Avakian’s Composition With a Recurring Sound is a series of copper sculptures of different sizes and shapes in which sound waves are trapped. The installation translates the sound waves produced by the flow of the Rhine into radio waves that are transmitted to the environs of the river. They capture and make palpable the sound of the material movement in the river. The sound is captured and played through a sculptural piece of repeated forms, creating a discreet and almost inaudible resonance. This flow can be tactually felt on the sculpture, visible on a gently reverberating valve. The sound of flowing water played through copper tubes is left to reverberate indefinitely in a closed circuit of repetitive forms. These waves persist until they decay and are imperceptible. By trapping this material presence, Avakian’s sculptures propose artworks that are at once a representation of this presence.
Saadé’s work encapsulates particular elements of time, space, and distance that are chosen for their specific poetic, nostalgic and emotional qualities, which are then reactivated to be shared with the viewer. An apparatus seen in a traditional Beiruti home is “re-enacted”: a chandelier is not used to produce light but rather to support an energy-efficient light bulb. Its light is disseminated throughout the booth, reflecting on the surface of her Golden Memories. The latter are childhood photographs that are covered with a layer of gold leaf, which becomes a mirroring surface. On it, the viewer no longer sees images from the past, but instead perceives fleeting moments and occurrences taking place during the time of the exhibition. Saadé’s concern with time is manifest in Travel Diary, an object in which the length of a journey is directly in- scribed in the materiality of the object. In Last Duel, geographical differences are erased as two pieces of wood of differ- ent origins, assembled to form one bar, are burnt, merging essences to become the same unifying dark charcoal.