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    Aïcha Hamu

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    An exhibition of Aïcha Hamu

    20 June to 20 September 2014

    INNSMOUTH

    Welcome to the inn's mouth


    Glory Holes (chapter one)
    We are welcomed by seven frames which show us their other side, a mirror which does not reflect to us our image, but which offers a glimpse, an opening, maybe disturbing, increasing the labyrinthian space proposed to us by the wall and the ground which murge into one (movie bufts will recognize the quotation, maybe)
    Here we are : the artefact, the set-up; in the complicity of the title proposed by the artist, what do we try to see when we are looking?
    The title of this work leads to a second chapter. But maybe you guess it yet, the answer will not be obvious.


    In the pink no more
    Flamingos in mirror, a bright, solar ball which turns on itself without enlightening us anymore on these mythical American flamingos, which exists in numerous chinese copies. Picture of the picture of the picture...
    Mise-en-abyme of our symbols pictures.


    Glory Holes, (Chapter two)
    7 reversed frames : a portrait's gallery faces us. The subject becomes clearer: the break of the look. To see or to be seen? Are we the subject looking or the looked object ? The artist says that it is the spectator, by his look, who makes the artwork. But in this opening, the eye of the artist is watching as we are looking at its work and making it.

    • Glory Holes (I)
      Glory Holes (I)
      Glory Holes (I)
    • In the Pink no More
      In the Pink no More
      In the Pink no More
    • Shakes
      Shakes
      Shakes
    • Peeping on Marion
      Peeping on Marion
      Peeping on Marion
    • Bucking Broadway
      Bucking Broadway
      Bucking Broadway

    A space in 2 parts : inside and outside

    Without title (Bates Motel)
    An illuminated sign, put on the gravel. Our steps are scrapping on the gravel as if we were there.
    The movie scene came down from the screen and takes shape in the space of the exhibition, as in one of our dreams, with the same distance from reality. But the reality here is an picture of our collective culture

    Peeping on Marion
    Aicha Hamu suggests us to re-place ourselves in the position of the voyeur and then Norman Bates, it's us.
    But even there, dream (nightmare?) operates and the hole does not reveal us the desired picture which would activate our desire (and thus our knowledge), but quite the opposite, blinds us ! We wanted to know, then we are blind.


    Flashover
    In the following room, behind the hole, the fire. The artificial fire, the movie's one, comfortable in the lounge that we look without risking to burn.


    Shakes (portraits)
    A series of six "moved" portraits particularly painful to look " in eyes " which slip away from our look in their « trembling ». Difficult face to face with another (filial couples on the pictures), with us!

    Bucking Broadway
    John Ford's silent western proposed here. One more time, a mythic picture of movies :
    Once again a mythical image of the cinema : a landscape which refuses itself. The more we approach, the less we see. It faces the entirity of the movie which is running in front of our eyes, but without picture (ah! So frustating not to be able to see).
    Only cardboards stay, presented here as texts to be read while they are in fact the dialogues of the characters. Nothing is ever what it seems to be.
    Between two one false salon's door, a real set-up door of which echoes to the sign of Bates Motel. We are in the mockery of the fiction, the picture, of our unconscious factory and the odorous straw projects us more farther in memories lived or seen, while hindering our walking, invading the space which normally is assigned to us.


    Without Title (Spada) (Vincent) (Spada 2) (Marion) (New Orleans)
    And as a metaphor of this set, photos of holes accompanied our visit. They are invitations, as Alice, to plunge there and to go to see behind

    Then you can reread the title and rush into the adventure.

    Interview Aïcha Hamu

  • FONDATION D'ENTREPRISE ESPACE ÉCUREUIL POUR L'ART CONTEMPORAIN - 3 PLACE DU CAPITOLE 31000 TOULOUSE
    Tél. 05 62 30 23 30 - contact(at)caisseepargne-art-contemporain(.)fr
    Open Tuesday to Saturday from 11 am to 19: 30 pm and the first Sunday of the month from 15 am to 19 pm 30.
    Free admission