Part.2 10 December-10 January 2015 Grace Ndiritu
15 Janvier-15 Fevrier 2015 Patricia Esquivias
Curator : Abdellah Karroum
The idea of "revolution" is initiated by artists and intellectuals in the first place, then by the political activities of generation 00 for example.
This exhibition presents works produced during or following expeditions and recent artistic residences in the Rif, initiated by the curatorial delegation, in collaboration with the artists and the inhabitants. New productions are thus produced at L’appartment 22 in connection with these back and forth movements from the place of production and exhibition space.
Expeditions to the End of the World have been launched by Abdellah Karroum in 2000 to experiment with this curatorial principle based on the relationship between an artwork and its context of emergence, in shifting and encounters. Artists think and produce ephemeral works that interact with the landscape, but also with the locals. The geographic, social and contextual inscription are claimed in the process of creating the work. The idea of the Rif Residencies takes shape as a catalyst of the Expeditions to the End of the World. The project keeps intrinsically the idea of action in dialogue with the historical and social realities and concentrates on a given geographic area, as an example of action unders.
The curatorial shipping term and that of residence based on the multiple meanings of the two words, also evoking the colonial expeditions perpetrated in Rif and the colonial residence and occupation of territory. Colonial expeditions, conceived to produce a Moroccan archive together anthropological and social studies form a knowledge of local social organizations, but have also been manipulated for military purposes to control the territory.
Artists who participated in the Expeditions to the End of the World and the Rif Residencies, aware of these issues, propose new productions involving questions about history, memory, and the role of the artist in society.
For the fourth edition of A Quest For Meaning (AQFM), Ndiritu has decided to use materials from the earlier volumes AQFM Vol. 1 and AQFM Vol. 2 of the project in MACBA, Barcelona, and La Ira De Dios Buenos Aires as a conceptual and formal framework for the new installation in L’appartement22, Rabat and bring the AQFM periodical newspaper back from its journeys abroad to where it first started in Morocco when Grace Ndiritu participated in a residency at L’appartement 22 in collaboration with MACBA, Barcelona.
For the fourth edition of A Quest For Meaning (AQFM), Ndiritu has decided to use materials from the earlier volumes AQFM Vol. 1 and AQFM Vol. 2 of the project in MACBA, Barcelona and La Ira De Dios, Buenos Aires as a conceptual and formal framework for the new installation in Rabat and bring the AQFM periodical newspaper back from its journeys abroad to where it first started in Morocco when Grace Ndiritu participated in a residency at L’appartement 22 in collaboration with MACBA, Barcelona in December 2013.
This new installation uses the Moroccan political context to discuss architecture and design within a domestic space using the window as a transitional border to reflect upon issues of public spaces in a politically charged atmosphere i.e. opposite L’appartement 22 stands the Parliament where public demonstrations take place and can be seen from the balcony and window
The L’appartement 22 installation also uses visual props from the previous installation in Buenos Aires in an industrial space, and references the menacing symbol of the smiley face within the warehouse party context, signifying a new Generation 00 of ’artistic ravers’ entering the art world to usurp the authority of the art market.
link of the project :