Alsharif / Cherri
Basma Alsharif / Ali Cherri
June 11 – July 31, 2015
Vernissage le jeudi 12 octobre, à partir de 17h30, en présence de l’artiste
Basma Alsharif is artist-in-residence at the Pavillon Neuflize OBC, creative laboratory of the Palais de Tokyo, since November 2014. She is directing her first feature film this year.
« Every place on Earth is measured in terms of its distance to two imaginary lines. The site at which longitude (vertical line) meets latitude (horizontal line) was fixed in Greenwich, England to be the Prime Meridian in 1884, at a time when the UK was a major colonial power. The Northern and Southern Hemisphere being divided by the imaginary line that is the equator, a line equidistant from the North and South Pole. Prior to this, there was no standardized time, no way to tell when the day started, or ended, or even how long that day was. Each place had its own system, its own Prime Meridian1. The installation ‘High Noon’, a video loop accompanied by eight film stills, takes root in that knowledge and launches us into a future in which North, South, East and West are constantly shifting. We are brought to a place that exists across time and
space and can imagine being everywhere all at once, glimpsing a hallucinogenic paradise. The images trap in their compositions a portrait of two places at the same ephemeral moment: The West Coast of Southern California and South Eastern Japan.»
Basma Alsharif, mai 2015
« For the past year, my artistic practice has been focusing on the construction of national identity in the fields of museology and the archaeological object. Archaeology creates the ideological imaginary and the founding myth of a people. At the same time, it exhumes genealogical history, retracing the past, evolution, appearance and ideals of our ancestors. Most of all, as a project, archaeology is a guarantee of the demographic and geographic contours of the nation state.
Through the analysis of this scientific discipline – collection of artefacts, interpretation of what these objects support or refute in terms of historical narrative, positioning and museum segmentation, discursive invocation of the archaeological site and object as a place for political protest – I hope to highlight the micro-dynamics, paradigms and arguments by which geography landscape, history and historicity are written. »
Ali Cherri, mai 2015