EXHIBITIONS

Exhibition – Itinerant

” Empreinte#1 “

of Zakahamida

Traveling and ephemeral exhibition from July 2024

Empreinte#1 is a post-digital installation in continuity with Zakahamida’s previous creations.

“Post-digital” means that digital is not the subject, it just allows organic links to be created from the living, for the living, disconnected from networks.

Here it is a recycled iPhone which analyzes the movement via its camera, captures the sound and transforms it in real time to generate a sound imprint through accumulations and various treatments.

The device is preferably not visible, it is from the sound that the public will be able to become aware of it, take the time to understand it, to experiment and leave their mark.

Photo credits: Zakahamida

Exhibition – France

” Deaf cross ” – Smartland, a post digital garden

of Zakahamida

Exhibition 10th june to 24th september 2023 at “la grange à Pierre” – Cépanou – St Pierre-le-vieux – France

Structure in the shape of a cross printed in ABS containing 4 Smartphones operating with a dedicated application
Wooden frame – white acrylic .

The concept “Smartland – a post digital garden” introduced by the artist since 2014, features Smartphones disconnected from digital networks, able only to interact with the surrounding analog world. Here, the smartphones broadcast a short sound of cricket singing as soon as motion is detected via their camera. At the end of the sound played, a light flash is generated and will then make the Smartphone react, causing it to do so. The red cross represents a symbolic border between the modern world and the living, universal symbol, echoing the “Cross Garden” installation.

Photo credits: Zakahamida

Exposition – Bourgogne

” Cross garden “

of Zakahamida

Exhibition 10th june to 24th september 2023 at “la grange à Pierre” – Cépanou – St Pierre-le-vieux – France

Red cross painted in ABS on sheets of seeded paper: wild flowers – aromatic herbs – hemp yarn.
Wooden frame – white acrylic – semi-buried steel support .

The red cross, a universal, minimalist symbol, called suprematist by Kasimir Malevich, represents here a border between the modern world and the living. If this “canvas” is going to degrade over time and bad weather, releasing its seeds towards the ground until revealing through the frame a living nature composed of wild flowers and aromatic plants, there will remain the residues of the cross: memory of language.

Photo credits: Zakahamida – (Photo after 13 days of exposure by Franck Anraud)

Exhibition – Taiwan

“The Play and Playing- Light and Shadow”

2022 Taiwan International Light Festival

Exhibition venue: National Taiwan Museum of Fine Arts

The outdoor courtyard of the Museum : 25 December 2021 – 28 February 2022

108 gallery : 18 December 2021 – 20 March 2022

Organizer by: National Taiwan Museum of Fine Arts

Co-organized by: YINGARTS, Taiwan Art, Technology and Education Association

Curators: Yu-Chuan Tseng, Shuy-Ing Weng

Zakahamida presents 2 installations from the exhibition “C.CUT-UP! Post-digital resonances”

Cut-up is a technique of cutting words to reorganize them and play on the meaning. The “post-digital” dimension is here linked to the concept of using digital objects, disconnected from the Internet, responding only to external analog variations, including the presence of the public.

The first installation: “Cut-up & Control” plays a poem by William Burroughs, using the cut-up technique. The movement of the audience in the light is captured by a smartphone camera which distorts the intelligibility of the poem in real time. The audience must remain almost still for the poem to slowly become more intelligible again. This installation places the listener in a resonant organic relationship with sound and meaning. The version presented here broadcasts a Taiwanese version with the voice of Hong-Wen LIN

The second installation: “Suspendule#2” is a pendulum which oscillates and tries to come to life through a hybrid breathing between man and machine. Variations in its trajectories can give way to silence. Like a punctuation mark in our modern world, this pendulum embodies a resonating space-time, of which its own frequency is accessible to us, as long as we take the time to observe it, to listen to it. The tempo remains regular and the amplitudes are reduced to the point of immobility. A cycle lasts about 30 to 45 minutes. We put it back in motion with a delicate gesture, in the hope of bringing it back to life, a new beginning …

The plant sculpture is by Jun T. LAI Grenn Splendid

Photo credits: Iris Liao

Exhibition – Moscow

“C.CUT-UP ! Post-digital resonances”

of Zakahamida

Exhibition at the GROUND Solyanka gallery – October 2021

re-adaptation of the exhibition created at La Grange à Pierre comprising 4 installations: “Fourmille” + “Cut-up & Control” + “Suspendule#1” + “Disfluxion”

The artist diverts technologies from their initial contexts, isolates them from the internet flow and confronts them with the vagaries of encounters with visitors. The installations presented are all linked to resonance, as a sociology of our relationship to the world, part of a “post-digital” approach. The proposed experiences challenge our ability to take the time to establish resonant relationships with the world around us. The “post-digital” dimension is here linked to the concept of using digital objects, disconnected from the network and responding to external analog variations, such as the presence of the public. “Resonance is the reverse of alienation. It is not the results obtained that matter, but the experience of the interaction that arises from such a process. “(Reference to:” Resonance “by sociologist and philosopher Hartmut Rosa)

Partners: French Institute in Moscow / Tchaikovsky National Conservatory in Moscow

