Anri Sala Le jour de gloire est arrivé, 2022
Lambda print
14,6 x 36,7 cm (5 3/4 x 14 1/2 in) each, 3 parts (unframed)
39,9 x 59,9 x 3 cm (15 3/4 x 23 5/8 x 1 1/8 in) each, 3 parts (framed)
39,9 x 59,9 x 3 cm (15 3/4 x 23 5/8 x 1 1/8 in) each, 3 parts (framed)
Edition of 1 plus 1 artist's proof
Sold in sets of three, Anri Sala 's 24 photographs entitled Anri Sala Le jour de gloire est arrivé are stills from his 2017 work Take Over which takes as conceptual point of departure two well-known musical works, affiliated by an entangled political and cultural history, the Marseillaise and the Internationale.
In the film the keyboard of a Disklavier piano is played by a human player and animated by its programming. The stills chosen for the series Le jour de gloire est arrivé only depict the section played by the Disklavier's programming.
Some stills appear slightly out of focus, a formal characteristic of Take Over in which the change of the camera's focus—blurring and sharpening foreground and keyboard—is tied to musical tones and the movement of the keys producing them.
The choice of 24 stills refers to the standard frames per second used in film production.
The title is taken from the lyrics of the Marseillaise. Written in 1792 the Marseillaise was closely tied to the French Revolution but also quickly spread to other countries where it became a symbol for the overthrow of oppressive regimes. The Marseillaise was banned by Napoleon during the empire and by Louis XVIII on the Second Restoration (1815) because of its revolutionary associations. Authorized after the July Revolution of 1830, it was again banned by Napoleon III and not reinstated until 1879 as French national anthem.
In the film the keyboard of a Disklavier piano is played by a human player and animated by its programming. The stills chosen for the series Le jour de gloire est arrivé only depict the section played by the Disklavier's programming.
Some stills appear slightly out of focus, a formal characteristic of Take Over in which the change of the camera's focus—blurring and sharpening foreground and keyboard—is tied to musical tones and the movement of the keys producing them.
The choice of 24 stills refers to the standard frames per second used in film production.
The title is taken from the lyrics of the Marseillaise. Written in 1792 the Marseillaise was closely tied to the French Revolution but also quickly spread to other countries where it became a symbol for the overthrow of oppressive regimes. The Marseillaise was banned by Napoleon during the empire and by Louis XVIII on the Second Restoration (1815) because of its revolutionary associations. Authorized after the July Revolution of 1830, it was again banned by Napoleon III and not reinstated until 1879 as French national anthem.
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