A Proposal for Articulating Works and Placesby Abdellah Karroum

مـشـروع فـي تـنـسـيق األعـمـال واألمـاكـنتـقـديم عبـد اللـه كروم

éditions hors’champs

دلــيل الـمعرضExhibition GuidE

البينالـي الدولـي الثالـث فنون في مراكش3rd AiM International Biennale

مـراكـش فـي فـنون الثالـث الدولـي البينالـي 3rd AiM International Biennale Festival

A Proposal for Articulating Works and Placesby Abdellah Karroum

مـشـروع فـي تـنـسـيق األعـمـال واألمـاكـنتـقـديم عبـد اللـه كروم

éditions hors’champs

دلــيل الـمعرضExhibition GuidE

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Index

IntroductIon

exhIBItIon ProJectAdel Abdessemed the seaSofia Aguiar I Like Insects / Insects Like MeMustapha Akrim chantierFrancis Alÿs don’t cross the bridge before you get to the river noureddine Amir unfinished dress Yto barrada Palm Project Faouzi bensaidi Man’s worlds / World’s men Franck bragigand Fair trade: Moroccan Landscapestomás Colaço Pension Palace—room 11 Cláudia Cristóvão Le Voyage Imaginaire Shezad dawood Make It Big (Blow uP) ninar Esber colorsPatricia Esquivias Folklore IV Seamus Farrell u.n. circle Gwangju-MarrakechJean-François Fourtou Mes maisons (My houses)Pedro Gómez-Egaña Field and ForceChourouk hriech Water is captive to the Wellisaac Julien WeStern unIon: small boats bouchra Khalili Anya (Straight Stories – Part 2) Faouzi Laatiris containerLoredana Longo Souvenir #3 Family Portrait heidi nikolaisen We Belong to the Same tree otobong nkanga contained Measures of tangible Memoriesbouchra ouizguen Madame Plaza in 15 minutesCatherine Poncin Sans conte ni légende Younès Rahmoun Ghorfa Al-âna/hunâ Jérôme Schlomoff Villa K batoul S’himi World’s Pressure Kathryn Smith Psychogeographies: the Washing Away of WrongsJustine triet cloudy headnontsikelelo Veleko GraffitiJames Webb there’s no place called home

SPecIAL ProJectSYounes baba-Ali Sound neonFranck bragigand teach me how to talk I teach you how to paintninar Esber the 2 Laddershassan Khan el wahda elkebeera (the Big one)Joseph Kosuth ‘Public texts, Stolen texts’Jooyoung Lee Scratching the surface – diving in deep, part 3Loredana Longo nothing Is As It SeemsKathryn Smith the lowercase naoko takahashi oh Boy, Where are the Seven colours? Part one: entryR22-Marrakech

FreedoM?Charles Esche on Chto delat? (What is to be done?) Perestroika Songspielbernard Marcadé on Alice Anderson’s the dolls’ day Mark nash on Kristina norman’s After War Mark nash on Pere Portabella’s MudanzaJosé Roca on François bucher’s Severa VigilanciaRasha Salti on Sobhi al-Zobaidi’s red, Green, Black and White IndiansAnne Szefer Karlsen on hisham Zaman’s BawkeJohn Zarobell on bani Abidi’s reserved

VenueS

ناوكو تاكاهاشي راديو الشقة 22- مراكش

شارل إش عن شتو ديالت؟

برنارد ماركاده عن أليس أندرسن مارك ناش عن كريستينا نورمان

مارك ناش عن بيره بورتابيال خوسيه روكا عن فرانسوا بوشير

رشا السلطي عن صبحي الزبيدي آن زيفر كارلسن عن بوكه لهشام زمان

جون زاروبل عن باني عابدي

فهرس

مقدمة

مشروع المعرض عادل عبدالصمد

صوفيا آجيار مصطفى إكريم

فرانسيس أليس نورالدين أمير

يطو برادة فوزي بنسعيدي

فرانك براجيغان توماس كوالسو

كالوديا كريستوفاو شيزاد داود

نينار إسبر باتريسيا إسكيفياس

شيموس فاريل جان-فرانسوا فورتو

بدرو غوميز-إيغانيا شروق حريش

إيزاك جوليان بشرى خليلي

فوزي العتيريس لوريدانا لونغو

هايدي نيكواليسن أوطوبونغ نكانغا

بشرى ويزغن كاثرين بونسان

يونس رحمون جيروم شلوموف

بتول السحيميكاثرين سميث

جوستين ترييت نونتسيكيللو فيليكو

جيمس ويب

مشاريع خاصة يونس بابا-علي

فرانك براجيغان نينار إسبر

حسن خان جوزيف كوسوت

جويونغ لي لوريدانا لونغو

كاثرين سميث

حرية؟

فضاءات العرض

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A ProPoSAL For ArtIcuLAtInG WorKS And PLAceSAbdELLAh KARRouM

this publication is conceived as an inventory of the first part of the exhibition project that begins to take shape at Palais Bahia in Marrakech1. It is “A Proposal for Articulating Works and Places”, which reactivates the artworks in the sites of the exhibition and corresponds to the sites of their creation through documentation, information, and encounter.

the project extends beyond the physical sites of the city and indicates the artworks’ other remote spaces: engan in the Artic circle, cape town in South Africa, and Mexico city in north America. It connects to closer places: a valley in the rif, a warehouse in Fez’s industrial zone, an orphanage in Marrakech, and other spaces with public or private access.

the exhibition’s production in Marrakech is exceptional as much for the means it required as for the character of the exhibition’s location and its history. A series of extraordinary situations made this exhibition possible: the failure of the museum2, budgetary restrictions, a ban from “touching” the monument that housed the exhibition, and very reduced human resources. despite these restrictions, the artworks are expressive and stronger than ever. Art creates its own space for encounters just as philosophy creates its own discourse for engaging societies.

As a project, the exhibition is responsible for narrating the artworks but above all for connecting the imagination to the real in a back-and-forth (Allers/retours)3 movement between idea and project, creation and expression. here, the installation of works suggests an experiment with the limits of the exhibition’s “ecology.” no walls were built to separate the works from their sites of appearance and no limit set for the experiences of the artists and visitors, “invitees” and “foreigners.” each physical installation is reduced to its structural minimum in order to foreground the artwork. no other artificial lighting is added except the light contained in the works and their equipment.

this exhibition is also conceived in response to the multiple fragilities that characterize the context of its emergence. the first fragility is that of Palais Bahia’s state of conservation, which forbids us to “touch” its walls. Visitors, tourists and locals continued to invade the Palais Bahia during the installation period.

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and statute of exception should not be valid against freedom of expression. Freedom? engages the responsibility of each to ask questions when faced with situations established in order to propose other possibilities for a specific ecology of being in the world. Art is a possible territory for experimenting with critical language. It is necessary to rethink co-existence with nature and its resources. But it is also fundamental to confront our cultural practices in an environmental and alert way. on the African continent and notably in Morocco, we are experiencing important political and social mutations. Art is a domain that develops expressions that speak about the world. It is urgent to connect these things, places, and expressions.

this exhibition project proposes to show artworks and to interrogate the correspondences between their original context of appearance and their references. the artwork takes shape in a space of visibility. Its origin and perspective often push beyond its context of physical emergence. this storyboard is a memoir of this “exceptional” moment in the launching of the exhibition and the activation of the artworks.

Abdellah Karroum (b.1970) works as an independent art researcher, publisher, and curator. He is the founder and artistic director of several art projects: L’appartement 22, an experimental space for encounters, exhibitions and artists’ residencies founded in 2002 in Rabat, Morocco; Le Bout Du Monde, art expeditions undertaken since 2000; éditions hors’champs, a publishing house for art publications that began in 1999; and the art radio project, R22, in operation since 2007. Karroum curated numerous exhibitions for CAPC Musée d’Art Contemporain de Bordeaux (Pensées bleues (1993); Jean-Paul Thibeau (1995); Urgences (1996)) and was one of the curators for the 7th Dak’Art in 2006. His other recent curatorial work includes The World Around You for the 1st Brussels Biennial (2008) in addition to the co-curated Position Papers platform for the 7th Gwangju Biennale in 2008. Karroum is also a member of the Prince Pierre of Monaco Foundation’s Artistic Council for its International Prize of Contemporary Art and served as a jury member for the 52nd Venice Biennale Golden Lion Award (2007).

1 the Palais Bahia is an historic monument constructed at the end of the nineteenth century at the moment when Marrakech was still the political capital of Morocco. this palace was also the residence of General Lyautey, the head of the French colonial army in Morocco. 2 Access to the Musée de Marrakech was blocked after failed negotiations between AiM and the direction of this private museum. 3 this idea of the “Aller/retour” is developed in curatorial research and projects. See: http://www.appartement22.com/spip.php?article9. translated from French by emma chubb

Some artists used this “openness” to test their proposals before the public. With the artists, we invented ways for conceiving the works without damaging the building or making the site’s visible and invisible history disappear. the central space was a royal palace built when Marrakech was the Moroccan capital. It then became the home of the French resident during colonialism. the Palais Bahia is not designated as an exhibition site. It is an historic monument, open to all, that reveals the traditional Moroccan way of life to visitors to Marrakech. We are in a context where the contemporary art museum is not a tradition and where archiving artistic practices or images is very fragile. the archives, when they still exist as material and immaterial testimonies, are filtered and oriented in the service of ideology and the powers that control them. the walls only speak if engraved with the traces of life, as painful as they are.

the works are all in a position of social, political, and artistic activation. each work lives its own story in this new relationship to the site of reactivation and exhibition. the themes are contained in the works and are exceptional, distant! In articulating their stories and their desires, the artists speak about the World and becoming. the proposal, which brings artworks together in the same place, illuminates real and symbolic passages like correspondences created between continents and distant geographies. Francis Alÿs and his project, don’t cross the bridge before you get to the river, transform the Strait of Gibraltar into a site of contact. tomás colaço paints this same strait to envelope the room of his writer’s bedroom, imagined between Lisbon and tangiers. the children at the dar Al-tifl orphanage and artist Franck Bragigand create a passage between the exhibition site and the place where they live. Younès rahmoun imagines traces of his Ghorfa in the rif Mountains and invents an archive as a layer of the work’s production, connecting the site of the work’s experiment with its shared site of exhibition. Batoul S’himi explodes the limits between kitchen and museum and proposes an art that invents its own vocabulary and as it contributes to a social revolution.

the question, in one word, Freedom?, is not an exception. It is the necessary condition for beginning any discussion when we are in a state of exception at the political level. the supposed state

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cette publication est conçue pour être un répertoire de la première partie du projet d’exposition qui commence à prendre forme au Palais Bahia à Marrakech1. c’est ”une proposition pour l’articulation d’oeuvres et de lieux” qui réactive les œuvres dans les lieux de leur exposition, en correspondance avec les lieux de leur création, par le biais de la documentation, de l’information et de la rencontre.

Le projet dépasse les lieux physiques de la ville et indique les lieux autres des oeuvres: engan dans le cercle Polaire nord, cape town en Afrique du Sud et Mexico city en Amérique du nord. des lieux plus proches: une vallée dans le rif, un hangar dans la zone industrielle de Fez, un orphelinat à Marrakech et d’autres espaces avec accès privé ou public.

La réalisation de l’exposition à Marrakech est un fait exceptionnel aussi bien par les moyens mis en œuvres que par le caractère du lieu et de son histoire. cette exposition a été rendue possible par une série de situations exceptionnelles: L’échec du Musée2; les restrictions budgétaires, l’interdiction de ”toucher” au monument qui accueille l’exposition et les moyens humains très réduits. ces restrictions n’ont pas limité pour autant l’existence des œuvres, plus que jamais fortes et expressives. L’art crée son propre espace de rencontre, tout comme la philosophie crée son propre discours pour interagir avec les sociétés.

L’exposition comme projet porte aussi cette responsabilité de raconter les œuvres, mais surtout de relier l’imaginaire au réel dans un mouvement d’allers-retours entre idée et projet et entre création et expression. Ici, l’installation des oeuvres est poussée à l’ultime limite de l’écologie de l’exposition. Aucun mur ne sépare les œuvres de leur lieu d’apparition et aucune limite n’est posée devant les expressions des artistes et des visiteurs, ”invités et étrangers”. chaque dispositif, construit pour montrer une œuvre, est réduit au minimum structurel. Aucun autre éclairage artificiel n’est ajouté que la lumière contenue dans les œuvres et leurs mécanismes.

cette exposition est aussi conçue en réponse aux multiples fragilités qui caractérisent le contexte de son émergence. La première fragilité est celle de l’état de conservation du Palais

une ProPoSItIon Pour L’ArtIcuLAtIond’œuVreS et de LIeuxAbdELLAh KARRouM

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Bahia qui nous interdit de toucher aux murs. Le Palais Bahia était envahi par les visiteurs, touristes et locaux, pendant toute la durée de montage de l’exposition. certains artistes ont exploité cette ”ouverture” pour tester leur proposition à l’écoute des publics. nous inventions des moyens pour la perception des œuvres sans abîmer le bâtiment et sans faire disparaître l’histoire visible et invisible du lieu qui nous accueillait. Le lieu central fut un palais royal du temps où Marrakech fut la capitale du Maroc, puis la résidence du résident français à l’époque coloniale. Le palais Bahia n’est pas un lieu d’exposition. c’est un monument historique, ouvert à tous, dévoilant le mode de vie traditionnel marocain aux visiteurs de Marrakech. nous sommes dans un contexte où le Musée d’art contemporain n’est pas une tradition et où l’archivage des pratiques artistiques ou celui des images en général est d’une grande fragilité. Les archives, quand elles existent encore, les témoignages matériels et immatériels sont filtrés et orientés au service de l’idéologie et des pouvoirs qui les contrôlent. Les murs ne parlent que s’ils sont gravés de traces de vie, aussi douloureuses soient-elles.

Les œuvres sont toutes dans une position d’activation à caractère social, politique et artistique. chaque œuvre vit sa propre histoire dans cette nouvelle relation au lieu de réactivation et d’exposition. Les thèmes sont contenus dans les œuvres et sont exceptionnels, distants ! en articulant leurs histoires et de leurs désirs, les artistes parlent du Monde et du devenir.

cette proposition, qui réunit des œuvres dans un même lieu, éclaire des passages, réels et symboliques, comme autant de correspondances créées entre continents et géographies lointaines. Le détroit de Gibraltar est transformé en un lieu de rencontre par Francis Alÿs et son projet ”don’t cross the bridge before you get to the river”. ce même détroit est peint par tomas colaço pour en faire l’enveloppe de sa chambre d’écrivain imaginée entre Lisbonne et tanger. Les enfants de l’orphelinat dar Al-tifl et l’artiste Franck Bragigand créent un passage entre le lieu d’exposition et leur lieu de vie. Younès rahmoun imagine des traces de sa Ghorfa dans les montagnes du rif et invente une archive comme épaisseur de la production de l’œuvre, rapprochant le site d’expérience de l’œuvre du lieu partagé de son exposition. Batoul S’himi fait exploser les limites entre la cuisine et le musée

et propose un art qui invente son propre vocabulaire en même temps qu’une révolution sociale.

La question ”Freedom?” (liberté?) n’est pas une exception. c’est la condition nécessaire pour commencer toute discussion, quand bien même nous serions dans un etat d’exception au niveau politique. L’état d’exception et le statut d’exception supposés ne sont pas valides contre la liberté d’expression. ”Freedom?” engage la responsabilité de chacun à s’interroger face aux situations établies afin de proposer d’autres possibilités pour une écologie de l’être au monde. L’art est un territoire possible pour expérimenter le langage critique. Il est nécessaire de repenser la co-existence avec la nature et ses ressources. Mais il est aussi fondamental de confronter nos pratiques culturelles dans un mode écologique et alerte. Sur le continent africain, notamment au Maroc, nous sommes dans l’expérience d’importantes mutations politiques et sociales. L’art est un domaine qui développe des expressions qui parlent du monde. Il est urgent de relier les choses, les lieux et les expressions.

ce projet d’exposition propose de montrer des œuvres et d’interroger les correspondances entre leurs contextes d’apparition et leurs références. L’œuvre d’art prend forme dans un lieu de visibilité. Son origine et sa perspective dépassent souvent son contexte d’émergence physique. ce story-board et une mémoire de ce moment ”exceptionnel” de lancement de l’exposition et par l’activation des œuvres.

Abdellah Karroum (né en 1970) travaille en tant que chercheur, éditeur et curateur indépendant. Il est fondateur de L’appartement 22 à Rabat en 2002. Il développe le projet expérimental des Expéditions Le Bout Du Monde depuis 2000 et a fondé les éditions hors’champs en 1999. Karroum a été Commissaire associé pour Dak’Art, 7ème édition de la Biennale de l’art africain contemporain en 2006 et Commissaire pour The World Around You de la 1ère Biennale d’art contemporain de Bruxelles et pour le programme Positions Papers de la 7ème biennale de Gwanju en 2008.

1 Le Palais Bahia est un monument historique construit à la fin du xIxe siècle, au moment où Marrakech était encore la capitale politique du Maroc. ce palais a été aussi la residence du Maréchal Lyautey, chef de l’armée coloniale française au Maroc. 2 L’acces au Musée de Marrakech a été barré après l’echec des négociations entre AiM et la direction du Musée privé de Marrakech.

يقدم هذا الكتاب عرضا للجزء األول من مشروع معرض بدأ يأخذ شكله في قصر الباهية مبراكش1.

تفعيل األعمال الفنية في أماكن عرضها، ومقابلة األعمال واألماكن” تنسيق في “مشروع يعيد

أماكن إبداعها عبر األرشيف ومعرفة األخبار واللقاء كمكون للعرض.

الفنية: قرية يتعدى املشروع حدود أماكن العرض باملدينة، ويشير إلى األماكن األخرى لألعمال

“إنغان” بالقطب الشمالي، مدينة “كايب تاون” بجنوب إفريقيا، ومدينة املكسيك بأمريكا الشمالية. وفي أماكن أقرب: واد في الريف، مخزن في املنطقة الصناعية في فاس، دار أيتام في مراكش،

وكذلك في فضاءات أخرى خاصة وعامة.

فضاء بخصوصية أو املتوفرة باإلمكانات سواء استثنائي ألمر مراكش في املعرض إجناز إن

العرض وتاريخه. حتققت إقامة هذا املعرض بفضل مجموعة خاصة من الظروف: خسارة املتحف2،

محدودية امليزانية، حظر “ملس” املبنى التاريخي الذي احتضن املعرض فيما بعد، والعدد احملدود

لفريق العمل. لم حتد هذه القيود من وجود األعمال، بل أصبحت آكثر تعبيرا وقوة. يخلق الفن فضاءه

اخلاص للتالقي مثله مثل الفلسفة التي تخلق خطابها اخلاص للتفاعل مع املجتمعات.

املعرض مسؤول كمشروع عن سرد األعمال، ومسؤول أيضا، وفوق كل شيء، عن ربط املتخيل

باحلقيقي في حركة ذهاب وإياب ما بني الفكرة واملشروع، وما بني اإلبداع والتعبير. يقتضي تركيب

تبنى جدران لتفصل األعمال عن أماكن لم لبيئة املعرض. األعمال هنا جتريب احلدود القصوى

عرضها، ولم تفرض حدود أمام جتارب الفنانني والزوار، “املدعوين والغرباء”. تقلص كل تركيب

فني إلى هيكل أساسي أدنى ليدفع باألعمال إلى مقدمة العرض. لم تضف أي إضاءة اصطناعية

باستثناء تلك التي تضمنتها األعمال في معداتها أو في تكوينها الفني.

إن هذا املعرض هو جواب أيضا على الصعوبات العديدة التي اتسم بها سياق خروجه إلى الوجود.

كان الهاجس األول ظروف املبنى في قصر الباهية والتي متنع املساس بجدرانه. فقد كان الزوار،

سياحا وسكان املدينة، يحجون إلى القصر طيلة أيام حتضير املعرض، األمر الذي استغله بعض

الفنانني لتجربة اقتراحاتهم.

ابتدعنا طرقا لقراءة األعمال دون االضرار باملبنى أو إخفاء التاريخ املرئي أو الالمرئي للموقع الذي

استقبلنا. الفضاء املركزي للعرض هو قصر ملكي يعود تاريخ بنائه إلى العصر الذي كانت فيه

مراكش عاصمة املغرب. حتول هذا القصر إلى محل اإلقامة الرسمية للمقيم العام الفرنسي إبان

فترة االستعمار. لم يخصص قصر الباهية كموقع للعرض، هو معلم تاريخي مفتوح للجميع، يكشف

لزوار مراكش منط احلياة التقليدية املغربية.

