Vidéo Photography Installation
Bouchra Khalili / Here and Elsewhere / View of The Mapping Journey Project (8 single channel video installation) / New Museum New York - July - September 2014 / Photo © Benoit Pailley
Expositions passées / Past shows
- Uncertain States / Akademie Der Kunst / Berlin +
In times of uncertainty, art and culture become free spaces to transform cultural differences and political conflicts. “Uncertain States”, the Academy’s main autumn programme, opens up a space of artistic resistance to the loss of cultural memory, and to violence and xenophobia. This artistic research, which relates the present dramatic situation of refugees to the historical experience of flight and exile between 1933 and 1945, focuses on the fragility of individual and societal conditions triggered by wars, poverty and terrorism. Selected objects and documents from the Academy archives of, among others, Walter Benjamin, Valeska Gert, Heinrich Mann and Kurt Tucholsky, find their equivalent in the current experiences of crisis and flight reflected in 35 contemporary artistic positions, including works by Francis Alÿs, Ayşe Erkmen, Mona Hatoum, Isaac Julien Bouchra Khalili, and Arkadi Zaides. The series of lectures and events locate political issues on migration and cultural identity within the context of artistic positions. The impulses provided by the “Uncertain States” programme aim to create an open thinking space.
- LE PRINTEMPS DE SEPTEMBRE - LE MUSÉE ÉGARÉ / COMMISSAIRE: CHARLES ESCHE COMMISSAIRE ASSOCIÉE: ELODIE LEBEAU / Musée Paul Dupuy / Toulouse +
ARTISTES: PHILIPPE AÏNI, SYLVIE BLANCHARD, CHTO DELAT ?, GUILLAUME CONDAT, DADO, YANN DARÇON, SYLVIA DE BIASI, FRED DEUX, PATRICIA ESCUDÉ, JACQUES FAUCHÉ, EUGÈNE GABRITSCHEVSKY, GEORGIK, MARIE JAKOBOWICZ, BOUCHRA KHALILI, MICHEL MACRÉAU, JANINE MONGILLAT, SYLVAIN MONTANÉ, ALFONSO-ANGEL OSSORIO, FRIEDRICH SCHRÖDER-SONNENSTERN, HANS SILVESTER, URSULA, BAS VAN BEEK, QIU ZHIJIE
- Telling Tales: Excursions in Narrative Form / Museum of Contemporary Art - MCA / Sydney +
Telling Tales: Excursions in Narrative Form explores inventive approaches taken by leading Australian and international artists to narrative form. Explore the stories behind the exhibition with MCA Chief Curator Rachel Kent and a guest artist from Telling Tales in a special evening for teachers. Connect with MCA Artist Educators, explore new teaching ideas and resources and enjoy refreshments with your colleagues in the creative spaces of our learning centre. The MCA is endorsed to provide QTC Registered Professional Development for teachers accredited at Proficient Teacher.
- Bouchra Khalili: The Mapping Journey Project / MOMA / New York +
This exhibition presents, in its entirety, Bouchra Khalili’s The Mapping Journey Project (2008–11), a series of videos that details the stories of eight individuals who have been forced by political and economic circumstances to travel illegally and whose covert journeys have taken them throughout the Mediterranean basin. Khalili (Moroccan-French, born 1975) encountered her subjects by chance in transit hubs across Europe, North Africa, and the Middle East. Following an initial meeting, the artist invited each person to narrate his or her journey and trace it in thick permanent marker on a geopolitical map of the region. The videos feature the subjects’ voices and their hands sketching their trajectories across the map, while their faces remain unseen. The stories are presented on individual screens positioned throughout MoMA's Donald B. and Catherine C. Marron Atrium. In this way, a complex network of migration is narrated by those who have experienced it, refusing the forms of representation and visibility demanded by systems of surveillance, international border control, and the news media. Shown together, the videos function as an alternative geopolitical map defined by the precarious lives of stateless people. Khalili’s work takes on the challenge of developing critical and ethical approaches to questions of citizenship, community, and political agency.
- The Opposite of Voice-Over / Curator: Jonatan Habib Engqvist / Färgfabriken / Stockholm +
Bouchra Khalili’s first solo exhibition in the Nordic region consists of works produced from 2008 to 2013. The exhibition focuses on works that at their core situate voices of members of minorities, often unheard, and provides alternative conceptions of belonging and civic community. The Mapping Journey Project (2008-2011) is an 8-channel video installation. By displaying maps, on which individuals obliged to cross borders illegally, literally draw their journeys while recounting them, this work provides alternative maps to normative cartography. The Constellations Series (8 silkscreen prints, 2011) is the closing chapter of The Mapping Journey Project. Going back to printed maps, the series reproduces each of the drawings from the videos forming The Mapping Journey Project. By translating them into the form of constellations of stars, the series suggests a geography of resistance as experienced by “singular lives ... which have become, through I know not what accidents, strange poems” [Michel Foucault, The Lives of Infamous Men]. The film-trilogy The Speeches Series (2012-13) further emphasizes the critical function of speech and self-representation by operating as a platform that allows members of minorities based in Paris, Genoa, and New York respectively to address issues of language, citizenship, and class. Trained in cinema and visual art while working in several mediums, Khalili often repurposes the visual approach of documentary cinema. The Opposite of Voice-Over however invites us to move beyond appearance as it acknowledges the presence of voices often disregarded or stigmatised by systems of media logic and the regulations of national representation. Through individual enunciations, many times with the accent of a political minority, a number of strategies and discourses of resistance are deliberated against arbitrary, societally and historically defined obstructions. Through her unique capacity to combine poetry beyond written language with subject matter and the power of the spoken word Khalili creates a temporary sense of community where there is none. An international seminar will also be organised in conjunction to the exhibition (TBA). Curator: Jonatan Habib Engqvist
- Marrakech Biennale 6 / Curated by Reem Fadda / Marrakech Biennale / Marrakech +
The curatorial concept of this year’s biennial starts the premise of the designated title for the Biennale: Not New Now. It aims to provide for an intellectual framework that unites multiple arenas of art and cultures by looking at it from the particular location and history of the city of Marrakech. It builds on a longstanding history of Pan Afro-Arab unity, through critically investigating socio political projects, cultural partnerships, and art movements that have led to many shared artistic tendencies. The heritage sites of Marrakech will invoke these moments of intersection, through a plethora of site-specific commissions and installations, by a group of international artists especially from Africa, the Arab world and its diasporas. Performances, displays of archives, film programs, seminars, lectures and even conferences will provide for a dynamic structure that looks at and cements these cultural commonalities and relationships. This is in line with the aspirations of the foundations of the Biennale, as was expressed by its President, Amine KABBAj: “The key to the Biennale’s future success lies partly in the city's location. We lie on a crossroads between the Western world, the Islamic world and the African world. We are a modern society that values its traditional culture, but we are also evolving rapidly."Since one of the primary objectives of the Biennale is to further the dialogue beyond art and culture into a wider set of implications, several programs run parallel to the exhibition. These include literary roundtables and lectures, screening of films and video and performances all that will be visible in a multidisciplinary approach.
- Entre el mito y el espanto. El mediterráneo como conflicto / comisario José Miguel G. Cortés, director del IVAM / IVAM / Valencia +
Dedicada al análisis de la realidad socio-cultural del Mediterráneo, esta muestra cuestiona si esta área geográfica existe como entidad cultural, política o social. La exposición, que se estructura en dos partes, reflexiona primero sobre el mito, el de aquellos intelectuales del norte de Europa que viajaban al sur buscando la arcadia perdida. Algunos de ellos lo hacían para mejorar su salud, otros para encontrarse con una visión del cuerpo humano mucho más libre, como elemento de placer y sin los tabúes de los países protestantes. Para ilustrar esta imagen idílica del mediterráneo se muestran fotografías de los alemanes Wilhelm von Gloeden o Herbert List, así como pinturas de Pinazo, Sorolla, Picasso o Muñoz Degraín. La segunda parte de la exposición, la más contemporánea, reflexiona sobre cómo se ha pasado de esta visión idealizada, a la del “espanto”, con el Mediterráneo como permanente zona de conflicto, con problemas como la inmigración, la desigualdad, el racismo o las fronteras infranqueables. Entre las obras que aquí se exhiben prima la fotografía y el vídeo. Obras de artistas españoles, como el valenciano Sergio Belinchón, las marroquíes Yto Barrada y Bouchra Khalili, la argelina Zinedine Bessai, el libanés Akram Zaatari, el albanés Adrian Paci, el palestino Taysir Batniji o la suiza Ursula Biermann, entre otros.
