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October 4, 2017: Dream City, Tunis Medina. Video installation by Fakhri el Ghezal titled “Héni éltéli”: “Wherever it falls, Fakhri El Ghezal’s gaze lends its solitude to more than one image. This video project unfolds, from one screen to the next, like so many variations on a single theme: drawing from everyday life, the videographer has decided to explore, day by day and without giving it too much thought, the realms of the intimate and the fictional. Armed with his cell phone, he captures—in varying durations—what passes by, comes to be, and unravels before his eyes. Between the routine and the isolation to which his well-oiled routine confines him; between death, which suddenly intrudes upon this daily life, and the grieving process that begins, certain threads of the artist’s post-prison experience replay in a loop. Bathed in black and white that yields as much to the present as to memory, Fakhri El Ghezal’s video work invites the viewer to keep their “third eye” open.”© Images de Tunisie — watermarked preview

Photos from the same series

October 4, 2017: Dream City, the medina of Tunis. Works by Nidhal Chamekh. BARBED GATE installation: In the aftermath of January 14, 2011, security measures were tightened in the city of Tunis. What was previously announced as “exceptional measures” has become the norm. Barbed wire and other barriers are now part of the urban landscape. The decision to intervene at Bab El Bhar stems from the symbolic significance it has come to embody and the historical events that have shaped it into a border monument. Bab El Bhar is entirely covered in barbed wire, blurring the line between the controlled element and the tool of control. The imposing structure recedes, giving way to a ghostly silhouette that evokes the history of a gate opening onto the sea—renamed the Gate of France by the colonial authorities and now aligned with the axis of the statue of Ibn Khaldoun, that of Bourguiba, and the Obelisk.October 4, 2017: Dream City, the medina of Tunis. Works by Nidhal Chamekh. BARBED GATE installation: In the aftermath of January 14, 2011, security measures were tightened in the city of Tunis. What was previously announced as “exceptional measures” has become the norm. Barbed wire and other barriers are now part of the urban landscape. The decision to intervene at Bab El Bhar stems from the symbolic significance it has come to embody and the historical events that have shaped it into a border monument. Bab El Bhar is entirely covered in barbed wire, blurring the line between the controlled element and the tool of control. The imposing structure recedes, giving way to a ghostly silhouette that evokes the history of a gate opening onto the sea—renamed the Gate of France by the colonial authorities and now aligned with the axis of the statue of Ibn Khaldoun, that of Bourguiba, and the Obelisk.October 4, 2017: Dream City, the medina of Tunis. Works by Nidhal Chamekh. BARBED GATE installation: In the aftermath of January 14, 2011, security measures were tightened in the city of Tunis. What was previously announced as “exceptional measures” has become the norm. Barbed wire and other barriers are now part of the urban landscape. The decision to intervene at Bab El Bhar stems from the symbolic significance it has come to embody and the historical events that have shaped it into a border monument. Bab El Bhar is entirely covered in barbed wire, blurring the line between the controlled element and the tool of control. The imposing structure recedes, giving way to a ghostly silhouette that evokes the history of a gate opening onto the sea—renamed the Gate of France by the colonial authorities and now aligned with the axis of the statue of Ibn Khaldoun, that of Bourguiba, and the Obelisk.October 4, 2017: Dream City, the medina of Tunis. Works by Nidhal Chamekh. BARBED GATE installation: In the aftermath of January 14, 2011, security measures were tightened in the city of Tunis. What was previously announced as “exceptional measures” has become the norm. Barbed wire and other barriers are now part of the urban landscape. The decision to intervene at Bab El Bhar stems from the symbolic significance it has come to embody and the historical events that have shaped it into a border monument. Bab El Bhar is entirely covered in barbed wire, blurring the line between the controlled element and the tool of control. The imposing structure recedes, giving way to a ghostly silhouette that evokes the history of a gate opening onto the sea—renamed the Gate of France by the colonial authorities and now aligned with the axis of the statue of Ibn Khaldoun, that of Bourguiba, and the Obelisk.October 4, 2017: Dream City, the medina of Tunis. Works by Nidhal Chamekh. BARBED GATE installation: In the aftermath of January 14, 2011, security measures were tightened in the city of Tunis. What was previously announced as “exceptional measures” has become the norm. Barbed wire and other barriers are now part of the urban landscape. The decision to intervene at Bab El Bhar stems from the symbolic significance it has come to embody and the historical events that have shaped it into a border monument. Bab El Bhar is entirely covered in barbed wire, blurring the line between the controlled element and the tool of control. The imposing structure recedes, giving way to a ghostly silhouette that evokes the history of a gate opening onto the sea—renamed the Gate of France by the colonial authorities and now aligned with the axis of the statue of Ibn Khaldoun, that of Bourguiba, and the Obelisk.October 4, 2017: Dream City, the medina of Tunis. Works by Nidhal Chamekh. BARBED GATE installation: In the aftermath of January 14, 2011, security measures were tightened in the city of Tunis. What was previously announced as “exceptional measures” has become the norm. Barbed wire and other barriers are now part of the urban landscape. The decision to intervene at Bab El Bhar stems from the symbolic significance it has come to embody and the historical events that have shaped it into a border monument. Bab El Bhar is entirely covered in barbed wire, blurring the line between the controlled element and the tool of control. The imposing structure recedes, giving way to a ghostly silhouette that evokes the history of a gate opening onto the sea—renamed the Gate of France by the colonial authorities and now aligned with the axis of the statue of Ibn Khaldoun, that of Bourguiba, and the Obelisk.
RM

M36-533

October 4, 2017: Dream City, Tunis Medina. Video installation by Fakhri el Ghezal titled “Héni éltéli”: “Wherever it falls, Fakhri El Ghezal’s gaze lends its solitude to more than one image. This video project unfolds, from one screen to the next, like so many variations on a single theme: drawing from everyday life, the videographer has decided to explore, day by day and without giving it too much thought, the realms of the intimate and the fictional. Armed with his cell phone, he captures—in varying durations—what passes by, comes to be, and unravels before his eyes. Between the routine and the isolation to which his well-oiled routine confines him; between death, which suddenly intrudes upon this daily life, and the grieving process that begins, certain threads of the artist’s post-prison experience replay in a loop. Bathed in black and white that yields as much to the present as to memory, Fakhri El Ghezal’s video work invites the viewer to keep their “third eye” open.”

ReferenceM36-533
CategoryActualités / 2017 / M36-500 DREAM CITY 10/04/2017
LicenceRM — rights managed
Date taken2017
PhotographerNicolas Fauqué
Copyright© Nicolas Fauqué / www.imagesdetunisie.com

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