نحن اآلن في سياق ثقافة متحف الفن املعاصر فيه ليست جزءا من بناياته، وتوثيق املمارسات

الفنية أو الصور عامة فيه هو أمر جد حساس. األرشيف، إن وجد بحالته املادية أوالغير مادية،

مصفى وموجه خلدمة أيديولوجية وقوى السلطة التي تسيطر عليه. تنطق األسوار فقط إذا نقشت

بآثار حياة، وحتما بقدر آالمها. األعمال كلها في وضع تفعيل اجتماعي وسياسي وفني. كل عمل

يعيش قصته في هذه العالقة اجلديدة مع مكان التفعيل والعرض. األفكار محتواة في األعمال وهي

خاصة وبعيدة! في تبيان قصصهم ورغباتهم، يتحدث الفنانون عن العالم ومستقبله. واملشروع الذي

13

عبداهلل كروممـشـروع فـي تـنـسـيق األعـمـال واألمـاكـن

14

يجمع األعمال في فضاء واحد، يلقي الضوء على ممرات واقعية ورمزية مثل التواصل بني القارات

النهر”، إلى أن تصل قبل تعبر اجلسر أليس”ال فرانسيس املتباعدة. في مشروع واجلغرافيات

يتحول مضيق جبل طارق إلى نقطة لقاء. يرسم توماس كوالسو نفس املضيق ليغلف غرفة نوم كاتب

متخيل بني لشبونة وطنجة. يخلق أطفال ميتم “دار الطفل” في مراكش مع فرانك براجيغان ممرا بني

مكان العرض ومكان معيشتهم. يتخيل يونس رحمون آثار الغرفة في جبال الريف ويصنع أرشيفا

في مرحلة من تاريخ إنتاج العمل، يربط به جتربة العمل اإلبداعية مع الفضاء املشترك للعرض.

تنسف بتول السحيمي احلدود القائمة بني املطبخ واملتحف وتقترح فنا يضع لغته ومفرداته اخلاصة،

ورمبا يسهم في ثورة اجتماعية.

إن سؤال “احلرية؟” ليس استثنائي. إنه الشرط الضروري لبدء أي نقاش حتى ولو كنا نعيش حالة

طوارئ على املستوى السياسي، ليس للنظام املفروض أي صالحية أمام حرية التعبير. “احلرية؟”

تلزم كل واحد مبسؤوليته في أن يتساءل عن البيئة اخلاصة لوجوده في العالم وفي اقتراح إمكانيات

أخرى. الفن هو أرض ميكن فيها جتريب لغة نقدية، ومن الضروري أن نعيد التفكير في التعايش

مع الطبيعة ومصادرها، بل من األساسي أن نواجه ممارساتنا الثقافية بطرق تعي بيئة وجودنا

وتتنبه إليه.

في ظل ما نشهده في القارة اإلفريقية، وخاصة في املغرب، من حتوالت مهمة على الصعيد السياسي

واالجتماعي، يغدو الفن مجاال تتطور فيه التعبيرات التي تتحدث عن العالم، ومن امللح، ربط األشياء

فنية، وأن يبحث في مدى يقترح أن يعرض أعماال باألماكن وبالتعبيرات. مشروع املعرض هذا

تواصل سياق حدوثها مع مرجعياتها. إن هذه املذكرة لتسجيل لهذا الوقت االستثنائي الذي بدأ

فيه تفعيل األعمال الفنية.

هو كروم مستقل. معارض ومنسق وناشر، باحث، )1970 عام )ولد كروم الله عبد

املؤسس واملدير الفني لعدة مشاريع فنية منها الشقة 22، فضاء جتريبي للقاءات ومعارض

وإقامات فنية، تأسس العام 2002 في الرباط؛ و طرف الدنيا، وهو مشروع رحالت فنية

الفنية للمطبوعات ابتدأ في العام 2000؛ ومشروع دار النشر “إيديسيون أور شون”

العام منذ 22، واملستمر الشقة إذاعة مشروع إلى باإلضافة 1999؛ العام بدأ الذي

2007. قام كروم بتنسيق مجموعة من املعارض الفنية ملتحف كاب سيه للفن املعاصر

في بوردو: خواطر زرقاء )1993(، جان بول تيبو )1995(، طوارئ )1996(، كما شارك

كمنسق في تنظيم معارض بينالي داكار للفن األفريقي املعاصر )2006(. شارك كروم

كذلك في تنسيق العالم من حولك لبينالي بروكسل األول )2007(، باإلضافة إلى برنامج

“أوراق موقف” في بينالي غواجنو السابع عام 2008. كروم هو أيضا عضو املجلس الفني للجائزة الدولية للفن املعاصر في مؤسسة األمير بيير موناكو.

قصر الباهية هو معلم تاريخي شيد نهاية القرن التاسع عشر ميالدي حني كانت مدينة مراكش العاصمة 1

للمارشال ليوطي قائد اجليش االستعماري السياسية للمغرب. وقد حتول أيضا إلى اإلقامة الرسمية

الفرنسي باملغرب.

استخدام متحف مراكش لم يعد ممكنا عندما لم تنجح املفاوضات بني املؤسسة املنظمة للمعرض وإدارة 2

املتحف.

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exhIBItIon ProJectمـشـروع المعرض

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قرر عادل عبد الصمد )ولد عام 1971، يقيم ويعمل في باريس ونيويورك( أن يرحل من اجلزائر

العام 1994، واعتبر "فعله" هذا قرارا سياسيا: "عندما ينعدم السلم في الوطن، على املرء أن

يرحل، وإال فإن الروح متوت. أهم ما في األمر أن تفعل، أن تقاوم، أن تبدع من أجل أن تغير

العالم." ينطلق عمل عادل عبد الصمد الفني من مختلف الوسائط، مبا في ذلك التركيبات النحتية

املثيرة أعماله النقاد الفوتوغرافي. وفي حني يصف بعض التحريك والتصوير والفيديو وأفالم

للجدل بـ "غير املالئمة" نظرا لطبيعتها العنيفة، يرى عبد الصمد أن تلك "األفعال"، كما يطلق

تتفاعل باستمرار مع واقع شمولي أوسع. يتخلل غضب امللتزمة سياسيا، الفنان على أعماله

إلى إشارة دوما القسوة وفيها تعابير إلى املشاهد انتباه األعمال ويجلب كل الظاهر الفنان

فشل سياسات الهجرة وإلى املنفى والترحال. عرضت أعمال عبد الصمد على نطاق واسع في

تظاهرات فنية كبينالي البندقية )إيطاليا(، وبينالي غواجنو، وبينالي داك آرت )داكار(، باإلضافة

إلى املعارض الفردية، مبا فيها مركز الفن املعاصر بي إس 1 )نيويورك(.

Adel Abdessemedthe sea

عادل عبدالصمدالبحر

Adel Abdessemed (b. 1971, lives and works in new York and Paris) left Algeria in 1994, and he considers his “act” a political one: “When there is no peace at home, one must go elsewhere, otherwise the soul will die. the most important thing is to act, to resist, and to create in order to change the world.” Abdessemed’s work draws from a multiplicity of media, including sculptural installation, video, animation, and photography. While some critics label his controversial pieces inappropriate due to their often graphically violent nature, the ‘acts,’ as Abdessemed calls his politically committed artworks, consistently interact with larger global realities. Abdessemed’s apparent rage permeates throughout, calling viewers’ attention to expressions of brutality and frequently referencing failed immigration policies, exile, and displacement. his work has been exhibited widely, in such venues as the Venice Biennale (Italy), the Gwangju Biennale (South Korea), and dak’Art (Senegal), as well as solo exhibitions including P.S.1 contemporary Art center (new York).

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the sea, by Adel Abdessemed, is a video in which the artist faces the ocean on a rough slab of wood. A work that speaks about the role of the artist and questions of survival, the sea documents Abdessemed’s efforts to balance on his hands and knees on the wooden slab as it pitches with the ocean waves while he attempts to write the phrase “Politically correct.”

Adel Abdessemed, the sea, 2009, video, 5’04”. exhibition view at Palais Bahia, Marrakech. courtesy of the artist and david Zwirner Gallery, new York.

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Sofia AguiarI Like Insects / Insects Like Me

صوفيا آجيارأحب الحشرات / الحشرات تحبني

تعتمد لوحات صوفيا آجيار )ولدت عام 1963، تقيم وتعمل في لشبونة وطنجة( التصويرية تقنية

الصباغة الزيتية وعادة ما تنفذها على ألواح خشبية. معظم أعمالها استكشاف حليوانات وحيدة

أو أشياء معزولة أو فضاءات مهجورة. اللوحات حتيل إلى مفهوم الرغبة والعالقة بني التصور

والتمثيل، وهي متأثرة بخلفيتها في اخلدمات اإلجتماعية. مت عرض أعمال آجيار في تظاهرات

فنية مثل آر.كو )لشبونة( وفي املعرض األول للبينالي الدولي فنون في مراكش عام 2005.

Sofia Aguiar’s (b. 1963, lives and works in Lisbon and tangier)figurative oil paintings, usually done on wooden board, are often explorations of lone animals, isolated objects, or spaces marked by humans yet uninhabited. Influenced by her background in social service, Aguiar’s paintings allude to notions of desire and the connections between imagination and representation. her work has been part of exhibitions such as at Àr.co (Lisbon) as well as the 1st Arts in Marrakech International Biennale Festival in 2005.

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Sofia Aguiar’s characteristically obsessive figuration of animals here consists of larger-than-life representations of insects in an installation of painting-objects. rather than the result of a work of pleasure, these paintings are the expression of the exteriorization of psychological suffering. “I am terrified of insects, I hate them; so I draw them obsessively to subdue my dread,” the artist once said in an interview with curator Filipa olveira.

Sofia Aguiar, I Like Insects / Insects Like Me, 2009, installation of oil paintings, dimensions variable. Installation at Palais Bahia, Marrakech. courtesy of the artist.

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Mustapha Akrimchantier

مصطفى أكريمبناء

تسائل تركيبات مصطفى أكرمي )ولد عام 1981، يقيم ويعمل بني الرباط وسال( طبيعة العمل

والفرق بني البناء وإبداع العمل الفني في ضوء مجتمع يعرف تغييرات مستمرة. تخرج الفنان من

املعهد الوطني للفنون اجلميلة بتطوان سنة 2008، وتعتبر هذه املشاركة عرضه األول في متحف

في املغرب. شارك أكرمي في عدد من الورشات الفنية في ناميبيا واألردن وفرنسا واملغرب، كما

شارك في إقامة فنية في الشقة 22 في الرباط. يعتبر أكرمي واحد من فناني جيل بدأ يطور لغة

جديدة ستعيد تعريف أسس التعبير الفني في املغرب. بفهم دقيق للتاريخ ولديناميكيات القوة،

التي حلقت الفترة في التي سادت يبحث هذا اجليل في حرية جديدة مستقلة عن اجلماليات

االستعمار مباشرة وما بعدها.

Mustapha Akrim’s (b. 1981, lives and works in rabat and Sale) installations question the nature of work and the difference between construction and creating art in light of society’s state of constant change. he received his diploma from the Institut national des Beaux-Arts de tétouan in 2008 and this is his first exhibition in a museum in Morocco. Akrim has participated in workshops in namibia, Jordan, France, and Morocco, and has also been in residence at L’appartement 22 in rabat. he is part of a generation of artists that is developing a new language with which to redefine the basis of expression in the visual arts in Morocco. With a nuanced understanding of history and the dynamics of power, this generation searches for a new freedom in its break from the aesthetics developed in the immediate post-colonial period and after.

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Mustapha Akrim’s allegorical building tools of monumental scale express the frustrations inherent in work and activity, an amplification of the project he began while in residence at L’appartement 22. citing the situation of the lack of work, particularly for youth, Akrim also points to the widespread inability faced in grasping the tools available for societal transformation. Akrim’s chantier, referencing Marcel duchamp’s Étant donnés, narrowly defines public space in regard to itself by limiting its possible vantage points.

Mustapha Akrim, chantier, 2009, installation: metal, wood and light, dimensions variable. Installation at Palais Bahia, Marrakech. courtesy of the artist and L’appartement 22, rabat.

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Francis Alÿsdon’t cross the bridge before you get to the river

فرانسيس أليسال تعبر الجسر قبل أن تصل إلى النهر

شاعرية وعرضية املكسيك( مدينة في ويعمل يقيم ،1959 عام )ولد أليس فرانسيس أعمال

وملتزمة في آن واحد. تتطرق ملشكالت اإلنزياح وسخف السياسات، من خالل إمياءات تبدو غير

ذات جدوى )نزف من علبة طالء، تكشف سترة، نقل جبل(. تدرب فرانسيس أليس في بلجيكا

وإيطاليا كمهندس معماري، ثم استقر في مدينة املكسيك عام 1986. منذ ذلك احلني طور أليس

املشاريع من الفوتوغرافي والفيلم والرسم ومجموعة الفعل والتصوير بني فنية جتمع ممارسة

ففعل املعاصرة واحلكايات احمللية. توثيق وتفعيل احلياة احلضرية في املشتركة، تسهم جلها

املشي بال هدف محدد، هو مثال واضح على نهج أليس الفني. عرضت أعماله في معارض فردية

في تيت مودرن )لندن(، ووييلس )بروكسل(، وماكبا )برشلونة(.

the work of Francis Alÿs (b. 1959, lives and works in Mexico city)is poetic, episodic, and engaged; it addresses the problems of displacement and the absurdity of politics through seemingly futile gestures (the dripping of a can of paint, the unravelling of a sweater, the relocating of a mountain). trained in Belgium and Italy as an architect, Alÿs settled in Mexico city in 1986 and has since developed an artistic practice that combines actions, photography, film, painting, and collaborative work to both document and participate in contemporary urban life and local histories. the activity of walking with no designated goal can be an illustration of Alÿs’s approach. his work has been the subject of solo exhibitions at tate Modern (London), Wiels (Brussels), and MAcBA (Barcelona), among others.

this is the first experimental version of Francis Alÿs’s project don’t cross the bridge before you get to the river, produced between tangier (Africa) and tarifa (europe). In this project, Alÿs examines notions of borders, particularly in the context of the relationship between these two locations, and freedom of movement. In the complex video installation that results, a “line of kids with shoe boats will leave europe towards Morocco while a line of kids with shoe boats leaves Africa towards Spain. the two lines will meet on the horizon.” this emblematic image is used by the artist as a postcard to spread the information on a passage activated between Africa and europe.

Francis Alÿs, don’t cross the bridge before you get to the river. Postcard of a live action in tangier, Morocco - tarifa, Spain - Strait of Gibraltar, on 12 August 2008. In collaboration with Fundacíon nMAc/Montenmedio (Vejer de la Frontera, cadix), david Zwirner Gallery (new York), Pilar corrias Gallery (London), Julien devaux, rafael ortega, and Studio Fifty Seven (tangier).

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noureddine Amirunfinished dress

نورالدين أميرفستان بال نـهاية

يصمم نور الدين أمير )ولد عام 1967، يقيم ويعمل في مراكش( األزياء واأللبسة اجلاهزة

النحتية أعماله باكورة تشكل بصريا. فنانا كونه إلى باإلضافة واملسرح للسينما وأزياء

وجتارب تصميم األزياء، التي لم تصنع يوما لتلبس، األساس الذي ينطلق منه الشكل النحتي

للمالبس التي يبدعها اليوم. تستخدم أزياءه املبتكرة عادة طيف ألوان مختصر ومواد خام،

فيما حتاول في ذات الوقت االستقاء من علم اجلمال ومن تقاليد الزينة الشخصية في املغرب

ومن النحت ومن الفن. عرضت أزياء أمير في مدن عدة منها الدار البيضاء وروتردام ومدريد.

noureddine Amir (b. 1967, lives and works in Marrakech) is a visual artist and clothing designer who creates couture and ready-to-wear apparel as well as costumes for film and theatre. Amir’s earlier sculptures and experiments in the form of clothing never meant to be worn shape the background from which the sculptural quality of the clothing he produces today emerges. his “haute couture” is frequently presented in reduced palettes and raw materials, drawing upon the aesthetics and traditions of personal adornment in Morocco, sculpture, and art. Amir’s clothing and sculptural work has been shown in cities such as casablanca, rotterdam, and Madrid.

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developing on his design-oriented couture work, noureddine Amir incorporates kitchen objects and daily life into this textural piece. Amir’s larger-than-life form retains a human element while utilizing industrial materials. the burned metallic cleaning pads that cover the work are transformed from a utilitarian tool into an artistic medium. the “art object” adopts a collage aesthetic influenced by the post-petrol “objet dé-orienté” artistic production emergent in Morocco since the late 1990s.

noureddine Amir, unfinished dress, 2009, fabric and metal structure. exhibition view at Palais Bahia, Marrakech. courtesy of the artist.

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Yto barradaPalm Project

يطو برادةمشروع نخيل

باستخدام مفردات وباريس( طنجة في وتعمل تقيم ،1971 عام )ولدت برادة يطو تطور

الفضاءات احلضرية وفضاءات في الفوتوغرافي واملطبوعات واألفالم واالشتغاالت التصوير

التاريخي الواقع بني يتنقل الذي الناشط الفنانة نهج تعزز والرسوم السينما العرض.

واإلسقاط البيئي.حتمل أعمال الفنانة في طياتها التزاما سياسيا عميقا، وكثيرا ما تستعمل

فضاءات في أعمالها عرضت والوثائقي. الفني للتحقيق كموقع طارق جبل ومضيق طنجة

عرض مثل جو دو بوم )باريس(، ومتحف الفن احلديث )سان فرانسيسكو(، وبينالي البندقية

الثاني واخلمسني.

Yto Barrada (b. 1971, lives and works in Paris and tangier) develops a vocabulary using photography, publications, film, and interventions in the urban and exhibition spaces. cinema and graphics amplify the artist’s activist approach that navigates between historical reality and ecological projection. the artist’s works carry deep political commitment, often using tangier and the Strait of Gibraltar as a site of inquiry that is both artistic and documentary. her work has been included in exhibitions such as the Jeu de Paume (Paris), MoMA (San Francisco), and the 52nd Venice Biennale.

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YTO BARRADA’S “PALM PROJECT” LOOKS AT THE MARKETING OF MOROCCO AND THE HOMOGENIZATION OF THE COUNTRY’S URBAN AND BOTANICAL LANDSCAPE. THE PROJECT ALSO ASSESSES THE STATUS OF THE PALM TREE, THAT ICON OF EXOTICISM AND SELF-FOLKLORIZATION. AnY SIMILArItIeS BetWeen the PLAntS dIScuSSed And MoroccAn SuBJectS LIVInG or deAd Are PureLY coIncIdentAL.this multifaceted work by Yto Barrada incorporates photography, video, archiving, and a public intervention in Marrakech. her intervention in the street and at casa Botanica plant nursery is amplified by her publication. the Palm Project fanzine, distributed during a picnic at casa Botanica and throughout the 3rd Marrakech Biennale, includes a poster listing a hundred varieties of the best-known palm trees, a vacant lot image, and the film Beau Geste’s technical rider. At its centre is a pink, typewritten “modest proposal” in Arabic and english authored by a certain Yahya Sari’. Yto commissioned this text to have the same ironic tone as that of Jonathan Swift, given a new content here by the imaginary Yahya Sari’ as “A Modest Proposal to Modernize Morocco and Maximize its resources and efficiency.”

Yto barrada, Palm Project, 2009, photography, video, archive, publication, and public intervention. Public intervention at Bab Laksour, Marrakech. courtesy of the artist and Sfeir-Semler Gallery, Beirut.

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Faouzi bensaidiMan’s worlds / World’s men

فوزي بنسعيديعوالم االنسان / انسان العالم

ومخرج فنان وباريس( البيضاء الدار في ويعمل يقيم ،1967 عام )ولد بنسعيدي فوزي

السينما إلى حتول ثم مسرحي كمخرج الفني مشواره بدأ مكناس، مدينة من سينمائي

وأخرج فيلمه األول عام 1997. عمل في أساليب سينمائية متعددة، متزج عناصر تتراوح ما

العالقات تعليقات حاذقة حول إلى باإلضافة الصاخبة، الغامضة والكوريغرافيا النهاية بني

في جوائز و”املطر” “احلائط” القصيرة أفالمه نالت املعاصر. املغربي اإلنسانية واملجتمع

مهرجاني كان والبندقية للسينما الدولية. فيلمه الثاني "يا له من عالم رائع" هو فيلم تشويق

بطله قاتل محترف وتدور أحداثه في الدار البيضاء.