- STREAMLINES METAPHPRICAL AND GEOPOLITICAL INTERPRETATIONS OF THE OCEANS / DEICHTORHALLEN / Hamburg +
The exhibition STREAMLINES is a guest curated international programme of contemporary artistic activities at Deichtorhallen wishing to focus on the special geographical location of the city of Hamburg. The project originates from a reflexion on the specific features of the port of Hamburg, for instance the notion of storage, one main function of the harbour, and a study of the history of the harbour buildings, for instance the Afrika Terminal, a former storage warehouse for goods such as cocoa. Such places reminded us that the port city of Hamburg has been over the past several centuries (and is still) the gate to Germany - and by large to Europe - for a variety of African and international goods. STREAMLINES originates from this situation: it has been thought as an artistic programme including contemporary art works but also film and lecture series in order to expand on the theme of the exhibition. The exhibition will aim to occupy the huge volume of the Deichtorhallen with mainly site-specific works made on this occasion. The different goods that used to pass through the terminals, the political, economical and social history of the harbour will play a role in the conception of these new works. The exhibition STREAMLINES makes the oceans the metaphorical focal point in order to examine the cultural repercussion of the global stream of goods and trade from the South to the North. More broadly, the exhibition initiates a reflection on how to visualize inequalities through the seas, how oceans are used, how one can understand the status of invisible borders and the notion of property when it comes to the oceans, how one can decipher migratory flows and understand who creates and applies laws for this vast and strange territory. The exhibition also examines the notion of communication: from streams of information (the international submarine telecommunication connections thanks to optical cables) to streams of people and goods. STREAMLINES is an invitation made to contemporary artists from various areas of the world that have a strong historical mercantile connection to the harbour of Hamburg as a site of disembarkation of shipments coming from those regions. These include Asia, Latin America, Africa, and of course Europe. The range of practices displayed for the STREAMLINES project will bring the public in contact with challenging artistry, critical practices dedicated to constructing and deconstructing consciousness through various media: sculpture, tapestry, installation or socially engaged practices, with a strong focus on artist film and video art. ARTISTS Kader Attia, Mark Boulos, Peter Buggenhout, Ken Bugul, Godfried Donkor, Theo Eshetu, Joana Hadjithomas, Alfredo Jaar, Khalil Joreige, Bouchra Khalili, Abdoulaye Konaté, Otobong Nkanga, Arin Rungjang, Thomas Rentmeister, Ulrike Ottinger, Wendelien van Oldenborgh.
- EXERCICES DE LECTURE - Commissaire : Katrie Chagnon / Galerie Leonard & Bina Ellen Université Concordia / Montréal Québec +
Le bouleversement des modes traditionnels de lecture dû au développement des nouveaux supports numériques (tablettes, e-book, écrans d’ordinateurs) a suscité, ces dernières années, une prolifération de discours à caractère nostalgique annonçant la disparition imminente de la culture livresque au profit d’un régime de distraction généralisé. À contrecourant de cette tendance, de nombreux artistes aujourd’hui réinvestissent l’acte de lire et en réinventent les modalités, nous invitant à réfléchir autrement les enjeux contemporains de cette pratique. L’exposition Exercices de lecture propose ainsi de mettre en relation des œuvres récentes qui, chacune à leur manière, témoignent d’un rapport renouvelé à la lecture, conçue en tant que lieu d’expérimentation productif et comme espace de questionnement critique. Tel que suggéré par le titre, c’est plus spécifiquement en tant qu’exercice – physique, psychique, cognitif, pédagogique, épistémologique, politique, éthique, etc. – que la lecture est abordée et déclinée dans cette exposition. Qu’on l’entende au sens d’un entraînement mobilisant la répétition et l’effort, tel un travail inscrit dans la durée, ou qu’on l’associe plutôt aux conditions sociales, culturelles et politiques d’une pratique individuelle aussi bien que collective, l’expression « exercices de lecture » vise à traduire la complexité d’une activité qui ne se réduit en rien à l’idée d’une expérience littéraire profonde coupée du monde extérieur. La lecture à haute voix, la manipulation de documents, la mémorisation, la traduction, la retranscription, la relecture et la réinterprétation de textes canoniques sont autant de stratégies au moyen desquelles les artistes rassemblés dans cette exposition se réapproprient les domaines du savoir, du langage et de l’écrit. Soulevant une série de questions quant à nos capacités cognitives, à l’implication du corps, aux contextes d’énonciation, aux modes de subjectivation, aux rapports de pouvoir et à la formation des identités sociales, culturelles et sexuelles, notamment, le travail de ces artistes permet d’étendre la réflexion sur ce qu’implique de lire à notre époque. Fiona Banner, Simon Bertrand, Ricardo Cuevas, Brendan Fernandes, Gary Hill, Bouchra Khalili, Ève K. Tremblay, Nicoline van Harskamp et la participation de No Reading after the Internet, un projet de cheyanne turions, Amy Lynn Kzymerchyk et Alexander Muir- Commissaire Katrie Chagnon
- Foreign Office / ADN Galeria / Barcelona
- 8th edition of Göteborg International Biennial for Contemporary Art: A story within a story. / Curated by Elvira Dyangani Ose / GIBCA / Göteborg / Suède +
Imagine history as an open work. A network of limitless interrelations in which uncertainty is a positive feature. Imagine its openness, its incompleteness. Imagine history as a work in motion, displaying an intense mobility and a kaleidoscopic capacity to suggest itself in constantly renewed aspects to its consumers. In 1962, Italian philosopher Umberto Eco coined the term open work to describe aesthetic practices where authors arrange their work so that the audience is exposed not to a single definitive order, but to a myriad of possibilities: an “unfinished” work which they are invited to complete. The open work thus has a halo of infiniteness, always promising future perceptions and demanding a higher degree of collaboration from the public throughout the creative process. If openness and indeterminacy are true possibilities for the production of history, how then does history make its subjects? If given the opportunity to be a history-teller, how does one make relevant the collective memories, personal narratives and inner worlds located within the margins of history? Furthermore, would this reconstruction of the past ever challenge current historiography, its methods of inclusion and omission? Haitian anthropologist Michel-Rolph Trouillot claims that alongside professional historians, there are other participants in the production of history that, even though they might not destabilize systems of power, add complexity to its production. It is this kind of radical suggestion of re-imagining the writing of history as an open work, a participatory experience, to which the eighth edition of the Göteborg International Biennial for Contemporary Art is devoted. The Biennale will examine ways in which systems of power have used tactics of amnesic oblivion and silence as a political strategy. The project will look at work by artists who interfere with history-making by rescuing events and their protagonists from historical oblivion and seek to open up the readings of contemporary history. Moreover, A story within a story… will explore history as a radical act by focusing on socially engaged projects, which interrogate notions of collective memory and publicness from transnational and transhistorical perspectives. Taking the notion of open work as both a conceptual backdrop and curatorial methodology, GIBCA 2015 will question the structure of biennials themselves as systems of power and propose instead to engage with a “series of acts of conscious freedom.” This project invites artists, thinkers and cultural producers, together with members of civil society and public authority – from Scandinavia and across the globe – to partake in various initiatives enquiring the meaning and production of history.
- En y entre geografías - curator - Emiliano Valdés, Curador Jefe, MAMM / Museo de Arte Moderno / Medellin +
A partir de una serie de términos producidos o anidados en el campo de la geografía, pero que responden especialmente a las estrategias y las lógicas de poder, esta exposición presenta la geografía como un campo de conocimiento y, bajo el contexto contemporáneo, como una herramienta que subyace en la conformación actual del mundo. En y entre geografías es una exhibición que aborda diferentes aspectos de la condición contemporánea desde el punto de vista de la geografía, entendida como el conocimiento y la exploración no solo de un espacio físico, sino también afectivo, psicológico, intelectual y virtual. En lugar de una exhibición de mapas, este proyecto examina un antiguo conocimiento que, como ciencia, está experimentando cambios significativos debido a los avances en la tecnología de la información (popularización de GPS, Google maps y otras herramientas de geo-localización), que hacen de la movilidad una herramienta y de la ubicuidad casi una realidad. También toma en cuenta un cambio de paradigma en la manera de ver el mundo que surge a partir de un desplazamiento del horizonte (de altura de los ojos a la perspectiva cenital de satélites) y pone la experiencia humana en relación con una comprensión más amplia del universo, superando la dicotomía espacio/ tiempo. En y entre geografías reúne a un grupo de artistas colombianos e internacionales que incorporan a su investigación la reflexión sobre cuestiones que determinan la ubicación del ser humano (física, política, cultural) y cómo esta afecta sus aspectos subjetivos de la vida, incluyendo el deseo y la producción intelectual. Clara Botero
- OBSERVATORI DE PROJECTES - TRANSLOCACIONS PROJECT OBSERVATORY - TRANSLOCACIONS / Curated by: Ramon Parramon Coordinated by: Fina Duran (Arts Santa Mònica) and Laia Ramos (Idensitat) / Arts Santa Monica / Barcelona +
This exhibition brings together and includes various phases of the project, presents part of the archive of projects located in the Raval and the Gothic Quarter, interconnects the projects carried out as Microinterventions in the public space and includes a selection of artistic works in several cities. In addition to all the works created under the auspices of TRANSlocations, it also contains various artists including: Ángela Bonadíes, Raquel Friera, Pep Dardanyà, Bouchra Khalili, Núria Güell - Levi Orta, Teresa Mulet, the collective Atfal Ahdath, the group consisting of Irma Arribas - Octavi Rofes - Pau Villalonga, Rogelio López Cuenca, Iconoclasistas, Left and Rotation, Santiago Cirugeda and Luz Broto. The exhibition will take place between June and September 2015, and will present a series of works that deal with the flows of contemporary mobility including tourism, migration and travelling for work; and how these affect or impact on the local context, in terms of citizenship, identity, territoriality, the diversity, settlement in the site place and the use of the public space. As a rejoinder, it also will highlight phenomena that limit and determine mobility, such as fear (insecurity, violence), inequality and social exclusion. These issues are addressed by the various production projects that are being carried out in the Raval and Gothic Quarter areas, and with projects by artists already undertaken in several cities. This highlights how the phenomenon of mobility is a global one, but which adopts specific nuances in each place.
