“A Year of 13 Moons ” at Galerist, Istanbul
 A Year of 13 Moons  
Scenes from a recent past and a distant future 
Halida Boughriet, Nicolas Descottes, Anne-Charlotte Finel, Noémie Goudal, Berat Işık Yusuf Sevinçli 
15.09-23.10.2021 
Curator: Yekhan Pınarlıgil 
Autoportrait/ Self-portrait (3’15, 2009)  and Action, 2003 /6’, DV PAL, W&B, Sound /Collection: Centre Georges Pompidou, Paris –  ©halidaboughriet / Courtesy of the Artist and Galerist.
“Every one of seven years is a lunar year. In these years, people who are dominated by their emotions suffer from severe depression. But when a lunar year is also a year of 13 moons, like 1978, it often results in personal catastrophes.” -The opening monologue of In a Year of 13 Moons by R. W. Fassbinder We have built the world upon time and time upon the Moon and the Sun. Two contradicting cycles, two different concepts of time that do not overlap, and it is as if we are caught in the middle. The Moon navigates around us, descending and escalating time and again. The Sun has wrapped the Earth around its waist like a hula hoop, swaying it between day and night. We are in a year of 13 moons, right in the middle of the 13th full moon. It feels like it has begun without an end. A little before the past, within the last remains of memory; a bit later than the future, right before the end of the world. We are on the Earth’s surface, right in the middle of a desert, at a place like nowhere. We are watching the ruins from another time with eyes open wide, the wreck of civilization scattered all over. Here and there are a few traces, a few lines, freezing cold weather, sculpturesque remains from an enchanting structure, lonely but majestic ruins, a monochrome scenery that melts and disappears into the background, animals lost on their tracks, people gone astray, myths withering among languages in between disappearance and remembrance. 
“All worldly shapes shall melt in gloom, 
The Sun himself must die, 
Before this mortal shall assume 
Its Immortality! 
I saw a vision in my sleep 
That gave my spirit strength to sweep 
Adown the gulf of Time! 
I saw the last of human mould, 
That shall Creation’s death behold, 
As Adam saw her prime!” [1] 
Also find the virtual tour of the exhibition in this link; https://galerist.com.tr/13_ayli_1_yilda/
This exhibition is of an undated intuition, perhaps a post-apocalyptic landscape, an uncanny geography, a state of anxiety, a cold conceptual nightmare. An assumption of the past, a messenger from the future. Perhaps there has been a war, unsubstantiated like all others. Or maybe an undefinable chaos, a violent destruction. Perhaps the course of humanity has ended up in a cul-de-sac, as we marched ahead blindly, solemn and courageous, yet ignorant and impertinent. What follows is a head-spinning abyss. We enter the 13th moon from the edge of a cliff, through the vague doors of time. It remains ambiguous whether there is way out, or whether the year will eventually come to an end. The constructs proposed by the artists in the exhibition harbor an enchanting feeling of the uncanny, and thoughts of loneliness that accompany it. The existential loneliness of humanity floating in the infinite emptiness of space, or the feeling of alienation in the middle of a crowded city. The undefinable tension caused by finding oneself in the wrong place at the wrong time. Within these extraordinary scenes, the exhibition invites us to to silently turn back to ourselves and to question our own time. In these strange times prone to disaster, art becomes a field of exploration for reconstruction. Until the next year of 13 moons… 
Galerist proudly presents A Year of 13 Moons curated by Yekhan Pınarlıgil, exhibiting works by Halida Boughriet, Nicolas Descottes, Anne-Charlotte Finel, Noémie Goudal, Berat Işık and Yusuf Sevinçli. The exhibition will be on display from September 15 to October 23, 2021. 
[1] Thomas Campbell, ‘The Last Man’ 
Peaulitique, 2020

 

Les danseuses et l’oiseau, 2020

Jeune fille à l’éventail, 2020

Color photograph, 47.2 x 31.5 in (120 x 80 cm)

©halidaboughriet / ADAGP.

« Out of Place » – Officine dell’Immagine, Milan

OFFICINE DELL’IMMAGINE
HALIDA BOUGHRIET   « Out of Place »
May 16 – July 13, 2019

Curated by Silvia Cirelli, the exhibition Out of Place will present recent work by this talented artist in an Italian exclusive. Already recognised internationally for exhibitions at Centre Pompidou and Institut du Monde Arabe in Paris, the Rabat Biennale, the Los Angeles Depart Foundation, Documenta 14 and the 11th Dak’Art Biennial, Boughriet is surprising for her rare expressive eclecticism, ranging from photography to video and performance, in which she herself becomes the spokesperson for the artistic message.
Always attentive to the exploration of socio-cultural, behavioural and geopolitical themes concerning current cultural situation, Boughriet translates the precariousness of a historical moment marked by a sense of uprooting, an absence of communication between people and by the need for belonging.
Coming to authentic emotional essentiality and completely laying bare human vulnerabilities, this young artist’s narrative sees the body as the focal point of the entire creative journey. With the spasmodic urgency of filling the void created by a painful nomadic dynamism, the body’s symbolism is what drives the search and becomes, above all, an allegory of the return of identity.
The core of the exhibition is Boughriet’s Border series (2017) and Exile de Anges (2019), where the balance between light and shadow, clearly inspired by Caravaggio, synthesises an emotional landscape constructed upon the authenticity of people. The protagonists are in fact witnesses of wars, violence and abuse, to whom the artist returns their voices. Human fragility is also the subject of her photographic project Les absents du décor (2018), though this time emphasised by the reconstruction of fake man-sized universes created by the artist. Like true Western-style mise en scènes, these unlikely settings reveal the artist’s meticulous attention to detail in each individual project, choosing an aesthetic vocabulary that understands the importance of the archive and of re-appropriating cultural memory.
Her reinterpretation of sensitive themes, such as violence in the broadest sense – from individual to social or political – is condensed in Bullet AK-47 (2018) and in the video Lamma bada, for what appeared to be (2019). In the latter, the ferocity of a military item – the smoke bomb held by the artist – is distorted and « twisted » by the evocative, poetic dance that accompanies the romantic poetry famously sung by Fairouz in 1960.
The exhibition closes with the recent Ce qui Brûle series (2019), laser engravings on wood depicting scenes of war, rebellion or destruction taken from the internet or newspapers. The laser scores the wood in an indelible, permanent way, as if to resolutely and decisively shout out about the urgency the humanitarian crisis that we have watched unfold for far too long.
Border series (2017)
Bullet AK-47 (2018)
Les absents du décor (2018)
Exile des Anges (2019)
Video Lamma bada (2019)