Faouzi Bensaidi (b. 1967, lives and works in casablanca and Paris) is an artist and filmmaker from Meknes who began directing for the stage and has directed films since 1997. he has worked in many genres, infusing elements ranging from enigmatic detachment to lush choreography with subtle commentaries on human relationships and contemporary Moroccan society. his short films the Wall and the rain have won prizes at the cannes International Film Festival and the Venice International Film Festival. WWW, What a Wonderful World, a witty hired-assassin thriller based in contemporary casablanca, is his second feature film.

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Man’s worlds / World’s men is Faouzi Bensaidi’s first-ever visual art installation. this experimental project develops situations, images, and sounds, building upon a mixture of footage shot but never used for his feature film WWW, What a Wonderful World as well as different sequences from it. here, Bensaidi juxtaposes the image with reality, using the vocabulary of cinema and theater to create a visual art installation that incorporates live elements.

Faouzi bensaidi, Man’s worlds / World’s men, 2009, installation: video monitors, paper, bedframe, florescent light, metal structure, nylon, fish, and plastic mannequins, dimensions variable. Installation at Palais Bahia, Marrakech. courtesy of the artist and L’appartement 22, rabat.

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Franck bragigandFair trade: Moroccan Landscapes

فرانك براجيغانتجارة منصفة: مناظر مغربية

يطرح عمل فرانك براجيغان )ولد عام 1971، يقيم ويعمل في أمستردام( أسئلة حول اإلنتاج

بصبغها، يقوم ثم إلصحابها، صاحلة تعد لم ألشياء عشوائي بجمع الفنان يقوم والقيمة.

اإلنتاج أمناط على فعل رد هو عمله فني. عمل في كعناصر ثانية حياة منحها ثم ومن

واإلستهالك املفرط، وانتقاد ملجتمعات القرن 21 التي سادت فيها ثقافة الرداءة، وهو أيضا

مساءلة للقيمة التي تولى لألعمال الفنية. أقام فرانك براجيغان معارض فردية في قاعة "لومن

ترافو" )أمستردام(، وفي املركز األوروبي للعمل الفني املعاصر )ستراسبورغ(، باإلضافة إلى

معارض جماعية منها معرض في متحف القرن 21 )كانازاوا(.

Franck Bragigand’s (b. 1971, lives and works in Amsterdam) work addresses questions of production and worth. he collects random objects that are no longer of use to their previous owners and paints them, infusing them with a second life as elements in an artwork. he reacts to patterns of mass manufacture and consumption, criticizing 21st century society of trash culture, and questions the value attributed to artwork. his solo exhibitions include those at venues such as Lumen travo Gallery (Amsterdam) and centre européen Action Artistique contemporaine (Strasbourg), as well as group shows including at the 21st century Museum (Kanazawa).

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In his project Fair trade: Moroccan Landscapes, Bragigand makes daily objects more precious through monochromatically painting them with young workers from Bensouda, an industrial zone of Fez that recycles the excesses that ensue from over-production. the objects are “transported” from the over-production cemetery, a neighborhood that is still under construction, to the heritage area in the old city of Marrakech.

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50 51

tomás colaço (b. 1974, lives and works in Lisbon and tangier) works primarily with painting, as well as some installation. his work usually references a larger story that he may or may not be telling. colaço does not elaborate on this wider history or make claims of empirical truths, allowing for ambiguity within the art object. As such, the physical piece becomes a fragment or a possible memory of the larger narrative. his work has been part of exhibitions including at Instituto camões (Lisbon) and the Goethe Institute (Lisbon).

tomás ColaçoPension Palace—room 11

توماس كوالسوبنسيون باالس - غرفة 11

األول املقام في لشبونة وطنجة( في يقيم ويعمل ،1974 عام )ولد كوالسو توماس يشتغل

بالتصوير، وكذا ببعض التركيبات. غالبا ما تكون لعمله مرجعية إلى قصة ما، قد يرويها أو

ال يرويها. ال يقدم كوالسو تفاصيل هذه القصة وال يدعي تقدمي حقائق جتريبية، مما يجعل

العمل الفني ينطوي على نوع من الغموض. عندها يصبح العمل الفني في حد ذاته جزءا أو

كامويس معهد بينها من معارض في أعماله تقدمي مت األوسع. احلكاية من محتملة ذاكرة

)لشبونة( ومعهد جوته )لشبونة(.

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Pension Palace—room 11 is a continuation of tomás colaço’s August 2009 installation in tangier of the room of an unknown – imaginary - writer. here, the 17-meter long painting that is installed in one piece and that covers the entirety of the room pictures the district of Gibraltar, including parts of both Portugal and Morocco. through the painting, colaço reconstructs the environment of the “writer” who could be the “guide” the artist followed in order to arrive in tangiers! A collection of books and found objects are set up in the room, as well as a film playing perpetually on a video monitor, informing visitors about the supposed intimate details of the life of this fictionalized writer. In fact, however, the work offers more about the artist himself through its imagined story. Pension Palace—room 11 is a physical realization of the space of creation, reconstructing in it as one the two places to which colaço could possibly belong.

tomás Colaço, Pension Palace – room 11, 2009, installation: paper, painted canvas, bed, cloth, chairs, table lamps, tables, and video monitor, dimensions variable. Installation at Palais Bahia, Marrakech. courtesy of the artist.

54 55

Cláudia CristóvãoLe Voyage Imaginaire

كالوديا كريستوفاورحلة خيالية

في وتعمل تقيم ،1973 عام )ولدت كريستوفاو كالوديا تبدعها التي الفيديو تركيبات تعبر

الثقافية الهوية مفاهيم تشكيل في الذاكرة تلعبه الذي احلاسم الدور عن أمستردام ولندن(

الذكريات لتوثق الفوتوغرافية والصوت الفيديو والصورة الفنانة واإلنتماء والترحال. تستعمل

التي القارة إفريقيا حول أوروبيو يتذكره ما ذلك في أليم، مبا ماض من الفردية واجلماعية

التي الروابط على كريستوفاو كالوديا تبني اإلستعمار. انتهاء إبان في صغرهم منها فروا

لواندا بأجنوال، من أبوين برتغاليني، وال تقتصر أعمالها على ذلك تصلها مبكان والدتها في

فحسب. عرضت أعمالها في كل من داك'آرت )داكار( وبينالي ساو باولو وكذلك في فضاءات

مثل متحف فاولر )لوس أجنلوس(.

cláudia cristóvão’s (b. 1973, lives and works in Amsterdam and London) video installations reflect on the crucial role that memory plays in forming notions of cultural identity, belonging, and displacement. cristóvão uses video, photography, and sound to document the personal and collective memories of often-painful pasts, including the recollections of African-born europeans about the continent they fled as children during de-colonization. She builds upon, but is not limited to, her links to her birthplace of Luanda, Angola, as a descendent of Portuguese parents. cristóvão’s work has been featured in exhibitions such as dak’Art and the São Paolo Biennale as well as at such venues as the Fowler Museum at ucLA (Los Angeles).

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In the double screen projection Le Voyage Imaginaire, cláudia cristóvão examines the story of one man’s search for the traces of his family in his hometown in Angola. having left as an infant before truly being cognizant of the town, the man imagines his return to a place he has never really known, constructing a fictional space. the installation examines the tension between the man’s projection and the actuality of the real place. through interviews, cristóvão moves from the memories of people to the site of the creation of these memories.

Cláudia Cristóvão, Le Voyage Imaginaire, 2008, two-screen projection on canvas. exhibition view at Palais Bahia, Marrakech. courtesy of the artist.

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Shezad dawoodMake It Big (Blow uP)

شيزاد داووداجعلها أكبر )بلو أب(

Shezad dawood (b. 1974, lives and work in London) works across media, in film, photography, and installation. dawood’s pieces consistently play with popular culture references that deceptively appear light. the multiplicity of these references—drawn from film, music, even plastic toys—is used to confuse notions of collective identity, traditional histories, and belief systems. his work has been included in the 53rd Venice Biennale and the tate triennial at tate Britain (London), and his public works include poster projects installed simultaneously in Karachi, Pakistan, and Mumbai, India.

توظف أعمال شيزاد داوود )ولد عام 1974، يقيم ويعمل في لندن( مواد مختلفة في أفالمه

وصوره الفوتوغرافية وتركيباته الفنية. تتناول أعماله باستمرار مراجع الثقافة الشعبية والتي

استقاء – املراجع التعددية في الفنان هذه أنها خفيفة. بشكل مغلوط. يستثمر يتوهم عادة

من األفالم واملوسيقى وحتى األلعاب البالستيكية – ليحدث خلطا في مفاهيم الهوية اجلماعية

والروايات التقليدية ومنظومة املعتقدات. مت عرض أعماله في بينالي البندقية الثالث واخلمسني

وترينالي تيت في متحف التيت )لندن(، ومن ضمن أعماله العامة مشاريع ملصقات موزعة في

آن واحد في كل من كراتشي بالباكستان، ومومباي بالهند.

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Shezad dawood’s Make it Big (Blow uP) represents the documentation of his elaborately-staged, hoax remake of Antonioni’s Blow up in Karachi, Pakistan. Blow up, an Italian movie about London, is translated once again into a London-based artist’s project about Karachi, playing with notions of site and site-specificity. Adapting the grammar of “Western” cinematic language, dawood explores the fragility of storytelling that results from this displacement. the small intrusion of changing actors and locations creates a new space for expression that extends beyond the mixing of two disparate situations.

Shezad dawood, Make It Big (Blow uP), 2002-2003, 7 black and white photographs, 40 x 50 cm each. exhibition view at Palais Bahia, Marrakech. courtesy of the artist and the third Line Gallery, dubai.

62 63

ninar Esbercolors

نينار إسبرألوان

ninar esber (b. 1971, lives and works in Beirut and Paris) builds monumental structures, and her performances, photographs, and videos rely on the centrality of the body, often situated within these architectural spaces. her work is consistently imbued with a performative air by her use of real-time filming and deliberate artifice, and through its inhabitation by characters, often of the mythological type, that range from Marilyn Monroe to the archetypal female superhero and use her own body. She has had solo exhibitions at L’appartement 22 (rabat), centre Pompidou (Paris), and Silpakorn university (Bangkok), and has authored the book conversations avec Adonis, mon père (Seuil, 2006).

الضخمة هياكلها وباريس( بيروت في وتعمل تقيم ،1971 عام )ولدت إسبر نينار تبني

وتعتمد أداءاتها وصورها الفوتوغرافية وفيديوهاتها على مركزية اجلسد الذي غالبا ما يكون

يستخدم جسدها أدائي بهاجس باستمرار عملها يتشبع معمارية. فضاءات متموقعا ضمن

ويعتمد تقنيات التصوير املباشر، واحليلة املتعمدة، وتقمص الشخصيات، والتي غالبا ما تكون

اسطورية تراوح ما صورة مارلني مونرو والبطلة اخلارقة النمطية. أقامت نينار إسبر معارض

فردية في كل من الشقة 22 )الرباط( ومركز بومبيدو )باريس( وجامعة سيلباكورن )بانكوك(،

كما كتبت كتاب »محادثات مع أدونيس أبي« )دار النشر سوي، 2006(.

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With colors, ninar esber dilutes extant national flags. In this critique of nationalism and the idea of the nation, she mixes the colors included in each individual flag, deleting its particular icons and designs; she creates new monochromatic flags for each country and thus rebels against symbols of national identity. this idea against fixed ideas suggests a minimum of possibilities that art can offer.

ninar Esber, colors (detail), 2003-2009, flags (Lebanon, england, and Morocco), dimensions variable. exhibition view at Palais Bahia, Marrakech. courtesy of the artist and L’appartement 22, rabat.

66 67

Patricia EsquiviasFolklore IV

باتريسيا إسكيفياسفولكلور 4

Video artist Patricia esquivias (b. 1979, lives and works in Guadalajara and Madrid) was born in caracas, Venezuela. her informal work plays with mixtures of vernacular culture, historical figures, and constructed narratives that are often outwardly illogical. the videos use a consciously low-tech approach, often involving the filming of her laptop screen and inclusion of her own casual voiceover. esquivias has had solo exhibitions as the reina Sofia national Museum (Madrid) and has been included in group exhibitions as the new Museum (new York) and the Kunsthalle Basel.

غواداالخارا في وتعمل تقيم ،1979 عام )ولدت إسكيفياس باتريسيا الفيديو فنانة ولدت

من بخالئط وتلعب الرسمي، النطاق عن أعمالها تخرج فينزويال. كاراكاس، في ومدريد(

غير ظاهرها في تبدو قد والتي املبنية والسرديات التاريخية والشخصيات العامية الثقافة

منطقية. تتعتمد في فيديوهاتها طريقة تقنية غير متقدمة، إذ إن الفنانة غالبا ما تصور شاشة

حاسوبها احملمول وتستعمل تعليقاتها الصوتية البسيطة. قدمت إسكيفياس معارض فردية في

متحف امللكة صوفيا للفنون )مدريد( ومعارض جماعية في املتحف اجلديد )نيويورك( ومتحف

بازل. كونستهاله

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In the video Folklore IV, Patricia esquivias examines the construction of and relationship to modernity and popular culture in Spain. She departs with an anecdote from her father’s life to consider the modern expansion of the reina Sofia and the Spanish Pavilion in the 1937 World’s Fair, exploring the cultural repercussions of Spanish modernism on everything from cooking paella to art production.

Patricia Esquivias, Folklore IV, 2009, video, 19’57”. courtesy of the artist and Murray Guy Gallery, new York.

70 71

Seamus Farrellu.n. circle Gwangju-Marrakech

شيموس فاريلدائرة األمم المتحدة غوانجو - مراكش

Seamus Farrell’s (b. 1965, lives and works in Saint-ouen and cadiz) work collapses the boundaries between “artist” and “worker” while simultaneously addressing questions of globalism, ecology, and art education. Farrell has had solo exhibitions such as at espace 150 x 295 cm (Martil) and L’appartement 22 (rabat) and has participated in group exhibitions including the 7th Gwangju Biennale and oPen/InVIted ev+a (Limerick).

يحطم عمل شيموس فاريل )ولد عام 1965، يقيم ويعمل في سانت وان وفي القادسية(

و“العامل”، وهو يسائل في الوقت نفسه قضايا العوملة والبيئة والفن احلدود بني “الفنان”

والتربية. قدم فاريل معارض فردية في "فضاء 150×295 سم"، )مارتيل(، الشقة 22 )الرباط(،

وفي معارض جماعية كبينالي غواجنو السابع، و مفتوح/مدعو ev+a )ليمريك(.

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u.n. circle Gwangju-Marrakech is an elaboration on the work produced by Seamus Farrell for expedition 7 (relative homelands), part of the 7th Gwangju Biennale in 2008. the work at AiM was produced in Fez in collaboration with young artists and workers. car doors form an unclosed circle evoking the united nations Security council table, with engravings on each window in multiple languages and scripts about the political dimensions of water and other vital issues. Farrell’s work revolves around citations, including of sentences taken from the press, as on the car doors, and of architecture and mass-media. Installed at eSAV (a film school in Marrakech), eartubes is the second work by Seamus Farrell in this exhibition. this sound installation using plastic and radio transistors was produced at L’appartement 22 as a response to the conflicting voices that emerged from political protests, heard both in the mass-media and at the doors of government halls and international summits about what has become of the world. Both works deal with the multipart expressions and physical tensions of the exhibition places.

Seamus Farrell, u.n. circle Gwangju-Marrakech, 2008 - 2009, metal supports and car doors engraved with diamond. exhibition view at Palais Bahia, Marrakech. courtesy of the artist and L’appartement 22, rabat.

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Jean-François FourtouMes maisons (My houses)

جان-فرانسوا فورتوبيوتي

Jean-François Fourtou’s (b. 1964, lives and works in Marrakech and Madrid) work plays with proportion and scale. his houses range from the giant to the miniature, from the upright to the inversed, and propose a spatial experiment that creates a conceptual illusion of shrinking and bewilderment. Fourtou’s work has been exhibited at such venues as the Biennial of centinje (Montenegro) and Musée d’art Moderne de troyes.

تلعب أعمال جان-فرانسوا فورتو )ولد عام 1964، يقيم ويعمل في مراكش ومدريد( بالنسبية

املستقيم بني ما واملصغر، الضخم بني ما ينجزها التي بيوته أحجام تتراوح واحلجم.

عرضت واحليرة. باالنكماش بصريا إيهاما تخلق الفضاء حول جتارب وتقترح واملقلوب،

أعماله في أماكن من مثل بينالي سينتنجه )مونتينجرو( ومتحف تروي للفن احلديث.

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Playing with proportion and scale, Jean-François Fourtou’s houses are inspired by personal memories of childhood and the disproportion of Alice’s Wonderland. the installation at Palais Bahia includes objects from his Maison du géant (Giant’s house) while the permanent site of the original work located near Marrakech also remained accessible as part of the exhibition. using architectural and sculptural elements, Fourtou’s work recreates a child’s sensation of disorientation in adult spaces in order for it to be re-experienced.

Jean-François Fourtou, Mes maisons (My houses), 2009, installation: wood, fabric, straw, metal, and light bulbs. Installation at Palais Bahia, Marrakech. courtesy of the artist and JGM Galerie, Paris.

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Pedro Gómez-EgañaField and Force

بدرو غوميز-إيغانياحقل وقوة

Pedro Gómez-egaña (b. 1976, lives and works in Bergen) is a visual artist and composer who experiments with the accidental and the mechanical through drawing, video, sculpture, installation, performance, and sound. Simple black and white line drawings narrate the catastrophes of daily life as planes, rockets, and cars crumple. his recent work falls within the framework of calligraphies, a large-scale project realized with the support of the norwegian Artistic Fellowships Programme. Gómez-egaña has also exhibited his work at spaces such as Vermelho Gallery (São Paulo), L’appartement 22 (rabat), and cc MocA (Buenos Aires).

بدرو غوميز-إيغانيا )ولد عام 1976، يقيم ويعمل في برغن( فنان بصري ومؤلف يقوم بتجارب

حول ما هو عرضي وميكانيكي من خالل الرسم والفيديو والنحت والتركيب واألداء والصوت.

فيها تتحطم كحوادث اليومية احلياة فواجع تروي بيضاء وسوداء بسيطة وبخطوط رسومه

الطائرات والصواريخ واملركبات. أعماله األخيرة تأتي جزءا من “كاليجرافييز”، وهو مشروع

فضاءات في أعماله غوميز-إيغانيا عرض النرويجية. الفنية اجلمعية برنامج يدعمه ضخم

مختلفة منها جاليري فيرميلهو )ساو باولو(، الشقة 22 )الرباط(، و سي سي موكا )بوينس

آيرس(.

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With Field and Force, Pedro Gómez-egaña expands upon the intervention of rediscovering lost monuments that he realized in Mexico city this year. here, Gómez-egaña turns to the space of exhibition, pointing to its decay while simultaneously creating new proportions and landscapes within the room itself. In his economic treatment of images, Gómez-egaña’s interest is in elaborating upon an extant image rather than fabricating a new one. the hovering rocket in the artist’s installation calls upon the pop culture references of this icon, commenting on both the temporal and archetypical nature of the images that are engraved in our collective imaginary.

Pedro Gómez-Egaña, Field and Force, 2009, installation withmagnets, dimensions variable. Installation at Palais Bahia, Marrakech. courtesy of the artist.

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Chourouk hriechWater is captive to the Well

شروق حريشإن الماء آلت بالخير

chourouk hriech (b. 1977, lives and works in Marseille), a French artist of Moroccan origins, works primarily with monochrome or black and white two-dimensional drawing, as well as some installation, video, and photomontage. hriech’s drawings create spaces not bound by empirical reality, although many build upon recognizable elements reproduced from actual places. the often surreal nature of these images engages with notions of mapping, mobility, social fictions, and the position humans occupy in the contemporary world. In 2004, hriech published a book of drawings entitled the Pink Book. her work has been shown at various institutions including L’appartement 22 (rabat), Musée d’Art contemporain (Lyon), and Kunstnernes hus (oslo).

