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tomette_pleineCARTE BLANCHE 2015

IN THE CONTEXT OF PARÉIDOLIE, THE CHÂTEAU DE SERVIÈRES OFFERS CARTE BLANCHE TO
NAWAL SLAOUI, CULTURES INTERFACE – MAROC  &  KARIMA CELESTIN, GALERIE KARIMA CELESTIN – MARSEILLE

 

CARTE  BLANCHE TO NAWAL SLAOUI
CULTURES INTERFACE – MAROC

INVITED ARTIST – MUSTAPHA AKRIM
CULTURES INTERFACE – PRODUCTION AND DISTRIBUTION OF CONTEMPORARY ART IN CASABLANCA

As well as using its own gallery walls in Casablanca Morocco, CulturesInterface has resolved to become an itinerant gallery travelling throughout Africa, Europe and the Americas. This concept allows it to provide a multitude of services adapted to various places and art works. Through its mobility and flexibility, CulturesInterface participates at biennales and fairs as well as it collaborates with international structures and art galleries having common goals.

 Mustapha Akrim’s drawings presented during PAREIDOLIE’s second edition, represent children working in cities or in rural areas. By scratching the drawings on carbon paper, and overlaying two or three drawings on the same sheet of carbon, the artist reinforces the problem of children at work.

In some drawings, Akrim also uses specific articles from the Moroccan Constitution in order to shed light on these existing societal issues.

In his global work, Akrim deals with issues of labor and lack of opportunity within his home country, in particular problems of unemployment, poor education, and a need for freedom of speech.

Excerpts from Article 32 of the 2011 Moroccan Constitution used in Akrim’s drawings :

  • (The State) insures equal judicial protection and equal social and moral consideration toward all children, regardless of their family situation 
  • Fondamental education is a children’s right and a family and State obligation

CULTURES INTERFACE


CARTE BLANCHE TO KARIMA CELESTIN
GALERIE KARIMA CELESTIN – MARSEILLE

ARTISTE INVITÉ – MASSINISSA SELMANI
PROGRAMMATION VIDÉO – DESSIN
 
Gallery Karima Celestin is like Karima Celestin. A strong identity shaped by a mixture of sobriety and requirement. With only few exhibitions, the gallery assert his artistic line, sober and often daring skirmishes that accord with the immaculate space of 160 m2 never saturate, while reintroducing these pure forms, history, the speech, the human, and affect. The choice of Karima Celestin touch almost minimal art in a first reading but its artists, even if they are confronted with inherited forms of modernity never completely stripped their works of content reviving the world.
If the gallery is playing the game of the private gallery with national and international ambitions, engaged with the contingencies of the business market, it is also the place of research and experimentation conducive to meetings between artists working in disciplines as well as the antipodes to invitations to French and foreign curators. This is a lively reflection through conferences, debates, all public tours with organized brunches on Sundays afternoon childcare ; it is a true cultural actor participating in the intellectual and artistic life of Marseille.