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Le battement des ailes. 2016 > 2018
Series of 24 drawings. Multiple dimensions. Graphite, ink and transfer on cotton paper
View from HybrID exhibition. Kunsthaus Hamburg. 2019.
Series of 24 drawings. Multiple dimensions. Graphite, ink and transfer on cotton paper
View from HybrID exhibition. Kunsthaus Hamburg. 2019.
The Beat of the Wings is focused on the void inherent to these fragments, like the abyss at the centre of our history that underpins our gestures and our words, our actions and our connections. It is as if the drawing is seeking to distort our projections to prepare the world for the return of these ghosts that glorious history had condemned to obscurity. The void is not nothingness: it deploys a truth common to a set of completely disparate elements.
The image should not make explicit but veil, not make familiar but exceptional, not bring closer but keep at a distance, all the more so since the fundamental tone is more original, carries further and collects in a single unity the fate of a people and its relationship to the gods. Martin Heidegger, Hölderlin’s Hymns.
The drawing space presents a struggle between the different fragments. A battlefield is established from the outset. This struggle involves the enigma of matter and the appearance of History. It involves the gaze of finite beings faced with the signs of their fate. It is the quintessential dimension where matter and narrative, finitude and destiny unfurl. The drawing’s signatory or the proper name of the gesture opens up the components of a world with a single stroke. Thus, it is not to be understood as a simple war, alternating with moments of peace. The struggle, in which worldly space and time are anchored, so as not to sink into calculating uniformity, is eternal; a struggle against chronology and geometry, against spiritual abstraction and idolatrous portrayals. It marks a resistance to the leveling effect of reason that capitalizes everything by replacing beings with values.
But images also have an inside or certain images have an inside and are experienced from inside. They’re subjects […]. And there’s a gap between actions upon these images and the reactions they produce. It’s this gap that enables them to store up other images, that is to perceive. But what they store is only what interests them in other images: perceiving is subtracting from an image what doesn’t interest us, […]. Gilles Deleuze, Negotiations
Arafat Sadallah. From the text Historical recurrence : ghosts destiny.
Mnēmē. Artist book. zaman books and curating