- A REPUBLIC OF ART french regional collections of contemporary art / Curated by Annie Fletcher and Diana Franssen / Van AbbeMuseum / Eindhoven +
A Republic of Art French Regional Collections of Contemporary Art Curators : Annie Fletcher, Diana Franssen From the 80's to Today A Republic of Art is an exhibition about the world of visual art in the French Republic from the establishment of the FRAC system in 1982 right up to current developments in contemporary art today. These 23 FRACs were to span the entire country. Each was empowered to fund, collect and exhibit contemporary living artists from France and beyond thus providing the whole country with a uniquely ambitious and robust support system for the production of visual art in its own time. The large-scale exhibition tells the story of art and the ambitious plans of the French state in collecting, organising and dispersing contemporary art in radically new ways. Exhibition in the Van Abbemuseum This exhibition takes place in the ten classical galleries of old building of the Van Abbemuseum. Rather than simply exhibiting these more than 100 art works the Van Abbemuseum will apply much of its own experimental thinking developed in exhibiting its own collection, which brings both art history and lived history together in provocative and exciting ways. By looking at the collections of the FRAC from the perspective of cultural history, visitors will be able to compare their own memories and emotions of the past thirty years with the works of art that were made in that time. For some, a feast of recognition, a new acquaintance to others and a retrieval of memories. For others a sense of the power of history. But for all, because of the wealth of images, a 'mer a boire' for everyone. Artists (selection) Absalon, Dennis Adams, Daniel Buren, Sophie Calle, Jimmie Durham, Dominique Gonzalez- Foerster, Claire Fontaine, Raymond Hains, Bouchra Khalili, Christian Marclay, Yan Pei-Ming, Sarkis, Chen Zhen, Cindy Sherman, Lily Reynaud Dewar, ORLAN, Philippe Parreno, Michel François, Bruno Serralongue, Gustav Metzger, Philippe Parreno and many others. Collaboration partners A Republic of Art is a collaboration between the 23 FRACs, Platform. Régroupement des Fonds Régionaux d’Art Contemporain and the Van Abbemuseum. FRAC advisory board: Catherine Elkar (director FRAC Bretagne), Xavier Franceschi (director FRAC Île de France), Laurence Gateau (director FRAC Des Pays de la Loire), Anne-Claire Duprat (Platform).
- Europe - The Future of History / Kunsthaus / Zürich +
What image represents Europe? The fall of the Berlin Wall, perhaps, and the unification of Eastern and Western Europe after four decades of division along ideological lines? The reconstruction and the economic miracle following the disaster of the Second World War? Universal human rights and a political consensus among Europeans based on freedom and democracy? Or football championships and the Eurovision Song Contest? Not since Antiquity has a single image stood for Europe, and any that purports to do so can only be a fragment. Europe is a multifaceted mosaic that, despite tensions beneath the surface, is no longer at risk of breaking apart. In 1924 Ernst Ludwig Kirchner posed the question: ‘A unified Europe would be the end of wars and it will come, but when?’ This exhibition sets out to chart the various forms in which society’s ongoing desire for a peaceful Europe has been depicted through the history of ideas. It takes in atmospheric themes such as the delineation and dissolution of frontiers, landscape as a factor in the construction of identity, the development of democracy, labour and mobility. The most comprehensive art exhibition on Europe in Switzerland since 1991 comprises some 100 works by 50 artists from all parts of the continent, in the media of painting, photography, video and installation. The artists represented include Kader Attia, Marc Bauer, Arnold Böcklin, Herbert Brandl, Honoré Daumier, Fischli/Weiss, Dani Gal, Ferdinand Hodler, Thomas Imbach, Anna Jermolaewa, Ilya & Emilia Kabakov, Nikita Kadan, Bouchra Khalili, Paul Klee, Daniel Knorr, Christian Philipp Müller, Cy Twombly and Nives Widauer.
- Film exhibition curated by Nick Aikens / Extra City Kunsthal / Antwerpen +
A screening program about subjective ways of writing history. Through the exploration of personal memories and alternative sources, filmmakers offer different ways of understanding the past. All of the screenings will be followed by a conversation with the artists. Cultural practice has time and again set itself the task of forming, negotiating and re-assembling history in order to better understand the present. Today this task seems more prescient than ever when particular histories might help shed new light on a contemporary moment that feels uncertain and in flux. Beyond the use of the archive or documentary formats, however, what methodologies allow for a more emotive, fluid and tangible sense of history – and subsequently the present – to emerge? Speaking to History looks at a group of filmmakers working today who explore the conceptual and narrative potential of oral histories, the tangled relationship between spoken word and image and the use of cinematography to both make sense of and complicate our understanding of the past. Through the medium of film they thus examine the construction of narratives, whether they are personal, collective or historical. The use of story telling and the subsequent play between word and image treats the past as an emotive force, understood through personal narratives or different subjectivities, contingent as they are on lived experience. Similarly, told from the present, these stories and images are framed by a sense of how they might be relevant for today. In this sense they echo what Walter Benjamin’s approach to engaging with history: “To articulate what is past does not mean to recognize ‘how it really was.’ It means to take control of a memory, as it flashes in a moment of danger.” The films look at a range of histories that appear to have implications for our understanding of the present – from an analysis of collective struggles of resistance, an examination of colonial histories, the passing of different ideological systems to more personal, subjective recollections. Told through the voices of those implicated in these histories, however, the protagonists become co-authors, both in the films themselves and the narratives they construct. As such, they reveal a porous relationship between individual subjectivity and collective history; memory and narrative.
- Bouchra Khalili - Garden Conversation - Curated by Bartomeu Mari / MACBA / Barcelona +
Through a conversation with the artist, the Director of MACBA Bartomeu Marí presents Bouchra Khalili’s Garden Conversation (2014, HD video, 16 min), which will be exhibited in the Museum galleries from 16 April to 28 June. In her work (video, mixed media installations, photography and prints), Bouchra Khalili combines a conceptual approach with a documentary practice to explore issues of clandestine existences and political minorities. She articulates language, subjectivity, discourse and speech, transitional territories and transit zones, investigating the interrelation between contemporary migrations and colonial history, physical and imaginary geography.
- FOREIGN OFFICE / Palais de Tokyo / Paris +
Bouchra Khalili, Lauréate du Prix SAM pour l’art contemporain 2013 (née en 1975 à Casablanca, vit et travaille à Berlin) articule subjectivité et histoire collective pour interroger les relations complexes entre l’Histoire coloniale et postcoloniale, les migrations contemporaines, leurs géographies et les récits et l’imaginaire qui en sont issus. Elle présente, à l’occasion de son exposition au Palais de Tokyo, une nouvelle série d’œuvres, sous le titre générique Foreign Office, composée d’un film, de photographies et de documents. Produit à Alger, ce nouveau projet s’inscrit dans la recherche développée par l’artiste depuis une décennie autour des formes et des discours de résistance tels qu’exprimés par des membres de minorités issus des histoires coloniales et postcoloniales. Avec Foreign Office, Bouchra Khalili revient sur la décennie 1962 – 1972, lorsqu’Alger devint la « capitale des révolutionnaires » après l’indépendance de l’Algérie. La ville accueillit alors de nombreux militants des mouvements de libération d'Afrique, d'Asie et des Amériques, tels que la Section internationale du Black Panther Party d’Eldridge Cleaver, l’ANC (Congrès national africain) de Nelson Mandela ou encore le PAIGC (Parti africain pour l'indépendance de la Guinée et du Cap-Vert) d’Amilcar Cabral, jusqu’à l’oublié Front populaire de libération d’Oman et du Golfe arabique. Prenant comme point de départ cette facette de l’Histoire algérienne, dont la transmission par bribes, sur le mode de la légende, l’a figée dans le passé, le film met en scène deux jeunes algériens d’aujourd’hui qui font le récit de cette histoire, interrogeant ses traces et les raisons de son oubli par leur génération. Les questions de l’oralité, de la langue et de leurs rapports au récit et à l’histoire forment le cœur du film, dessinant en creux une historiographie alternative. La série de photographies élabore un inventaire des différents lieux qui ont abrité ces mouvements de libération basés à Alger, tandis qu’une carte produite par l’artiste les resitue dans la topographie contemporaine de la ville. Comme pour chacun de ses projets précédents, ce corpus fait suite à un travail de recherche et de collecte de témoignages qui permet à l’artiste de proposer une méditation sur les modalités de transmission de l’Histoire et une lecture au présent d’un héritage collectif, en questionnant la matière qui compose cette H(h)istoire, ses potentialités narratives et ses résonances au présent et peut-être au futur. Cette exposition bénéficie du soutien de SAM Art Projects
- Common Grounds / Curated by Verena Hein / Museum Villa Stuck / Munich / Germany +
Abbas Akhavan, DAAR, Parastou Forouhar, Babak Golkar, Dor Guez, Joana Hadjithomas & Khalil Joreige, Hazem Harb, Susan Hefuna, Bouchra Khalili, Sophia Al Maria, Ahmed Mater, Nasser Al Salem - The emergent cities in the Gulf region and conflict-ridden countries in the Middle and Near East are engaging issues in media coverage. The Western eye is influenced by extreme images from these areas. The publication counteracts their manipulative aesthetics in works that reveal a more complex approach to examining social conditions. Common Grounds makes reference to the scientific model of grounding, the assumption that there is a common space of knowledge between partners in communication that facilitates successful dialogue. This public space constitutes the subject of the works being presented, which point out subjective narrative styles beyond collective historiography. In Christian Palestinian Archive (CPA), for instance, Dor Guez arranges archival material that documents personal stories by Palestinians of the Christian faith from the first half of the twentieth century.
