Agorà
permanent sound installation
OPENArchival Platform
Nidhal Chamekh
Artist
Born in 1985 in Dahmani, Tunisia, Nidhal Chamekh graduated from the School of Fine Arts in Tunis and the University of Sorbonne in Paris. He continues to work and live between the two cities. Nidhal’s creations reflect on the times we inhabit. His artwork is situated at the intersections of the biographic and the political, the lived and the historical, the event and the archive. From drawing to installations, and from photography to videos, Nidhal Chamekh’s oeuvres dissect the constitution of our contemporary identity.
His artwork has been exhibited at the Venice Biennial, the Aïchi Triennale, the Yinchuan Biennial, the Dakar Biennial and has been shown in Tunis at Politics Collective exhibitions, in Kunsthaus Hamburg, in France at the Museum of contemporary art MAC Lyon, during the 12th edition of Bamako Encounters, in Italy at FM Contemporary Art Center, in London at Drawing Room, in CCA Lagos in Nigeria and Kadist in Paris, in Sao Paulo for Videobrasil Art Biennial and the Ski
Born in 1985 in Dahmani, Tunisia, Nidhal Chamekh graduated from the School of Fine Arts in Tunis and the University of Sorbonne in Paris. He continues to work and live between the two cities. Nidhal’s creations reflect on the times we inhabit. His artwork is situated at the intersections of the biographic and the political, the lived and the historical, the event and the archive. From drawing to installations, and from photography to videos, Nidhal Chamekh’s oeuvres dissect the constitution of our contemporary identity.
His artwork has been exhibited at the Venice Biennial, the Aïchi Triennale, the Yinchuan Biennial, the Dakar Biennial and has been shown in Tunis at Politics Collective exhibitions, in Kunsthaus Hamburg, in France at the Museum of contemporary art MAC Lyon, during the 12th edition of Bamako Encounters, in Italy at FM Contemporary Art Center, in London at Drawing Room, in CCA Lagos in Nigeria and Kadist in Paris, in Sao Paulo for Videobrasil Art Biennial and the Skissernas Museum in Sweden.
Black History Month Florence | VII edizione
This exhibition brings together two bodies of work that question and provoke notions of the archive as witness, the archive as bystander. The mixed media works seemingly struggling to hold tight accuracy, to shake the ambiguity that is preserved for the empirical lens of zoological anatomy, the classification of mug shots, the precision of mechanical drawings and the personal intimations that hold them together. Chamekh’s childhood in popular districts of Tunis and the persecution of his militant family deeply impact on his art located at the intersection of the biographic and the political, as he draws memories transformed into testimonies.
This exhibition brings together two bodies of work that question and provoke notions of the archive as witness, the archive as bystander. The mixed media works seemingly struggling to hold tight accuracy, to shake the ambiguity that is preserved for the empirical lens of zoological anatomy, the classification of mug shots, the precision of mechanical drawings and the personal intimations that hold them together. Chamekh’s childhood in popular districts of Tunis and the persecution of his militant family deeply impact on his art located at the intersection of the biographic and the political, as he draws memories transformed into testimonies.
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Black History Month Florence | VII edizione
The seventh edition of Black History Month Florence has arrived bringing with it a new cultural center The Recovery Plan at SRISA functioning as a hub for information, dialogues, research and exchange throughout the month. This edition also represents an expansion of the program shifting into Black History Fuori le Mura. Extending the reach of the program to collectivize the incredible organizational efforts being carried out in the cities of Bologna, Torino, Roma and Milano, but also pointing towards newly formed collaborations in Paris, Black History Fuori le Mura is the fruit of collective organization that brings together a range of associations, individuals and institutions and is a shared space for the co-promotion of Black History Month events. This platform intends to be generative of a template for a national and international reflection on the recovery of Black History.
This edition is framed through the thematic title FUGA. FUGA is a meditation on the fugitivity of
The seventh edition of Black History Month Florence has arrived bringing with it a new cultural center The Recovery Plan at SRISA functioning as a hub for information, dialogues, research and exchange throughout the month. This edition also represents an expansion of the program shifting into Black History Fuori le Mura. Extending the reach of the program to collectivize the incredible organizational efforts being carried out in the cities of Bologna, Torino, Roma and Milano, but also pointing towards newly formed collaborations in Paris, Black History Fuori le Mura is the fruit of collective organization that brings together a range of associations, individuals and institutions and is a shared space for the co-promotion of Black History Month events. This platform intends to be generative of a template for a national and international reflection on the recovery of Black History.
This edition is framed through the thematic title FUGA. FUGA is a meditation on the fugitivity of Blackness (Moten, Harney 2013) and its non-fixity permeating geo-cultural realities and blurring the lines between the local and the transnational. It is also a reflection on the push back that continues to persist in the Italian context in relation to discourse around peoples and cultures of African descent prompting many towards flight. FUGA in music is a compositional element where a melodic theme is introduced by one voice only to be taken up successively by others. This edition wants to provide the call and response necessary to collectively engage in the work that needs to be done in order to move beyond the conceptions that are too often restricted by the flatness and limited frame of Blackness as reflected in mass media, institutional structures and academic discourse in Italy and beyond. Shifting from BHMF to BHFM is about engaging in a form of frequency modulation needed to listen and be heard.
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