Like a cartography on the ground, intimate territories are drawn on carpets, isolated islets becoming scenes of past events. Elements are arranged like objects on a pedestal. They are partially covered with ink. Only one area remains intact with its original colors, a bit like an area lit in a black room, a spot of light on a stage. Latifa Echakhch’s method, recalling the techniques of Giordano Bruno’s Ars Memoriae, a technique consisting of building links between objects, characters and architecture in order to accurately recall a whole scene, is almost cinematographic. The spaces on the carpets are like screens. The illuminated areas (non-tinted with ink) seem to move over the carpet as the movement of a projector on a movie screen.
Several Times, 2019
Latifa Echakhch thinks objects like traces of gestures, of past moments. ‘Several Times’ is constructed as a memory which changes slightly while time passes. Details which are precise, others are repeated, some fade, others parasitize. It is the memory of several similar scenes, mixing together, several times the same, sometimes different.
Like a cartography on the ground, intimate territories are drawn on carpets, isolated islets becoming scenes of past events. Elements are arranged like objects on a pedestal. They are partially covered with ink. Only one area remains intact with its original colors, a bit like an area lit in a black room, a spot of light on a stage.
Latifa Echakhch’s method, recalling the techniques of Giordano Bruno’s Ars Memoriae, a technique consisting of building links between objects, characters and architecture in order to accurately recall a whole scene, is almost cinematographic. The spaces on the carpets are like screens. The illuminated areas (non-tinted with ink) seem to move over the carpet as the movement of a projector on a movie screen.