- Kreativitätsübungen / Creativity Exercices / Galerie für Zeitgenössische Kunst / Leipzig +
Curated by: Dóra Hegyi and Franciska Zólyom. How people learn, what they know and how it influences their personality, their behaviour and their position in society, is examined from various different perspectives. With a focus on Eastern Europe, “Creativity Exercises” presents historical and contemporary artistic projects that experiment with alternative forms of learning. The exhibition, workshops and lectures look into the inquiring quality of creativity, which is at the same time subversive and constructive: artistic approaches that challenge a wider view of learning, and related social, economic and institutional conditionalities, are introduced and activated. In analogy with questions and concepts associated with educational and social sciences, these artistic projects investigate equitable forms of learning and learning exchange. The interplay of individual expression and collective action is considered, along with the reversibility of the relationship between teacher and pupil. Another focus is on exclusion mechanisms in the education system versus the empowerment potential of knowledge. The title of the project is borrowed from a drawing course held by the artists Miklós Erdély and Dóra Maurer between the years of 1975 and 1977 in Budapest. For a short time, independently of state art schools, the education of amateurs presented the opportunity to put collective and process-oriented work to the test and to eliminate thought barriers.
- Here and Elsewhere / curated by Massimiliano Gioni, with Natalie Bell, Gary Carrion-Murayari, Helga Christoffersen, and Margot Norton / New Museum / New York +
In July 2014, the New Museum will present “Here and Elsewhere,” a major exhibition of contemporary art from and about the Arab world. In the past ten years, the work of artists and cultural spaces in cities such as Amman, Beirut, Cairo, Dubai, Doha, Marrakesh, Ramallah, and Sharjah, among others, have established critical points of global access. However, despite a growing international interest in contemporary art from across North Africa and the Middle East, there have been few presentations of art from these regions in New York. “Here and Elsewhere” is the first museum-wide exhibition in New York to bring together more than forty artists from over twelve countries in the Arab world, many of whom live and work internationally. The exhibition borrows its title from a 1976 film-essay by French directors Jean-Luc Godard, Jean-Pierre Gorin, and Anne-Marie Miéville. Their film, Ici et ailleurs [Here and Elsewhere], was conceived as a pro-Palestinian documentary, but developed into a complex reflection on the ethics of representation and the status of images as instruments of political consciousness. Taking inspiration from Godard, Gorin, and Miéville’s film—which has had a strong impact on an entire generation of artists in various Arab countries—the exhibition pays particular attention to the position and role of the artist in the face of historical events. Through different methodologies, an unconventional form of lyrical documentary and personal reportage emerges in works in which the artist is vested with the responsibility of revising dominant historical narratives. Other artists in the exhibition undertake experimental approaches to archival material, rewriting personal and collective traumas, and weaving fragments both real and imagined into their work. For others, traditional mediums like painting, drawing, and sculpture record subtle and intimate shifts in awareness, using images as tools for self-discovery, chronicles of current events, or registers of personal histories. A reflection on what is at stake in the act of representation characterizes many of the works in the exhibition, as many artists reconsider the task of witnessing and chronicling social and political changes. In addition, a number of pieces initiate a reflection on images as sites of conflict or spaces of intimacy, while others develop a critique of media representation and propaganda. In keeping with the New Museum’s dedication to showcasing the most engaging work from different parts of the world, “Here and Elsewhere” joins a series of New Museum exhibitions that have introduced urgent questions and new aesthetics to New York audiences. Following the critical discussions that have animated contemporary art in recent years, “Here and Elsewhere” does not propose a fixed definition of Arab art or a distinctive regional style. With the renegotiation of location and perspective evoked in the exhibition’s title, the show calls attention to specific cities and art scenes while emphasizing the importance of international dialogues that extend beyond the Arabic-speaking world. Further, the exhibition illuminates similar insights and affinities as well as dramatic differences, revealing multiple social and aesthetic landscapes rather than a fictional sense of unity. Combining pivotal and under-recognized figures with younger and midcareer artists, “Here and Elsewhere” works against the notion of the Arabic-speaking world as a homogenous or cohesive entity. Through the original and individualized practices of this multigenerational constellation of artists, the exhibition highlights works that often have conceptual or aesthetic roots in the Arab world, yet extend well beyond. Emerging from the works of a particularly strong and diverse group of artists are less the contours of an “imagined geography”—to use the words of Edward Said—than new critical attitudes toward art and images that encourage us to look “elsewhere” in order to understand our “here.” The exhibition will be accompanied by a fully illustrated catalogue coedited with Negar Azimi, Kaelen Wilson-Goldie, and Babak Radboy of Bidoun magazine, and featuring roundtable discussions with artists as well as critical essays by scholars and critics. “Here and Elsewhere” is organized by the New Museum’s curatorial department, led by Massimiliano Gioni, Associate Director and Director of Exhibitions, with Natalie Bell, Curatorial Associate, Gary Carrion-Murayari, Curator, Helga Christoffersen, Assistant Curator, and Margot Norton, Assistant Curator.
- POSITIONS / Van Abbemuseum / Eindhoven +
Positions, a new five year exhibition programme, will give focus to the artist’s voice. Positions is to become an annual meeting point for different artistic and intellectual statements, a global conversation instigated from different perspectives that will introduce audiences to ambitious artistic thinking. For the first installment of Positions during summer 2014 the museum will present projects from around the world. It is a series of reflections on how we position ourselves in the world today – through the structures that govern our lives to how we interact with fellow citizens. Exhibited artists are: - Charles van Otterdijk (1976, the Netherlands) - Double Centre - Lawrence Abu Hamdan (1983, Jordan) - Speaker-System - Celine Condorelli (1974, France) - Bouchra Khalili (1975, Morocco) - Speeches - Koki Tanaka (1975, Japan). Curator: Nick Aikens
- Giving Contours to Shadows / Neuer Berliner Kunstverein ( NBK) / Berlin +
Inspired by Edouard Glissant’s concept of opacity, the research and exhibition project “Giving Contours to Shadows” present works by more than 20 artists and artists’ groups from ten African countries, Italy, Portugal and French Guyana which investigate how history can be presented from an alternative, non-Western dominated perspective. The invited artists, most of whom belong to the generation born after 1970, will reflect on subjects pertaining to their own history and present-day situation, e.g. science fiction, the digital revolution, homosexuality and gender roles, the economic crises in Africa in the late 1980s and early 90s and the renaissance of a new cultural pan- and trans-Africanism. Several works, such as one highlighting the African diaspora in Berlin – are being specially created for this exhibition. The accompany programme features parallel solo performances in Dakar, Nairobi, Morocco, Johannesburg and Lagos, which will be broadcast in Berlin. The project will also include discussions and lectures which will be subsequently published in a catalogue. A project by Savvy Contemporary e.V. in cooperation with the Neuer Berliner Kunstverein (NBK), Hebbel am Ufer (HAU) (tbc), Gemäldegelerie Berlin (tbc) and Centre for Contemporary Art of East Africa (CCAEA, Nairobi, Kenya), Kër Thiossane (Dakar, Senegal), 5th Marrakech Biennale Satellite (Marrakech, Morocco), Video Art Network (VAN Lagos, Nigeria) and Visual Arts Network of South Africa (VANSA, Johannesburg, South Africa). Curator: Bonaventure Ndikung Co-Curator: Dr. Elena Agudio Roundtable Series Co-Curator: Storm Janse van Rensburg Artists: Mathieu Kleyebe Abonnenc (GF), Jelili Atiku (NG), Fayçal Baghriche (DZ), Neïl Beloufa (FR/DZ), Halida Boughriet (DZ), Virginia Chihota (ZW), Chimurenga Lab (ZA), Em’kal Eyongakpa (CAM), Mounir Fatmi (MA), Badr el Hammami & Fadma Kaddouri (MA), Adelita Husny-Bey (IT/LYB), Wanuri Kahiu (KE), Bouchra Khalili (MA), Kiluanji Kia Henda (AO), Kapwani Kiwanga (CA/TZ), Ato Malinda (KE), Nástio Mosquito (ANG), Ingrid Mwangi/Robert Hutter (DE/KE), Paulo Nazareth (BR), Otobong Nkanga (NG), Ahmet Ögüt (TR), Lerato Shadi (ZA), Alexandre Singh (FR/USA), Hank Willis Thomas (USA), Kemang Wa Lehulere (ZA), Emma Wolukau-Wanambwa (UK).
