La radio de l'art, dialogue d'artistes, audio-guide online de L'appartement 22

Author

Abdellah Karroum - page 2

Abdellah Karroum has 29 articles published.

artistic director

L’appartement 22 (2002-2022)

in Non classé/R22 Audio Guide by
Vue de l’exposition, lors du vernissage, Lot 219, Bensouda-Fez, le 11 octobre 2022.

Cette exposition pop-up monumentale présente aussi des documents et archives d’expéditions et rencontres qui ont ponctuées l’existence de l’appartement 22. Elle dévoile aussi les processus, les méthodologies et les connexions de L’appartement 22, des réseaux artistiques et humains, établis lors de résidences d’artistes. 

Sont déployés dans le lieu, des oeuvres, archives et interventions de : 

Sofia Aguiar, Mustapha Akrim, Sadik Kwaish Alfraji, Francis Alÿs, Ahmed Amrani, Nassim Azarzar, Younes Baba-Ali, Yassine Balbzioui, Tina Barouti, Yto Barrada, Liliana Basarab, Faouzi Bensaïdi, Karima Boudou, Cecile Bourne-Farrell, Matti Braun, Frederic Bruly Bouabre, Gabriella Ciancimino, Philippe Cazal, Tomàs Colaço, Hassan Darsi, Pedro Gomez Egana, Mohamed El-Baz, Safaa Erruas, Ninar Esber, Natasha Ginwala, Badr El Hammami, Mohssin Harraki, Dominique Hurth, Seamus Farrell, Mounir Fatmi, Shezad Dawood, Pedro Gomez Egana, Heidi Nikolaisen, Chourouk Hriech, Fabrice Hyber, Soukaina Joual, Goddy Leye, Fadma Kaddouri, Maria Karim, Abdellah Karroum, Hyunjin Kim, Joseph Kosuth, Georgia Kotretsos, Miloud Labied, Otobong N’kanga, Sara O’Haddou, Aurora Pellizzi, Bernard Plossu, Catherine Poncin, Karim Rafi, Raqs Media Collective…Mohammed Larbi Rahhali, Younes Rahmoun, Maria Camila Sanjinés, Jérôme Schlomoff, Pascal Semur, Anne Szefer Karlsen, Jean-Paul Thibeau, Natalia Valencia, Oriol Vilanova, Ala’ Younis, James Webb, Sanaa Zaghoud.Tout au long de l’exposition auront lieu des workshops en collaboration avec les artistes, artisans et auteurs des lieux d’art et amis qui ont accompagné pendant vingt ans les expéditions, expositions et publications de L’appartement 22. Les rencontres et dialogues seront diffusés sur R22 Art Radio.

L’exposition est volontairement installée comme au souk, les caisses sont ouvertes, les emballages entrouverts, pour donner à voir des productions en transit, – comme un depot d’archives. Photo: A.K. 2022
R22 from the North Sea, 2009
R22 landing in Madrid,

Shezad Dawood: « For A Few Ruppies More »

in R22 Sound Station by

« FOR A FEW RUPEES MORE » de Shezad DAWOOD est un projet de film dont il ne reste que la bande-son. C’est une proposition conceptuelle en relation avec le « Spaghetti Western » au Pakistan.

Après avoir conçu toute la mise en scène et réalisé les repérages, notamment en visitant tous les sites ou le film devait avoir lieu, et aussi trouvé des acteurs, l’artiste décide d’abandonner le film pour la réalisation de la seule bande sonore. Pour la bande-son Dawood a pris toutes les compositions des films de Sergio Leone par Ennio Morricone, les a coupées et remontées pour qu’elles conviennent a la mise en scène que j’il avait préparée. Après avoir fait cela, Shezad Dawood commissionne le premier joueur du sitar du pays de faire une improvisation sur ce montage, avec la même durée du film prévu, soit 40 minutes.

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- image : Shezad Dawood, Story Board du projet For a Few Rupees More (Pour quelques Roupies de plus).
** Shezad Dawood effectue des recherches à Tanger, en preparation de son projet « The New Dream Machine » à L’appartement 22 en 2011.

BELIEVE HALF OF WHAT YOU SEE AND NONE OF WHAT YOU HEAR : GRIOTS //

in Non classé by

This program initially created by Georgia Kotrestsos, for the curatorial project « Before Our Eyes » (Sous nos yeux), curated by Abdellah Karroum, and took place at La Kunsthalle de Mulhouse (2013) and MACBA Barcelona (2014).

