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Artist Focus : Latifa Echakhch

ARTIST FOCUS : LATIFA ECHAKHCH

Venice Biennale : The Concert
In collaboration with Alexandre Babel and Francesco Stocchi
April 23–November 27, 2022
Swiss Pavilion, Giardini
To download PDF, click here.
In the beginning was the end: Latifa Echakhch’s cycle of life
The exhibition titled The Concert, is conceived by Latifa Echakhch, in collaboration with percussionist and composer Alexandre Babel and curator Francesco Stocchi.
Gloomy remnants of art fill the first space, where visitors set out on a counterclockwise journey through time. In each room, the atmosphere changes – time runs backwards, from broad daylight to the evening before. Ever more recognizably inspired by folk sculpture and customs, the sculptures, filling the whole space, are increasingly veiled by a spreading darkness.
These are scenes of impermanence, of catharsis, with which installation artist Latifa Echakhch captivates visitors of the Pavilion of Switzerland at this year’s Biennale Arte, scenes that bring to the fore the cycle of life in a multi-layered and complex way. Most of the material used for the exhibition is itself part of a transformation, recycled from previous biennales.
Between ritual and rhythm
The artist Latifa Echakhch, who lives in Switzerland, evokes the ritual fires that are common in many cultures. They include the lighting of straw dolls for the St. John’s fire, which is supposed to protect against demons and diseases around the solstice at the end of June or, in Switzerland, the burning of the “Böögg” on Zurich’s Sechseläutenplatz to bid farewell to the winter season. Fire is always both the end and the beginning on a constantly turning wheel of time.
Latifa Echakhch also enters into a dialogue with the building designed by Bruno Giacometti in 1951. The artist revisits its architectural program and appropriates the entirety of its spaces, exploring their relationship to light and the different sounds that emerge from them.
The exhibition plays with harmonies and dissonances, with the mixed feelings of expectation, fulfilment and disappearance. The sculptures are part of an orchestrated and enveloping experience, a rhythmic and spatial proposal that allows viewers to experience a fuller perception of time and of their own body.
CH22 Apr 13th 00833
CH22 Mar 30th 00526
I want people to exit the exhibition as they would a concert, with accelerated heart rates, and their heads full of fragments that re- constitute themselves in the form of variations.
– Latifa Echakhch
For more information, please contact
international@dvirgallery.com

All images are courtesy of the artist. Photo: Annik Wetter & Samuele Cherubini

Frieze Seoul 2022

Opening date: September 2, 2022

Closing date: September 5, 2022

Croque-morts

EXHIBITION VIEWS

ARTWORKS IN THE SHOW

59th Venice Biennale

‘THE CONCERT’ – LATIFA ECHAKHCH

In collaboration with Alexandre Babel and Francesco Stocchi
April 23–November 27, 2022
Swiss Pavilion, Giardini
To download PDF, click here.
In the beginning was the end: Latifa Echakhch’s cycle of life
The exhibition titled The Concert, is conceived by Latifa Echakhch, in collaboration with percussionist and composer Alexandre Babel and curator Francesco Stocchi.
Gloomy remnants of art fill the first space, where visitors set out on a counterclockwise journey through time. In each room, the atmosphere changes – time runs backwards, from broad daylight to the evening before. Ever more recognizably inspired by folk sculpture and customs, the sculptures, filling the whole space, are increasingly veiled by a spreading darkness.
These are scenes of impermanence, of catharsis, with which installation artist Latifa Echakhch captivates visitors of the Pavilion of Switzerland at this year’s Biennale Arte, scenes that bring to the fore the cycle of life in a multi-layered and complex way. Most of the material used for the exhibition is itself part of a transformation, recycled from previous biennales.
Between ritual and rhythm
The artist Latifa Echakhch, who lives in Switzerland, evokes the ritual fires that are common in many cultures. They include the lighting of straw dolls for the St. John’s fire, which is supposed to protect against demons and diseases around the solstice at the end of June or, in Switzerland, the burning of the “Böögg” on Zurich’s Sechseläutenplatz to bid farewell to the winter season. Fire is always both the end and the beginning on a constantly turning wheel of time.
Latifa Echakhch also enters into a dialogue with the building designed by Bruno Giacometti in 1951. The artist revisits its architectural program and appropriates the entirety of its spaces, exploring their relationship to light and the different sounds that emerge from them.
The exhibition plays with harmonies and dissonances, with the mixed feelings of expectation, fulfilment and disappearance. The sculptures are part of an orchestrated and enveloping experience, a rhythmic and spatial proposal that allows viewers to experience a fuller perception of time and of their own body.
CH22 Apr 13th 00833
CH22 Mar 30th 00526
WORKS ON DISPLAY
When I began working on the pavilion, I started by anticipating the route a visitor might take. I wanted the entry to immediately impart the feeling of arriving at the end of something. This procedure turns us around because it goes against our expectations: we arrive at the back of the set as if we had already missed something. And this kind of let-down, the feeling of having missed out on something already in the past, plunges us into a state of light melancholy.
As we proceed, trying to understand what happened in this place, we slowly realize that we are already walking through the installation. Then, in the courtyard, we are able to identify rem- nants of sculptural works: we see they’ve been burned, and the farther we go the more we realize they are less and less burned. As we continue on our path, bigger and more complete sculptures emerge, giving us the impression of seeing them born from their own ashes in the big exhibition room; and as we continue on, they become bigger and bigger, they are immense. I wanted the sculptures to be almost as big as the space, as if this place was too small to accommodate the event planned for it. […]
– Latifa Echakhch
The longest, hardest part really was choosing the sculptures. I wanted something very accessible, and at one point it seemed that the representation of human figures was perhaps the closest and most interesting way of addressing the project. We had just come out of several months of lockdown during the pandemic. We had been looking at the bodies of others from afar, on video screens, all of it created a physical wanting. The lack of simple, daily, friendly interactions had made these all the more powerful: previously we shook hands, kissed cheeks, now we let ourselves go in great big hugs when we meet one another.
I wanted something that would reflect humanity and its very representations, like carnival giants, or those great wooden sculptures that are set atop bonfires. These are strange figures, figures of strangers; imbued with the sense that what I would really have liked to represent was the human being in general. And the construction process is collective, requiring many hands, as when similar events are prepared in villages. To burn human figures allows us to exorcise humanity and allow it to be reborn from the fecund ashes.
– Latifa Echakhch
I want people to exit the exhibition as they would a concert, with accelerated heart rates, and their heads full of fragments that re- constitute themselves in the form of variations.
– Latifa Echakhch
For more information, please contact
international@dvirgallery.com

