Dremless night is Ali Cherri’s first solo exhibition in a French institution. The exhibition features a new video work entitled The Watchman (2023), as well as a series of original sculptures and drawings produced especially for the show. These works relate to symbolic elements and characters from the film, as well as to the geographical and cultural landscape of Cyprus.
Le songe d’une nuit sans rêve
The “ENVISAGEMENT” exhibition at the Institut Giacometti brings together the works of Lebanese visual artist and video artist Ali Cherri and those of Alberto Giacometti, one of the great masters of modern art. Sharing with Giacometti a particular interest in the representation of the human head, the artist explores the notion of “envisagement”, a term referring both to the action of envisioning something, and to the evocation of the face.
This double meaning finds a particularly striking echo in Giacometti’s sculptures and paintings, where the human face is the motif of a ceaseless search as much as a realization in the making.
This exhibition will unveil new creations by Ali Cherri, most of them specially designed for the show. These new works will resonate with the rich selection of paintings, sculptures and drawings by Alberto Giacometti from the Fondation’s collections.
Entitled “Memory is an Editing Station”—a phrase taken from a poem by Waly Salomão (1943–2003)—Biennial Sesc_Videobrasil reaches its 22nd edition in 2023, after being postponed for almost two years due to the COVID-19 pandemic. Curated by Raphael Fonseca, from Brazil, and Renée Akitelek Mboya, from Kenya, the Biennial also celebrates the fortieth anniversary of Videobrasil, initially devoted to video, and which has expanded over the decades to encompass a broad range of artistic languages.
In this celebration, “it is, therefore, necessary not only to reflect on time and the many conceptions of memory, but also to revisit the importance of video in these four decades,” write the curators. It is also worth remembering that in contemporaneity the possibilities for image editing were transformed, and have become more agile and within reach of our fingers in a range of technological devices we use every day.
Far beyond these particular “editing stations,” the 22nd Biennial seeks works that address collective memories, acts of remembrance and forgetfulness that build historical and social narratives, related to peoples, nations and geographies. “What are the ethical boundaries of a cut? Who holds the power to do so? How to forge the memory of what we didn’t see or feel in our bodies? What are the limits of memory?”, the curators ask.