Believe Half of What You See And None of What You Hear will provide a daily newscast ; dialogues ; present-time Griot historicizations as well as occasional heuristic sound pieces. This radio program is an invitation to consider our auditory perception of the art world and our proximal or distal milieu.

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GK_GRIOTS_BHSNH_2013_ELPIDA KARABA_1
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Portraits of Noisers – Gabriella Ciancimino, Giuseppe Giambertone, Giovanni Tripi

in Non classé/R22 Sound Station by

This update version of Portraits of Noiserz 2020 collects the original soundtracks and videos produced for R22 programme together with soundtracks for other projects by Gabriella Ciancimino in collaboration with musicians between 2009-2014.

R22 Intro Portrait of Noisers
Che Piacere! Cookie Snap, produced for the video « Dalla Terronia col Furgone » 2011.
Za’faran Jtronica, produced for the video « Dalla Terronia col Furgone » 2011.

Portrait of Noiserz is project that contains some episodes wherein associated documetation of experimental music, interviews and video.

Femmes & Machines Jtronica, produced for the video « Dalla Terronia col Furgone » 2011.
Solo Riso Giallo_Bras, produced for the video « Dalla Terronia col Furgone » 2011.
Hatori Yumi and Kitchen Noises,
Van Sorgen Plants Oxygen, produced in 2013 for « All’allerbaggio (Ahoy the herbs), Museo d’arte contemporanea Villa Croce, Genoa.

The episodes  to make the portraits of the musicians that present themself (probably in their studios or on the street…depens from people to pleople) while they work…for example some of them create their sperimental instruments by hands..and so on.

Portrait of Noisers Gargo Master,
Dj Dust and Aromatic Herbs,
Lorrè e Marcolizzo All’Alberaggio,
Mujeres Beat 87, produced in 2014 for « La Flora Soñadora » project for the exhibition Sous nos yeux (Before Our Eyes) at MACBA (Barcellona)

Portraits of Noiserz comes from the collaboration of Gabriella Ciancimino (visual arts) with Giuseppe Giambertone (videomaker) and Giovanni Tripi (Producer of Electronic Music). The three artists – usually engaged in individual productions – have wanted to face together emphasizing the collaborative nature of the project, which is therefore an excellent opportunity to exchange knowledge and to create a contamination between different languages.

Café Univers, by Syma Tariq and Francesca Savoldi

in Non classé/R22 Artists Dialogues by

A temporary recording studio at Contour Biennale 8’s Opening Weekend Public Programme / DAI Roaming Assembly #12, Café Univers draws on conversations, music and live internet/FM radio feeds from across the globe to dialogue freely around sound, place and histories of struggle. The episodes navigate mainstream radio stations via the Radio Garden website as well as music chosen by presenters. The project melds sonic exploration of south/south solidarity and the collapsing of physical/digital spaces vis a vis the chaotic dynamics of listening to the radio while rotating the globe.

Café Univers is a project conducted by Syma Tariq and Francesca Savoldi and supported by R22 RadioAppartement22

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Episodes 1, 2 & 3: Ritu Sarin and Tenzing Sonam have been making films together for three decades on the recurrent subject of Tibet, in which they are intimately involved.They chat with us about the music of their film ‘Drapchi Elegy‘ and the songs performed and recorded by a group of nuns imprisoned for protesting peacefully. We chat as well about the role of radio in the Tibetan diaspora, music of exile and the meaning of its contemporary influences.

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Episodes 4 & 5: Karrabing Film Collective are from the Belyuen community on the Cox Peninsula across Darwin Harbour, Australia. They took up filmmaking after being made homeless, and use media as a means to express protection for their ancestors, sacred sites and mother country. The films represent their lives, create bonds with their land, and intervene in global images of indigeneity. Gavin Bianamu, Rex Edmunds and Elizabeth A. Povinelli speak to us about filming, family, Australian radio music and screwing copyright.

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Episodes 6 & 7: Denise Ferreira da Silva offered at Contour Biennale 8’s Public Programme notes on a theory of transformative justice, assessing contemporary (total, institutional, symbolic) violence and raciality while interrogating a value-based proposal for practical decolonisation (ie, construing and then demanding the wealth back). She speaks to Café Univers about Brazilian radio novelas, cultural value extraction and hip hop, among other personal subjects.