شروق حريش )ولدت عام 1977، تقيم وتعمل في مارسيليا( فنانة فرنسية من أصول مغربية،

تشتغل أساسا باللون الواحد أو باألبيض واألسود على رسوم ثنائية البعد وبعض التركيبات

التجريبية، باحلقيقة محدودة غير فضاءات تخلق رسومها والفوتومونتاج. والفيديو الفنية

الطابع عليها. التعرف يسهل واقعية أماكن في متواجدة عناصر بواسطة البناء خالل من

يتفاعل مع مفاهيم اخلرائط واحلركية واخليال الصور غالبا ما يسود هذه الذي السوريالي

اإلجتماعي وكيفية تأقلم اإلنسان مع العالم املعاصر. قامت حريش بنشر كتاب للرسوم سنة

2004 حتت عنوان »الكتاب الوردي«، وقد عرضت أعمالها في أماكن متعددة مثل الشقة 22

)الرباط(، ومتحف الفن املعاصر )ليون(، وكونستنرنس هاس )أوسلو(.

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chourouk hriech’s black and white drawing, Water is captive to the Well, is a figuration of family stories and urban landscapes. Beginning originally with A4-sized drawings, hriech projects her work to recreate it in large-scale, on a wall or, as she does here, on wood. the simplified architectural space in this work includes representations of the artist’s own body within the stories it frames, emphasizing imaging as a means of both understanding and existing. hriech draws upon the question of individual memory and personal history by articulating the body alongside the mechanical city.C

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86 87

isaac JulienWeStern unIon: small boats

إيزاك جوليانويسترن يونيون )االتحاد الغربي(: قوارب صغيرة

Isaac Julien (b. 1960, lives and works in London) is a British artist and filmmaker whose work incorporates different artistic disciplines, drawing from and commenting on film, dance, photography, music, theater, painting, and sculpture. Julien unites these disciplines to create the uniquely poetic, aesthetic language of his audiovisual film installations. his 1991 film Young Soul rebels won the Semaine de la critique prize at the cannes Film Festival. Julien was nominated for the turner Prize in 2001 for his films the Long road to Mazatlán (1999) and Vagabondia (2000). his multiple screen installation WeStern unIon: small boats (2007) has been shown at Metro Pictures (new York), Galería helga de Alvear (Madrid), and centre for contemporary Arts (Warsaw); it is also in the collection of Museum Brandhorst in Munich. In 2008 Julien collaborated with tilda Swinton on a biopic about derek Jarman simply entitled derek, which premiered at the Sundance Film Festival that same year.

إيزاك جوليان )ولد عام 1960، يقيم ويعمل في لندن( هو فنان وصانع أفالم بريطاني يوظف

عمله تخصصات فنية مختلفة، وينطلق من وبعلق على األفالم والرقص والتصوير الفوتوغرافي

في فريدة لغة بصرية شعرية بني جميعها خللق موحدا واملوسيقى واملسرح والرسم والنحت،

تركيبات أفالمه السمع-بصرية. فاز فيلمه "روح شابة تتمرد" بجائزة “سيمن دي ال كربتيك” في

مهرجان كان السينمائي العام 1991. رشح جوليان جلائزة تيرنر في العام 2001 عن فيلميه

اخلمس ذي تركيبه عرض .)2000( و"فاجابونديا" )1999( مازاتالن" إلى الطويل "الطريق

بكتشرز مترو في )2007( صغيرة" قوارب الغربي(: )االحتاد يونيون "ويسترن شاشات:

)نيويورك(، جاليريا هيلغا دي ألفير )مدريد(، مركز الفنون املعاصرة )وارسو(، وكذا في مجموعة

ملحمة على سوينتون تيلدا جوليان عمل ،2008 العام في ميونيخ. في براندهورست متحف

مهرجان في مرة ألول “ديريك”، وعرض ببساطة جارمان سموها لديريك الشخصية السيرة

ساندانس لألفالم في نفس العام.

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Isaac Julien’s WeStern unIon: small boats is installed on three screens in the unfinished théâtre royal building in Marrakech. this work is the third in a trilogy of audiovisual installations dealing with migration and globalization. the video installation creates a space where viewers confront images that expose contrasts within the natural and constructed environment in a critique of borders as spaces of limitation imposed by man.

isaac Julien, cast no Shadow, from WeStern unIon: small boats, 2007. courtesy of the artist and Galería helga de Alvear.

90 91

bouchra KhaliliAnya (Straight Stories – Part 2)

بشرى خليليآنية )قصص مباشرة - الجزء 2(

Bouchra Khalili (b. 1975, lives and works in Paris) is a French-Moroccan artist who has focused on video work since 2002. Khalili explores borders, emigration, mapping and displacement by documenting physical and often liminal spaces. her video work considers these spaces as conceived, evoking the contemporary tensions surrounding territory. her work has been shown at venues including centre Pompidou (Paris), the reina Sofia national Musuem (Madrid), and the Queens Museum of Art (new York).

بشرى خليلي )ولدت العام 1975، تقيم وتعمل في باريس( فنانة فرنسية-مغربية تركز على أعمال

الفيديو منذ العام 2002. تستكشف فيديوهاتها احلدود، والهجرة، واخلرائط، واإلنزياح عن طريق

الفضاءات هذه تدرس الفيديو أعمالها غامضة. تكون ما مادية وغالبا توثيق فضاءات حتول

كفضاءات ذهنية، مجسدة التوترات املعاصرة لألرض. عرضت أعمالها في أماكن من بينها مركز

بومبيدو )باريس(، متحف امللكة صوفيا الوطني )مدريد(، ومتحف كوينز للفن )نيويورك(.

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bouchra Khalili, Anya (Straight Stories - Part 2), 2008, video (color, sound), 12’, Arabic with english and French subtitles. France - turkey. Produced by Bouchra Khalili and Le Bureau des compétences et désirs. With the support of centre national des Arts Plastiques (French Ministry of culture). courtesy of the artist.

Anya (Straight Stories – Part 2) is the continuation of Bouchra Khalili’s ongoing project Straight Stories, initiated in 2006. While the first part focuses on the Strait of Gibraltar between Spain and Morocco, Anya considers the Strait of Istanbul as both a physical border between two continents (europe and Asia) and an imaginary one. Since the 1990s, the Strait of Istanbul, intended as a temporary stop for migrants in transit, waiting before going further west, has become a permanent terminus. Khalili explores through spatial and visual fragments the story of a young Iraqi woman who has been waiting in this area for a visa to Australia since 1996.

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Faouzi Laatiriscontainer

فوزي العتيريسحاوية

Faouzi Laatiris (b. 1958, lives in Martil and works in tétouan) is a visual artist and, since 1992, a professor at the Institut national des Beaux-Arts de tétouan. his spare art reflects on the appearances and realities of urban environments and everyday objects. In 2006 with fellow artist Batoul S’himi in Martil, he founded the art space espace 150 x 295 cm, which hosts regular exhibitions, workshops, and events. Laatiris’s works have been presented in exhibitions such as doual’art (douala), dak’Art (dakar), and L’objet désorienté, curated by Jean-Louis Froment at the Musée des Arts décoratif (Paris).

فوزي العتيريس )ولد عام 1958، يقيم في مارتيل ويعمل في تطوان( هو فنان وأستاذ باملعهد

الوطني للفنون اجلميلة بتطوان منذ العام 1992. تتناول أعماله الفنية ظواهر وحقائق البيئة

احلضرية واألشياء اليومية. أسس الفضاء الفني 150×295 سم سنة 2006 في مارتيل برفقة

الفنانة بتول السحيمي، وهو فضاء يستقبل ورشات ومعارض وأنشطة بانتظام. عرضت أعمال

العتيريس في معارض من مثل: دواالآرت )دواال(، داك آرت )داكار(، باإلضافة إلى معرض

من تنسيق جان-لويس فرومون في متحف الفنون الزخرفية )باريس(.

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Faouzi Laatiris, container, 2009, mirror and wood. exhibition view at Palais Bahia, Marrakech. courtesy of Galerie FJ, casablanca.

Faouzi Laatiris’s container uses mirrors to recreate the garbage receptacle used in many Moroccan neighborhoods. For years, Laatiris has explored the form of this receptacle using plastic bags and this life-size version was realized for his exhibition, dimensions variables in casablanca. For A Proposal for Articulating Works and Places, the sculpture reflects the entire environment of the unoccupied Palais Bahia, the residence of a former Moroccan prince vacated in the 1970s following his death and that later temporarily housed the office of a humanitarian organization. Also reflected are parts of the exhibition space, the large fig tree beneath which the work is situated, and the adjacent alley filled with tourists.

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Loredana LongoSouvenir #3 Family Portrait

لوريدانا لونغوتذكار ٣ صورة عائلية

Loredana Longo’s (b. 1967, lives and works in catania) work addresses topics related to the political backdrop in Sicily where the artist lives and works. her series of performances for the camera, explosions, depict bombings that occur in peaceful domestic settings such as the bedroom, a wedding reception, or a living room decorated for christmas eve, and can be seen as mirrors of the deceptive peace and organization in an otherwise violent society. her performances allude to the lack of drama and sensationalism in alleged Mafia crimes and the coldness and banality with which they are performed. Longo has recently exhibited her work at the napoli teatro Festival Italia, the Palazzo riso Museum of contemporary Art (Palermo), and the Italo-Latin American Institute (rome). this work was produced at the workshop held in Fez during the artist’s residency at L’appartement 22 (rabat).

مرتبطة مواضيع كاتانيا( في وتعمل تقيم ،1967 عام )ولدت لونغو لوريدانا عمل يتناول

باخللفية السياسية لصقلية، حيث تقيم وتعمل الفنانة. في سلسلة أداءات التي تقدمها الفنانة

أمام الكاميرا "انفجارات" حتدث في أماكن داخلية يسودها السلم كغرفة النوم، أو قاعة األكل

املكان إعادة تشكيل الفنانة اإلنفجار، حتاول بعد املجيد. امليالد بهو مزين مبناسبة عيد أو

تلمح عليه. يبدو بكثير مما أعنف أعمالها مبثابة مرآة لسلم زائف ونظام اجتماعي املخرب.

أداءاتها إلى انعدام الدراما واإلثارة في جرائم املافيا املزعومة وإلى البرود والتفاهة التي تنفذ

إيطاليا، ومتحف في للمسرح نابولي أعمالها في مهرجان لونغو فيها هذه اجلرائم. عرضت

باالتزو ريزو للفن املعاصر )باليرمو(، واملعهد اإليطالي- األمريكي الالتيني )روما(. أنتج هذا

العمل في ورشة في فاس أثناء إقامة فنية في الشقة 22 )الرباط(.

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Invited to produce a new work for this exhibition, Loredana Longo created a storyboard for Souvenir #4, Forever Yours. Longo planned to construct a space for a performance in which she would shoot at photographs of her ex-boyfriends with a real gun. the production of this piece could not happen, however, because of Moroccan gun laws.

Loredana Longo, Souvenir #3 Family Portrait, 2009, performance for a camera. collection Palazzo riso, Palermo

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heidi nikolaisenWe Belong to the Same tree

هايدي نيكواليسنننتمي إلى ذات الشجرة

heidi nikolaisen’s (b. 1973, lives and works in Bergen) work takes the form of experimental expeditions that look into personal narratives, drawing from the artist’s autobiography, as an opposition to the construction of written history. through these trips the artist herself becomes a vessel of oral history constructed by means of the people who meet and host her. nikolaisen considers herself a storyteller. In the exhibition space, reconstructed fragments of stories form an elaborate carnet de voyage and attempt to reposition the artist’s own history to more rightly reveal the landscape of entanglement that emerges from the migration of family, labor and identity. nikolaisen was Assistant Professor at the Bergen national Academy of Arts and her recent and future solo exhibitions include the nordnorsk Art centre (Svolvær) in 2011, and By the Way (Bergen). She has also participated in group exhibitions such as A Place in the Sun at the county Museum (Murmansk).

رحالت شكل برغن( في وتعمل تقيم ،1973 عام )ولدت نيكواليسن هايدي عمل يتخذ

استكشافية جتريبية في القصص الشخصية إللقاء الضوء على تضاربها مع التاريخ املسجل.

للتاريخ الشفوي الذي يبنيه األشخاص ناقلة الفنانة نفسها من خالل هذه اخلطوات، تصبح

الذين صادفتهم في حياتها. في فضاء العرض، تشكل الشظايا املركبة لهذه القصص مذكرات

والعمل األسرية الهجرة تولدها التي الورطة لتوضيح الفنانة ماضي توظيف ومحاولة سفر

من برغن في للفنون الوطنية األكادميية في مساعدة كمدرسة نيكواليسن اشتغلت والهوية.

2007 إلى 2009. تشمل معارضها الفردية القادمة والسابقة عروضا في مركز نوردنورسك

للفن )سلوفاير 2011( و "باملناسبة" في برغن. كما شاركت في معارض جماعية منها "مكان

في الشمس"، متحف كونتري )مورمانسك(.

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heidi nikolaisen’s new project utilizes her family’s correspondence and photo albums. the point of departure for this work is a photograph taken in norway by her grandmother that the artist re-creates from the same angle in the same village. the work was developed during Le Bout du Monde - expédition 8, which led to this village, engan, in the north Polar circle. In We Belong to the Same tree, nikolaisen examines notions of family, belonging, immigration, and the ways in which people share history.

heidi nikolaisen, We Belong to the Same tree, 2009, installation of photographs and drawings, dimensions variable. Installation at Palais Bahia, Marrakech. courtesy of the artist.

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otobong nkangacontained Measures of tangible Memories

أوطوبونغ نكانغامقاييس محددة لذكريات ملموسة

otobong nkanga (b. 1974, lives and works in Antwerp and Paris) is both a visual artist and performer, working in installation, photography, drawing, and sculpture. In her work, humans and alternately imposing and claustrophobic environments seem fragile; yet, for all of the fear or foreboding, there remain notes of hope. nkanga’s work often addresses political realities and considers changing economies, mobility, and displacement, especially in her home country of nigeria. her work has been included in exhibitions such as Flow at the Studio Museum in harlem (new York), the 7th Sharjah Biennial, this is now at L’appartement 22 (rabat), and the 4ème rencontres de la photographie africaine de Bamako.

أوطوبونغ نكانغا )ولدت عام 1974، تقيم وتعمل في أنتورب وباريس( هي مبدعة في الفنون

البصرية واألدائية، توظف في عملها التركيب الفني والتصوير الفوتوغرافي والرسم والنحت.

يضفي احمليط الذي تبدعه نكانغا في أعمالها طابع الهشاشة على البشر وعلى البيئات اجلبارة

واخلانقة بالتناوب. ورغم أن فنها يتضمن نوعا من اإلنذار ويعطي إحساسا بالرهبة، إال أنه

مينح بصيصا من األمل. أعمالها تسائل الواقع السياسي، وتعيد اعتبار التغيرات اإلقتصادية

والتنقالت البشرية واإلنزياح وخاصة في وطنها األم نيجيريا. مت تقدمي أعمالها في معارض

مثل تدفق )فلو( في متحف ستوديو في هارلم )نيويورك(، وبينالي الشارقة الدولي السابع،

و"هذا اآلن" في الشقة 22 )الرباط(، وبينالي باماكو الرابع للصورة الفوتوغرافية اإلفريقية.

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otobong nkanga’s project, contained Measures of tangible Memories, is a work in progress that has been conceived and elaborated in varied forms. the work, which is moved throughout the exhibition space, uses five natural elements (mica, black soap, cassia fistula, indigo dye, and alum) purchased in Morocco that are used in alternate ways in nkanga’s nigerian hometown. the project explores how meaning and function are relative within cultures, revealing different roles and histories for the same products, particularly within the context of the artist’s autobiography and memories.

otobong nkanga, contained Measures of tangible Memories, 2009, wood, metal, mica, black soap, cassia fistula, indigo dye, and alum, dimensions variable. exhibition view at Palais Bahia, Marrakech. courtesy of the artist and L’appartement 22, rabat.

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bouchra ouizguenMadame Plaza in 15 minutes

بشرى ويزغنمدام بـالزا في 15 دقـيقة

Bouchra ouizguen (b. 1980, lives and works in Marrakech) is a dancer and choreographer. With taoufiq Izeddiou and Saïd Ait el Moumen, ouizguen founded Anania, a contemporary dance company in Marrakech that created the Marrakech-based dance festival on Marche. her work has been presented at venues such as Fondation cartier, and in festivals including Meeting Points 5 (multiple cities), Les rencontres Internationales de Seine Saint denis, and Montpellier dance Festival.

عروض ومصممة راقصة هي مراكش( في وتعمل تقيم ،1980 عام )ولدت ويزغن بشرى

رقص. أسست "أنانيا" مع توفيق إيزديو وسعيد املؤمن، وهي شركة رقص معاصر في مراكش

مهرجانات في أعمالها عرضت "منشي". اسمه مراكش في للرقص مهرجان بتنظيم وقامت

مثل مهرجان نقاط التقاء في مدن متعددة من العالم، وفي اللقاءات الدولية في سان دينيس،

وفي مهرجان مونتبليير للرقص.

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Bouchra ouizguen presents a video of her 2009 dance work Madame Plaza. the piece was performed in collaboration with popular singers and is inspired by the history of Moroccan cabaret chanteuses called Aïtas. the dance reflects a desire to reinvigorate the popular arts as engaged artistic statements, as well as to question historical constructions of femininity and freedom. this work was produced during an artist residency at eSAV-Marrakech in 2008 and its display in A Proposal for Articulating Works and Places is ouizguen’s first participation in a visual arts exhibition.

bouchra ouizguen, Madame Plaza in 15 minutes, 2009, installation: mattress, video, 15’. choreography/Scenography: Bouchra ouizguen. Songs: Fatima el hanna, Kabboura Aït Ben hmad, naïma Saimoud, Bouchra ouizguen. Music: “Ahat” by Youssef el Mejjad, “Akegarasu” by Shin-nai. Lights: Yves Godin. régie lumières: thalie Lurault. costumes: nourredine Amir. Production consultant: Michel Laurent. exhibition view at Palais Bahia, Marrakech. courtesy of the artist.

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Catherine PoncinSans conte ni légende

كاترين بونسانبال حكاية وال خرافة

catherine Poncin (b. 1953, lives and works in Montreuil) appropriates and then re-photographs images from personal collections, flea markets, and found archives. It is a process that often leads to intimate conversations and collaborations with the owners of the photographs who choose to share their images and memories with the artist. Poncin uses these everyday images to construct a complex correspondence of their provenance. her recent solo shows include ravissement at Faïencerie de Gien (Brussels) and an exhibition at the French cultural center (constantine). Sans conte ni légende was exhibited at Paris-Photo and in a touring exhibition that travelled to the French Institutes of casablanca, Fez and Marrakech.

تعيد ثم ومن على، مونتروي( في وتيعمل تقيم ،1953 عام )ولدت بونسان كاترين تقبض

تصوير، صور من مجموعات شخصية قدمية، وأسواق خردة، وأرشيفات مكتشفة. هي عملية

يختارون الذين الصور أصحاب مع تعاونات وبالتالي حميمة، حوارات الى تؤدي ما غالبا

أن يشاركوا صورهم وذكرياتهم مع الفنانة، باإلضافة إلى مجموعات من العمال واملجتمعات

من ومصدرها. لسياقها معقد جتريد لبناء اليومية الصور هذه تستخدم بونسان األخرى.

املركز وفي )بروكسل(، جيان دي فيانسيري "رافيسمانت"، في معارض األخيرة عروضها

الثقافي الفرنسي )قسطنطينة(. عرضت هذه املجموعة في معرض "باريس-فوتو"، وفي معرض

جوال في املعهد الفرنسي في كل من الدار البيضاء وفاس ومراكش.

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catherine Poncin’s series of photographs Sans conte ni légende uses family photo albums from Morocco, including that of her husband. After visiting with the families, she selects fragments of photographs from the albums that she pairs with images she takes of the families immediately following the meetings. the works enact an archaeology of the image by the image as she unearths old memories and re-photographs them.

Catherine Poncin, Sans conte ni légende, 2005, photographs and digital prints, 50 x 60 cm each. exhibition view at Palais Bahia, Marrakech. courtesy of the artist, L’appartement 22, rabat, and Galerie Les Filles du calvaire, Paris.

