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moroccan artist meriem bennani offers an absurd antidote to fake news - plexiglass sheets

by:Cailong     2019-08-04
moroccan artist meriem bennani offers an absurd antidote to fake news  -  plexiglass sheets
On Aug.
On the 21st, President Donald Trump, like many Americans, looked in awe at the moon passing between the sun and the Earth.
Multimedia artist Meriem Bennani posted a video of a viral moment on Instagram showing the commander-in-
When he squinted at the sky, the chief caught a glimpse of the natural phenomenon.
However, the video from Bennani is fake news.
In her edited adaptation of real events, Trump is equipped with special "eclipse glasses" in the shape of KKK hooligans-a reference to his continued reluctance to condemn Virginia after the violence in Charlottsville.
As the sky gets dark and the eclipse approaches the whole, Bennani surf the triangle hood like a Pac
With the dramatic music boom in the background, the paranoid BFF of humanity transcends the sun.
Bennani's film is reminiscent of video clips that dominate the social media platform Vine, which is now non-existent, between viral video and capital "A" artwork.
As an artist, Bennani has created videos that constantly test the edge of the media, swinging between documentaries and fantasies, seriousness and farce, the most interesting home videos in the United States and David Lynch.
Her aesthetic recalls what it looks like when the live broadcast is immediately filled with jumping emojis, Crystal hearts and angry faces above world events.
Most often, Bennani's movies dramatize the absurdity of everyday life with the help of lively special effects that sparkle! .
Sometimes, however, the real world is bizarre enough.
For example, here is the shot of a woman walking a balloon dog in Dubai with the following sentence: "Is this a real life? ? ”The 29-year-
The old artist was born in Rabat, Morocco and now lives in New York.
As a Muslim woman in Trump America, she has experienced a pressure to understand that it is to use art to "speak out loud" for others like her-immigrants, Muslims and women
Bennani accepted this responsibility, but rejected its usual rhythm and replaced gravity with fun.
Her sense of humor is not ironic, but more
Style amie Style, regardless of the political beliefs of the audience, has shaken their inner reaction.
Bennani's exhibition "Siham & Hafida", currently on display in the New York kitchen, is a video device that spans multiple surfaces, turning the entire space into a cluttered screen during the conversation, but not completely synchronized.
The viewer switches back and forth between moving image streams, patching up her own unique narrative in the process, turning the gallery space into a full
Including details and explanations for competing with each other.
Work in her iconic documentary stylegone-
Bennani's haywire specifically explores the contemporary state of chikha performers-the Moroccan female singer is involved in a musical tradition that originated in the 20 th century called Aita.
As Bennani explained to Huffington Post, the chikha singer uses an Arabic dialect that almost disappears outside of this particular ritual.
There is no written form, so the language is delivered orally through the song.
"They are really archives of this language," Bennani told Huffington Post . ".
"This is the history of pop culture.
Every generation is updating the tradition of oral history.
Through the bodies of these women, the history of the whole country remains intact.
Chikha performers span entertainment, folklore and resistance;
They are both pop stars and cultural guardians.
The music genre was a powerful rebel pattern during the French colonial Moroccan period in the early 20 th century, and the Moroccan people controlled the culture in a way, as the influence of the West became stronger and stronger.
Bennani and two influential chikha icons from two generations spent some time in Morocco.
Hafida is the veteran of Aita and Siham is the rising star of Aitaand-coming star.
Hai you from the older generation,
She is illiterate, wearing a headscarf and has devoted her whole life to the custom of Aita.
Siham, on the other hand, is addicted to her iPhone, uses up beautiful makeup to decorate designer clothing, and introduces her art form to the younger generation in Morocco.
Although Hafida and Siham knew each other, they never spoke.
Resentment stems from an embarrassing encounter in the past, during which Haifa entered the room where Siham was hanging out.
Apparently, instead of saying hello, Siham left immediately.
"What can I say?
That's what people do. . .
Hafida told her husband about it before she fell behind in Bennani's installation.
"I came in and she left right away.
