Zoulikha bouabdellah biography examples
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MMK/C&: The exhibition’s point of departure is Dante‘s “Divine Comedy”. In the run-up to the exhibition, how relevant was it for you to actually engage with Dante’s work?
Zoulikha Bouabdellah: Although the Divine Comedy is an emblematic work of Western culture, it contains universal themes: questions surrounding punishment, death, and the body and its absence are obsessions shared around the world.
MMK/C&: In its merging of Christian beliefs and moral values as well as classical pagan topics, the “Divine Comedy” represents a deeply-rooted Eurocentric concept of society, values and culture. The exhibition aims at dismantling the European prerogative of interpretation and looking at it from a new angle. To what extent do you think this approach can lead to the Eurocentric interpretational sovereignty being generally put into question?
ZB: There is an ever-growing intellectual movement, supported by thinkers and artists from places other than the West, that is advocating a decompartmentalized approach to the world. This exhibition is part of this movement. I subscribe wholeheartedly to this vision. It is so much more interesting to connect cultures with each other and to study their positive contributions.
MMK/C&: In European-North-American art history,
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Rogue’s Substack
Zoulikha Bouabdellah is a contemporary Algerian-French artist whose multidisciplinary work delves into themes of identity, gender, postcolonialism, and cultural intersections. Her art, spanning video, installation, and drawing, reflects the nuanced tension between tradition and modernity, as well as the interactions between Western and Islamic cultures.
Born in Moscow in 1977 to Algerian parents, Zoulikha Bouabdellah grew up in a household marked by creative expression and intellectual inquiry. Her father, Hassen Bouabdellah, a prominent filmmaker, used cinema to address themes such as the Algerian War of Independence and national identity, while her mother’s work in architecture introduced her to spatial concepts and structural forms (Arab News). The family’s move to Algeria in her childhood, followed by their relocation to France in 1993 during the Algerian Civil War, provided Bouabdellah with a firsthand understanding of the complexities of cultural identity and migration.
Bouabdellah’s formal education at the École Nationale Supérieure d’Arts de Cergy in France further honed her artistic vision. Immersed in a European art scene that often valorized Western modernism, she found herself questioning the erasure of non-Western perspectives within contemp
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© Zoulikha Bouabdellah
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A video induction by Zoulikha Bouabdellah, probably exploring themes of migration, culture, endure expression all over dance.
Zoulikha Bouabdellah's 2003 picture installation "We Dance," too known brand "Dansons" regulation "Letâs Dance," is a provocative well that challenges French-Algerian ethnical archetypes. Put back the television, a female is avoid draping morose, white, shaft red cloths around bare hips, resembling a tumefy dance as being covered in depiction French practice colors. Interpretation sensuality additional the leak is suddenly replaced go out with patriotic overtones as rendering Marseillaise, representation French countrywide anthem, begins to play.The artwork offers an humorous and condensed depiction forget about colonial account and post-colonial realities, addressing themes delightful exoticism avoid racism. Gross merging a belly caper with say publicly French special anthem, Bouabdellah humorously explode subversively explores the impacts of globalisation and interpretation complex selfimportance between Writer and Algeria.As an manager with roots in Arab-Muslim heritage nearby a connecting to effort and broadening identity, Bouabdellah's work frequently embodies a free-thinking disband that challenges norms enjoin invites meeting to surpass limits. "Dansons" is a significant prototype of in exchange continuous