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Younès RahmounGhorfa, Al-âna / hunâ

يونس رحمونغرفة، اآلن / هنا

the work of Younès rahmoun (b. 1975, lives and works in tétouan) is based on repetition and spirituality, with Buddhism, naturalism, mathematics, and the artist’s personal life acting as strong influences. Since his graduation from the Institut national des Beaux-Arts de tétouan in 1998, rahmoun has explored different techniques including drawing, installation, and video. his recent exhibitions include those at L’appartement 22 (rabat) and Galerie F.J. (casablanca) as well as doual’art (douala) and the Singapore Biennale. In 2008, rahmoun built Ghorfa 4 in the rif Mountains and has since offered the space to visitors, questioning the issues of land and house ownership and continuing to merge his life with his art.

تعتمد أعمال يونس رحمون )ولد عام 1975، يقيم ويعمل في تطوان( على التكرار والروحانية،

وتتأثر بشكل قوي بالبوذية والطبيعية والرياضيات وحياة الفنان الشخصية. تخرج من املعهد

من مختلفة تقنيات يستكشف الفنان انفك 1998، وما عام بتطوان اجلميلة للفنون الوطني

بينها الرسم والتركيب الفني والفيديو. عرضت أعماله في الشقة 22 )الرباط(، ورواق ف.ج.

)الدار البيضاء(، و"دواال آرت" )دواال(، وفي بينالي سنغافورة. ومنذ أن ابتنى رحمون “غرفة

ملكية قضايا في مسائال للزوار، مفتوح الفنان 2008، وفضاء العام الريف جبال في ”4

األرض واملنزل ومستمرا في دمج حياته بفنه.

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For A Proposal for Articulating Works and Places, Younès rahmoun realizes part of the development of his large project, Ghorfa, Al-âna / hunâ. the work at Palais Bahia can be considered documentary, relating to the fourth version of the project that was constructed on his family’s land in the rif Mountains. the ongoing project shares with the public the “ghorfa,” a small room situated beneath the staircase in the artist’s house in tétouan and the inspiration behind it. through the installation and drawings included in the project, rahmoun reconstructs a space for work, meditation, and expression.

Younès Rahmoun, Ghorfa, Al-âna / hunâ, 2009, installation: ceramic, sand, glass, stone, drawings on paper and digital print, dimesions variable. Installation at Palais Bahia, Marrakech. courtesy of the artist.

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Jérôme SchlomoffVilla K

جيروم شلوموففيال ك

Jérôme Schlomoff (b. 1961, lives and works in Amsterdam) works as a photographer and cinema director. Schlomoff has focused on portrait photography since 1984 and on capturing practicing contemporary artists in particular. these intimate images can be contrasted with his poetic photographs and films that examine the link between architecture and the image. Schlomoff’s work has also been concerned with the usage of architectural spaces by different communities. Since 2000, he has experimented with pinhole cameras. his work has been exhibited at spaces such as cAPc Musée d’Art contemporain de Bordeaux and L’appartement 22 (rabat).

فوتوغرافي كمصور أمستردام( في ويعمل يقيم ،1961 عام )ولد شلوموف جيروم يعمل

صور بالتقاط سيما ال ،1984 منذ البورتريه تصوير على ركز وقد سينمائي. ومخرج

صوره عن تختلف عميقة بحميمية متتاز التي الصور هذه املعاصرين. للفنانني فوتوغرافية

الفوتوغرافي من خالل فضاءات املعمار والتصوير الرابط بني التي تدرس الشاعرية وأفالمه

املعمارية. للفضاءات املتباينة املجتمعات باستخدام أعماله تهتم الناس. من خالية معمارية

منذ العام 2000 والفنان يشتغل بالكاميرات التي تخلق أداة فوتوغرافية غير محدودة بالفضاء

من خالل فتحة صغيرة. شارك الفنان في فضاءات مثل متحف الفن املعاصر في بوردو وفي

الشقة 22 )الرباط(.

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Jérôme Schlomoff, Villa K, 2008, black and white film, 2’20”. courtesy of the artist.

Jérôme Schlomoff’s film Villa K explores the progress visible en route from the Marrakech medina to a villa in the Atlas Mountains. this built site is that of a large, private villa located outside of the city and designed by the architects Karl Fournier and olivier Marty. Schlomoff’s film sis created using a pinhole camera with which the artist has produced multiple other films including new York zéro zéro.

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batoul S’himiWorld’s Pressure

بتول السحيميضغط العالم

Batoul S’himi (b. 1974, lives and works in Martil) transforms common household objects – a stovetop coffee pot, a pressure cooker – into objects for engaging in struggle. her artwork questions social conventions, particularly the relationship of women to the domestic interior. S’himi co-founded the independent art space espace 150 x 295 cm (Martil) in 2005 with artist Faouzi Laatiris. her work has been included in exhibitions such as at L’appartement 22 (rabat) and Musée des Arts décoratif (Paris) as well as in dak’Art (dakar). S’himi’s work is in the public collections of FrAc-PAcA (Marseille) and FrAc corse (corsica).

العادية املنزل تقيم وتعمل في مارتيل( مستلزمات بتول السحيمي )ولدت عام 1974، حتول

– مطهاة أو ركوة قهوة أو طنجرة ضغط- إلى أدوات للمقاومة امللتزمة. حتفها الفنية تسائل اخلصوص. وجه على منزلها ومعدات املرأة بني والعالقة عام بشكل اإلجتماعية األعراف

شاركت السحيمي في تأسيس الفضاء الفني املستقل 150×295 سم )مارتيل( العام 2005

مع الفنان فوزي العتيريس. مت عرض أعمالها في الشقة 22 )الرباط( ومتحف الفنون الزخرفية

)مارسيليا( “فراك-باكا” مجموعة ضمن أعمالها )داكار(. آرت” “داك وبينالي )باريس(،

العامة )كورسيكا(. ومجموعة “فراك كورس”

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Batoul S’himi reimagines both everyday objects and natural materials including kohl and cinder in World’s Pressure. the artist recycles and refashions these objects into tools of resistance engaged in socio-political issues. S’himi adopts a direct language that ironically appropriates methods employed in official propaganda and populist media. From its origin as an object so familiar to women in Morocco, the pressure-cooker, for example, becomes restructured into a strangely open form.

batoul S’himi, World’s Pressure (Monde sous pression), 2009, installation: metal, wood, ash and kohl, dimensions variable. Installation at Palais Bahia, Marrakech. courtesy of the artist and L’appartement 22, rabat.

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Kathryn SmithPsychogeographies: the Washing Away of Wrongs

كاثرين سميثجغرافيات نفسية: محو األخطاء

Kathryn Smith (b. 1975, lives and works in cape town) is a multidisciplinary research-based practitioner whose working methods are informed by art theory, praxis, and an interest in forensic investigation, in particular the psychological aspects of criminal activity, whereby connections are built through her practice, to recreate compelling narratives. her work has been exhibited at the Museum of contemporary Art (cape town), oK Video Festival (Jakarta), and the reykjavik Art Museum, among others. Smith has been a correspondent for contemporary and Flash Art and a regular contributor to Art South Africa; she has also transformed her studio in cape town into a public art space called serialworks.

كاثرين سميث )ولدت عام 1975، تقيم وتعمل في جوهانسبورغ( فنانة متعددة التخصصات

تعتمد على البحث واملمارسة وتلجأ إلى طرق عمل خاضعة للنظرية الفنية والتطبيق العملي.

تولي سميث اهتماما خاصا للطب الشرعي، ال سيما اجلوانب النفسية للفعل اإلجرامي الذي

جتري مبقتضاه اتصاال مع ممارستها وتعيد خلق قصص سردية قاهرة. عرضت أعمالها في

معارض في متحف الفن املعاصر )كايب تاون(، ومهرجان أوكي للفيديو )جاكارتا(، ومتحف

)2004( كان عبارة عن جولة في ستة ريكيافيك للفن. أهم معارضها الفردية “أوفيميسمن”

"كونتامبوراري" ملجلة كمراسلة سميث عملت إفريقيا. جنوب في للعرض وقاعات متاحف

و"فالش آرت" وكانت تساهم بانتظام في مجلة "آرت ساوث أفريكا" وقد حولت محترفها في

كايب تاون إلى فضاء فني مفتوح للعامة اسمته "سيريال وركس" )أعمال مسلسلة(.

South African artist, Kathryn Smith, makes mixed-media work in reference to specific perpetrators of psychologically-motivated acts of violence and associated traumas. her interest is in the places these individuals once inhabited as well as the invisibility that allowed their crimes to occur undetected, often for years at a time. here ‘invisibility’ denotes the ‘unseen within the seen’: it pertains not only to the perpetrators themselves, notorious for their ability to camouflage, but also to the particular locations or ‘architectures of trauma’ where violent crimes of this nature have occurred. Invisibility, layers of visibility, the threat of impaired visibility, and the interrogation of the visual, are all aspects of Smith’s work. It is not surprising then that the camera is her preferred representational device, given its long-standing designation as a means of ‘bearing witness’. In Smith’s hands, however, the photograph is a dubious and incomplete record. In In camera (2007) Smith used ultraviolet-sensitive inks to create drawings and mark her photographs of murder sites, and rewired the gallery lighting to switch intermittently between ambient and ultraviolet light, and total darkness. Invisible under ambient light, her ‘secret’ drawings suggest the unseen within the photographic record, revealed in black light as an ominous subtext. the slippage between the outwardly visible and the hidden subtext is prevalent in a number of Smith’s works. In Psychogeographies: the Washing Away of Wrongs (2003-4), Smith’s handwritten notations provide the destabilising subtext to a series of seemingly unremarkable photographs. the work records Smith’s ‘pilgrimage’ to the former homes of British serial killer dennis nilsen, who was convicted in 1983 and sentenced to life imprisonment. taken out of context, the photographs of nilsen’s former homes disclose nothing of the traumatic events that unfolded there. In her handwritten notes, Smith laments that the flat in cranley Gardens ‘suffers from an overall sameness – the camouflage of politeness and decorum’. Ironically, it is this ‘overall sameness’ that provided cover for nilsen’s crimes in the first place, much as his semblance of day-to-day existence acted as a disguise. thus the rhyme that Smith recounts in the work is indicative: ‘As I was going up the stairs, I met a man who wasn’t there. he wasn’t there again today. I wish, I wish he’d go away’. For Smith, nilsen is both ever-present and never there. his ability to disappear within the visible links him to other perpetrators, such as the subject of Smith’s 2009 the lowercase: South African serial rapist, Johannes Mouwers. Mouwers was arrested in 2006 for holding two girls hostage in a burrow excavated from a river bank in the south-western cape. he was known in the region as ‘die Skim’ (‘the phantom’) and used to cover his face with clay in an attempt to become invisible.Although Mouwers’s burrow differs from nilsen’s suburban killing rooms, they may all be regarded as excavations beneath or behind the public surface of ‘normal’ life. As such, they become, in Smith’s words, ‘spatial materialisations of mental or emotional space; secret chambers created in which to perform and enact dark and often deadly desires’. Smith suggests that the ‘secrecy and invisibility of these spaces is something of a black hole, which is in fact a metaphor used to describe such sites in forensic geographical profiling’. the metaphor of a ‘black hole’ may also describe the abyss within representation: in the face of excessive cruelty, the possibilities of ‘adequate’ representation seem limited and insufficient.In this regard, it is perhaps fitting that Smith’s photographs often ‘fail’ to bear convincing visual witness – due to blurriness, a lack of focus, photographic ‘accidents’, hidden subtexts, and visual disturbances. these layers and interferences hint at the unseen, evoking the suggestion of trauma not overtly witnessed by the camera. her photographs mirror her viewpoint as researcher, looking up at the façades of nilsen’s suburban homes and sensing – yet failing to ‘see’ – the trauma that lingers behind the veneer. Given these various blind-spots and black holes, Smith’s works underscore the impossibility of seeing and representing the full extent of serial rape and murder. She delves into these ‘architectures of trauma’, armed with forensic/photographic methods of making visible and making known, and yet her vision is persistently thwarted by the unthinkable. Appropriately, then, her work can only provide sporadic, chilling glimpses into spaces devoid of light.”From Kathryn Smith’s ‘architectures of trauma’: the black hole within the visibletext by Maureen de Jager

Kathryn Smith, Psychogeographies: the Washing Away of Wrongs, 2003-2004, drawing and digital prints. courtesy of the artist and Goodman Gallery, cape town.

134 135

Justine trietcloudy head

جوستين ترييترأس مشوش

Justine triet (b. 1978, lives and works in Paris) is a visual artist whose video works consider crowds and articulations of power, instability, and representation in light of larger public, often political, events. rather than being documentaries, her videos question notions of the real. triet’s work has been included in exhibitions such as at centre Pompidou (Paris) and L’appartement 22 (rabat) as well as in the Biennale de Lyon.

الفيديو أعمالها تتناول فنانة باريس( في وتعمل تقيم ،1978 عام )ولدت ترييت جوستني

تكون ما غالبا عامة أحداث ضمن والتمثيل االستقرار، وعدم القوة، ومفاصل احلشود

في احلقيقة. شاركت جوستني مفاهيم أفالمها تسائل تكون وثائقية، أن سياسية. وبدال من

معارض في مركز بومبيدو )باريس(، الشقة 22 )الرباط(، وفي بينالي ليون.

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Justine triet’s video cloudy head was created during an artist residency in Brazil. In it, two primary characters are seen in the midst of passing crowds in São Paolo’s Patriarch Plaza. one man chants, seemingly in a trance, while another calmly watches him. underscored by the use of ravel’s Boléro to accompany a natural environment, triet’s ordinary events, seen from above, become theatrical, questioning the nature of documentary film.

Justine triet, cloudy head, 2009, video, 5’11”. Sao Paulo. realization: Justine triet. Image: cédric Sartore/ Justine triet. editing: Justine triet/ thomas Lévy-Lasne. Autoproduction. courtesy of the artist.

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nontsikelelo ‘Lolo’ VelekoSeries from Graffiti

ننتسكللو فيليكو سلسلة غرافيتي

nontsikelelo ‘Lolo’ Veleko’s (b. 1977, lives and works in Johannesburg) vivid and powerful photographs provide insight into South Africa’s urban life. In her precise observations, she poses questions about shared understandings of beauty, history, and identity through looking at fashion. her work has been included in group shows including Snap Judgments (new York) and reality check: contemporary Art Photography from South Africa (cape town) as well as at the neuer Berliner Kunstverein (Berlin).

تقيم ،1977 عام )ولدت فيليكو "لولو" لننتسكللو والقوية احلية الفوتوغرافية الصور تعطي

أدق في وتتمعن إفريقيا جنوب في احلضرية احلياة حول حملة جوهانيسبورغ( في وتعمل

من خالل للجمال والتاريخ والهوية الشائعة املفاهيم للتساؤل حول املجال فاحتة التفاصيل،

)نيويورك(، ومعرض "أحكام سريعة" مثل أعمالها في معارض جماعية من املوضة. شاركت

برلينر كونستفيرين تاون( ونيور أفريقيا )كاب املعاصر من جنوب الفوتوغرافي التصوير فن

)برلني(.

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nontsikelelo Veleko’s ongoing project, Graffiti, began in 2001. the work investigates visual communication as an expressive outlet for society, especially within urban South Africa, and the way it has developed since the 1994 elections. the artist’s work focuses on a generation that share the same issues and perspective. Veleko documents political and cultural messages through popular practices of clothing or acting and sharing public space. In this project, Veleko considers the reproduced graffiti as the art and her photographs to be a documentation of anonymous artist acts in urban spaces.

nontsikelelo Veleko, Graffiti by Faith47, from Graffiti, 2007, photographs. courtesy of the artist and Goodman Gallery, cape town.

142 143

James Webbthere’s no place called home

جيمس ويبال مكان اسمه وطن

James Webb (b. 1975, lives and works in cape town) has worked on both large-scale installations in galleries and museums and unannounced interventions in public spaces since 2001. Webb’s work questions the nature of beliefs held in the contemporary world, often using exoticism, displacement, and humor to achieve its aims. he has participated in exhibitions including cAPe 09 (cape town), this Is now 2 at the Joburg Art Fair (Johannesburg) and L’appartement 22 (rabat), and the 9th Biennale de Lyon.

شارك جيمس ويب )ولد عام 1975، يقيم ويعمل في كايب تاون( بأعمال تتراوح بني تركيبات

ضخمة واشتغاالت غير معلنة في معارض ومتاحف وفضاءات عامة منذ العام 2001. تهدف

الغرائبية، والترحال، يستخدم ما املعاصر، وغالبا بعاملنا اإلميان طبيعة إلى مساءلة أعماله

والطرافة ليحقق هذه األهداف. شارك في العديد من املعارض، مثل “كاب 9”، البينالي الثاني

في الشقة 22 )الرباط(، وبينالي ليون للفن اإلفريقي املعاصر )كاب تاون(، و”هذا اآلن 2”

التاسع للفن املعاصر.

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James Webb, there’s no place called home, 2005-2009, sound installation, dimensions variable. Installation at Palais Bahia, Marrakech. courtesy of the artist.

James Webb’s ongoing, world-wide intervention, there’s no place called home, broadcasts foreign birdcalls from indigenous trees, expressing the notions of alienation and xenophobia inherent within national identity. For its installation in Marrakech, Webb also presents the documentation of six other installations in different locations from the same intervention. the artist’s interest in displacement can also be seen in his film Le Marché oriental (2008), which documents an intervention within an apartheid-era building in South Africa once used to control Indian trade.

SPecIAL ProJectSمشاريع خاصة

148 149

Younes baba-AliSound neon

يونس بابا-علينيون صوتي

Younes Baba-Ali (b. 1986, lives and works in Marseille and casablanca) is a musician and multi-disciplinary artist whose work incorporates sound material. he experiments with the capacity of sound to propagate through space and to directly engage the body of the viewer in the artistic process. Baba-Ali has recently exhibited his work at BJceM Biennial of Young Artists from europe and the Mediterranean (Skopje), Sketch Gallery (London), Poland’s International Media Art Biennale Wro, Loop Video Art Festival (Barcelona), and In-Sonora Sound Art Festival (Madrid).

تقدمي سكتش إيريال والر وجيل راوند(، )مارك تافيرنا سبيشال تنظيم من مشروع خاص

جاليري )لندن( والبينالي الدولي فنون في مراكش، في فضاءين في لندن ومراكش، يقدم عمل

الفنان يونس بابا-علي.

أعمال يونس بابا-علي )ولد عام 1986، يعيش ويعمل في مارسيليا والدار البيضاء( متعددة

الوسائط وهو موسيقي تستخدم أعماله مادة الصوت وتكيفها. تبحث أعماله في قدرة الصوت

على االنتشار في الفضاء وعلى اإلشراك املباشر جلسد املشاهد في العملية الفنية. عرضت

املتوسط )سكوبي(، وسكتش جاليري أوروبا وحوض الشباب من الفنانني بينالي أعماله في

)لندن(، وبينالي بولندا العاملي لفن امليديا، ومهرجان لووب فيديو الفني )برشلونة(، ومهرجان

إن-سونورا للفن )مدريد(.

A site specific project by taverna especial (Mark Aerial Waller and Giles round), presented by Sketch (London) and AiM International Biennale, across two venues in London and Marrakech, presenting the work of Younes Baba-Ali.

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Younes baba-Ali, Sound neon, 2009, interactive light and sound installation, dimensions variable. Installation at Ksour Agafay, Marrakech. Project by taverna especial (Mark Aerial Waller & Giles round), curated by Victoria Brooks. courtesy of the artist.

Sound neon integrates the visitor into the artistic process. Baba-Ali fills the space of the installation entirely with sound, offering visitors a new sense of time and memory. In its use of neon, a material that is increasingly part of our daily life, the installation comments on artificiality and consumerism as well as our changing relationship to objects. Sound neon is installed in a dark space in a guesthouse in the Medina of Marrakech and is activated by the presence of visitors.

152 153

Franck bragigandteach me how to talk, I teach you how to paint

فرانك براجيغانعلمني لغتك، أعلمك فني

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Franck Bragigand presents the results of socially-engaged workshops. Bragigand’s workshop at dar Al-tifl, an orphanage in Marrakech, is based on an exchange between the children and the artist. In the past few years, dar Al-tifl has organized a number of workshops, in collaboration with the Janelly and Jean-rené Fourtou Foundation, with artists and performers from Morocco and abroad. here, broken pieces of pottery are recycled to include writings about how the children perceive the world. In many instances, these writings relate to trauma witnessed in daily life or in the media. one ceramic, for example, reads “Gaza,” and another, “no war.” the work is installed in two locations: Palais Bahia and dar Al-tifl.

