Courtesy: Liebkranz Galerie, Berlin (Germany), AB Gallery, Zurich & Luzern (Switzerland), Meem Gallery, Dubai (UAE), Galeria San Carlo, Milan (Italy), Raymaluz Gallery, Madrid (Spain), Bekris Gallery, San Francisco (USA), Mark Hachem Gallery, Paris (France).
Khaled Hafez is a visual artist based in Cairo, Egypt. His practice spans the mediums of painting, video, photography, installation and interdisciplinary approaches. His works were shown at Manifesta 8, the 8th Mercosul Biennale, the 11th Havana Biennale, the 2nd Thessaloniki Biennale, 3rd Guangzhou Triennale, the 1st Singapore Biennale, as well as in Japan (Hiroshima MOCA), USA (New Museum & Queens Museum, New York), France (Centre George Pompidou, Paris), UK (Saatchi Gallery, London), Germany (Kunstmuseum Bonn), Belgium (MuHKA Antwerp), Greece (Thessaloniki State Museum of Art) and in Brazil (Instituto Tomie Ohtake, Sao Paolo).
On Noise, Sound and Silence proposes the island as metaphor for the transience of memory, steadily submerged with the passage of time and loss of resolution in the mind. The visual and sculptural elements in this work evoke a poetic voyage through the black box of recollection, that repository of experience, nostalgia and travel that accumulates within each of us as we pass from childhood, into adolescence and adulthood. Like islands sinking into the sea, time threatens with the slow extinction of those defining elements that make up the self. The fragility of the island is the fragility of memory.
On Noise, Sound and Silence is created in two formats: three synchronized screens each with its individual audio track and in a single channel adaptation with a composite audio track. Both formats are accompanied by an installation of sculptural elements. The work addresses water in its different contexts: filmed across different geographic locations and free of any linear narrative, the footage tackles water as a source of life, communication and transportation but also of submersion and obliteration. All identifying elements of time and place have been removed. Instead the viewer is engulfed by water on all sides and encouraged to turn inwards in this highly synthesized personal landscape.