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Lida Abdul, Centre a & Western Front, Vancouver. January 23

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Lida Abdul, Centre a & Western Front, Vancouver. January 23 Document generated on 10/02/2021 12:06 p.m. Ciel variable Art, photo, médias, culture Lida Abdul, Centre A & Western Front, Vancouver. January 23 - March 1, 2008 Sadira Rodrigues Les couleurs de la ville Colours of the City Number 79, Summer 2008 URI: https://id.erudit.org/iderudit/19492ac See table of contents Publisher(s) Les Productions Ciel variable ISSN 1711-7682 (print) 1923-8932 (digital) Explore this journal Cite this review Rodrigues, S. (2008). Review of [Lida Abdul, Centre A & Western Front, Vancouver. January 23 - March 1, 2008]. Ciel variable, (79), 58–59. Tous droits réservés © Les Productions Ciel variable, 2008 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ le mouvement sous laform e d'une PAGE PRECEDENTE silhouette floue. Nous pourrions yvoi r une Clara Gutsche métaphore du passage du temps, de la Via Nazionale,pres o dalla villa Aldobrandini,Rome , 2002 présence éphémère des hommes face à la Épreuve chromogénique pérennité des monuments. Rome semble 66x91.5 cm effectivement avoir bien peu changé de­ puis plus d'un siècle,comm e lesoulign e la DavidMille r Santa Maria délia Consolazione, Rome, 2002 similitude entre lesœuvre s deGutsch e et Épreuveargentiqu e Miller et les photographies de lavill e da­ 38x 4 8c m tant de187 0 qu'elles côtoient dans la pu­ blication qui accompagne l'exposition [toujours à paraître]. Letravai l des photographes se partage entre ces vues qui représentent Rome comme une ville musée et des paysages urbains en couleur, surchargés d'éléments deClar a Gutsche et David Miller s'inscrit hétérogènes. Ces scènes extérieures met­ dans une tradition documentaire qui s'at­ tent l'accent sur la superposition de multi­ tache àdécrir e un lieu àtraver s son archi­ ples couches historiques, qui en viennent tecture. Leurs œuvres expriment néan­ àcrée r des dissonances visuelles :de s af­ moins une vision subjective qui s'attarde à fiches publicitaires, desgraffitis , des pan­ rendre lesdiverse s ambiances qui imprè­ neaux de construction, des néons et des gnent laville ,d e même qu'à évoquer la re­ voitures sedétachen t sur fond de ruines. lation qu'un peuple entretient avec son L'utilisation de la couleur rend lavill e plus histoire. Rome,qu i àun e certaine époque vivante, ici les bâtiments historiques ont extérieur. Lesartiste s n'en saisissent pas féminins. Ces mises en scène de produits était un passage obligé pour tout artiste davantage l'air de participer du mouve­ moins certains moments de lavi e quoti­ deconsommatio n s'ajoutent àl a collec­ désirant asseoir sacarrièr e et fonder sare ­ ment généralqu i anime l'image. «Th e dienne des habitants de laville . Des gens tion des paysages vitrés de Gutsche.Ainsi , nommée, est ici plutôt un nouveau terri­ complexity and layeringo fthi s city isama ­ font leurs emplettes dans un marché exté­ le monde intérieur des Romains est reflété toire d'exploration pour des artistes déjà zing »,déclar e Miller dans une descorres ­ rieur, uncoupl e s'embrasse dans une non seulement par la piété qui habite les bien établis. pondances électroniques que nous livre la ruelle, des religieuses setiennen t immo­ intérieurs religieux, mais aussi dans leses ­ publication,à l amanièr e d'un carnet de biles àl'intersectio n degrande s artères paces commerciaux. L'image d'un e bou­ Ju/ie-Ann Latulippe poursuit unemaîtris ee n voyage. devant le flux des automobiles. Les habi­ tique de chandeliers et de statuettes de étude des arts à l'Université du Québec à Defait , les photographes représentent la tudes devi e et l'imaginaire des Romains saints souligne au passage que la religion Montréal. Ses recherches portent sur le rôle de ville non pas entan t que citoyens, comme sont par ailleurs habilement révélés par n'échappe pasà l a marchandisation. la photographie dans l'écriture de l'histoire et dans leurs précédents projets enracinés lesvitrine s de commerces allant du maga­ Comme entémoignen t lestitre s en italien dans la constitution de la mémoire collective. dans lacommunauté , mais comme des sin detissu s au marché alimentaire, de qui identifient simplement lelie ue t la date voyageurs qui posent sur Rome un regard l'animalerie àl a boutique de vêtements desprise s devue ,l etravai l photographique one country to another, knowing full well Geographic and the poetics of documenting that at everyjunctur e I was aguest ,wh o at acountr y where no image could ever any moment might beaske d to leave. The encompass the breadth and depth of its refugee's world isa portabl e one, allowing people's experiences.Thes e photographs for easy movement