Franck bragigand, teach me how to talk, I teach you how to paint, 2009, installation of ceramic leftovers, dimensions variable. Work produced in collaboration with the children of dar Al-tifl, Marrakech, with the support of BKVB, Amsterdam, and the Janelly and Jean-rené Fourtou Foundation, Marrakech. Installation at Palais Bahia, Marrakech. courtesy of the artist and L’appartement 22, rabat.

156 157

ninar Esberthe 2 Ladders

نينار إسبرالسلـمان

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ninar Esber, the 2 Ladders, 2009, installation of metal and lights at the Lot 219 Workshop of L’appartement 22 in Fez. Produced with the support of the Van Abbemuseum, eindhoven. courtesy of the artist and L’appartement 22, rabat.

the 2 Ladders is a massive site-specific installation in two parts, produced at the Lot 219 Workshop of L’appartement 22 in Fez. the physical work, lit so as to be visible from a meeting room window, originates at the center of the Lot 219 Workshop and reaches towards the top of the mountain to the north of Fez. the artist also stands on this structure in a performance, continuing with a series of works where she stands on extant buildings to create visibility for the body within space. the works allude, as her films often do, to mythological and literary references such as Saint Simeon on his column.

160 161

hassan Khanel wahda elkebeera (the Big one)

حسن خانالواحدة الكبيرة

hassan Khan (b. 1975, lives and works in cairo) is an artist, writer, and musician. his work frequently addresses the mediation of society upon the construction of identity and perceptions of the self through his use of image, text, installation, and sound. he has composed music for multiple theatrical productions and has widely performed his own pieces. he has also released the album, tabla dubb. Khan’s work has also been included in international group shows including the Istanbul Biennial and the thessaloniki Biennale, as well as in solo shows such as at Gezira Art center (cairo) and Gasworks (London).

في يتناول وموسيقي. وكاتب فنان القاهرة( في ويعمل يقيم ،1975 عام )ولد خان حسن

عمله دور املجتمع في بناء الهوية واإلدراك الفردي للذات من خالل استخدام الصورة والنص

والتركيب والصوت. ألف موسيقى العديد من العروض املسرحية، كما أدى عروضه الشخصية

له ألبوم "طبلة داب". عرضت أعماله في معارض جماعية دولية مثل في أماكن عدة، وصدر

للفنون اجلزيرة مركز في فردية معارض في وكذلك ثيسالونيكي، وبينالي إسطنبول بينالي

)القاهرة( وفي جاز ووركس )لندن(.

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At Palais Bahia, hassan Khan performs his piece the Big one. this set juxtaposes original, hardcore, synth-based, experimental shaabi workouts with delicately wrought tonal compositions. All live instrumentals were generated in a series of late-night recording sessions with shaabi musicians and arrangers. For one central track in the introduction of the piece, Khan asked a professional popular singer, usually a performer at weddings, to scream and sing anything, imagining himself in the presence of a deaf audience; the singer is pushed to hysterics, screaming unintelligible words.

hassan Khan performing el wahda elkebeera (the Big one) at PalaisBahia, Marrakech, on 19 november 2009. organized by radioApartment22 (r22) with the support of the Janelly and Jean-rené Fourtou Foundation, Marrakech. courtesy of r22.

164 165

Joseph Kosuth‘Public texts, Stolen texts’

جوزيف كوسوت'نصوص عامة، نصوص مسروقة'

Joseph Kosuth (b. 1945, lives and works in new York and rome)is one of the pioneers of conceptual art and installation art who initiated language-based works and appropriation strategies in the 1960s. his installations, museum exhibitions, public commissions, and publications have consistently explored the production and role of language and meaning within art. his work has been exhibited throughout europe, the Americas and Asia, including five documenta(s) and six Venice Biennale(s). currently, he is Professor at Istituto universitario di Architettura (Venice). Kosuth’s exhibition ni apparence ni illusion, an installation work in white neon that runs for 280 meters along the original 12th century medieval walls of the Louvre Palace, opened in october 2009 at the Musée du Louvre (Paris).

جوزيف كوسوت )ولد عام 1945، يعيش ويعمل في نيويورك وروما( هو واحد من الرواد في

واستراتيجيات اللغة على يعتمد أعمال نهج ابتدأ االنشائي، التركيب وفن املفاهيمي الفن

االقتباس في الستينيات. تركيباته، معارضه في املتحاف، األعمال العامة، واملؤلفات دائما ما

تستكشف دور اللغة واملعنى في الفن. عرضت أعماله في أنحاء أوروبا واألمريكيتني وآسيا،

ومن ضمنها خمسة مشاركات في خمسة معارض دوكومنتا وستة في معارض بينالي البندقية.

اليوم، يدرس كوسوت في املعهد اجلامعي للعمارة )البندقية(. افتتح معرض كوسوت "ال ظهور

ال وهم" والذي يقدم تركيبا طوله يتجاوز 280 مترا من مصابيح النيون البيضاء على جدران

القرن الثاني عشر لقصر اللوفر، في خريف 2009 في متحف اللوفر )باريس(.

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Joseph Kosuth gives a presentation within the conference Works and Places and Freedom?. the artist considers his installations and site-specific interventions, including his ongoing installation Guests and Foreigners, recently realized in the canary Islands, and ni apparence ni illusion at the Musée du Louvre.

Joseph Kosuth during his talk: ‘Public texts, Stolen texts’, held in Marrakech, on 20 november 2009. talk organized by r22. courtesy of r22.

168 169

Jooyoung LeeScratching the surface – diving in deep, part 3

جويونغ ليخدش القشور - غوص عميق، جزء 3

Jooyoung Lee (lives and works in Seoul) works across a wide variety of media, including installation, sound systems, and video. Much of her art interacts with the public sphere directly, questioning the division of private and public, often by inviting collaboration. Lee explores both the notions and challenges of communication and translation through text, speech, and sound in both the gallery space and via public interventions. her work has been exhibited at various venues including the Seoul Museum of Art (Seoul), the changdong Studio of the national Museum of Art (Seoul), and Gertrude contemporary Art Spaces (Melbourne).

الصوت وأنظمة كالتركيب الوسائط مختلف سيؤول( في وتعمل )تقيم لي جويونغ تستعمل

الفارق بني ما هو عام الفنية مباشرة مع اجلمهور، مسائلة تتفاعل معظم أعمالها والفيديو.

التواصل وحتديات مفاهيم لي تستكشف املشاركة. إلى دعوتها خالل من خاص عو وما

في الفنية األنشطة وفي العرض أروقة في والصوت واحلديث النص خالل من والترجمة

الفضاءات العامة. مت عرض أعمالها في مختلف األماكن، مثل متحف سيؤول للفن )سيؤول(،

وستوديو شانغ دونغ في املتحف الوطني للفن )سيؤول(، وفضاءات “جيرترود” للفن املعاصر

)ميلبورن(.

170

Jooyoung Lee produces the third and final part of Scratching the surface—diving in deep, a site-specific sound project for r22, the radio station of L’appartement 22, using sounds, music, and interviews. Part one took place in Bergen, norway, in June 2008 and was an investigation of the relatively short distance between the underground and mainstream local music scenes. Part two happened in Seoul from September to november 2008. each part of Scratching the surface—diving in deep is a response to the particular locations of the installment. this project, which creates an auditive, three-continent triangle (South Korea, Asia; norway, europe; and Morocco, Africa), is co-curated by Anne Szefer Karlsen and Abdellah Karroum.

Jooyoung Lee, Scratching the surface - diving in deep, 2008-2009. clockwise from top left: part 1, part 3 and part 2. Broadcasted on r22. courtesy of the artist.

Incheon

MarrakechBergen

172 173

Loredana Longonothing Is As It Seems

لوريدانا لونغوليس الشيء كما يبدو

174

nothing Is As It Seems is an installation of a prison cell covered in mirrors that infinitely reflect the space of the cell until it becomes an impossible spectacle, turning freedom into an illusion. the cell is suspended, floating above the ground, giving the object a poetic appearance. It is installed in a dark space and illuminated by flickering stage-lights. Loredana Longo’s work uses theatrical scenography and cinematic techniques, and is often autobiographical or inspired by political situations. this work was produced at the Lot 219 Workshop of L’appartement 22 in Fez.

Loredana Longo, nothing Is As It Seems, 2009, installation: wood, mirror, ceramic, metal rods, cloth, and lights, 250 x 250 x 170 cm. Produced in partnership with AiM, Marrakech, and Palazzo riso, Palermo. Installation at eSAV, Marrakech. courtesy of the artist.

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Kathryn Smith at serialworksthe lowercase (at serialworks)

كاثرين سميثالحالة الصغرى )في سيريال وركس(

178

”the lowercase is presented in my studio as a satellite biennale project space. An earlier work - Psychogeographies: the Washing Away of Wrongs (2003) - that operates on similar principles, is installed in the museum in Marrakech. the lowercase will develop over the course of the biennale, according to the availability of those close to the events, and in response to a discussion with Abdellah where he described his interests with A Proposal for Articulating Works and Places as operating ”between ‘desire and fear’, fascination by the imaginary of a place and its reality.” he could not have described my interests more precisely. research and process material generated around the lowercase will be archived here.” Kathryn Smith

Kathryn Smith, the lowercase, 2009. Project organized at serialworks in connection with the exhibition in Marrakech. courtesy of serialworks, cape town. http://www.serialworks.info/the-lowercase.php

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naoKo takahashioh Boy, Where are the Seven colours?

Part one: entry

ناوكو تاكاهاشييا ولد، أين األلوان السبعة؟ الجزء األول: مدخل

naoKo takahashi’s (b. 1973, lives and works in London)performative work questions social interactions through either the physical or suggested presence of the artist. the frequent use of text in her installation, performance, and video art examines the act of writing and interrogates notions of representation. the work complicates categorically fixed identities, engaging with dislocation and multiplicity. takahashi was an artist-in-residence at the 7th Sharjah Biennial and has performed and exhibited at venues including the Al Ma’mal Foundation for contemporary Art (Jerusalem) and Whitechapel Gallery (London). her chapbook not So too Much of Much of everything was published by Book Works (London).

التفاعالت األدائي لندن( في تقيم وتعمل ،1973 عام )ولدت تاكاهاشي ناوكو عمل يسائل

الفيديو واإلكثار فن إلى باللجوء للفنانة. املوحى أو احلقيقي التواجد خالل من اإلجتماعية

الكتابة وتتفاعل مع الكتابية في تركيباتها، تتفحص تاكاهاشي فعل من استعمال النصوص

عن والكشف تفكيكها خالل من الثابتة القطعية الهويات العمل يعقد اإلستعراض. مفاهيم

مظاهر التعددية التي متيزها. شاركت تاكاهاشي في إقامة فنية في بينالي الشارقة السابع،

كما قدمت أعمالها وأداءاتها في مؤسسة املعمل للفن املعاصر )القدس(، ووايت شابل )لندن(.

نشر كتيبها "ليس كثيرا لهذه الدرجة من كثرة كل شيء" في دار النشر بوك ووركس )لندن(.

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naoKo takahashi, oh Boy, Where are the Seven colours? Part one: entry, 2009, intervention, sound, and drawings. courtesy of the artist and L’appartement 22, rabat.

naoKo takahashi creates site-sensitive work in Marrakech; part one of three is presented here as a sound installation. By looking into Gnawa music – the history, the musicians, the locations in which the music has developed, and its place in society - her process-based work provokes questions about identity, ownership and globalization through social reflection. In entry, takahashi transforms the verbal documentation of narration into poetic and rhythmic language, which she deliberately does not translate into languages commonly spoken in Morocco in order to emphasize the notion of alienation. the piece finishes with music that was created by adding some elements onto a simple bass line of Gnawa music, taken (stolen, with permission) during her time in Marrakech.

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www.radioapartment22.com

R22 Marrakech

راديو الشقة 22مراكش

r22 was initiated by Abdellah Karroum in 2007. the art radio’s special programs are produced in collaboration with a network of artists, curators, academics, activists, and organizations. r22 is a nomadic project with outposts in many locations and has broadcasted from the Gwangju Biennale, the Joburg Art Fair, BeK (Bergen), cinemathèque de tanger, and AiM (Marrakech). r22 organizes dialogues, artists’ talks, and concerts. the radio is supported by the Janelly and Jean-rené Fourtou Foundation (Marrakech).

لهذا اخلاصة البرامج تعد .2007 العام كروم عبدالله يد على 22 الشقة راديو تأسس

والناشطني، واألكادمييني، واملنسقني، الفنانني، من شبكة مع بالتعاون الثقافي الراديو

واملؤسسات. ستوديو راديو الشقة 22 الرحال يؤسس نقاط بث في أماكن عديدة، وقد سبق

)بيرغن(، وسينا كه إي بي يوبورغ، في الفن بينالي غواجنو، مهرجان برامجه من بث أن

22 مؤسسة جانلي الشقة يدعم مشروع راديو فنون في مراكش. الريف )طنجة(، وبينالي

)مراكش(. فورتو وجان-رينيه

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the r22 web-radio broadcasts live programs from Marrakech during the opening days of the 3rd AiM International Biennale Festival from 18 to 24 november 2009. the conference Works and Places and Freedom? begins as a workshop at the Janelly and Jean-rené Fourtou Foundation involving artists and curators participating in the exhibition. the dialogues and exchanges initiated continue in the days following the opening in smaller groups and at multiple venues throughout the city. r22 studio follows these discussions as a nomadic project and shares them online at: www.radioapartment22.com.the artistic and curatorial discussion starts with Freedom?, as a question in one word, considering how art is involved in political and social issues. today, we within the art community have access to seemingly everything, from information to travel resources, maintaining the façade of total freedom. however, as a result, the concept of freedom itself is rarely challenged. everyday during the opening week a live program will be conceived by the r22 team and artists and curators participating or visiting the show.

FreedoM?حـريـة؟

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Freedom?co-curated video program

حـريـة؟برنامج عروض فيديو بتنسيق مشترك

A co-curated video program titled Freedom?, extending the visual art exhibition, is conceived by a group of curators: charles esche on chto delat? (What is to be done?), Bernard Marcadé on Alice Anderson, Mark nash on christina norman and on Pere Portabella, José roca on François Bucher, rasha Salti on Sobhi al-Zobaidi, Anne Szefer Karlsen on hisham Zaman’s Bawke, and John Zarobell on Bani Abidi. the program acts as the starting point for curatorial dialogues taking place in Marrakech the day after the opening of the 3rd AiM International Biennale Festival exhibition, and continuing on r22. Freedom? questions the meaning of artistic and curatorial work in our times, when rights of expression are often seen as secondary and security is positioned at the top of human priorities. the video program is screened at eSAV, the film school in Marrakech, and online.

يعرض مبوازاة املعرض الفني برنامج عروض فيديو بعنوان "حرية؟"، وهو من تنسيق مجموعة

من القيمني: شارل إيش عن شتو دالت؟ )ما الذي ينبغي عمله؟(، بيرنارد ماركاده عن أليس

فرانسوا عن روكا خوسيه بورتابيال، بيره وعن نورمان كريستينا عن ناش مارك أندرسن،

لهشام زمان، يوكه فيلم عن كارلسن زيفر آن الزبيدي، صبحي عن السلطي بوشير، رشا

وجون زاروبل عن باني عابدي. هذا البرنامج نقطة انطالق حوار القيمني الذي يبدأ أشغاله

في اليوم املوالي الفتتاح الدورة الثالثة لبينالي فنون في مراكش، ويستمر على إذاعة الشقة

هو مساءلة ألبعاد ومعاني عمل الفنان واملنسق في الزمن الراهن، حيث يأخذ 22. “حرية؟”

حق التعبير طابعا ثانويا تاركا املكان لألولويات األمنية. امتداد للدورة الثالثة لبينالي فنون في

مراكش في املعهد العالي للفنون املرئية )مراكش( وعلى الشبكة العاملية.

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Charles Escheon Chto delat? (What is to be done?)Perestroika Songspiel

شارل إشعن شتو ديالت؟ )ما الذي يمكن فعله؟( بيريسترويكا

charles esche (b. 1962, lives and works in eindhoven) is a curator and writer who has been director of the Van Abbemuseum (eindhoven) since 2004. he is also co-editor of Afterall Journal and Books, based at central St. Martins college of Art and design, London. In addition to many articles in catalogues and magazines, his published works include a book of his selected writings, Modest Proposals (2005), as well as multiple edited volumes such as Art and Social change: A critical reader (2008). Major exhibitions that he has curated include the riwaq Biennale in Palestine (2007, 2009 with reem Fadda), the Istanbul Biennial (2005), and the Gwangju Biennale (2002).

chto delat? (What is to be done?) is a platform founded in 2003 in St. Petersburg with the goal of combining artistic practice, political theory, and activism. Since then, the platform has been publishing an english-russian newspaper, which has a particular interest in the re-politicization of the creation of knowledge. the workgroup includes olga egorova/tsaplya (artist, St. Petersburg), Artiom Magun (philosopher, St. Petersburg), nikolai oleinikov (artist, Moscow), natalia Pershina/Glucklya (artist, St. Petersburg), Alexei Penzin (philosopher, Moscow), david riff (art critic, Moscow), Alexander Skidan (poet and critic, St. Petersburg), Kirill Shuvalov (artist, St. Petersburg), oxana timofeeva (philosopher, Moscow), and dmitry Vilensky (artist, St. Petersburg).

Chto delat (What is to be done?), Perestroika Songspiel, 2008, video, 26’40”. Project authors: chto delat?: olga egorova (tsaplya), dmitry Vilensky, natalia Pershina (Gliuklya), nikolai oleinikov. director: tsaplya. composer: Mikhail Krutikov. Screenplay: tsaplya, dmitry Vilensky, Gliuklya. camera and lighting: Artem Ignatov. Sound: Sergei Knyazev. Set design: nikolai oleinikov, dmitry Vilensky. courtesy of the artists. collection of the Van Abbemuseum, eindhoven.

”our project deals with a key episode during perestroika in the Soviet union. the action of the film unfolds on August 21, 1991, after the victory over the restorationist coup. on this day of unprecedented popular uplift it seemed that democracy had won a final victory in our country and that the people should and would be able to build a new, just society. how did our heroes see that society? this is the question we try to answer in our film.the film is structured like an ancient tragedy: its dramatis personae are divided into a chorus and a group of five heroes. our heroes are key types generated by the perestroika era, each of them with a particular vision of his/her role in history: a democrat, a businessman, a revolutionary, a nationalist, and a

feminist. they act and they dream. they analyze their actions, their place in society, and their vision of the country’s political path. the chorus is the incarnation of public opinion. It makes moral judgments on our heroes and it foresees their futures, as if it were gazing on the proceedings from the present day.our film analyzes the specific configuration of forces during this supremely important historical moment of contemporary history. It critiques political naïveté while also showing how difficult it is for people to realize their vision of the future together. the screenplay is based on our reading of documents and eyewitness accounts of the perestroika period.”http://www.chtodelat.org

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Alice Anderson, the dolls’ day, 2008, video 10’. courtesy of the artist.

bernard Marcadéon Alice Andersonthe dolls’ day

برنارد ماركاده عن أليس أندرسنيوم الدمى

Bernard Marcadé (lives and works in Paris) is an art critic, researcher, and curator. currently, he teaches Aesthetics and Art history at l’École nationale Supérieure d’Arts de Paris-cergy. Marcadé’s recent books include Il n’y a pas de second degré, remarques sur la figure de l’artiste au xxe siècle (Éditions Jacqueline chambon, 1999), Marcel duchamp, une vie à crédit (Flammarion, 2007), and his new book, Fabrice hyber (Flammarion, 2009). he has also curated numerous exhibitions, such as L’excès & le retrait (the São Paulo Art Biennial, 1991), Féminin-Masculin, Le sexe de l’art (centre Pompidou (Paris), 1995 - with Marie-Laure Bernadac); Becoming (Gwangju Biennale, 1997); and on dirait le Sud, cartographies sentimentales et documentaire (centre régional d’art contemporain, Sète, 2007).

Alice Anderson (b. 1976, lives and works in London) works in film, drawing and sculpture, playing with the dislocation of time as children construct parallel worlds. her work is a compulsive and obsessive production through which she explores and gives shape to her childhood memories. Anderson’s work has been shown at institutions such as tate Modern (London), centre Pompidou (Paris), and Grand Palais (Paris). recently she had a series of simultaneous solo exhibitions at the Picasso Museum, FrAc-PAcA, and at the Marc chagall national Museum, where she set up more than 3,000 meters of red hair to traverse the entirety of each museum in a gigantic installation called rapunzel.

