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October 4, 2017: Dream City in the Medina of Tunis. Exhibition and installation by visual artist Héla Ammar titled “A contre-jour” (Backlit): in photography, backlighting occurs when light strikes the subject from the side opposite the direction in which the viewer is looking; the subject’s features then fade into the background, giving way to its surroundings. It is through this factual illumination that the story shared today by a large portion of our youth begins. This semi-darkness, where the subject fades into the background in favor of the violence and precariousness of their environment, must nevertheless give way to another light—the light that each of these young people carries within themselves as individuals.© 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

M36-538

October 4, 2017: Dream City in the Medina of Tunis. Exhibition and installation by visual artist Héla Ammar titled “A contre-jour” (Backlit): in photography, backlighting occurs when light strikes the subject from the side opposite the direction in which the viewer is looking; the subject’s features then fade into the background, giving way to its surroundings. It is through this factual illumination that the story shared today by a large portion of our youth begins. This semi-darkness, where the subject fades into the background in favor of the violence and precariousness of their environment, must nevertheless give way to another light—the light that each of these young people carries within themselves as individuals.

ReferenceM36-538
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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