- Journal / I.C.A London +
This summer, the ICA invites international artists, theorists and writers to present individual artworks, events, moving image and talks throughout the building and online. Whether responding to unusual circumstances created by major events, such as the wake of the 2011 Japan earthquake; or through simply finding unique connections through on and offline chance encounters with public spaces and people, these diverse projects highlight the role of the artist in society to question and respond. Participants include Rosella Biscotti, Edson Chagas, Duncan Campbell, Paul Elliman, Cyprien Gaillard, Bouchra Khalili, Marlie Mul, Paulo Nazareth, Ahmet Ögüt, Charlotte Prodger & Isla Leaver Yap, Richard Sides, Joshua Simon and Koki Tanaka. At the project’s core is an exhibition of five individual presentations in media ranging from photography, to installation to film. Unlike a conventional group show whose contributors illustrate a defined theme, Journal offers a looser configuration that reflects a consideration of the artist’s role in bringing focus to a world changing around us. Journal presents a direct invitation to audiences to engage through participatory performances, immersive installations and an ongoing interactive journal hosted on the ICA's website.
- Artistas Comprometidos? Talvez. Próximo Futuro/Artists Engaged? Maybe / Curator: António Pinto Ribeiro / Gulbenkian Foundation / Lisbon +
Curator: António Pinto Ribeiro Exhibition presenting international visual arts works departing from the idea of artists’ engagement with the present. In a world of turbulence and programmatic suspension the artists respond with a multiplicity of possibilities. With Works by Athi-Patra Ruga, Berna Reale, Bouchra Khalili, Bruno Boudjelal, Celestino Mondlane, Conrad Botes, Demián Flores, Eduardo Basualdo, Eva Grubinger, Fredy Alzate, Johanna Calle, João Ferro Martins, Luiz Zerbini, Miguel Jara, Paul Edmunds, Pedro Barateiro, Raul Mourão, Sandra Monterroso, Simon Gush, Solon Ribeiro, Wim Botha.
- Abraaj Art Prize / Dubai / Dubai +
The Abraaj Group Art Prize 2014 Winners Art Prize is awarded annually to five artists on the basis of proposals for new artworks, which become permanent additions to The Abraaj Group Art Collection following their unveiling at Art Dubai (March 19-22, 2014). The Abraaj Group, aleading privateequity manager investing in global growth markets, launched The Abraaj Group Art Prize in 2008 to foster and reward artistic development in the region. The 2014 winners are an internationally - acclaimed and diverse group combining outstanding artistic ability with a desire to engage and champion the arts throughout the region. They have a strong exhibition history regionally and internationally, and have shown works in recent editions of Art Dubai, the Sharjah Biennial and Kochi - Muziris Biennale, among other prestigious, international art events . The prize affords winners the opportunity of developing ambitious projects which without the granted funds would not have been possible. The winning artists announced by The Abraaj Group Art Prize are: Abbas Akhavan (Iran) Anup Mathew Thomas (India) Basim Magdy (Egypt) Bouchra Khalili (Morocco) Kamrooz Aram (Iran) Nada Raza (Pakistan) .She has the responsibility of supervising the production of the artworks, their display at Art Dubai (from March 19 - 22, 2014 ), and the publishing of an annual catalogue. The Selection Committee for the prize comprises leading experts in the field of the visual arts including: Antonia Carver, Director, Art Dubai; Dana Farouki, Patr on ; Salwa Mikdadi, art historian and curator; Jessica Morgan, Daskalopoulos Curator, International Art, Tate; Glenn Lowry, Director, the Museum of Modern Art and Murtaza Vali, The Abraaj Group Art Prize 2013 Guest Curator
- Tentura and Antitentura / Studio Gallery / Budapest / Hongrie +
The exhibition ‘Tentura and Antitentura’ at FKSE aims to think further on radical incomplete as a space of imagination. It takes its title from “Kin-dza-dza!”, a 1986 made Soviet sci-fi dystopian black comedy cult film. In the idiosyncratic Plukanian language devised of the film “Tentura and Antitentura” names the opposite parts of the Universe. Some planets and galaxies exist in Tentura and some (including Earth) in Antitentura. The dialectical projection of the world in Kin-dza-dza! proposes an ironic view about the contradictions inherent in what is seen as correct political dispositions. The crises of living structures in different fields asks for a radical positioning and an ability to critique that builds itself on unlearning and relearning, making mistakes rather than generating truths; thus facing the field of critique itself as a radical incomplete. Radical incompleteness foresees contradictions in facts and marks an open space to imagine and speculate. As an artistic position, it implies a conceptual opposition that may materialize in different forms, methods and languages. The invited artists for “Tentura and Antitentura” devise their artistic languages in film, photography and installation through repeated visits to the space of radical incomplete where they take their positions of critique. They invite us to unlearn correct languages of political to reach a poetics of critical. Susanne M. Winterling’s minimal and powerful Untitled (the artist as Torquato Tasso), 2009 performs a portrait of 16th century Italian writer and thinker Torquato Tasso as a reluctant harlequin, underlining a poetics that comes through negative capability. In her work, Natalie Czech treats the text as an image and draws our attention to indefinite number of layers in printed material, an incomplete reading performing itself in repetition. Languages of minorities plays an important role for Bouchra Khalili. In Speeches I (2012) her narrators empower their mostly oral, even unwritten dialects by reciting the texts of Malcolm X, Abdelkrim El Khattabi and Édouard Glissant. Ahmet Ögut filmed Oscar William Sam on 12th of November 2011 in Manhattan’s Zuccotti Park during Occupy Wall Street protests. In an ironic attempt to identify individuals with the way used by law enforcement services and military on the camp site, Ögut questions where the vulnerable thin line between power and impotence lies. Yorgos Sapountzis speculates on a potentiality that lies in the negative in his empty, abandoned site of performance in his sculptural installation Empty Shelves Black News (2012) alluding to a moment of crisis. The idea of radical incomplete is one of the main drives in the collective work of Ruanne Abou-Rahme and Basel Abbas thinking on the role of artist and artistic work in the current context of Palestine with the concern of producing an open universal commentary inspired by different histories and imaginaries. Mariechen Danz imagines the process of unlearning as performance in the form a subtle object in Book I (Unlearning) 2012. Hers is a fundamental statement that can be both the beginning and the end of this cycle.
- Speeches - Chapter 3 - Living Labour / Solo show. Project Gallery. / The Perez Art Museum Miami / Miami +
Bouchra Khalili (b.1975) investigates the experiences of identity, immigration, and transience. Working primarily in film and video, she reflects the nomadic and often transnational state of existence that defines life for many people throughout the world. Khalili uses a mode of poetic documentation to illuminate the lived realities of an increasingly mobilized world. Her newest work, commissioned by Pérez Art Museum Miami, is the third and final chapter of The Speeches Series. A video trilogy (2012-2013). Each of these incisive, unadorned works focuses on the act of speaking, featuring five individuals who give powerful, subjective accounts of their personal experiences amid larger political and economic spheres. Khalili’s videos provide a vehicle through which her subjects deliver affecting speeches, expressing their own complex status within their adopted and native homelands in the language of their choice. Speeches - Chapter 1: Mother Tongue (2012) addresses language itself through a reinterpretation of famous political texts from history. Shot in Genoa, Italy, Speeches - Chapter 2: Words on Streets (2013), explores issues of citizenship, belonging, and nationalism through original manifestos written and presented by each subject. The last chapter of The Speeches Series, which will debut at PAMM, was produced in New York and focuses on immigrants who live and work in the city. These subjects reveal the political consciousness inherent to their clandestine lives and labor, creating a meaningful and urgent discourse on the contemporary, immigrant working class.
