The ticket grants access to the “Clair-obscur” exhibition after the concert.
In resonance with her two films presented at the Bourse de Commerce as part of the exhibition "Clair-obscur" – Melted into the Sun (2024) and To the Throat of the Sun (2026) – artist Saodat Ismaïlova invites experimental musician COH, a key figure in electronic music since the 1990s and with whom she closely collaborated on both films, for a world-premiere sound performance.
In these films, COH’s compositions are not conceived as accompaniment, but as a central force in constructing the films’ audiovisual language and temporal structure. On June 19, this collaboration will continue in a live performance shaped as an open exchange between sound and image. Responding to COH’s live sound, the filmmaker will intervene with visuals emerging from the wider universe of Melted into the Sun, extending the dialogue between their respective practices.
From the late 90-ies onwards, COH’s records appeared on pioneering labels such as Raster-Noton, Mego, and Eskaton, at time invinging collaborations with other artists - Peter Christopherson, Richard Chartier, John Balance, Cosey Fanni Tutti, Annie Anxiety Bandez, Abul Mogard, and Ann Demeulemeester, among others. A regular contributor to haute couture shows, contemporary dance performances and experimental video collaborations alike, in every COH project the primary focus of audio production is on finding and enhancing particular qualities of sound responsible for resonances in listener's perception.
Saodat Ismailova (b.1981 in Uzbekistan) is a filmmaker and visual artist who studied in Paris and Tashkent, where she grew up in the Post-Soviet era. A graduate of the National Institute of Arts in Tashkent and the Le Fresnoy School of Contemporary Art, her work explores the cultural and social landscapes of Central Asia. Ismailova’s work combines personal and collective histories, ancient heritage, and contemporary testimonials. Her video works visualise oft-forgotten cultures and beliefs that have been buried over time. They question social realities, especially the condition of women, the disappearance of natural resources, and the persistence of the practice of magic. Ismailova delves into this fragmented memory to paint a picture of Central Asia in which age-old beliefs encounter our modernity.
