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.