Zad Moultaka, born 1967, is a French-­Lebanese composer and visual artist. In 1993, he left his international career as an interpreter to devote himself to composition, writing and painting, which he considers a space for questioning. His various works include musical writing (several pieces for orchestra, ensemble, choir and opera...), installation, painting and photography. Trained at the discipline of Western musical writing but intrinsically linked to his roots and music of oral tradition, Zad Moultaka reconciles the musical gesture and the sign of writing, beyond the contingencies of one and the other. Halfway between East and West, his music integrates the fundamental data of Western contemporary writing – structures, trends, families and signs – with the specific characteristics of oriental music – monody, heterophony, modality, rhythms, vocality – collective memory old and modern. He writes for all the ensembles and the instrumental ensembles, with a proven gift for the voice, the theater of his multiple experiments on the relation to the language, the tones, the energy and the micro-intervals.

About the project

The wonder trunk or the magical case

"Fifty years ago, in my grandmother's village, I see myself running again with other children, 25 piastres in my hand behind an old man dragging a 'wonder box' on a roulette wheel. 25 piastres for a ticket gave us the right to look through the two holes inside the trunk, for a few minutes. All kinds of images scrolled slowly and carried us to a magical journey that emerged in front of our amazed eyes. What is more challenging and poetic than to recall this memory to celebrate the two hundred years of Louis Vuitton? It was a must to discover his portrait for the project to find its coherence and its final form. Using Vuitton’s eyes as the main element to imagine the outside of the trunk was obvious; ‘’who says journey says observation”, Louis' is persistent and deep; its duplication in a particular rhythm creates a feeling of dizziness and hallucination related to the madness of some dreams. Two holes replacing the pupils sharpen our curiosity as 'voyeurs' and induce us to look and discover what is happening inside the trunk. Poetic landscapes scroll slowly in front of our eyes, they are made from fabrics, clothing and other traveler's belongings filmed in close-­‐ups, becoming sea, dunes and mysterious mountains. When the trunk opens a little melody is played like a music box conducting the magic of this intimate journey."

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