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Yto Barrada, « Randonnée, Bivouac, Trekking et Circuit en 4x4 (Marrakech) » (2014)

Original edition, signed and numbered by the artist
Cet article est une traduction de :
Yto Barrada, « Randonnée, Bivouac, Trekking et Circuit en 4x4 (Marrakech) » (2014)

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1By following the series proposed by Critique d’art, you will acquire a collection of limited editions of original art objects at a moderate price.

2Yto Barrada was born in Paris to Moroccan parents, and divides her time between New York and Tangier. Tangier, which saw a memorable and tragic part of Yto Barrada’s family history, embodies the fate of Morocco and the suffering caused by the loss of social and cultural identity. Yto Barrada’s work draws from these two particularities, and sees the artist finding inspiration and substance both in family archives and in a commitment to recreate social bonds. In this perspective, as from 2003, she gave new life to a downtown cinema built in 1931 by converting it into the Cinematheque of Tangier, which she directed until 2012.

3In the Détroit photographic series, which brought her work to public attention in 2003, the artist asserts her determination to counter picturesque imagery, while also highlighting the ennui that emanates from the city closest to an unreachable Europe. For her, Tangier is a city where “there is a coincidence between a physical, symbolic, and historical space, and sometimes, in [her] opinion, an intimate one.” Détroit collects photographs where emptiness and neglect are palpable; where “strangeness comes from false familiarity.” The pictures are arranged as a sort of backwards coverage. There is no event and there are no faces – only the presence of a diffuse social violence, indescribable because hidden. These photographs manifest the artist’s will to create a body of work that is politically inclined, in its noble sense of resistance and resignation.

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« Yto Barrada, « Randonnée, Bivouac, Trekking et Circuit en 4x4 (Marrakech) » (2014) », Critique d’art [En ligne], 42 | 2014, mis en ligne le 11 juin 2014, consulté le 19 septembre 2017. URL : http://critiquedart.revues.org/13763

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