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Episode 8: Pedro Neves Marques is (together with Mariana Silva) behind inhabitants – an online channel for exploratory video and reporting. He comments on one of the works presented at Contour Biennale 8, ‘Hobby Lobby vs. The Allegory of Justice’, which revolves around an interesting case from 2014 in the US, where corporations claimed for the first time their religious rights to suppress providing health care and contraceptives to employees. Travelling together though Radio Garden we try to find evidence of the Trump era on US airwaves.

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Episode 9: A chat with Mariana Silva, co-founder of inhabitants with Pedro Neves Marque. She is a Portuguese artist based in New York. As well as navigating Radio Garden with us through night radio broadcasts and transmissions from the Azorean archipelago, she connects some of the works produced for Contour Biennale 8 with her reflections on the US Women’s March on Washington, which took place on March 8 2017.

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Episode 10: Pedro Gómez-Egaña drops by to tell us about the piece he produced for Contour Biennale 8 and related research that explores the complex tradition of riddles in polyphonic manuscripts of the Flemish region, and the enigmatic silence they contain. Continuing with the task of listening, we tune into the airwaves of his homeland, Bucaramanga (Colombia). Pedro is an artist whose recent works gravitate around questions of temporality in the intersection between technology and culture.

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Episode 11: A recording of the last eight minutes of Rana Hamadeh‘s soundplay, « Can You Make a Pet of Him Like a Bird or Put Him on a Leash For Your Girls? » (40″). Structured through the oratorical tradition of the Shiite ceremony of Ashoura, it takes its political, military and legal expressions with the Lebanese/Syrian contexts as its field for commentary and research. Centred around the murder of Hussain, the Prophet’s grandson, it is a terrible and beautiful mixture of vocal trauma and dark trance. Headphones advised.

R22 Audioguide / « Histoires plus que parfaites » de Mustapha Akrim

in R22 Audio Guide by
Conversation audioguide sous forme de conversation entre l’artiste Mustapha Akrim et le curator Abdellah Karroum.
enregistrée a L’appartement 22, le 14 décembre 2018.
Mustapha Akrim en résidence a L’appartement 22 du 25 août au 11 décembre, en préparation de son exposition personnelle programmée du 12 décembre 2018 au 11 février 2019

Dix ans après sa première résidence d’artiste à L’appartement 22, Mustapha Akrim revient sur les lieux avec un projet grandiose, ambitieux et sonore. Il explore notre relation au monde et à l’histoire à travers une conscience aiguë du présent -espace et temps- dans lequel l’œuvre se construit, utilisant les matériaux de construction pour la lecture d’un possible passé. L’artiste développe un projet en deux chapitres, utilisant les images historiques comme élément de réflexion sur la mémoire collective, des histoires plus que parfaites. Le public est appelé à “découvrir” les scènes cachées, l’exposition “Histoires plus que parfaites” se construit dans la durée de l’excavation des éléments par chaque visiteur.

More information:
http://www.appartement22.com/spip.php?article445

Hassan Khan: el wahda elkebeera (The Big One), 2009, at Palais Bahia, Biennale de Marrakech

in R22 Sound Station by

The Big One opening performance by Hassan Khan
Concert organized at Palais Bahia, with R22 Art Radio and L’appartement 22

راديو الشقة 22 يقدم حسن خان مع أجدد انتاجاته الموسيقية الواحدة الكبيرة سهرة مع شعبي مصري معاصر و صوتيات إلكترونية 19/11/2009 19:00 R22 Art Radio presents Hassan Khan live in concert with his latest set The Big One new wave synth-shaabi and toneworks.

At Palais Bahia, Hassan Khan performs his piece « The Big One. » This set juxtapozes original, hardcore, synth-based, experimental shaabi workouts with delicately wrought tonal compositions. All live instrumentals were generated in a series of late-night recording sessions with shaabi musicians and arrangers. For one central track in the introduction of the piece, Khan asked a professional popular singer,usually a performer at weddings, to scream and sing anything, imagining himself in the presence of a deaf audience; the singer is pushed to hysteric screams, screaming unintelligible words.

Thanks to Hassan Khan

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