- DE LEUR TEMPS / Musée des Beaux Arts / Nantes +
Après Lille en 2004, Grenoble en 2007 et Strasbourg en 2010, c’est Nantes qui accueille la quatrième édition de la triennale De leur temps en partenariat avec l’ADIAF. Plus de 100 collectionneurs privés y participent avec des œuvres acquises entre 2009 et 2012 : peintures, sculptures, photos, vidéos, installations… L’occasion de découvrir quelque 141 artistes français et étrangers et 149 œuvres dont de nombreux représentants de la jeune création contemporaine. De leur temps (4) constitue un moment de dialogue entre deux univers dont les enjeux diffèrent, celui des collections privées et celui des collections publiques, mais qui partagent le même engagement en faveur de la création contemporaine. De leur temps (4) témoigne du dynamisme des collectionneurs privés, de leur rôle irremplaçable de découvreurs et de leur volonté forte de faire partager leur passion. C’est pour le musée des beaux-arts de Nantes l’occasion d’une stimulante expérience d’échange et de diffusion et pour le public une invitation exceptionnelle à découvrir l’art d’aujourd’hui. Créée en 1994, l’ADIAF – Association pour la Diffusion Internationale de l’Art Français - regroupe 320 collectionneurs d’art contemporain engagés intensément dans l’aventure de la création. Sa mission : contribuer au rayonnement international de la scène française à travers le PRIX MARCEL DUCHAMP et sensibiliser un large public à la vitalité de la création contemporaine. www.adiaf.com
- 5th Moscow Biennale of Contemporary Art «More Light» / Manege - Moscou / Moscou +
Moscow: 20 September- 20 October 2013. The main exhibition will take place in the Manege Museum (pictured) with various exhibitions at galleries and museum across the city. Curator: Catherine de Zegher Commissioner and Artistic Director: Joseph Backstein Around 80 artists from 39 countries participate in the Moscow Biennale this autumn. Curator Catherine de Zegher has chosen the theme ‘More Light’, promoting more enlightened conversation and action, looking for the new ways for mutual understanding between ‘organisation, artist and audience’.
- Salon der Angst / Curators: Nicolaus Schafhausen and Cathérine Hug / Kunsthalle Wien / WIEN +
The representation of fear and terror, of the anxious and the disturbed, is a prevalent motif in art history. It is also present in the practices of a younger generation of artists who act as a barometer, responding to social change with a new set of fears and insecurities. Without a subjectively experienced threat there is no fear; without external stimuli an inner world filled with fear is unimaginable. Particularly since 9/11 and the financial crisis, fear and uncertainty are omnipresent in our daily lives. Moreover, they are increasingly used as political instruments that permeate the rhetoric of security and threat. The exhibition Salon der Angst explores the artistic confrontation with the fears of our time across a broad affective and socio-political spectrum. Fear is here understood as a response to those aspects of the present that we do not know how to deal with it. The artists in this exhibition address these fears in terms of a history of ideas, but also their specific psychological manifestations. Consequently, spectacular scenarios and their collective processing are less dominant than various individual forms of anxiety. As these form the basis of political and economic instrumentalisation and in turn are used as subtle strategies of manipulation, the familiar sensation of fear is transformed into a symptom characteristic of our time. With Salon der Angst, the Kunsthalle Wien presents an exhibition platform that questions the state of the modern subject on many levels. Accompanying the exhibition will be an extensive public program with contributions from leading figures in the humanities and social sciences. In a salon within this ‘salon’, the nature of fear today will be discussed in ten themed evenings through film screenings and lectures. Participating artists include (amongst others): Nel Aerts, Özlem Altin, Kader Attia, Gerard Byrne, Los Carpinteros, James Ensor, Ieva Epnere, Harun Farocki, Marina Faust, Didier Faustino, Peter Fischli / David Weiss, Rainer Ganahl, Agnès Geoffray, Thomas Hirschhorn, Iraqi Children’s Art Exchange, Cameron Jamie, Jesse Jones, Dorota Jurczak, Ferdinand van Kessel, Bouchra Khalili, Nicolas Kozakis / Raoul Vaneigem, Alfred Kubin, Erik van Lieshout, Jen Liu, Marko Lulić, Fabian Marti, Florin Mitroi, Marcel Odenbach, Jane Ostermann-Petersen, Francis Picabia, Willem de Rooij, Allan Sekula, Zin Taylor, Noam Toran, Kerry Tribe, Peter Wächtler, Jeff Wall, Mark Wallinger, Gillian Wearing, Tobias Zielony Curators: Nicolaus Schafhausen and Cathérine Hug
- Bouchra Khalili - The opposite of the voice-over / Justina M Barnicke Gallery Hart House / Toronto +
Curated by Barbara Fisher
- Selection of works from Sarjah Art Foundation / Sharjah Art Museum / Sharjah / United Arab Emirates +
Sharjah Art Foundation presents a selection of works from its growing collection, featuring works by artists Ziad Antar, Kader Attia, Tiffany Chung, Lara Favaretto, Lamya Gargash, Tarek Al-Ghoussein, Andreas Gursky, Rokni Haerizadeh, Doug Henders, Bouchra Khalili, Tom Molloy, Rika Noguchi, Nika Oblak and Primõz Novak, Marwan Rechmaoui, Hrair Sarkissian, Zineb Sedira, Shahzia Sikander, and Fumito Urabe. The Collection is focused on acquiring and presenting artworks either exhibited by, or commissioned and produced for Sharjah Biennial and other projects. While international in scope, the Collection features a growing range of work that represents the achievements of regional artists.
- The Mapping JOURNEY Project / Passerelle Centre d'art contemporain / Brest +
Exposition présentée dans le cadre d’ ULYSSES, L’AUTRE MER un itinéraire d’art contemporain en Bretagne. Un projet initié par le Frac Bretagne, à l’occasion des 30 ans des Fonds régionaux d’art contemporain. commissaires : Marcel Dinahet, artiste Jean-Marc Huitorel, critique d’art et commissaire d’exposition Catherine Elkar, directrice du Frac Bretagne Entre 2008 et 2011, Bouchra Khalili s’est consacrée à la réalisation de The Mapping Journey Project, qui se compose de huit vidéos, les Mapping Journey, et de huit sérigraphies, The Constellations. Ces projets visent à « cartographier » dans l’aire méditerranéenne des voyages clandestins, qui épousent ceux de l’artiste, de Marseille à Ramallah, de Bari à Rome, de Barcelone à Istanbul. Le dispositif vidéo des Mapping Journey repose sur un plan fixe d’une grande frontalité où se révèle une "contre-géographie" fondée sur la parole et le geste. En faisant le récit de leur voyage et en le dessinant, des migrants confrontent leur parcours singulier à la normativité des cartes, révélant ainsi une autre cartographie, souterraine et invisible, qu’esquissent les trajectoires migratoires contemporaines. Tournées en plan-séquence, chacune des vidéos s’attache à la confrontation entre un trajet singulier et la normativité de la cartographie. La grande frontalité du dispositif déploie ainsi la complexité d’un parcours alors même qu’elle s’exprime sur le support le plus schématique, dévoilant une “carte de la carte”, une carte à venir, dont les tracés sont à lire littéralement comme un récit. Ce travail s’articule ainsi entre territoires et récits, trajets géographiques et dérives, pour donner à voir « la réalité radicale d’une situation économique et culturelle, sans qu’aucune possibilité de la fuir ne nous soit donnée. L’exil est ici la condition politique sine qua non de notre existence. » Les huit vidéos de la série forment ainsi un ensemble, qui dévoile une carte invisible, celle des routes clandestines en Méditerranée, une carte qui est aussi la traduction temporelle de ces récits, où l’existence se trouve en état de latence, irrémédiablement soumise à l’attente. Mais la série est aussi une sorte de collection – au sens de la collecte – d’existences clandestines, inspiré par ce que Michel Foucault avait écrit à propos de La Vie des Hommes Infâmes, ces hommes qui vivent à la périphérie sociale, politique, territoriale, et qui sont un jour pris dans les filets de l’arbitraire du pouvoir. De ce point de vue, The Mapping Journey Project peut se lire comme une « anthologie d’existences, une « anthologie d’existences clandestines [dont] les vies singulières, (sont) devenues, par je ne sais quels hasards, d’étranges poèmes » . La série The Constellations intervient comme l’ultime chapitre de ce travail qui s’est déroulé sur trois années, cinq pays, six villes, huit récits. Les sérigraphies traduisent chaque dessin sous forme de constellation d’étoiles, réactualisant ainsi la typologie des cartes du ciel. "Ce sont d’abord les navigateurs, les marins, qui ont eu recours à cette cartographie céleste imaginaire pour se repérer dans un espace littéralement sans point de repère : la mer", explique l’artiste. En opérant ce déplacement, Bouchra Khalili efface les frontières au profit du seul trajet : une constellation nomade. La dimension poétique du projet se révèle ici dans sa globalité: les dessins, qui sont aussi témoignages, traces, gestes d’écriture, se muent en étoiles... en une constellation de trajectoires et d’existences.