All images are courtesy of the artist. Photo: Annik Wetter & Samuele Cherubini

‘and on the eyes/ black sleep of night’ – Lisetta Carmi, Latifa Echakhch, Simon Fujiwara

On view:

Nov 12th – Dec 23rd, 2021

Brussels

EXHIBITION VIEWS

ARTWORKS IN THE SHOW

ARCO Madrid 2022

Opening date: February 23, 2022
Closing date: February 27, 2022

Works on paper (online)

Dvir Gallery is pleased to present a selection of works on paper by Adel Abdessemed, Miroslaw Balka, Latifa Echakhch, Thomas Hirschhorn, Sarah Ortmeyer, Karen Russo and Ariel Schlesinger.
With its invention in China in the II century, paper has served as the support for an extraordinarily diverse body of work. Encompassing a diverse range of media — from drawing and painting to collage and beyond — works on paper can offer a glimpse into an artist’s creative process. For many, the freedom and immediacy afforded by working on paper became instrumental to their practices, spawning new techniques, aesthetics, subjects and methods. Far from being confined to studies and experiments, works on paper represent important modes of art-making in their own right.

‘Lacrimae Rerum’, homage to Gustav Metzger – Part I

On view:

Sep 03rd – Oct 20th, 2020

Dvir / Brussels

EXHIBITION VIEWS

ARTWORKS IN THE SHOW

‘News from Home’

EXHIBITION VIEWS

ARTWORKS IN THE SHOW

Latifa Echakhch

SELECTED WORKS

Inquire about more information about this artist




Digital chromogenic print
, 2022
'Morlock Temple With Barlach Head', 2015, charcoal on paper, 86 x 121 cm, unique
, 2020
Dvir, News from Home, 2020, exhibition view, 02
, 2020
11
, 2020
'Guardian from August 12, 1999', 2001, handmade offset lithograph on igepa pure archival paper 250 g, 53.8 x 70.7 cm, edition of 24 + 6 AP
, 2020
Last Letter, Remembering Felix Gonzales Torres, 2019, exhibition view, Dvir Gallery, Tel Aviv, 07
, 2019
'Several Times', 2019, exhibition view, Dvir Gallery, Brussels
, 2019
The Zone exhibition view 4
, 2019
Step 13, 2019, exhibition view
, 2019
2817, Homage to Georges Perec, 2019, Exhibition view, Dvir Brussels (6)
, 2019
Mort à crédit, 2018, exhibition view, Dvir gallery, Tel Aviv
, 2018
Contre Tout Espoir, group show, 2018
, 2018
08-Group show, 2018, exhibition view
, 2018
Group show, 2018, Exhibition view
, 2018
Dance to the Music of Time, 2017, exhibition view (3)
, 2018
Innocent Material, 2017, exhibition view
, 2017
'Nude', 2017, exhibition view, Dvir Gallery, Tel Aviv
, 2017
Placed Someplace with Intent, 2017, Exhibition view
, 2017
Paravent, 2016, Exhibition view
, 2016
Dans un monde Magnifique et Furieux, 2016, Exhibition view
, 2016
Dilemma, 2016, Exhibition view
, 2016
Miroslaw Balka, 146x38x38, 2015, terrazzo, steel, glass, red wine, 146 x 38 x 38 cm
, 2016
An Autumn Afteroon, 2015 Group Show, Exhibition View 3 - Copy - Copy
, 2015
Shibboleth, 2015, Exhibition view
, 2015
Hadash, 2014, Exhibition view
, 2014
Everyone Has A Name, 2014, Exhibition view
, 2014
Fantome, 2014, Exhibition view
, 2014
Eclipse, 2014, Exhibition view
, 2014
Reclining Seurat, 2013, Exhibition view
, 2013
Four Something, 2013, Exhibition view
, 2013
'Bait', 2013, exhibition view, Dvir Gallery, Tel Aviv
, 2013
Isaac Babel: Makhno's Boys, 2013, Exhibition View, Nitzana
, 2013
An Hour of Light, 2012, Exhibition view
, 2012
Homage to Bas Jan Ader, 2011, Exhibition view
, 2011
'Saïd’s Tea' (detail), 2010, gutter, antique tea-pot, variable dimensions, exhibition view, Dvir Gallery, Tel Aviv
, 2010
Lichtzwang, 2009, Exhibition View
, 2009