Rift in Time, 2017, 68×100 cm, Courtesy de l’artiste, production IESA Série photographique couleur en cours. La photographie Rift In Time vient d’une série photographique dans laquelle l’artiste se focalise sur la « tabâa », terme qui désigne la marque laissée sur le front dû à la prosternation lors des rites de prière musulmans. Ce stigmate attesterait d’une assiduité religieuse et apparaitrait au fil du temps tel un tatouage qui s’encre dans la peau. Aussi il serait un symbole de représentation sociale et se réfère à un dialogue esthétique très codifié. Rift in Time, met en lumière les empreintes laissées par la vie et par la prière. Empreintes emblématiques de mythes ritualisés provenant de civilisations ancestrales aux géographies diverses. Cette œuvre soulève des questionnements sur la ritualité, la sincérité et l’imagerie de ces mythes. DANS MES MAINS, DANS MES RÊVES MÊME, Au Patio Opéra ( Paris)
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New World/Nouveau Monde (Beirut) Workshop and Curator – Halida Boughriet “New World/Nouveau Monde” presents the works of 5 previous finalists of the Byblos Bank Award: Myriam Boulos, Ghaleb Cabbabé, Tarek Haddad, Lama Mattar, and Carmen Yahchouchy. This initiative, which is part of the Byblos Bank Award’s 5th Anniversary celebrations, is the result of a special workshop organized in July 2016 by Byblos Bank and BEIRUT ART FAIR, and given by Franco-Algerian artist Halida Boughriet. This five-day workshop was open for all previous finalists of the Byblos Bank Award, and the organizers selected the five participating artists based on submitted portfolios. Participants had the opportunity to experiment with new artistic techniques with the aim of contributing to the plurality of interpretation and its different possibilities, exploring the notion of fracture in order to generate a new world and bring out the inexpressible, the indescribable. This exhibition is a response to the breaches and wounds afflicting our contemporary world.
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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.
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