Photo credits: Ground Solyanka Galerie & Zakahamida

 

Exhibition – France

“C.CUT-UP ! Post-digital resonances”

of Zakahamida

the creation of this exhibition stems from the meeting between Cépanou and Lisilog around the devices of the artist Zakahamida. By inviting Zakahamida, the Cépanou association is inaugurating its exhibition space, la Grange à Pierre, in the heart of the Burgundy countryside. Located in Saint Pierre le Vieux in a rural town of Saône et Loire, this space is an invitation to discover contemporary creation. In search of an echo between artistic interventions, inhabitants and the landscape, Cépanou offers moments of interaction, exchange and sharing to build and develop new artistic forms, together, far from the attraction of cities. . For this first residency, Cépanou joined forces with Lisilog, an association which is dedicated to technological innovation in the service of artistic devices and their transmission. “C. Cut-up! “Is a concentrate of technologies acquired by the LiSiLoG team that Zakahamida uses to question, through sound and visual installations, our relationship to the world today.

“Cut-up & Control”

World premiere 2021:  at “la Grange à Pierre” – St Pierre le vieux – France

Smartphone, 2 amplified speakers.

This device broadcasts “Cut-ups” by the poet William S. Burroughs, and invites the spectator to participate through his stillness in an active listening. Little by little and more and more intelligibly, the diffusion of the poem is revealed. From this apparent stability, the audience’s micro-movements, captured by the smartphone camera, distort the sound until it completely disappears and gives way to an abstract, wordless universe, musically inscribed in a composed process. In the end, the issue is not the problem of fragmentation but that of rearranging, taking the time and appealing more to Hi than to Ai.

photo credits: Zakahamida (“Cut-up & Control”: above at Galerie Solyanka – Moscow / below at La Grange à Pierre – St Pierre Le Vieux)

“Suspendule#1 & #2”

World premiere 2021:  at “la Grange à Pierre” – St Pierre le vieux – France

Sphère ( ø 200mm) lestée et suspension biaxiale via roulements imprimées en ABS, cable de suspension alimenté, capteur de mouvement intégré, diffusion stéréo.

Suspendule#1 : was specially designed for an exhibition near the “Disfluxion” installation. The movement of the pendulum is voluntarily left free, without permanent maintenance, until its natural damping. The sound generated by the pendulum is a hybrid respiration between man and machine. It is revealed according to the proximity of the public to the installation “Disfluxion”, in connection with the disappearance of the moving characters from the video.

Suspendule#2 : is the independent version. An iOS application is used to process the movements of the pendulum and translate them into sound. This pendulum oscillates and tries to come to life through a hybrid breathing between man and machine. Variations in its trajectories can give way to silence. Like a punctuation in our modern world, this pendulum embodies a resonating space-time, whose own frequency is accessible to us, as long as we take the time to observe it, to listen to it. The tempo remains regular and the amplitudes are reduced to the point of immobility. A cycle lasts about 30 to 45 minutes. We put it back in motion with a delicate gesture, in the hope of bringing it back to life, a new beginning …

Photo credits: Ground Solyanka Galerie & Zakahamida (Suspendule#1: above at Galerie Solyanka – Moscow / below at the Grange à Pierre – St Peter the Elder)

“Disfluxion”

World premiere 2021:  at “la Grange à Pierre” – St Pierre le vieux – France

Installation interactive d’une vidéo de 60 minutes, plan fixe, diffusion stéréo, traitée en temps réel, en fonction de la proximité du public.

Vision romantique du détachement entre l’homme et le monde qui l’a créé. Ce dispositif consiste à créer une distance paradoxale entre le public et sa perception du flux. Apparaissent à l’écran, ceux qui prennent le temps d’une pause et révèlent leurs présence à l’image; dichotomie d’une réalité qui nous échappe. Questionne- ment du paradoxe des liens entre les Hommes en ce début de 21e siècle. Le flux permanent de nos connections virtuelles avec le monde crée une fracture entre les Hommes et le monde, pharmakon d’une société hyper-connectée.

Crédits photos : Ground Solyanka Galerie – Moscou

“Fourmille”

World premiere 2021:  at “la Grange à Pierre” – St Pierre le vieux – France

Video-panoptic of 9 Smartphones under frames.

Smartphones broadcast videos in still shots, without sound. Image processing uses the same process as the “Disfluxion” installation: only what is immobile appears, this process is called “presence”. The audience finds themselves in front of this video panopticon as an observer of the mutation of the environment of each cell, organized by the activity of ants.

Photo credits: Ground Solyanka Galerie – Moscow

“SmartLand Divertimento”

Resonant interactive installations

They question our relationship to the world, question our ability to take the time to establish resonant relationships with the world around us. These installations deliberately use the “Smartphone”, a symbol and paradoxical object of the progress of a modern, hyper-connected society at the start of the 21st century. Via the installation “SMARTLAND – Divertimento“, Christophe Lebreton introduced in 2014 this concept which he called “Post Digital Garden”. Place a “high-tech” object: the Smartphone, in a space without an Internet connection, which can only interact with the surrounding analog world via its integrated microphone and loudspeaker, much like any individual, “off-line”.

Christophe Lebreton, alias Zakahamida