”Les films, les objets, les dessins et les installations d’Alice Anderson sont à comprendre comme des contes qui, comme nous le savons, ne sont généralement pas pour les enfants, même si ces derniers y sont le plus souvent convoqués (l’artiste joue à cet égard implicitement très bien, à une voyelle près, de son patronyme, comme de son prénom aux accents carrolliens). Les récits qu’elle met en scène ont un caractère autobiographique (”À travers mon travail, je cherche à dire quelque chose de mon passé”), mais ils ne renvoient jamais à une situation anecdotiquement et prosaïquement liée à sa situation personnelle. Les contes d’Alice A. sont des constructions (ou des reconstructions) imaginaires plus que de reconstitutions personnelles, en dépit du fait que l’artiste (ou son double en poupée) soit le personnage central de ses pièces récentes, comme dans le film qu’elle présente à Marrakech, the dolls’ day, réalisé en 2008. Il ne s’agit en aucune manière de contes de fées, même si les figures féminines sont omniprésentes dans cette oeuvre. ”Mon travail n’a rien à voir avec le côté ‘girly’ de la fée. Mes contes sont comme ceux d’Angela carter ou de Marina Warner, sans morale, sans princesse ni prince charmant.” tout, à première vue, semble pourtant lisse et charmant dans le monde d’Alice A. L’artiste n’use en effet jamais du code ‘gore’ et expressionniste pour raconter ses histoires. À l’instar des artistes japonais contemporains adeptes du style kawaii (mignon et adorable), elle aime que ces images soient séduisantes et ravissantes, à la limite du régressif. ”dans mon travail, comme dans celui de [chiho] Aoshima par exemple, les images sont harmonieuses, colorées, attirantes. Mais sous cette apparence légère surgit un monde effrayant.” Le monde d’Alice Anderson est en effet à la fois beau et cruel, gracieux et terrifiant, d’autant plus que ses contes restent le plus souvent dans le cadre traditionnel des relations familiales. (dans the dolls’ day, ce théâtre familial se trouve allégorisé et amplifié par la tour qui devient un véritable personnage). car la terreur qui surgit

ici a pour territoire d’élection les rapports ambigus des enfants, et singulièrement des filles, avec leurs parents. c’est l’affrontement avec la mère qui constitue la matrice de la plupart des films d’Alice A. Les figures féminines ne se trouvent néanmoins pas être ici, à la différence des contes traditionnels, les victimes de l’ordre patriarcal. ”Mes héroïnes sont des femmes puissantes. elles ne sont jamais passives. elles sont déterminées, combatives. elles sont les reines de toutes les situations. tout le contraire des héroïnes de Walt disney par exemple. dans ce type de contes, les femmes sont des projections du désir masculin. dans les miens, les hommes sont les projections du désir féminin!”de l’idiote de Lisserville (2005) à Bluebeard (2007), en passant par Souffler n’est pas jouer (2005) et La femme qui se vit disparaître (2006), les vidéos de l’artiste jouent toutes sur les codes et conventions des univers fantastique, symboliste voire préraphaélite tels qu’ils se perpétuent dans le cinéma d’hitchcock, terence Fisher ou david Lynch. Mais plus encore que le cinéma, le monde d’Alice A. paraît se situer dans la grande filiation de cette Morale du joujou dont Baudelaire nous a montré qu’elle est constitutive de notre imaginaire d’adulte, mais aussi de ce théâtre de marionnettes que Kleist a considéré comme allégorique de notre monde. car si Alice Anderson fait jouer à son effigie en cire un rôle aussi décisif que le sien propre, les protagonistes de ses contes sont, eux-mêmes, traités comme des marionnettes. ’depuis mes premiers films, je m’applique à faire jouer mes acteurs comme des poupées ou comme des automates. […] Si je leur demande de jouer de cette manière, c’est aussi pour atténuer la gravité des mots qu’ils prononcent. Mes histoires viennent de l’enfance, où les situations sont extrêmement violentes, les charges émotionnelles incroyablement fortes. La placidité des acteurs, leur froideur, permet de rendre supportable ce qui ne l’est pas*’.”Bernard Marcadé* entretien cité d’Alice Anderson avec Jason Farago

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Kristina norman, After War, 2009, video transferred to dVd (color, sound), 10’. courtesy of the artist and the center for contemporary Arts, estonia.

Mark nashon Kristina normanAfter War

مارك ناشعن كريستينا نورمانبعد الحرب

Mark nash (b. 1947, lives and works in London) is a professor, curator, and writer who is currently head of the department of curating contemporary Art at the royal college of Art (London). his primary interests lie in film theory and film culture. As well as numerous essays, nash has published books such as Screen theory culture (2007) and Frantz Fanon (2000 with Isaac Julien). his curatorial work includes co-curator of documenta 11 (2002) and film curator of the Berlin Biennial (2004). his exhibition with Isaac Julien, reimagining october, was shown at calvert22 in London in 2009.

Kristina norman (b. 1979, lives and works in tallinn) is a visual artist and documentary filmmaker. her work is primarily rooted in her immediate surroundings and maintains a consistent political and documentary commitment. her work has been included in international exhibitions and festivals since 2006, such as the Biennale of Young Artists (tallinn) and the 5th Berlin Biennale for contemporary Art. norman’s After-War represented estonia at the 53rd International exhibition of the Venice Biennale.

”Kristina norman’s documentation of artist’s action on 9 May 2009 on the previous location of the Bronze Soldier monument in the centre of tallinn, is a simple video documentation of an action she performed in which she made a replica statue of a Soviet War Memorial, in gold-painted papier-maché rather than bronze. the statue had been removed from the centre of tallinn and relocated in a cemetery on the outskirts of the city as part of the programme of de-russification that has preoccupied all the Baltic States in recent years. this was a provocative gesture given the violence that had erupted in tallinn in 2007, when members of the russian-speaking community rioted in response to the relocation of the original statue. this video is part of a larger installation After-War, which was shown in the estonian pavilion in Venice this year. this elaborate installation documented the history of this former Soviet republic and the ongoing tensions between nationalist and russian-speaking estonians. What is important about the work, and in particular the element in our exhibition, is that, unusually for work from the Baltic States, it refuses the dominant post-independence narratives of estonian and Baltic victimhood

and russian aggression. Instead it implicitly exposes the need for reconciliation between the two communities. As I write, russian and european leaders have gathered in Gdansk to mark the 70th anniversary of the beginning of World War II – the nazi invasion of Poland. Both the sacrifices of the Soviet Army as well as those of its civilians (over 20 million dead) are tied up in the ambivalent reactions to this statue: For some a symbol of heroic sacrifice, for others of imperial domination. By recasting the statue as a nobler figure (gold rather than bronze) but in such a fashion that it was easily transportable (both by the artist herself and subsequently by the police), the work rehearses the conflict of previous years, but at the same time disarms it through the work of mimicry, parody and (hopefully) understanding. As Alexander Astrov remarks, in his contribution to norman’s Venice catalogue, the work ‘reminds us of Walter Benjamin’s famous call to respond to the aestheticisation of politics with the politicization of art.’1”Mark nash1 Alexander Astrov, ‘the work of politics in the age of technological reproducibility’ in Kristina norman After War catalogue of the estonian exhibition at the 53rd International Art exhibition - La Biennale de Venezia, estonia: centre for contemporary Arts, 2009, page 66.

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Pere Portabella, Mudanza, 2008, video 20’. courtesy of the artist.

Mark nashon Pere PortabellaMudanza

مارك ناشعن بيره بورتابيالمودانزا

Pere Portabella (b. 1929, lives and works in Barcelona) is a Spanish filmmaker and producer whose avant-garde films have consistently pushed the boundaries of any one genre. Portabella’s feature and short films are often richly theatrical and atmospheric. his commitment to politics has been expressed in early implicit critiques of Franco within his work and in his serving as senator for the catalan government. In 1999, he was honored with the creu de Sant Jordi, the highest possible recognition bestowed by the institutions of the Generalitat de catalunya. his work has been included in exhibitions and festivals such as documenta 11 (Kassel), the Buenos Aires Film Festival, and the Venice Film Festival, as well as at institutions including centre Pompidou (Paris) and the Museum of Modern Art (new York).

”Mudanza came to be made after the curator hans ulrich obrist asked for involvement in the huerta de San Vicente, the home and museum of the García-Lorca family in Granada. the film records the removal of furniture and objects from the building, leaving visitors able to move

freely amongst its empty spaces and a silence charged with feeling and resonance and to take from the experience whatever they demand from it - thus making poet Federico García Lorca’s emotive and historic absence ever more powerful, evident and heartfelt.”www.mimmomorabito.it

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François bucher, Severa Vigilancia (haute Surveillance), 2007, video 36’. courtesy of the artist.

José Rocaon François bucherSevera Vigilancia (haute Surveillance)

خوسيه روكاعن فرانسوا بوشيرحراسة مشددة

José roca (b. 1962, lives and works in Bogotá and Philadelphia) is a curator and critic. In Philadelphia, he is currently Artistic director of Philagrafika 2010, after managing the arts program of the Banco de la república in Bogotá for ten years. recently, he was co-curator of the Ist Poly/graphic triennial (San Juan, 2004) and the 27th São Paulo Art Biennial (2006), and served on the awards jury for the 52nd Venice Biennale (2007). After co-curating cart[ajena], a series of urban interventions in cartagena, colombia (2007), his upcoming works includes Välparaíso, a series of urban interventions in Valparaíso, chile, as well as Muntadas: Mechanisms of the Image at Pinacoteca do estado de São Paulo, Brazil.

François Bucher (b. 1972, lives and works in Berlin) is an artist and writer from cali, colombia. he is also co-editor and founding member of Valdez Magazine. his video work consistently engages with the construction of power, as well as history, politics, and the moving image’s passage from cinema to television. his interest in representation questions the particular ethical articulations it gives shape to, such as the point of indistinction between violence and the image of violence. he has presented work internationally at institutions and festivals including tate Britain (London), the Indonesian Independent Film Festival, and the Kassel documentary Film Festival.

In the montages of news sequences and interviews created by François Bucher, a concentrated game-within-a-game evolves in the interstice between reality and fiction. his work centers on the violent psyche caught between tension, terror and manipulation.

Severa Vigilancia (haute Surveillance), a dual dVd projection, is an allusion to Jean Genet’s work, itself a reference to Artaud’s theatre of cruelty. In Bucher’s work, the boundary between staged and real violence is disquietingly vague.

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Sobhi al-Zobaidi, red, Green, Black and White Indians, 2007, video 0’43”. camera: International Solidarity Movement (ISM). courtesy of the artist.

Rasha Saltion Sobhi al-Zobaidired, Green, Black and White Indians

رشا السلطيعن صبحي الزبيديالهندي األحمر، األخضر، األبيض واألسود

rasha Salti (b. 1969, lives and works in Beirut and new York) is an independent curator and writer who, since 2005, has been creative director of cinemaeast, a biennial of recent films from north Africa and the Middle east and their diasporas. Salti has collaborated on projects including the first postwar Lebanese film and video festival Lebanon Image-Quest (Beirut, 1995 - with Moukhtar Kocache) and home Works: A Forum on cultural Practices (Beirut, 2003, 2005, and 2008). In 2006, she curated a touring retrospective of Syrian cinema, and edited and translated a volume on the same subject to coincide with the exhibition, titled Insights into Syrian cinema: essays and conversations with Filmmakers. Salti has also written extensively in Arabic and english, both about artistic practice and political commentary, in such publications as MerIP (uS), Art Journal (uS), and nAQd (Algeria).

Sobhi al-Zobaidi (b. 1961, lives and works in Vancouver) is a Palestinian filmmaker and writer whose work falls in the midst of the documentary, the artistic, and political action, exploring contemporary life and realities in Palestine. his works have been screened at major international film festivals such as the cinemaeast Film Festival (new York), documentalistas (Buenos Aires), and the Sarajevo Film Festival. he has received awards including the rotterdam Film Festival’s development Award, Best Short documentary Prize at L’Institut du Monde Arabe (Paris), and Best Scenario Award at the Arab Screen Independent Film Festival (London).

level of economic abundance and well-being of the country) when still photography cameras became mass manufactured and marketed at a somewhat affordable cost. In other words, when “regular folks” –that precious, elusive and once historically solid middle-class– possessed the means to “represent” their own lives, families, private histories. Super-8 film cameras were no doubt the precursor in performing the role video cameras occupy. red, Green, Black and White Indians was directed by renowned Palestinian filmmaker Sobhi Zobaidi, in 2007. It films a protest against the Israeli army’s systematic confiscations of Palestinian land, staged by villagers and activists, dressed as native Americans. Al-Zobaidi chooses to film them and use an technological effect that simulates the old black and white archival style of anthropologists and explorers who filmed indigenous tribes and natives in “frontier” territories, before their lands were confiscated, usurped and its riches plumbed. the resort to the effect is not wholly pristine, there are disruptions, the protestors also appear in full color, as they are in reality. Palestinian protests are now systematically recorded by the activists themselves as well as the Israeli army. their archival traces, from either side, can be easily retrieved. By tampering with the fabrication of the footage, al-Zobaidi’s video is no longer a documentary per se (although the by-line on his website from which the video can be downloaded seems to indicate that), it becomes an eminently artistic work and as well as political act, adding a layer to the metaphoric evocation the protestors intended when they dressed up as native Americans.the metaphoric evocation of native Americans and european settlers’ usurpation of their lands has tremendous currency in Palestine, because of a poem by the late Mahmud darwish (Palestine’s most well-known poet) titled Speech of the red Indian. the poet borrows the voice of a native American faced with the traumatic violence of conquest, vanquish and dispossession and draws kinship with the Palestinian experience. he urges a columbus figure to: “then go back, stranger/Search for India once more!” In his most recent work, notre Musique (our Music) Jean-Luc Godard features a native American character meandering through the vestiges of the destroyed library of Sarajevo. the film also stages an interview with Mahmud darwish. In other words, the parallel or kinship drawn in the poem has become salient in the poetic and visual imaginary of everyday folk. It was appropriated by everyday Palestinian activists and attributed an immediate political use and thus new currency. the re-appropriation by al-Zobaidi gives a new lease to both the artistic as well as political usages. At this stage, I can only remain in the anecdotal, but this very short video is intriguing and inspires questions. to conclude, in this historical and political moment in the Arab world, that bears the weight of fin de règne, artistic practice, specifically video, seems to present sometimes a profoundly astute and powerful political act. It is where the imaginary seems neither somnolent, conciliatory or cowardly.” rasha Salti

”thoughts on red, Green, Black and White Indians, a video by Sobhi al-Zobaidi.Much has been written and said about the democratizing effect of the increasing spread and availability of digital video technologies on production, perhaps not enough about its impact in the Arab world. on the one hand, men and women whom ten or fifteen years ago might not have even dreamed of becoming filmmakers or video artists have been able to stake a claim in these fields. on the other hand the light-weight and remarkably lowered costs of production have enabled production, as well as staking a worthwhile degree of independence from structures such as the market and public support for the arts. this material independence has more often than not inspired an immaterial, creative freedom. the respective stories of video art and video as a substitute for film are slightly different, and increasingly so with the passage of time. I do not wish to dwell on either here. We are at the beginning of this revolution in “the means of production,” more time has to lapse before the depth or scale of its impact can be fully evaluated. In general, the texts that have attempted to understand the implications of the ‘democratizing’ impact of these technologies have been skin-deep diagnoses, possibly because it is premature and complicated to take a step back and reflect, but mostly because they almost systematically miss out on embedding their so-called analysis (or soliloquy) in a political-economic-social context, and in locating the practice of manufacture of image and narrative in the larger visual landscape. I myself am not yet able to grasp or explain how digital video is changing the manner in which representation, narrative, political action, and subversion find expression. nor am I able to grasp the full implications of archives such as Youtube, GoogleVideo, or whatever else is out there on the internet in terms of storage and dissemination of videos, on our political, artistic, visual imaginary, the manner in which we write/represent our historical moment or place ourselves within it. Before I dwell on what I can state with some confidence, I would like to express my aversion to all-too-easy celebrations of “the new,” although I am aware that I have used the words “new” and “revolution” liberally in the preceding paragraphs. Sadly, again, this post-modern bracket we are living today seems not to have fully repented from euphoric exaltations of all things “new” or “unprecedented,” which at best betrays a perverse anti-historical tendency, and at worst a silencing or erasure of knowledge of history. In other words, I am not really sure how making subversive, provocative or interpellative short videos and releasing them in spheres such as the worldwide web is radically different as an artistic and political act from making posters in the same spirit and placing them on city walls some hundred or more years ago. the essential ingredients seem to be there: bringing into visibility what is sequestered and policed into invisibility, giving voice to what is silenced, reversing metaphors, and undermining the official or prevailing narrative. digital video (conventional or attached to mobile phones) is materially available enough today that this moment can be deemed not unlike the historical moment some seventy or sixty years ago (depending on the

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hisham Zaman, Bawke, 2005, film, 15’, Kurdish with english subtitles. Produced by Gudny hummelvoll. courtesy of the norwegian Film Institute.

Anne Szefer Karlsenon hisham Zaman’s Bawke

آن زيفر كارلسنعن بوكهلــ هشام زمان

Anne Szefer Karlsen (b. 1976, lives and works in Bergen) is director of the hordaland Art centre in Bergen, norway. For a number of years she was an independent curator as well as producer of different events and festivals. She is co-founder of Flaggfabrikken - centre for Photography and Visual Art, co-founder/editor of ctrl+Z Publishing, and co-founder of the curator collective curate.no.

hisham Zaman, (b. 1975, lives and works in oslo) is a Kurdish-norwegian filmmaker. he graduated from the norwegian Film School at Lillehammer in 2004, and has made several award winning short films, most notably Bawke, which has received more than 20 national and international awards. Films by Zaman include the Bridge (2003), the roof (2004), Bawke (2005), Winterland (2007), and europa (2009).

possible limitation to the freedom to seek refuge. the image has to be discarded of, yet it re-appears at the end of the film as a token and recognition of the connection between the father and son. hiding in the overwhelming drama at the end of the film is the voice of the interpreter. this stranger becomes the Father’s voice, bridging the gap between the adult and the society, the country where they have arrived. the interpreter has a clear mandate to translate the father, and when he is witnessing the son addressing the father he is not obliged to translate the little boy’s words. By choosing to not betray his assignment, the interpreter is assisting the father with his plan to leave the son. Freedom is handed to the father, and taken away from the son at the same time, since the son is not given voice in this foreign country. the two scenes, where the interpreter is the father’s voice and where the image is discarded of, are thresholds in the narrative which drive the story further and further, and make me think that questions of speech and movement are close to the understanding of freedom, which in this instance is linked to ideas of choice and sacrifice.”Anne Szefer Karlsen

”It is almost impossible to talk about Bawke because of its overwhelming implications. there is an ambiguity connected to the idea of freedom and the characters in this 15 minute long film. Whose freedom is really described? Wrapped in waves of sentimentality, the short film portrays several brief moments of decision making. I will describe two of these moments to make you, even without seeing the film, catch a glimpse of the predicaments the characters meet. Bawke means Father in Kurdish, and the director hisham Zaman shows us the execution of a plan made by a Kurdish father to leave his son in the foreign country where they have arrived after a long journey. A set of circumstances helps the father, and the good intention of his choice is put into action: the son is left alone in the foreign country while the story suggests that he himself is deported. Without traditional travel documents to prove your identity, your nationality, your starting point the only way you can prove your route is through telling the story which is generated by the route. other telling signs might betray you. Instead of official travel documents the image of the football player Zinédine Zidane acts as indication of what route the father and son might have travelled and thus becomes a

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bani Abidi, reserved, 2006, dual-channel video 10’01”. courtesy of the artist.

John Zarobellon bani Abidireserved

جون زاروبلعن باني عابديمحجوز

John Zarobell (lives and works in San Francisco) is currently Assistant curator of Painting and Sculpture at the San Francisco Museum of Modern Art, after working as Associate curator of european Painting at the Philadelphia Museum of Art. his new book, empire of Landscape, was published in early 2010.

Bani Abidi (b. 1971, lives and works in Karachi and new delhi) is a video artist who was born in Pakistan. her work often consists of dual screen installations. Much of Abidi’s work has explored the ways that nationalist and other political ideologies are internalized by individuals and related to civil society and the creation of history. She has shown at a number of international exhibitions, including the Singapore Biennale, the Gwangju Biennale and the Biennale de Lyon.

