Painting and composing: a secret garden revealed
“I have always painted” confides Zad Moultaka. Although he began music and painting simultaneously, he kept the latter for a long time as an intimate, almost secret space. It was only later that the dialogue between the two disciplines was formalized in his work: “Each practice has its own space: musical composition unfolds in a slow space, while plastic art takes place in a rapid dynamic. But deep down, it’s one and the same space, with different faces. »
Born in Lebanon, Moultaka never forces his identity to be imprinted in his creations. “My identity is part of me like my arm is part of my body. I don’t control it: it manifests itself in scents, colors, sounds, tastes. My works are irrigated by all of this. » This organic approach infuses his creations with a particular depth. Contemporary music like visual art becomes places of echo, where ancient stories and current questions intersect.
Zad wants to fight against the spiritual impoverishment of which he is also a victim
Fascinated by historical materials and ancient stories, Zad Moultaka draws a unique energy from past civilizations. “Unlike our contemporary world, ancient civilizations were connected to the invisible, the mystery and the sacred. This energy shines through in their texts and works, and it must nourish us today to save our world from its terribly hollow aspect. »
For the artist, creating is a form of resistance: “I want to fight against the spiritual impoverishment of which I am also a victim. We are all responsible, and we must open deeper horizons. » In this fight, he draws his inspiration from luminous figures like Christian Bobin, Etel Adnan, Mark Rothko and György Ligeti. “Fortunately, geniuses continue to enlighten us. »
“My identity is part of me like my arm is part of my body. I don’t control it: it manifests itself in scents, colors, sounds, tastes. My works are irrigated by all of this” confides the artist.
Shamashmix between past and present
Šamaš, cry out for peace is irrigated by the mixture between past and present, plunging the spectators into “an endless loop” almost 12 minutes. Like the palindrome of its name, it repeats itself infinitely, illustrating the alternations of justice and violence which seem unstoppable and questioning the capacity of humanity to break with its demons.
Presented for the first time in 2017, Shamash is today imbued with painful news. The installation, which makes violence heard if not silenced, resonates with the various conflicts present in the Middle East, particularly in Palestine and Lebanon. However, Zad Moultaka strives to warn that the work is timeless and is not intended to target culprits: “Šamaš is about human violence, regardless of identity. She takes no sides, because yesterday’s victims are today’s executioners, and vice versa. »
Through this work, Zad Moultaka launches a vibrant appeal: for the violence to stop. A cry for peace, to see and listen to, on repeat, at the Arab World Institute until April 6, 2025.