between borders. It is arecomplement s to performance videos one that can betake n away aseasil y as it shown inth e rest of the gallery. In amonu ­ was given:provisionall y andwit h a little mental projection, What We Sa wUpo nAwak ­ anxiety on the part of the host." 1Abdu l ening (2006), Abdul documents a surreal refutes coherent narratives and signs that performance of destruction of the ruins ofa attempt to reflect straightforward relations building.Th e performance beginswit h a amongsubjects , places,an d identities. close-up of men dressed in traditional Aware of her own state of mutability, black clothing, movingwit h Herculean Abdulexplore s relationships between effort. Asth e camera moves out, we architecture and identity in post-war become aware that the men are holding Afghanistan through film, performance, white ropes and pulling onth e ruins ofa and photography. Architectural ruins house (one that was destroyed by a recent appear in herwor k asbot h realan d imagi­ bombing in Kabul).Ove rth ecours eo fsi x nary sites,wher e the performative gestures soundless minutes,w e watch this group in of men, women ,an d children arese t in an adanc e that is poignant and futile - their attempt to represent the residues ofdevas ­ actions asorrowfu l metaphor for the tation and conflict.Throug h architecture attempt to survive amidst the ravages of and its representations, she posesques ­ war.Th e performance endswit h the bury­ White House, 2005, Film Production Still,Courtes yo fGiorgi oPersan oGaller y tions about constructions of place and ingo f awhit e stone that is perhaps an act identity, specifically the West's collective of closure or amomen t of communal heal­ imaginingo f Afghanistan. For her, architec­ ing.Th e ritualan d repetition of their asi t isa n integral subject in her two exhibi­ ture issubjec t and object; site of living actions,combine d with the loopingo f the LidaAbdul tions concurrently onvie w at Centre Aan d socialexchang e and memorial to history; work, seem an acknowledgment by Abdul Centre A & Western Front, Vancouver the Western Front inVancouver . Both monument and anti-monument. ofth e fate of Afghanis:despit e their striv­ January 23-March 1,2008 shows areful lo f lyricalan d poignant works At Centre A,thi s focus is represented ina ingt o gain control through acts of sheer that point to the impossibility of represent­ series ofwork s installed in aconsidere d resilience and compulsive gestures, she Born in Kabul,Afghanistan , in 1973, Lida ingth e past and ongoing ravages to her and movingexhibitio n bycurato r Makiko points to the complex processes of survival Abdul lived in Germany and India asa native country: "How dow e come face to Hara. Included area grou p of beautifully and recovery. refugee after beingforce d to leave her facewit h 'nothing'wit h 'emptiness' where shot photographs of Afghani landscapes Abdulemploy s ritualan d repetition as homeland followingth e Soviet invasion of there was somethingearlier . I was a that tread acarefu l balance between the metaphors for healingan d reconciliation 1980. This brief biography seemscritical , refugee myself for afe w years, moving from monumentalizing images found in National richly throughout herwork . In WhiteHous e 58 CIEL VARIABLE N° 79 (2005), ina landscap e strewn with ruins, ways,witnessin g her pieces islik e attempt­ Abdul painstakingly paints the rubble ofa ingt o makevisibl e(bu t never resolve) the destroyed building white . Invokingth e idea contradictions and the paradoxes ofou r ofwhitewashin g history, for Abdulth e most understandingo f her homeland. difficult thing ist o move beyondth e mem­ Born in Kabul,Afghanistan ,i n 1973, Lida ory of anevent , pointingt o the losso f the Abdul resides there now. Her most recent navigational principles that determine our work has been featured at the Venice Bien­ understandingo f belonging,identit y and nale 2005; Istanbul Modern; Kunsthalle place - the "contingent ethics ofgeographi ­ Vienna; Museum of Modern Art Arnhem, calemplacemen t inwhic h we might jointly Netherlands; Miami Central;CA CCentr e puzzleou t the perilso fth e fantasms of d'Art Contemporain de Bretigny; and Frac belonginga swel la sth e tragedies of not Lorraine Metz, France. She hasals o exhib­ belonging."2 ited infestival s in Mexico,Spain ,Germany , Withwor k that takes upth e subjects of Uzbekistan, Kyrgyzstan,an d Afghanistan; history and memory asAbdu ldoes ,ther e is Shewa s afeature d artist at the Central always the possibility of resortingt o famil­ Asian Biennial 2004. iar tropes found in popular media,an d to usethe m indidacti c and simplistically sin­ 1 LidaAbdul , "Statement " http://www.lidaabdul.com/statement.htm gular (neo-Orientalist) ways.
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