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雅图 巴拉达

Mobilier Urbain

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About 雅图 巴拉达

雅图·巴拉达(摩洛哥人,b.1971, 巴黎)曾在巴黎大学学习历史与政治、在纽约学习摄影。她的作品,包括摄影、电影、雕塑、版画以及装置,始于探索她故乡Tangier的奇怪现状。Barrada的作品曾在伦敦泰特现代美术馆、纽约现代艺术博物馆、芝加哥文艺复兴协会、洛特单的Witte de With,慕尼黑的Haus der Kunst、柏林古根海姆、巴黎蓬皮杜中心、明尼阿波利斯的沃克艺术中心、伦敦白教堂画廊,以及2007与2011年的威尼斯双年展中展出。 她曾被评选为德意志银行2011年年度艺术家,随后她的展览RIFFS大范围巡回展出。Barrada同时还是Cinémathèque de Tanger的创始总监。她曾荣获2013-2014年Robert Gardner Fellowship摄影奖(哈佛大学Peabody 博物馆),2015年Abraaj团体艺术奖和2016年Canon Tiger 短篇电影奖。2016年,她荣获马塞尔·杜尚奖的提名。
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Press Release

  • Yto Barrada: Mobilier Urbain

    LONDON, April 20, 2012—Pace London is delighted to announce an exhibition of work by Moroccan artist Yto Barrada, on view at 6-10 Lexington Street from May 24 to July 14, 2012. This exhibition marks the first time Barrada’s work has been presented in a commercial UK gallery and many of the works on view have never before been presented in this country.

    Yto Barrada (b.1971) lives and works in Tangier, and the city is a key source of inspiration and subject matter for her work. The exhibition, entitled Mobilier Urbain, is an ensemble of sculptures and photographs which examines, among other themes, the relationship between unchecked urban development, the botanical landscape, and the subtle forms of resistance that humans—and plants—attempt against the forces of monoculture.

    The works on view in Mobilier Urbain span Barrada’s varied career. Gran Royal Turismo (2003) is a table-sized automated model of a rather bleak little city, preened for the arrival of a political dignitary. When a convoy of black Mercedes emerges from a tunnel, palm trees push out of the ground, sidewalks and walls flip to reveal freshly painted surfaces, and flags blossom ahead of the convoy’s arrival route. The city has been transformed for the eyes of the officials in those cars.

    A recurring motif in Barrada’s work is the tree, notably the palm tree—both a co-opted icon of exoticism and a pawn to be played in the game of urban planning. A new work entitled Twin Palm Island (2011) places two palm tree-shaped signs onto children’s wagons. The work raises questions about the ranks of palm trees, transplanted from the warm south, which line Tangier’s avenues. Also called to account is the maturity of the officials who place them there. Photographs from the series Autocar show details of the company logos painted on the sides of buses in the Port of Tangier. It is of particular resonance to Barrada that the photos do not give away their stories, but simply allude to them: the illiterate children who read the destinations by these icons and smuggle themselves into the undercarriages and wheels wells of the buses, in the hope of escaping to the European destinations the icons represent. Telephone Books records another kind of coded language, the drawings and tally marks which the artists’ grandmother used to record family telephone numbers, as she could not read or write.

    Of Mobilier Urbain, Marie Muracciole, the curator of Barrada’s traveling exhibition RIFFS, writes: “For Yto Barrada, Tangier is a collage of temporalities, where official history is peeling off the damp walls, a city transformed by Europe’s Schengen accords into a geopolitical dead-end. But for the artist, the city is also the stage of a necessary resistance to the global economy's absolutist logic of development.

    In this exhibition, sculptures—Gran Royal Turismo (a model in which « Potemkin » set dressing rises out of the ground, ahead of the arrival of an official convoy) and Twin Palm Island, (a movable piece of illuminated signage, which literally transports its exotic cargo)—dialogue with the artist book A Guide to Trees for Governors and Gardeners, an acerbic and droll critique of modern Urban Planning.

    Barrada opposes the dominant discourses with a less-visible regime of signs. She gives them a surface on which to appear with photographs like Telephone Books.”

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