- Il Palazzo Enciclopedico - 55 th Biennale de Venezia / Curated by Massimiliano Gioni / Giardini and at the Arsenale / Venezia +
The 55th International Art Exhibition titled Il Palazzo Enciclopedico (The Encyclopedic Palace), curated by Massimiliano Gioni will be laid out in the Central Pavilion (Giardini) and in the Arsenale forming a single itinerary, with works spanning over the past century alongside several new commissions . “Il Palazzo Enciclopedico (The Encyclopedic Palace) is a show about obsessions and about the transformative power of the imagination; the exhibition opens in the Central Pavilion with a presentation of Carl Gustav Jung’s Red Book” – Gioni continues. “In the vast halls of the Arsenale the exhibition is organized as a progression from natural to artificial forms, following the typical layout of sixteenth- and seventeenth-century cabinets of curiosities. Just like Auriti’s Palace, these baroque proto-museums brought together man-made and natural wonders to construct visual compendia of the world through a science of elective affinities and magical sympathies. This associative process of knowledge, through its heterogeneous ordering of objects and images, draws interesting parallels between the wunderkammer and today’s culture of hyper-connectivity.” Through the many examples of artworks and figurative expressions on view, including films, photographs, videos, bestiaries, labyrinths, performances and installations, “The Encyclopedic Palace emerges as an elaborate but fragile construction, a mental architecture that is as fantastical as it is delirious. After all – says Gioni – the biennale model itself is based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti’s dream.”
- Wet Feet and more / DAAD Galerie / Berlin
- Cross Borders / Curated by Elisabeth Klotz / Museum of Contemporary Art at ZKM / Karlsruhe/Germany +
Over the course of the “Arab Spring” the region to the south of the Mediterranean is undergoing a state of transformation, the events of which are followed in Europe with great interest, but also with hope and skepticism. With respect to content, the focus of the exhibition “Cross-Border” is on artist’s critical investigation of various thematic aspects of the concept of borders, the attitudes and approaches to borders and strategies of overcoming them. Questions emerge within the context of the exhibition, which adopt a clear position to this issue and elaborate a range of solutions, which treat regionally specific, political or cultural aspects. The eighteen artists whose works are represented in the exhibition are globally networked. Several of them have spent many years abroad, a number of them currently in foreign countries or else commute between different countries. The exhibition offers a differentiated perspective on the region through the works of the artists, which invite viewers to reevaluate biased perspectives and misinterpretations. Artists: Arwa Abouon, Lara Baladi, Anna Boghiguian, Yto Barrada, Zoulikha Bouabdellah, Diana El Jeiroudi, Rana ElNemr, Reem Ghazzi, Mona Hatoum, Susan Hefuna, Emily Jacir, Amal Kenawy, Bouchra Khalili, Diala Khasawnih, Randa Mirza, Faten Rouissi, Mouna Jemal Siala, Oraib Toukan
- The Seaman / Freedman Gallery, Albright College / Reading +
The Freedman Gallery at Albright College is pleased to present a video by Bouchra Khalili. This is the first time The Seaman will be shown in the United States, and will be on view in the Gallery's Project Space from February 19 to March 8, 2013. Erin Riley-Lopez, Curator of the Freedman Gallery, organized this exhibition. Filmed against the backdrop of Hamburg, Germany's container terminal, this 11-minute single-channel video is divided into three distinct chapters: "Merchandise," "Isolation," and "Home." The terminal is shown alternately during the day and evening hours as a deserted space, devoid of any human presence—the crates and machines of the terminal become the moving figures in the video. A voiceover narrative—of a Filipino seaman talking about his daily life on shipping cargos—blends seamlessly with the image. Working symbiotically, the narrative and image convey the experience of permanent exile. About the artist Moroccan-French artist Bouchra Khalili was born in 1975, in Casablanca, Morocco. Raised between Paris and Casablanca, she later studied Cinema at the Sorbonne Nouvelle, and Visual Arts at the Ecole Nationale Supérieure d'Arts, Paris-Cergy. She lives and works between Paris and Berlin. Bouchra Khalili's work in video, mixed-media installations, photography, and prints combines a conceptual approach with a documentary practice to explore issues of clandestine existences and political minorities. In her work, she articulates language, subjectivity, discourse and speech, transitional territories and transit zones, investigating the interrelation between contemporary migrations and colonial history, physical and imaginary geography. Her work has been shown extensively around the world, including recently at Intense Proximity - La Triennale, Palais de Tokyo (Paris, 2012); The 18th Biennale of Sydney (2012); The Museum of Modern Art as part of the film exhibition Mapping Subjectivity (New York, 2011); The 10th Sharjah Biennial (2011); The Gulbenkian Foundation (Lisbon, 2011); The Liverpool Biennial (2010); The Studio Museum in Harlem, New York (2010); The Museum of Contemporary Art, Detroit (2010); INIVA, (London, 2010); Gallery 44, (Toronto, 2010); The Reina Sofia National Museum, (Madrid, 2009); and The Queens Museum of Art, (New York, 2009), among others. She is also the recipient of numerous grants and awards, including The Louis Lumière Award (French Ministry of Foreign Affairs, 2005); The Image/Mouvement Grant (French Ministry of Culture, 2007); The Videobrasil Residency Award (Sao Paulo, 2009); and The Cultures France Hors Les Murs Award in 2010. In 2012, she was the recipient of the Daad - Artist in Berlin Award, and The Vera List Center for Art and Politics Fellowship (The New School, New York, in association with ArteEast).
- Imagined Place / Tropenmuseum / Amsterdam +
Imagined Places Adrian Paci, Zineb Sedira, Bouchra Khalili, Claudia Cristovao, Ho-Yeol Ryu
- Kurzfilme von Bouchra Khalili: STRAIGHT STORIES (2006 – 2008) MAPPING-JOURNEY (2008 – 2011) SPEECHES (2012) / Deutsches Film Institut / Frankfurt +
Die Beschäftigung mit Exil, Verlust und Entwurzelung durchzieht alle formal durchdachten Werke der französisch-marokkanischen Video- und Fotokünstlerin Bouchra Khalili. Die Videos des MAPPING-JOURNEY-Projekts basieren auf Erzählungen namenloser Flüchtlinge, die über ihre Migrationsrouten nach Europa berichten. Diesem modernen Nomadentum widmet sich auch die als Triptychon konzipierte Serie STRAIGHT STORIES. SPEECHES zeigt Migranten, die in ihrer jeweiligen Muttersprache Auszüge aus Schlüsseltexten des postkolonialen Diskurses vortragen. Khalilis Arbeiten sind bei vielen internationalen Festivals und Ausstellungen vertreten, unter anderem im Centre Georges Pompidou. Folgende Filme von Bouchra Khalili sind zu sehen: STRAIGHT STORIES – PART 2: ANYA (Frankreich/Türkei 2008. 12 Min.) MAPPING-JOURNEY #1 (Frankreich 2008. 4 Min.) MAPPING-JOURNEY #3 (Frankreich/Palästina 2009. 3 Min.) MAPPING-JOURNEY #4 (Frankreich/Italien 2010. 4 Min.) MAPPING-JOURNEY #5 (Frankreich/Italien 2010. 11 Min.) MAPPING-JOURNEY #7 (Frankreich/Spanien 2011. 6 Min.) SPEECHES: AIMÉ CÉSAIRE (Frankreich 2012. 3 Min.) SPEECHES: ABDELKRIM AL KHATTABI (Frankreich 2012. 4 Min.) SPEECHES: MALCOLM X (Frankreich 2012. 6 Min.) SPEECHES: EDOUARD GLISSANT (Frankreich 2012. 4 Min.) SPEECHES: MAHMOUD DARWISCH (Frankreich 2012. 3 Min.)
- Film Screening and Conversation : Bouchra Khalili: Invisible Road / The New School, Kellen Auditorium Sheila C. Johnson Design Center / New York +
Working in video, print, photography, and mixed media installations, Bouchra Khalili has emerged as one of the most significant artistic voices to mine the experience of immigrant minorities. The artist combines a conceptual approach with documentary practices to explore issues of forced nomadism, undocumented existence, and minority discourses. The recipient of numerous awards, among them this year’s DAAD-Artist in Berlin Award, Moroccan-French artist Bouchra Khalili is a 2011-2013 Vera List Center Fellow with a New York residency in association with ArteEast. During her fellowship, Khalili will build upon research that she has been conducting for nearly a decade and focus on New York’s population of undocumented immigrant laborers and the everyday objects that are evidence of their clandestine existences. Born in Casablanca, Morocco, and based between Berlin and Paris, Bouchra Khalili was trained in film, video, and the visual arts at the Sorbonne Nouvelle and the Ecole Nationale Supérieure d'Arts de Paris-Cergy (ENSAPC) and a founding member and curator at the Cinémathèque de Tanger, North Africa’s first cinema cultural center. The screening of select works by Khalili is followed by a conversation between the artist and film curator Livia Alexander, Executive Director of ArteEast. Participants Bouchra Khalili, artist and 2011-2013 Vera List Center Fellow Livia Alexander, Executive Director, ArteEast Organized and presented by the Vera List Center for Art and Politics at The New School in conjunction with the center’s curatorial focus theme Thingness, the New School class Art & the Political, and ArteEast.
