forms, similar to eroded rock surfaces, ancestral caves in which mineral and vegetal dissolve then are born again in face of the crumbling of the human world.
For the Lebanese Pavilion, Zad Moultaka will conceive a ‘constantly evolving work’, Sacrum, inspired by the prehistoric caves of Jeita (Lebanon) and Chauvet (France), combining visual structure and sound environment. The latter, made up of sounds of Nature produced by the human voice, will be reprocessed at IRCAM in Paris.
‘In these times when the Middle East is crumbling before our eyes, foundering in fratricidal wars, every act, every thought must be moved by this foretold catastrophe. Our earth is burning, our roots are being torn up, our future is drowning in indifference. It is urgent to question the soil, urgent to put the spiritual back into art, urgent to put naturalness back into the heart of Man. To descend into the depths of time is to climb back up to eternal light: that which is born in the East. Today’s man has been ripped from the soil and fallen from heaven.
‘Deaf and blind to the essence of things, he is programming his own obliteration, hastening with it, by anxiety, the crumbling of the world. Within this universe that is losing its way on the shores of materialism and drowning on the surface of the visible, questioning the sacred in the very heart of Man: such is the dream and ambition of this Lebanese Pavilion for the Venice Biennale.’