Cri Silencieux, 2016 ( Beirut) PERFORMANCE PLACE DES MARTYRS, BEYROUTH C-Print 80 x 120 cm. (31 1/2 x 47 1/4 inches) Installation view- Versus Art Project | Contemporary Art Gallery | Istanbul Turkey- 2017 THE TANGIBILITY OF GARMENT, BODY AND POWER PANDORA’S BOX | 2016 Opening: Thursday, October 20, 2016 October 20, 2016 – December 11, 2016 curated by Silvia Cirelli Solo exhibition at Officine dell’Immagine Gallery. Milan
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Psychogeography, 2015 MAAC. Brussel. Conflicts and the scars they leave form the common thread in Boughriets work and it is in this context she invites us to a performance placed in the urban setting of Brussel. Her performance Psychogéography focuses on the immigration problem, a large-scaled phenomenon that still until this date leads to an incoherent reception policy. Boughriet will disturb the public space carrying plastic bags containing a deafening soundtrack that tells the stories of people in exile in resonance with poetic texts that take us on a journey through a chaotic landscape. This performance will find place along a route mapped by the artist and will be filmed
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C-Print 80 x 120 cm. (31 1/2 x 47 1/4 inches) Réflexion (s) (2016), est un extrait de la théorie de Leibniz selon laquelle la réalité est considérée comme un mélange de perceptions qui ensemble construisent une harmonie universelle.
Read OnDes intégrations, 2015 17′ vidéo HD couleur son 16/9 Dans la vidéo Des intégrations , la mémoire collective et la mémoire politique se figent, à la limite de l’amnésie voire de la négation. La voix off augmente le rapport subjectivité/objectivité dans la narration. Les personnages jouent sur une série de correspondances qui érigent le film au rang de transfert visuel. TEASER – DES INTÉGRATIONS ( 2015 )
Read OnEphemeral scenes of lin Mapping vidéo, Tour Greyfriars (King’s lynn, Angleterre) During a projection on the walls of the Greyfriars Tower, the artist Halida Boughriet “refreshes” the memory of the inhabitants of King’s Lynn. Like a drama in several acts, her installation in fact takes its title from the King of Lynn, originally known under the name of “Lin”, a Celtic word which meant “lake”, which she attaches to the austere and jagged silhouette of the former Franciscan monastery. In earlier times, this building in fact acted as a landmark for sailors seeking to return to port. Based on this strong maritime past, the artist creates a story in eight acts whose main actors are the sea and… the inhabitants of the town. During this participative work, residents were in fact filmed for short scenes from everyday life incorporated into the scenario, which are here combined with aquatic references: a threatening sky, bad weather or swells: whether stormy or gentle, the sea here creates a particular atmosphere in which images taken from reality find an echo. A poetic tableau, where visual animation and surging waves address man’s timeless fascination for the ocean.
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Diner des anonymes , Bichromie au regard trompeur, Les enfants de la République. from the series Pandora, 2014. Color photograph, 47.2 x 31.5 in (120 x 80 cm). Guess Who’s Coming to Dinner? Richard Taittinger Gallery in New York.
Read OnProjection vidéo, 3’, Couleur, Son Images extraites: Exposition « Contours variables » à la COMMANDERIE à LACOMMANDE. L’ oeil refllète et diffuse une série d’images de guerre, il devient écran humain et ému du chaos.
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Corps de Masse, 2013-2014 Série « Corps de masse », 2013-2014 Tirage Lambda contrecollé sur Dibond, 120 x 180 cm. Production MAC VAL – Musée d’art contemporain du Val-de-Marne, 2014. Corps de masse est un projet né d’ateliers menés au Musée d’art et d’histoire de Saint-Denis, installé dans un ancien carmel. Halida Boughriet a filmé des habitants de la ville, invités à se rassembler, s’enlacer et faire corps devant la caméra, avant de se séparer lentement. Les scènes se déroulent dans les salles du musée, autrefois cellules des religieuses, espaces exigus, contraignant l’artiste à des cadrages serrés. Les corps unis, baignés d’une lumière naturelle, reprennent inconsciemment les postures des sujets des peintures classiques exposées. Seuls les froissements des tissus, les frottements au sol sont alors perceptibles. Instants fragiles, éphémères, ces rapprochements révèlent la nature des liens humains qui font la force de chacun. Les corps, les cheveux se mêlent, se fondent, puis se séparent dans un mouvement calme, apaisant.
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Installation Photographique ‘Moîse confié aux eaux du Nil’ Impression sur plexiglas , Dimensions variables Galerie, Friche la Belle de Mai, Marseille This photographic composition opens the door to imagination.The photographic elements are detached from one another, similar to theatre props. It’s a scenography that, by following a vanishing point reveals itself in its ensemble as a decomposed painting.I leave the light in through the openings that the space has to offer. It will go through each photographic element that, being transparent, will have its whole meaning revealed. It is a scenography that doesn’t leave aside any of the magistral composition recipes discovered by its great predecessors of the Italian Renaissance and classic age.My models` looks show that they are asking themselves questions and they are at the same time suspicious about the order of the identity of the appearance and of the hidden. I use sequences from the Antiquity and academic poses and adapt them to our age, knowing that the ages are not very different, especially when it comes to geopolitical situations that crossed them. A kind of perfection of the sculptural aspect emanates from the characters that are in this way close to the world of fashion and […]
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