1 - Latifa Echakhch - Photo. Fabrice Seixas.jpg

Installation view, Latifa Echakhch, La dépossession, 2014, Theatre canvas, painting, steel tube and straps, included in Latifa Echakhch: All around fades to a heavy sound, kamel mennour, 2014, Paris, Photo: Fabrice Seixas © Latifa Echakhch, Courtesy the artist and kamel mennour, Paris / London © Latifa Echakhch

Latifa Echakhch

DEF_Lowres_Latifa_54A2529.jpg

Photo: Sebastien Agnetti, Courtesy the artist

Details

b. 1974, El Khnansa, Morocco
Lives and Works in Martigny and Vevey, Switzerland

Connect

@latifa.echa

Currently based in the Swiss cities of Martigny and Vevey, Latifa Echakhch was born in 1974 in El Khnansa, Morocco. When she was three, her family relocated to France, where she attended the École supérieure d’Art de Grenoble and later received degrees from the National School of Arts Cergy-Pontoise and the Lyon National School of Fine Arts. She began her studio practice in 2001.

In 2007, Echakhch presented A chaque stencil une révolution at Le Magasin, Grenoble, as part of her first solo museum exhibition. Echakhch later showed the work at the Hammer Museum, Los Angeles; the Pinault Collection, Venice; and Tate Modern, London.

Echakhch won the Marcel Duchamp Prize, France’s most vaunted art award, in 2013. As Alfred Pacquement, then-Director of the Centre Pompidou and head of the jury for the award, said of the artist at the time, “Her work, between surrealism and conceptualism, questions with economy and precision the importance of symbols and reflects the fragility of modernism.”

In 2015, Echakhch presented Screen Shot at the Museum Haus Konstruktiv, Zurich, and she was awarded the Zurich Art Prize. The installation comprised a labyrinth of paravents made from canvas panels, atop which the artist draped her own clothes soaked in India ink and giant carnival figures. Echakhch has said of the work, “Many times in my work practice I’ve been focused on what we call ‘la dépossession’ of Christ, this moment when his clothes are taken by people as he walks the streets, leaving him with almost nothing. Sacrificed by the other and for the other. It’s for me a strong image of a forced minimalism.”

in009402.jpg

Installation view, Latifa Echakhch, A Chaque Stencil une Révolution, 2007, Carbon paper, glue and methylated alcohol, dimensions variable, included in Latifa Echakhch: Speakers’ Corner, Tate Modern, 2008, London, Photo: Marcus Leith & Andrew Dunkley, Courtesy the artist and kamel mennour, Paris / London © Latifa Echakhch

394A8748.jpg

Installation view, Latifa Echakhch, Mer d’encre [Sea of ink], 2012, included in Latifa Echakhch: The Sun and the Set, BPS22, 2020, Charleroi, Belgium, Photo: Leslie Artamonow © Latifa Echakhch

Latifa ECHAKHCH, Mer d_encre, 2012, collection de l_artiste Photo Leslie Artamonow.jpg

Installation view, Latifa Echakhch, Mer d’encre [Sea of ink], 2012, included in Latifa Echakhch: The Sun and the Set, BPS22, 2020, Charleroi, Belgium, Photo: Leslie Artamonow © Latifa Echakhch

vue-exposition-LE-11.jpg

Installation view, Latifa Echakhch: L’air du temps – Prix Marcel Duchamp 2013, Centre Pompidou, Paris, 2014, Photo: Fabrice Seixas, Courtesy of the artist; Dvir, Tel Aviv; kaufmann repetto, Milan; kamel mennour, Paris / London, Prix Marcel Duchamp; Vue-Exposition © Latifa Echakhch

LE 2.jpg

Latifa Echakhch, Wind Wall Icon, 2020, triptych; metallic pigment, red, black paint, concrete, fiber and vinyl on canvas, 78-3/4" x 59-1/16" (each panel), 200 cm x 150 cm, 78-3/4" x 177-3/16" (overall), 200 cm x 450 cm, Courtesy of the artist © Latifa Echakhch

LE 1.jpg

Latifa Echakhch, Dérives 47, 2015, acrylic paint on canvas, 78-3/4" x 59-1/16", 200 cm x 150 cm, Courtesy of the artist © Latifa Echakhch

Latifa Echakhch, Crowd Fade, 2017, collection de l'artiste Photo Leslie Artamonow (1).jpg

Installation view, Latifa Echakhch, Crowd Fade, 2020, Fresco, dimensions variable, included in Latifa Echakhch: The Sun and the Set, BPS22, 2020, Charleroi, Belgium, Photo: Leslie Artamonow © Latifa Echakhch