exhibitions

Mohammed Laouli, << Attokoussy: Hassad al Houb / Labour of Love >>, 2017 video and perfume installation with rose water vapour

 Attokoussy الطقوسي (Part II)

MOHAMMED LAOULI – Hassad al Houb / Labour of Love, 2017                 

11/16 –11/30/2017

Opening: Thursday, 16th of November, 2017, 10am (coffee&cake)

Introduction: Elisabeth Piskernik, Le Cube, Rabat, Morocco

Mohammed Laouli creates with the video << Hassad al Houb / Labor of Love >> an interface between the arduous work of Moroccan women in the production of rose water and a text of the feminist activist Sylvia Federici. In the artist’s work, we see a ritual in which a miraculous rose water is produced that symbolizes a cure against patriarchal, sexist, and capitalist thinking. This water, presented in little flacons in philomena+ showcases, is intended to release the viewer from these thoughts.

Mohammed Laouli was born in 1977 in Salé, Morocco, where he still lives and works today. He studied philosophy in Rabat. His artistic work focusses on social marginalized groups and has received high recognition in the international arena.

<< Attokoussy >> is the Arabic epitome for practices and rituals of faith. The art project with the same title is a collaboration between the independent art space Le Cube in Rabat and Hinterland Gallery in Vienna. It deals with the so often ethnically and archaically connoted theme by the use of new artistic approaches. In September 2017 an artist residence programme in Marrakesh, organised by Le Cube, gave the opportunity to several artists from Morocco, Austria and Australia to confront the local practices of faith and to transform these experiences into and drawings where the past and the present merge with each other. One of them is the video work << Hassad al Houb / Labor of Love >> by Mohammed Laouli. 

Curators: Elisabeth Piskernik and Gabrielle Camuset, Le Cube / Rabat.

The entire exhibition «Attokoussy» in the Galerie Hinterland, Krongasse 20, 1050 Vienna will stay open until Dec. 23rd, 2017.

philomena+ thanks the artists and initiators of the project «Attokoussy».

venue: philomena+ showcase, Heinestraße 40/7, 1020 Vienna, +43(0)664-1431453

Attokoussy is part of the Vienna Art Week 2017.

 

 

 

 

 

 

 

 

 

 

 

philomena+ is pleased to announce its participation at the Parallel Vienna 2017 and to present the exhibition

<< Harraga  حراقة >>
Algerian Arabic for „those who burn“ (the frontiers). Harragas are persons who run ashore.

Sahar Bardaie (IRA)
Yesmine Ben Khalil (TUN)
Armin Mohsen Daneshgar (AUT/IRA)
Patricia K.Triki (TUN)
Hela Lamine (TUN) 
Rania Werda (TUN)
Wolfgang Wirth (AUT)

10th floor, Room 1001

Bild könnte enthalten: Text
Parallel Vienna 2017                                  Schnirchgasse 9A
A-1030 Wien

Opening Hours:
Tue 09/19 1pm-10pm
Wed 09/20 3pm-11pm Fair Night
Thu 09/21 12am-8pm
Fri 09/22 12am-8pm

 

 

 

 

 

 

plakate

THE TURN المنعرج – Art Practices in Post-Spring Societies exhibition/performances/conference/publication

curated by Christine Bruckbauer and Patricia K.Triki

The Arab Revolution held much promise. Anger at the old regime and a burning desire for political and social change caused the people to rebel. The revolution opened up possibilities and inspired new beginnings far beyond the borders. These political transformations have also caused a ‘turn’ in local art practices. Artists began to intervene in their own way and to become more vigorous participants in civil society. On the occasion of the 5 years-anniversary of the revolution, the Kunstraum Niederoesterreich and Public Art Lower Austria were presenting interventions by artists from the MENA region (Middle East and North Africa) as well as Austria. All of the projects took place in urban and rural public spaces in Tunisia and express the hopes and difficulties of the democratization process. For THE TURN المنعرج, the curators Christine Bruckbauer and Patricia K.Triki faced the challenge of presenting works initially not only intended for the public space but also participatory and process-oriented in the Kunstraum Niederoesterreich. There a number of questions arise: What remains? Can we measure the effectiveness of these projects in which international artists also took part and which were largely funded by foreign institutions? What is the role of art in times of transformation?

The conference THE TURN المنعرج on March 18 in the Kunstraum Niederoesterreich was a chance to explore these issues and other crucial questions in comprehensive discussions with artists, civilians who participated in the projects, art historians, and representatives of funding institutions from Tunisia, Egypt, Libya, Syria, Germany and Austria.

At the opening, there were three performances: Moufida Fedhila: DO NOT TRACK Halim Karabibene: COMMUNIQUÉ NUMÉRO 2: AUTOFLAGELLATION POST RÉVOLUTIONNAIRE Inkman: KINGDOM OF LETTERS, CALLIGRAFITTI

Participating artists: Omar Abusaada (Syria), Mohamed Allam (Egypt), Noutayel Belkadhi (Tunisia), Arslane Bestaoui (Algeria), Irena Eden (Germany/Austria) & Stijn Lernout (Belgium/Austria), Moufida Fedhila (Tunisia), Reem Gibriel (Libya), Inkman (Tunisia), Helmut & Johanna Kandl (Austria), Halim Karabibene (Tunisia), Huda Lutfi (Egypt), Selma & Sofiane Ouissi (Tunisia), Anja Pietsch (Germany), Hamdy Reda (Egypt), Faten Rouissi (Tunisia), transparadiso (Barbara Holub & Paul Rajakovics, Austria)

The following projects are being presented: BLASTI (Anja Pietsch & Miriam Stock), BYE BYE BAKCHICH SYSTEME (Faten Rouissi), DE COLLINE EN COLLINE (Faten Rouissi), DJERBAHOOD (Mehdi Ben Cheikh), DREAM CITY (Selma & Sofiane Ouissi), ECRIVAIN PUBLIC (Irena Eden & Stijn Lernout), LAAROUSSA (Selma & Sofiane Ouissi), LA CHRONOLOGIE (Christine Bruckbauer & Patricia K.Triki), MNAMC (Halim Karabibene), SUPER-TUNISIAN (Moufida Fedhila)