I don't know why she left right away.
Hafida's wounded self and a firm commitment to her resentment is relevant.
Viewers may not think they have so much in common with an old school chikha, but it seems that a small grudge is a good balance.
Bennani spent two days as a Hafida guest and filmed her every move.
The artist injected hints of magical realism into her documentary-the sweat on her forehead sparkled like a diamond, and the violin presented a drooling texture --like gel.
Once, when Hafida prepares the salad, the camera will zoom in on her vegetables, which then dissolve into animation with plenty of lightsoaked trip.
A crab, whose stubbornness and isolation recall the character of Hai You, climbed out of the fresh wreckage.
In the age of fake news, when technology is becoming more and more likely to make fake footage similar to reality, Bennani provides incredible forged documents, even though they are telling the truth.
After leaving Hafida's residence, Bennani stayed with Siham, 23. year-
Bring the Aita tradition back to the ancient tradition of Moroccan youth.
Although Siham took part in a custom campaign based on oral communication between generations, her career was independent of Hafida.
The young chikha has never sought guidance from the elders.
Bennani compares Siham to a blue butterfly whose digital form occasionally swings in and out of view.
However, Siham is well aware of Hafida and her legendary contribution to chikha's history, and Hafida is equally aware of Siham's impact on the present --day Aita scene.
Maybe if Siham finds Hafida on that defining day, they will be friends and even collaborators.
But the two remain separated and suspicious;
In line with a strong tradition, out of touch with pain and pride.
Time side-by-side-
Honor, power for women
The kind of petty competition that is often encountered on real TV drives tradition, which is a pleasure to watch.
They are like us.
In the end, Bennani planned a meeting between Siham and Hafida, which was very embarrassing and full of implicit complaints.
In Bennani's video, Hafida mentioned Siham's slight injury to her-when she left the room-Siham assured her that she was not malicious and that someone had just called her
The two never reached any great understanding, but there was a clumsy and fascinating attempt on the connection.
In the end, Siham suggested taking a group selfie, the first smile for all women.
The most hypnotic part of the film is to watch a woman named Khadija, a backup singer and dancer of Hafida, move in the circle of Aita musicians, play the violin, uddqin
She was wearing a long dress, rolling, bumping and shaking her body over the beat, putting her hair down and tossing back and forth to the fullest.
Bennani then layered the movie effects into the scene, adding a surreal element to Khadija's already fascinating performance.
It was as if her body was still, rippling like a flame.
Technology and tradition are at the heart of Siham and Hafida misconceptions, and perhaps a little bit of self and jealousy.
Bennani entered the scene as part of the mediator, part of the theater, and eventually convinced these women to become better while playing with them in the process.
Asked if Siham and Hafida would see Bennani's final product, the artist declined.
Neither of them expressed interest. More than Bennani.
The limbed film was shown throughout the kitchen gallery space, immersing the audience in fascinating shots of Moroccan culture and juicy drama.
A screen is surrounded by a silver ladder that comes out of the pool and is masked by a colored organic glass sheet described by Bennani as a "filter in real life.
Another living at the end of a kaleidoscope
Dance on the edge of a cylindrical crab and butterfly style tube, protruding Whirlpool, digital extraction.
"I'm trying to develop a language for my video, where space is a big part of it," Bennani said . ".
"I'm not interested in my video showing on one screen.
I try to expand my understanding and promote the development of language.
Video exists outside the screen;
It's not just editing and everything in it.
"On our news and TV screens, a variety of virtual entertainment modes continue to penetrate into spaces that were once reserved for real and real.
Through her obvious silly glance at life experiences, Bennani's shock to fake news offers an optimistic rebuttal.
Instead of pretending to be true to eliminate false information, Bennani tells the true story with outrageous equipment, always leading the audience to the absurd necessary content.
With "Siham & Hafida", Bennani breaks the boundaries between the screen and space, truth and fantasy, old traditions and trivial gossip while providing exquisite art and
Meriem Bennani's work is always visible in the kitchen of New York until October. 21, 2017.
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