Sound and Color are instinctive and experimental. Separate from
referential contexts, they become the most curious language form.
BASSEM MANSOUR (LB)
Bassem Mansour, libanese, crea istallazioni audio visive, volte a mostrare il rapporto tra le persone, le regole imposte dalla società e come queste diventano udibili e visibili. Indaga in particolar modo la relazione trasversale tra l’uditivo, il visibile, il rumore e la memoria.
Chromatic Club Special
un esperimento cromatico che fonde colori opposti tra loro, che si muovono verso diverse direzioni. Attraverso alcuni suoni guida scaricabili con l’ausilio di un QRcode e di uno smartphone, gli spettatori parteciperanno alla costruzione di un coro interagendo con suoni e video.
Is a 30 minutes performance with video projection and live sound
The video projection is based on chromatic experiments which fuse
together antagonistic colors moving in different directions.
Together with the video there will be a live Sound and Voice
performance with the participation of the audience.
Guide sounds will be published online and the audience will scan QR
codes to access them and participate by voicing together with the
different sounds they hear through their mobile phones.
I had a conversation once with a friend and we couldn’t agree on a
point. So, we agreed on the fact that our talk was centered around
personal experiences and that all we had was an exchange of audible
experiments which didn’t convince any of us.
What we tried to perceive as reality was a simple rationalization of
sound and color in some context of space and time.
Obviously, our antagonistic views kept us from agreeing on anything.
But when we moved away from the importance of our personal
experience, we realized a state where antagonistic colors and sounds
could merged to cohabit together.
Bassem Mansour was born and raised in Beirut. He left Lebanon in 1997, and has been travelling constantly since. He is an interior architect, multimedia, AV, and installation artist. His work is influenced by people’s social behavior and their engagement in the activities of daily life within their immediate surroundings. Mansour examines the different correspondences between the audible, the visual, noise and memory. His video work is mostly a series of solo performances and experiments in which he tests the limit of repetition and the idea of form. In 2005, he teamed up with artist Fritzi Metzger and formed ‘FiFi & Baa Productions’. In 2006, he had his first solo exhibition Fish don’t Apologize at Dar Al-Funoon, Kuwait. Since 2007, he has been exhibiting in The Sultan Gallery and took part in a series of collectives curated by Fatima Alqadiri. In 2010 he designed a 160m2 Installation for the launch of Established & Sons. He is presently based between Kuwait, Beirut, and Italy.
The adaptive memory makes it harder to reinterpret the idea of space
without recurring to acquired understanding in the normative or
historic context. Therefore, it is true that we cannot talk about space
but more about spaces which are interpreted and perceived differently.
Taking into consideration the shift in ethical consciousness and the
rooted reality of the NOW culture, every aspect of nowadays life
becomes an ever changing reality which in theory affect the definition
of the space itself.
In few seconds, space can shift from being individual to collective, from
centered to dispersed, from closed to open and from real to virtual. It
becomes an entity which changes face and mutate under complex human interactivity.