Faouzi Laatiris : fugues chimériques dans la mondialisation

Faouzi Laatiris, a fairly unclassifiable and marginal artist, opened the way for his work to be studied, more in depth, quite recently. Such task can be led only provided a clear view of the context where his practice developed, at the Institut national des beaux-arts in Tetouan, where he teaches si...

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Autor principal:	Morad Montazami
Formato:	article
Lenguaje:	EN FR
Publicado:	Université de Provence 2017
Materias:	Tetouan National Institute of Fine Arts installation art mediterranean avant-gardes artistic globalization urban and economic transformations migration of the motif History of Africa DT1-3415 Social sciences (General) H1-99
Acceso en línea:	https://doaj.org/article/e05368d5856647eea13be4bb1c4e0b2b
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id	oai:doaj.org-article:e05368d5856647eea13be4bb1c4e0b2b
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spelling	oai:doaj.org-article:e05368d5856647eea13be4bb1c4e0b2b2021-12-02T10:06:23ZFaouzi Laatiris : fugues chimériques dans la mondialisation0997-13272105-227110.4000/remmm.10162https://doaj.org/article/e05368d5856647eea13be4bb1c4e0b2b2017-12-01T00:00:00Zhttp://journals.openedition.org/remmm/10162https://doaj.org/toc/0997-1327https://doaj.org/toc/2105-2271Faouzi Laatiris, a fairly unclassifiable and marginal artist, opened the way for his work to be studied, more in depth, quite recently. Such task can be led only provided a clear view of the context where his practice developed, at the Institut national des beaux-arts in Tetouan, where he teaches since 1993, and still to this day. How can one relocate this key figure of globalized contemporary art, taking Morocco as a starting point but extending him to a transcultural art history, both local and global (both European and Arab, both North African and African more generally, eventually Mediterranean)? Torn between his interest for Western modern art and his intimate relation to the Moroccan land, its traditions and vernacular knowledge, he ends up constructing objects and installations demonstrating – as he puts it himself –a kind of “cultural schizophrenia”. Installation art based on principle of permanent variation and permutation of forms, as if the artwork “escaped” us. Or as if it escaped from archives and documentation, as it tends to improve a sense of rarity; an artwork that refuses to withdraw into itself or to take a irrevocable shape.Morad MontazamiUniversité de ProvencearticleTetouan National Institute of Fine Artsinstallation artmediterranean avant-gardesartistic globalizationurban and economic transformationsmigration of the motifHistory of AfricaDT1-3415Social sciences (General)H1-99ENFRRevue des Mondes Musulmans et de la Méditerranée, Vol 142, p vol.142 (2017)
institution	DOAJ
collection	DOAJ
language	EN FR
topic	Tetouan National Institute of Fine Arts installation art mediterranean avant-gardes artistic globalization urban and economic transformations migration of the motif History of Africa DT1-3415 Social sciences (General) H1-99
spellingShingle	Tetouan National Institute of Fine Arts installation art mediterranean avant-gardes artistic globalization urban and economic transformations migration of the motif History of Africa DT1-3415 Social sciences (General) H1-99 Morad Montazami Faouzi Laatiris : fugues chimériques dans la mondialisation
description	Faouzi Laatiris, a fairly unclassifiable and marginal artist, opened the way for his work to be studied, more in depth, quite recently. Such task can be led only provided a clear view of the context where his practice developed, at the Institut national des beaux-arts in Tetouan, where he teaches since 1993, and still to this day. How can one relocate this key figure of globalized contemporary art, taking Morocco as a starting point but extending him to a transcultural art history, both local and global (both European and Arab, both North African and African more generally, eventually Mediterranean)? Torn between his interest for Western modern art and his intimate relation to the Moroccan land, its traditions and vernacular knowledge, he ends up constructing objects and installations demonstrating – as he puts it himself –a kind of “cultural schizophrenia”. Installation art based on principle of permanent variation and permutation of forms, as if the artwork “escaped” us. Or as if it escaped from archives and documentation, as it tends to improve a sense of rarity; an artwork that refuses to withdraw into itself or to take a irrevocable shape.
format	article
author	Morad Montazami
author_facet	Morad Montazami
author_sort	Morad Montazami
title	Faouzi Laatiris : fugues chimériques dans la mondialisation
title_short	Faouzi Laatiris : fugues chimériques dans la mondialisation
title_full	Faouzi Laatiris : fugues chimériques dans la mondialisation
title_fullStr	Faouzi Laatiris : fugues chimériques dans la mondialisation
title_full_unstemmed	Faouzi Laatiris : fugues chimériques dans la mondialisation
title_sort	faouzi laatiris : fugues chimériques dans la mondialisation
publisher	Université de Provence
publishDate	2017
url	https://doaj.org/article/e05368d5856647eea13be4bb1c4e0b2b
work_keys_str_mv	AT moradmontazami faouzilaatirisfugueschimeriquesdanslamondialisation
_version_	1718397671381663744

Faouzi Laatiris : fugues chimériques dans la mondialisation

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