mariam - comptoir des mines galerie · 2018-03-14 · mariam abouzid souali a déjà participé à...
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M A R I A M A B O U Z I DS O U A L I
E X P O S I T I O ND U 1 5 M A I > 1 1 J U I N 2 0 1 7
C O M P T O I R D E S M I N E S G A L E R I E
M A R R A K E C H
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E X P O S I T I O ND U 1 5 M A I > 1 1 J U I N 2 0 1 7
C O M P T O I R D E S M I N E S G A L E R I E
M A R R A K E C H
M A R I A M A B O U Z I D S O U A L I
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etc., a fact that sustains the hypothesis of Homo Ludens (Huizinga).
What seems to be serious is in fact very playful and vice versa. For instance, although such domains as geopolitics seem to be very strict, like art to some extent, game always appears at the core of their very serious activities. On the other hand, children’s desire to go outside to play is motivated by their desire to escape from the adults’ world and their strict and boring rules. Ironically, however, the temporary worlds they construct cannot avoid being subject to equally rigid rules and constraints. The only difference between real society and children’s fake one is that in the latter, children play must respect rules for no practical reason, which is the very source of their pleasure. The conclusion to draw from this is that human beings, like the universe in which they are embedded, are rule-governed creatures, both physically and mentally.
What and where is home? The dream of returning to a real original home and of physically restituting a space comes easily face to face with
failure, since it is practically impossible to recover a lost time. Besides, urban life is continuously condemning human beings to live in a relentlessly changing world with fluctuant boundaries and in periods of rapid innovation where novelty turns to be the major and obsessive rule.
Under such conditions, my strategy to overcome the unrestored nature of my “original” home and my playful childhood is to use paper as my only stable place. Confronting the blank of the latter, either by drawing or by writing, is not a less playful time, as on paper the feeling of being in control alternates with that of losing control. It is only this rectangular space which can be a fictional original home in which I can keep some traces of what I consider to be my memories as well as of what I consider to be world history.
RULES OF THE GAMEDrawingsMariam Abouzid Souali
It has been a while that I have been working on a series of ink drawings that aim to draw unexpected connections between the wonderland of childhood play and the games that have made up the World and History. In this project, the highly personal and local stories and the very historical facts are woven together in a fictional tapestry.
These drawings shed light particularly upon the team games I used to play when I was a child or to observe other children playing, especially in my birthplace, a remote village in the Rif region of Morocco. These local game practices appear to be universal, and many of them go back to antiquity, e.g., ‘’Semsebbout’’ (leapfrog), ‘’lekiader’’ (Horses), ‘’Khbbayâa’’ (hide and seek), , ‘’Berouita’’ (wheelbarrows), ‘’Imzelqfin’’ (jacks), ‘’lîib ddiour’’ (households’ game), ‘’Rkûl’’ (kicking game), ‘’Kriitna’’ (target bowl game), ‘’Djebbaad’’ (slingshot), … They can also be considered as a
synthetic source of instruction, a good occasion to learn about human societies, their orders and strategies for survival.
In my drawings, these games are especially an object of study. They are either mingled with fragments of a fictional geography or with factual images of some actual geopolitical and economic games. Thus, myths of History appear here and there and images of the tumult of modern life, of the rapid expansion of urbanism and of the human war for survival all come into sight.
Drawing is, in this project, a means of saying how childhood play, politics, economy, art and even war strategies converge in that they all obey the same spatial and temporal limits and the same rules of game. All these actions generate the same feelings of risk, tension/conflict and clinamen/pleasure. All of them culminate in victories or defeats, in achievement or failure. The progress of a game, like that of a trade or that of a drawing, for example, depends on the same playful mechanisms, like chance, increasing risk, tactic, reflex, error, rapidity, dexterity, bluff,
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1« SEMSEBBOUT » (LEAPFROG), 2017
Mine de plomb et Encre sur papier coton120 x 152 cm
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3. CLINAMEN 1, 2017. encre et acrylique fluorescente sur papier Archest. 51 x 57 cm2. LEGO, 2017. Technique mixte sur papier. 65 x 50 cm
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5. ‘’BEROUITA’’ (Wheel-barrows), 2017. Encre sur papier. 40 x 37,5 cm4. ÉLASTIQUE, 2017. encre sur papier. 41 x 37,5 cm
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6. HORSES, 2017. Mine de plomb et Encre sur papier coton. 120 x 152 cm
12 139CLINAMEN 4, 2017Technique mixte sur papier13,5 x 7 cm
10CLINAMEN 3, 2017
Technique mixte sur papier18,5 x 8,5 chacun
7THE HORSE, 2017
Technique mixte sur papier22,5 x 27 cm
8CLINAMEN 5, 2017Technique mixte sur papier 11,5 x 11,5 cm
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12. MNESIC 5, 2017. Encre sur papier. 31,5 x 23 cm11. MNESIC 4, 2017. Encre sur papier. 31,5 x 23 cm
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14. MNESIC 2, 2016. Encre sur papier. 31,5 x 23 cm13. MNESIC 1, 2016. Encre sur papier. 31,5 x 23 cm
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16. MNESIC 3, 2017. Encre sur papier. 31,5 x 23 cm15. CLINAMEN 2, 2017. Technique mixte sur papier. 28,5 x 25 cm
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17« SEMSEBBOUT » (LEAPFROG), 2017
Technique mixte sur papier60 x 56,5 cm
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18THE HORSE, 2017
Mine de plomb et Encre sur papier coton120 x 152 cm
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20. HÉROS 2, 2017. Technique mixte sur papier. 48 x 65 cm19. HÉROS 1, 2017. Technique mixte sur papier. 50 x 65 cm
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M A R I A M A B O U Z I D S O U A L I Née en 1989 à Targuist, province d’El Hoceima, Mariam Abouzid Souali vit et travaille à Tétouan.
Elle a étudié au sein de l’Institut National des Beaux-arts de Tétouan, avant de continuer des recherches
en matière de littérature française et de peinture à l’Université Mohamed V de Rabat puis à l’Université
Abdelmalek Essaâdi de Martil. Elle poursuit ses recherches doctorales à l’Université Abdelmalek Essaâdi
et a obtenu une prestigieuse bourse Fulbright afin de poursuivre son travail de doctorante dans le très
sélectif Bryn Mawr College, Pennsylvanie, USA. Son projet pictural explore les frontières entre l’onirique
et le réel, entre la mémoire et le vécu.
Mariam Abouzid Souali a déjà participé à plusieurs expositions collectives et individuelles (Musée
Abderrahman Slaoui, Musée Mohamed VI d’art Moderne et contemporain, Atelier 21) et à plusieurs
ateliers et résidences d’artistes, notamment Trankat Art Residency, Tétouan et Villa des Arts de Rabat.
Angle rue de la L iberté et rue de Yougoslavie, Guél iz , MarrakechMob. : +212 6 63 01 01 91Tél . : +212 6 88 14 60 74Fax : +212 5 22 49 24 [email protected]
CM Galer ie cm_galer ie
Angle rue de la L iberté et rue de Yougoslavie, Guél iz , MarrakechMob. : +212 6 63 01 01 91Tél . : +212 6 88 14 60 74Fax : +212 5 22 49 24 [email protected]