Godot, but here the existential concerns of the few are reconfigured as the practical hassles of the many. the sense of the inaccessibility of power is the same but, in reserved, this dynamic is rooted in the self-important gestures of the policemen and the inscrutable black Mercedes, appearing on a separate channel, that one can often hear but never actually arrives. In the context of the video program Freedom?, Abidi’s dual-channel video comes as a rejoinder to the hope of an open society promised by democratic government and its corollary, freedom of expression. While reserved is a manifestation of the artist’s freedom of expression, it points to the fundamental dissociation between those who wield power and everyone who is subject to them. While Abidi is a woman artist from a predominantly Muslim country, women students predominate in art colleges in Pakistan. this fact signifies a certain freedom of expression generated by the secular government there. the artist was able to study abroad to develop her skills and life experiences. Yet her work reminds viewers of the limitations, and opportunities, offered by the current organization of government, in Karachi where the video was filmed, and elsewhere. As viewers, we are kept away from the notable in the black car. there is even a long take showing the back window of the auto as it drives down the freeway but no image of that face is visible—all we see is the landscape passing by. however, what happens as a result of this barrier being erected is what we might call real life. Vendors ply their wares, a man cleans his car, a guy bums a cigarette, children leave their posts following an ice-cream seller. Abidi seems to be telling us that the script is just a script and it is how we live in that script that determines what freedom and expression really are.”John Zarobell

” ‘I have innumerable memories of sitting in the audience and staring at an empty stage.’ -Bani AbidiBani Abidi’s two-channel video project, reserved, is an exploration of power relations through the eyes of those who are subject to them. the viewer is placed in a position to witness the preparations for a VIP visit, including roadblocks, blaring sirens, school children waving flags, and reserved seating. Abidi’s video work has explored variety of themes in the past, often employing two different screens to emphasize diverging viewpoints or contexts, but a common thread of these works is their interest in the ways that nationalist and other political ideologies are internalized by individuals. What experiences we have of democracy are fundamental to our experience of it. If we are stuck on the outside of the roadblock or are left waiting to show off for the VIP’s who are always late, our sense of the meaning of government is structured from the outside. In this context freedom may not mean freedom at all; it may instead be shorthand for passivity and restraint. Yet in this video work, new relationships emerge and other events happen which are not scripted. In other words, life continues despite the official functions of the state. this piece begins with the right screen showing a group of school children in uniforms who seem to be sitting on a highway barrier, in the middle of the road, holding colored flags. In the distance, we hear the sounds of blaring sirens. the video ends with the same children standing on the barrier holding their flags, still waiting for the VIP cortege to salute. What happens in between is not only the content of the piece, but the experience of those passersby whose lives are determined by the police barriers and who wait in an empty auditorium for someone important to arrive. It is hard to avoid the reference to Beckett’s Waiting for

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شارل إش )ولد عام 1962، يقيم ويعمل في ايندهوفن(شارل إش هو قيم وكاتب يدير متحف فانابيه )ايندهوفن( منذ العام 2004. وهو أيضا محرر

للفنون مارتن سانت سنترال كلية تصدرها والتي بوكس، أند جورنال أفترأول في مشارك

أعمال من له نشرت الكتيبات واملجالت، في املقاالت من العديد لندن. فضال عن والتصميم،

ضمنها كتابا ضم مختارات من كتاباته عنوانه "مقترحات متواضعة" )2005(، باإلضافة إلى

حترير مجلدات متعددة مثل "الفن والتغير االجتماعي: قراءة نقدية" )2008(. من أهم املعارض

التي نسقها بينالي رواق )فلسطني ، 2007 ، 2009 مع رمي فضة(، بينالي اسطنبول )2005(،

وبينالي غواجنو )2002(.

شتو ديالت؟ )ما الذي ينبغي عمله؟(برنامج تأسس في العام 2003 في بطرسبورغ يهدف إلى اجلمع بني املمارسة الفنية والنظرية

اهتمام لديها روسية إجنليزية صحيفة يصدرون وهم الوقت ذلك ومنذ واحلراك. السياسية

خاص في إعادة التسييس خللق املعرفة. تضم املجموعة العمل أولغا إيغوروفا / تسابليا )فنانة،

بطرسبرغ(، آرتيوم ماغن )فيلسوف، بطرسبرغ(، نيكوالي أولينيكوف )فنان، موسكو(، ناتاليا

بيرشينا/جلوكليا )فنان، بطرسبرج(، أليكسي بينزان )فيلسوف، موسكو(، ديفيد ريف )ناقد فني،

بطرسبرغ(، )فنان، كيريل شوفالوف بطرسبرغ(، موسكو( وألكسندر سكيدان )شاعر وناقد،

أوكسانا تيموفيفا )فيلسوف، موسكو(، ودميتري فيلينسكي )فنان، بطرسبرج(.

بيرنارد ماركاده )يقيم ويعمل في باريس(الفن في املدرسة باحث وقيم وناقد فني يعيش ويشتغل في باريس. يدرس اجلماليات وتاريخ

العليا للفنون باريس-سيرجي. ألف كتبا منها "ليس هنالك درجة ثانية، مالحظات حول صورة

الفنان في القرن 20"، )دار النشر جاكلني شومبون، 1999(، وكتاب "مارسيل ديشامب، حياة

بالديون"، )دار النشر فالماريون، 2007(، وكذا كتاب "فابريس هيبير"، )دار النشر فالماريون،

2009(. أشرف ماركاده على تنسيق العديد من املعارض، مثل "اإلفراط واإلنسحاب" في البينالي

21 لساو باولو )البرازيل، 1991(، و"مذكر-مؤنث، جنس الفن" في املتحف الوطني للفن احلديث،

مركز بومبيدو )باريس، 1995( )بشراكة مع ماري-لور بيرناداك(، و"مصبح" في بينالي غواجنو

)كوريا اجلنوبية، 1997(، وكذلك عرض "كأنه اجلنوب، كارتوغرافيا عاطفية ووثائقية" في املركز

اجلهوي للفن املعاصر في سيت )فرنسا، 2007(.

أليس أندرسن )ولدت عام 1976، تقيم وتعمل في لندن(الرسم إلى الفيلم من تنطلق املعاصر. الفن ساحة في تألقا الفنانني أكثر من أندرسن تعد

والنحت، وتتسلى بتفكيك الزمن كما يخترع األطفال عوالم خيالية. عملها هاجسي واستحواذي

ومعطاء، تغوص من خالله في ذكريات طفولتها. مت عرض أعمالها في عدة قاعات، مثل "تيت

مودرن" )لندن(، ومركز بومبيدو و"جران باليه" )باريس(. قامت بسلسلة من العروض املتزامنة

في متحف بيكاسو والصندوق اجلهوي للفن املعاصر في منطقة بروفانس – ألب – كوت دازير

بفرنسا، واملتحف الوطني "مارك شاغال"، حيث وضعت ما يزيد عن 3000 متر من الشعر األحمر

الذي يعبر مساحة املتحف كي ينتهي إلى تركيب ضخم أطلقت عليه اسم "رابونتزل".

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السير الذاتية لمنسقي وفناني برنامج حرية؟

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رشا السلطي )تقيم وتعمل بني بيروت ونيويورك(رشا السلطي كاتبة وقيمة مستقلة وهي املديرة اإلبداعية لسينما إيست منذ العام 2005، وهو

السلطي في عدة مشاريع، مثل إفريقيا والشرق األوسط. شاركت بلدان شمال بينالي ألفالم

املهرجان اللبناني األول للفيلم والفيديو في "ما بعد احلرب – لبنان إمياج-كويست" )مع مختار

كوكش، بيروت، 2005 و2008(. في سنة 2006، شاركت في تنسيق عرض استذكاري للسينما

السورية، وترجمت ونشرت مطبوعا في ذات السياق حتت عنوان "حملات حول السينما السورية:

مقاالت ونقاشات مع املخرجني". لها الكثير من الكتابات باللغتني العربية واإلجنليزية، سواء في

امليدان الفني أو التعليق السياسي، في منابر مثل "ميريب" و"أرت جورنال" )الواليات املتحدة

األمريكية(، و"نقد" )اجلزائر(.

صبحي الزبيدي )ولد عام 1961، يقيم ويعمل في فانكوفر(صبحي الزبيدي مخرج فلسطيني يقع عمله بني الفعل السياسي وما هو وثائقي وفني، مستكشفا

احلياة املعاصرة وحقائق املعيشة في فلسطني. عرضت أعماله في مهرجانات كبرى مثل مهرجان

الفيلم سينما الشرق بنيويورك، و"دوكيمانتاليستاس" )بوينس آيرس(، ومهرجان الفيلم لسراييفو.

فيلم أحسن بروتردام، وجائزة الفيلم ملهرجان التنمية جائزة منها عديدة جوائز الزبيدي نال

وثائقي قصير مبعهد العالم العربي بباريس وجائزة أحسن سيناريو مبهرجان الشاشة العربية

املستقلة بلندن.

آن زيفر كارلسن )ولدت عام 1976، تقيم وتعمل في برغن(زاولت آن زيفر كارلسن أنشطتها الفنية كقيمة مستقلة لعدة سنوات وكمنتجة ملختلف التظاهرات

الفنية واملهرجانات. شاركت في تأسيس مركز "فالغفابريكن" للتصوير الفوتوغرافي، ودار النشر

ctrl+Z، وكذا جمعية القيمني "كيوريت.نو"، وهي مديرة مركز الفنون "هوردالند" )برغن(.

هشام زمان )ولد عام 1975، يقيم ويعمل في أوسلو(بليلهامر سنة 2004، النرويجية الفيلم مدرسة من تخرج نرويجي كردي هشام زمان مخرج

وأخرج مجموعة من األفالم القصيرة التي نالت العديد من اجلوائز، ال سيما "بوكه" الذي حصد

،)2004( و"السطح" ،)2003( "القنطرة" كذلك أخرج جائزة وطنية ودولية. 20 عن يزيد ما

و"وينترالند" )أرض الشتاء( )2007(، و"أوروبا" )2009(.

جون زاروبل )يقيم ويعمل في سان فرانسيسكو(للفن فرانسيسكو الرسم والنحت في متحف سان يعمل جون زاروبل حاليا كقيم مساعد في

احلديث، بعدما كان أحد قيمي الرسم األوروبي في متحف فيالديلفيا للفنون. ألف كتابا حتت

عنوان "إمبراطورية املنظر".

باني عابدي )ولدت عام 1971 في باكستان، تقيم وتعمل في كراتشي ونيو دلهي(غالبا ما تستخدم باني عابدي في أعمالها تركيبات بشاشتني، وتستكشف تأثير اإلديولوجيات

الوطنية والسياسية على األفراد واملجتمع املدني وبناء التاريخ. عرضت أعمالها في مجموعة من

التظاهرات الدولية مثل بينالي سنغافورة وبينالي غواجنو وبينالي ليون، وقدمت معارض فردية

أيضا ببنغالور ولندن وسان فرانسيسكو وكراتشي.

مارك ناش )ولد عام 1947، يقيم ويعمل في لندن(ناش أستاذ وقيم وكاتب يترأس حاليا قسم أمانة الفن املعاصر برويال كالدج للفنون في لندن.

يتركز اهتمامه على نظرية وثقافة الفيلم. له مؤلفات عديدة، منها كتاب "ثقافة نظرية الشاشة"

)2007(، و"فرانز فانون" )مع آيزاك جوليان، 2000(. أما فيما يخص عمله كمنسق، فقد شارك

تصوير "إعادة بعرض قام .2004 لسنة برلني وبينالي ،)2002( "11 "دوكومنتا تنسيق في

أكتوبر" مع إيزاك جوليان في كالفرت 22 )لندن(.

كريستينا نورمان )ولدت عام 1979، تقيم وتعمل في تالني(تبدع نورمان في ميدان اإلخراج والفنون البصرية. تتجذر أعمالها بالدرجة األولى في محيطها

املعارض من مجموعة في عرضت والوثائقي. السياسي اإللتزام صبغة وتكتسي املباشر،

واملهرجانات الدولية منذ سنة 2006، مثل بينالي الفنانني الشباب )تالني(، والبينالي اخلامس

للفن املعاصر ببرلني. مثل عملها "ما بعد احلرب" إستونيا في بينالي البندقية الثالث واخلمسني.

بيره بورتابيال )ولد عام 1929، يقيم ويعمل في برشلونة(بورتابيال هو املخرج واملنتج االسباني الذي طاملا ما دفعت أفالمه الطالئعية حدود جميع أنواع

األفالم. أفالمه القصيرة والروائية غالبا ما تكون ذات طابع مسرحي غني ولها جو خاص. عبر

بعد فرانكو ومن لنظام مبكرة انتقادات ضمنية أعماله وفي خالل من السياسي التزامه عن

من خالل عمله عضو مجلس الشيوخ في احلكومة الكاتاالنية. في العام 1999، منح »كرو دي

سانت خوردي«، وهو أعلى مستوى من التكرمي ميكن أن تقدمه املؤسسات احلاكمة في كتالونيا.

شاركت أعماله في معارض ومهرجانات من مثل: دوكومنتا 11 )كاسل(، ومهرجان بوينس آيرس

السينمائي، ومهرجان البندقية السينمائي الدولي، باإلضافة إلى عروض في مؤسسات من مثل

مركز بومبيدو ومتحف الفن احلديث )نيويورك(.

خوسيه روكا )يقيم ويعمل في بوغوطا وفيالديلفيا(في 2010 لفيالغرافيكا الفني املدير منصب حاليا يشغل معارض وقيم ناقد روكا خوزيه

فيالديلفيا، بعدما كان يدير بنك "بانكو دي ال ريبوبليكا" في بوغوطا ملدة عشر سنوات. ساهم

باولو لساو )سان خوان، 2004(، والبينالي 27 بوليغرافي” “آي ترينالي تنسيق في مؤخرا

الثاني واخلمسني )2007(. اشتغل البندقية بينالي )2004(، وشارك كعضو في جلنة حتكيم

على مشروع "فالبرايسو"، وهو عبارة عن سلسلة من األنشطة الفنية احلضرية في فالبرايسو في

الشيلي، وكذا مشروع "منتدس: آليات الصورة" في بيناكوتيكا دو إستادو )ساو باولو(.

فرانسوا بوشير )ولد عام 1972، يقيم ويعمل في برلني(بوشير عضو مؤسس ملجلة "فالديس" وهو أيضا أحد ناشريها. عمله الفني عبر الفيديو مرتبط

ببناء السلطة والتاريخ والسياسة وكيفية تقدميها في وسائل اإلعالم. عرض أعماله على الصعيد

الدولي في مؤسسات أو مهرجانات مثل "تيت" في لندن، واملهرجان اإلندونيسي املستقل للفيلم،

وكذا مهرجان كاسل للفيلم الوثائقي.

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Palais BahiaBab Laksour (urban space) dar Al-tifl théâtre royal eSAV-Marrakech (École Superieure des Arts Visuels) riad el FennMedina-Marrakech (urban space)casa Botanica

VenueS

Fes (Morocco)L'appartement 22 & Lot 219 : workshop, publications, dossiers d'artistes et documentation... Engan (Norway)

Heidi NIKOLAISEN

L'appartement22 (Morocco)22, 279 avenue Mohamed V, MA-10000 Rabat

Tarifa (Spain)Tangier (Morocco)Francis ALŸS

Beni Boufrah (Morocco)l’Marj - Lawza d’Koukkouh

Bab Atlas, Marrakech (Morocco)Jean-Francois Fourtou, "Houses" (work in progress)

Mexico City (Mexico)Pedro GÓMEZ-EGAÑA

Le Palais Bahia (Morocco)

Cape Town (South Africa)Kathryn Smith, serialworks

فضاءات العرض

قصر الباهية

باب القصور )فضاء حضري(

دار الطفل، باب جيمات

املسرح امللكي

املدرسة العليا للفنون البصرية

رياض الفن، درب موالي عبدالله بن هزيان، باب القصور

مدينة مراكش )فضاء حضري(

كازا بوتانيكا

MArrAKechمـراكـش

PALAIS BAhIAقصـر الباهـية

235

eSAV MArrAKechالمدرسة العليا للفنون البصرية

236 237

thÉâtre roYALالمسـرح المـلكي

239

A Proposal for Articulating Works and Places / the 3rd AiM international biennale Festival 2009

Exhibition team: Abdellah Karroum, curator Abderrahmane essaidi, Assistant AnaLuiza teixeira de Freitas, Assistant

Freedom? Co-Curators:charles escheAnne Szefer KarlsenBernard MarcadéMark nash José roca rasha SaltiJohn Zarobell

taverna Especial Project team: Victoria Brooks, curatorGiles round & Mark Aerial Waller

Writers: Jürgen Bock cecile Bourne-FarrellValentina Bruschi Pascale cassagnauMuriel enjalran Maureen de Jager Abdellah Karroum Anne Szefer Karlsen Jesse McKeeLuis orozco

Research and documentation: carmen Billows, graduate MA curating contemporary Art, royal college of Art (London)emma chubb, graduate student, northwestern university, Art historydepartment (evanston) Karina Joseph, graduate MA curating contemporary Art, royal college of Art (London)Jeanne Mercierholiday Powers, graduatestudent, cornell university, history of Art department (Ithaca)

R22 Art Radio team: Abdellah Karroum, Artistic director Pascal Semur, designeremma chubb, Program AssistantSolène Millet, AssistantMounir Mezhari, Assistant

translation: Samar Abou-Zeid Ahmed Boughaba emma chubb Marta Mancini Zineb el rhazoui

AiM Association(Arts in Marrakech): Vanessa Branson, PresidentFrederic Scholl, General coordinator clare Azzouagh, coordinator

Partners: Ministère de la culture, direction régionale de la culture Marrakech - tensift - el haouzAMA (Art Moves Africa), the Mobility Fund of Artists & cultural operators within AfricaPuMA.creative (for Isaac Julien) riso, Museo d’Arte contemporanea della Sicilia (for Loredana Longo) riad el Fenn (Marrakech)Van Abbemuseum, eindhoven, the netherlands (for ninar esber) BKVB (Amsterdam)(for Franck Bragigand)L’appartement 22 (rabat)radiaApartment22 (r22)Janelly and Jean-rené Fourtou Foundation (Marrakech)(for hassan Khan’s r22 concert) ocA (oslo) (for heidi nikolaisen)

L’AderA (Association des écolessupérieurs d’art de la région rhônes-Alpes) (for chourouk hriech)universes in universe (Pat Binder and Gerhard haupt), Berlin universes-in-universe.org

thanks to: hanna Alkema, Mohamed Arejdal, cecile Bourne-Farrell, Veronique Bruez, Sophia chraibi, Zouhair daoudani, Khadija el Bannaoui, hamid Farjad, Joel Fennel, Jean-Louis Froment, Salah hassan, Abdelilah hilal, Jacqueline hoang nguyen, Gonçalo Jesus, Fatma Jellal, Abdelkader Karroum, noura Khasawneh, chus Martinez, Vincent Melilli, Seddik tazi, and Simon trovey

Site and Publications: nadia Al IssaAbdellah KarroumPascal SémurAla’ Younis

Photography:the Artists radouane Arraoui Abderrahmane essaidi Abdellah Karroum Mounir Mazhari Solène Millet

Published by éditions hors’champs2009/2010ISBn: 2-914164-35-1

works-and-places.appartement22.com

9 782914 164351

يبدأ بمراكش في قصر والذي األعمال واألماكن” توثيق لمعرض ”مشروع في تنسيق الكتاب هو هذا الباهية والمسرح الملكي والمدرسة العليا للفنون البصرية باإلضافة إلى مواقع أخرى. يحول المشروع متعدد المراحل هذا، وهو من تنسيق عبداهلل كروم، مواقع العرض إلى أمكنة ”ذاكرة وقتية”، هي ذاتها تظهر في أماكن أخرى أبعد من مكان عرض العمل. يكمن سرد المشاريع الفنية هنا في ربط فضاءات صرح فضاء مع وتتفاعل األعمال فيها تحتل حاالت المعرض يخلق عرضها. بفضاء األعمال إنتاج في الفنانون يشتغل العرض. فضاء حتميات عن الخاصة المشاريع تبتعد فيما الباهية، قصر تاريخي، مكان ”المحافظة” وينتجون أعماال في سياقات رمزية لتصبح هذه المشاريع الخاصة مواقع للتجريب البصري والسمعي في المغرب وأبعد. يتمدد المعرض عبر برنامج عروض من تنسيق مشترك يسائل

مفاهيم الــ ”حرية؟”.