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Much of Lydia Ourahmane’s work has been an exploration of the multiple connotations of barzakh, the barrier or threshold that separates two things that must be kept distinct. In Islamic philosophy, this is the liminal place which the soul inhabits after death, while awaiting the Day of Judgment. For the multi-disciplinary artist based between Algiers and Barcelona, this space of limbo between life and death has generative potential.
Through painting, and more recently, sculpture and collage, Kamrooz Arams practice explores the classification and hierarchies of art history. Grounded in eurocentrism and informed by colonial conquest, understandings of Islamic artitself a European disciplinehave been formulated through contradistinction.
Lights New Measure borrows its title from a poem in the 2012 collection Sea and Fog, gesturing to the dialogue between Adnans artwork and her poetry. Indeed, it would be impossible to think about her art practice as separate from her literary pursuits, especially since a persistent struggle with language(s) frames her experience of both the literary and visual.
Throughout its various iterations, May amnesia never kiss us on the mouth insists on mourning and memory as collective practices that transcend boundaries and refuse the geographic and social fragmentation fundamental to colonial violence, through ongoing acts of everyday defiance and resistance.
This Phenomenal Overlay is a sonorous exhibition which, layered with sensory texture, is expansive in its epistemological explorations, a meditation on materiality, material culture, the intersection between poetics and technology.