The Archeology installment forces the public to stand at ground level to see the bones of two skeletons that com- pose the piece. The bones are swept up against a wall by a three-meter broom that is car- rying a black flag as a banner, representing a memento mori of our time. As life expec- tancy increases, the violence of conflicts has attained un- precedented ferocity in a few years. The absence of bodies, representing the preceding passage of death, leaves only bones that signify a lost bat- tle. In drawing bitter attention to contemporary society, this work, evoking both the bat- tleground and the excavation site, calls out through its bru- tality.
As disenchanted vanity in a drifting world, the Archeology installation insists on the loss of meaning and our cultural, structural matrix. The work’s title thus carries the tragedy of human existence as well as regret and guilt in face of to- day’s society. Both fascinating and repulsive, the Archeology installationprovokesreflection on the universal evil of a ma- terialistic world. There is only one step between consump- tion and consummation, and in this piece, they are placed at the same level.
Born in Tangiers, Morocco, in 1970. He lives and works between Paris, Lille and Tangiers.
mounir fatmi constructs visual spaces and linguistic games. His work deals with the desecration of religious objects, deconstruction and the end of dogmas and ideologies.
He is particularly interested in the idea of the role of the artist in a society in crisis.
His videos, installations, drawings, paintings and sculptures bring to light our doubts, fears and desires. They directly address the current events of our world, and speak to those whose lives are affected by specific events and reveals its structure.
Mounir Fatmi’s work offers a look at the world from a different glance, refusing to be blinded by the conventions.
Courtesy: the artist and Goodman Gallery, Johannesburg.