- Becoming voice / Curated by Florian Wüst and Maxa Zoller / South London Gallery
- Wet Feet and more / Galerie Polaris
- 18th Biennale of Sydney - All our relations / Curated by Catherine de Zegher and Gerald McMaster / Art Gallery of NSW / Sydney
- Future Wide Open School / Hayward Gallery / London +
This summer, for one month only, the Hayward Gallery will transform itself into Wide Open School. An experiment in public learning, Wide Open School will offer a programme devised and fuelled by the imaginations of leading artists from over 50 different countries. Intended as a school for people who love active learning but don’t necessarily like being taught, Wide Open School will be a place where people of all ages and from all walks of life can explore, alongside artists, an unpredictable assortment of subjects. The heart of Wide Open School will involve creating an energetic atmosphere for exchanging ideas, so that all participants gain a direct experience of different ways of thinking, questioning and solving problems. Classes will be held in the galleries, where artists will develop workshops, group projects, seminars, lectures and/or performances about subjects in which they are passionately interested, and that may extend to topics far beyond the methods and scope of conventional education.
- Target Boden / Havremagasinet / Boden / Suède
- Wet feet , Dry Feet, solo show / Centre d'Art Tarragona / Tarragonna / Espagne
- La Triennale / Intense Proximity / Palais de Tokyo +
Artistic Director: Okwui Enwezor Née en 1975, Casablanca, Maroc – Vit à Paris, France À l’occasion de Intense Proximité, Bouchra Khalili présente une version de Speeches en projection sur un seul écran. L’installation était initialement conçue pour cinq écrans suspendus dans l’espace. Pour ce projet, elle invite des exilés à «redire» des fragments de textes majeurs de la pensée politique et culturelle moderne et contemporaine, écrits par Malcom X, Abdelkrim El Khattabi, Édouard Glissant… Chacun des textes est dit dans la langue maternelle des orateurs, dont des dialectes qui ne s’écrivent pas. Au travers de la traduction et de l’oralité, ce processus de déplacement et de « créolisation » tente un double mouvement de réincarnation par la parole de ceux dont les corps, les langues, et les mots demeurent invisibles. Le travail de Bouchra Khalili – vidéo, installation, photographie et œuvres sur papier – explore les trajets migratoires contemporains et la notion d’existence clandestine, en articulant exploration de zones de transit et langues et discours minoritaires. Khalili a participé à de nombreuses expositions internationales, dont récemment «Mapping Subjectivity» au MoMA (2011); la 10e Biennale de Sharjah (2011); «You have been there» pour la Galerie Marian Goodman (New York et Paris, 2011), ainsi que «Meeting Points» (2011) et «Surveillé(e)s» (2011). En 2012, elle inaugure Le Centre d’art de Tarragone avec une exposition personnelle, participe à la 18e Biennale de Sydney, et réside à Berlin dans le cadre de «DAAD-Artist in Berlin Award».
- Once upon a time, the screen del video monocanal a l'univers del cinema / Arts Santa Monica / Barcelona +
Curator : Pascal Neveux: a història del vídeo ocupa un lloc important en la totalitat de les col·leccions dels FRAC. Amb més de 1600 vídeos en les 23 col·leccions dels FRAC, aquest mitjà s’ha afermat en 30 anys com un camp d’experimentació important a nivell internacional. Performances, auto filmacions, ficcions i auto ficcions, narracions, experiments tecnològics, dispositius, instal·lacions, el vídeo reinventa allò real i recobreix una realitat en constant evolució. Amb la coincidència al 2012 del 30è aniversari dels FRACs i el 10è aniversari de Screen Festival/Fira LOOP es presenta, amb col·laboració, l'exposició a Arts Santa Mònica que és la primera mostra a Europa que presenta aquest formidable corpus d'imatges dels FRAC (Fons Regionals d’Art Contemporani, de França). Aquest recorregut en imatges dels anys 70 ençà comença per un homenatge als grans artistes del segle XX. Georges Rey, Marcel Broodthaers, conviden els visitants a entrar en un laberint d’imatges que van des de la frontera en el sentit geogràfic i polític del terme (Khallili, Roeskens, Atay), el viatge, entre exili i somni (Almeida, Sedira, Leccia, Tan, Garcia) i l’arquitectura a partir de la seva dimensió simbòlica i política (Colomer, Narkevicius, Zarka, Downsbrough). ARTISTES PARTICIPANTS: Adel Abdessemed, Lida Abdul, Absalon, Helena Almeida, Francis Alys, Fikret Atay, Faycal Aghriche, Ulla Von Brandenburg, Marcel Broodthaers, Jean-Marc Chapoulie, Keren Cytter, David Claerbout, Jordi Colomer, Edith Dekyndt,Jérémy Deller, Sebastien Diaz Moralès, Marcel Dinahet, Peter Downsbrough, Céline Duval, Latifa Echakhch, Harrell Fletcher, Cyprien Gaillard, Dora Garcia, Mario Garcia Torres, Fabien Giraud & Raphaël Siboni, Dominique Gonzalez Foester, Douglas Gordon, Grout Mazeas, Gary Hill, Jean-Charles Hue, Pierre Huyghe, Patrick Jolley & Reynold Reynolds, Joan Jonas, Lamia Joreige, Isaac Julien, Karl Kells, William Kentridge, Bouchra Khalili, Anja Kirschner, Bertrand Lamarche, Fabrice Lauterjung, Ange Leccia, Cristina Lucas, Anna Malagrida, Paul Mc Carthy, Laurent Montaron, Frederic Moser, Tania Mourad, Ciprian Muresan, Deimantas Narkevicius, Marylène Negro, João Onofre, David Panos, Ewa Partum, Ulrich Polster, Marie Reinert, Hugues Reip, Georges Rey, Pipilotti Rist, Till Roeskens, Anri Sala, Philippe Schwinger & Frederic Moser, Zineb Sedira, Charles Simonds, Fiona Tan, Marie Voignier, Clemens Von Wedemeyer, Akram Zaatari, Raphael Zarka.
- Le Retour. 3éme Festival International d'Art Contemporain Alger / Curator Nadira Laggoune / Musée National d'Art Moderne et Contemporain d'Alger
- J'ai deux amours / Curated by Hou Hanru, Évelyne Jouanno, and Isabelle Renard / Cité Nationale de l'Immigration / Paris / France
- Drift - an exploration of urban & suburban landscapes / Sharjah Art Foundation
- Mapping Subjectivity, Part II: Experimentation in Arab Cinema. 1960-Now. / Curated by Jytte Jensen and Rasha Salti / Museum of Modern Art / New York / USA
- Locus Agonistes: Practices and Logics of the Civic / Curated by Okwui Enwezor / Argos Centre for Art and Media / Brussels +
By initiating a series of discursive and perceptual systems in which fresh hypotheses of the civic can be articulated, presented, and debated, Locus Agonistes aims to participate in the dynamic, lively, and complex debates of contemporary critical cultures in Arab societies and localities adjacent to them in Europe. The project is inspired by the momentous historical forces and the emancipatory logics that are currently reshaping debates on civic identities, political subjectivities, cultural strategies, and artistic practices in Arab societies; and conceived as a response to the various scenarios of rupture between antagonistic political camps, and civic critical cultures. Participating artists include Adel Abdessemed, Saâdane Afif, Doa Aly, Allora & Calzadilla, Tarek Atoui, Stan Douglas, Radhouane El Meddeb, Mounir Fatmi, Mona Hatoum, Bouchra Khalili, Sandra Madi, Basim Magdy, Rima Maroun, Selma & Sofiane Ouissi, Tino Sehgal and Jalal Toufic. Meeting Points 6; Locus Agonistes – Practices and Logics of the Civic is a multidisciplinary event organized in collaboration with Young Arab Theatre Fund and KVS.
- Models For Taking Part / Curated by Juan Gaitan / Justina M. Barnicke Gallery / Toronto / Canada
- You have been there / Curator Marie Muracciole / Galerie Marian Goodman / Paris
- Contemporary African Films / Berkeley Art Musem / Pacific Film Archives
- Borders / Gulbenkian Foundation Lisbonne
- 10th Sharjah Biennial : Plot for a Biennial / Sharjah Art Foundation.
- The Permanent Longing for Elsewhere / Gallery TPW, Toronto
Edition SAM Art Projects, Collection #12 Textes bilingues - Katell Jaffrès : curator at Palais de Tokyo - Thomas J.Lax : Associate curator of media and Performance Art at The Museum of Modern Art
Foreign Office - Bouchra Khalili
22,5 x 16,5 cm