In the heart of Venice, an intriguing exhibition is about to unfold, one that is deeply rooted in the city's unique spirit and the vision of a remarkable artist, Lydia Ourahmane. This article delves into the captivating world of Ourahmane's artistic journey and the profound impact it has on the art scene.
The Artist's Vision
Lydia Ourahmane, a British-Algerian artist, has embraced Venice as her temporary home, and her latest exhibition is a testament to her unique approach to art. Ourahmane's work is a reflection of her itinerant lifestyle, with residences in Barcelona, Algiers, and a childhood spent between the UK and North Africa. Her art is a conceptual journey, driven by ideas that seamlessly intertwine with the world around her.
"I need my art to be a part of the world, to follow its grain. Before creating, I must envision its reabsorption into the world." - Lydia Ourahmane
This year, Ourahmane's focus has been on Venice itself, and her exhibition is a direct result of the city's influence. Her artistic process involves intuitive connections and imaginative trails, leading to a remarkable outcome.
The Pier Project
One of the key installations in Ourahmane's exhibition is a pier, built on an island in the Venetian lagoon. This project is a result of her fascination with Poveglia, an island with a rich history as a quarantine site and asylum, yet a refuge for locals seeking peace and sunbathing.
Ourahmane, along with her team, visited Poveglia and made a conscious decision not to extract materials from the island. Instead, she chose to collaborate with the local community, who had formed a cooperative to prevent the island from becoming a luxury resort. Her decision to build a pier is a respectful and meaningful contribution to the island's future.
"Working with the community, I wanted to avoid an extractivist approach. They've done so much to resist extraction, so I decided to build a pier, enhancing their access to the island." - Lydia Ourahmane
The Bellini Altarpiece
Ourahmane's exhibition also features a unique acquisition - a Bellini altarpiece of St. Jerome from the church of San Giovanni Crisostomo. The altarpiece is illuminated by an old-fashioned machine, activated by a euro coin. Ourahmane has acquired this machine for her exhibition, swapping it with the priest for a newer one for the church.
"You see these machines in every church, encouraging offerings. But it also keeps the artwork in the dark, visible only to those who can afford it - a concept reminiscent of most museums." - Lydia Ourahmane
Artistic Flexibility and Personal History
Ourahmane's artistic practice is characterized by extreme flexibility, a trait she attributes to her upbringing. As the daughter of devout Christian parents from Algeria and Malaysia, she grew up in Oran during the country's civil war. Her home became a haven, a "hippy commune" offering an alternative reality.
Despite feeling safe, her family faced threats, including an incident where terrorists broke into their home while they were away. This experience, along with her parents' sense of duty to their community, led to their move to England, with her parents eventually returning to Algeria.
"My dad often says my British passport is his biggest gift to me. It took years and a lot of persistence to get it." - Lydia Ourahmane
This negotiation and reconfiguration, a result of her immigrant experience, have become integral to her artistic process. Her degree show at Goldsmiths involved a bureaucratic feat, importing oil barrels from Algeria to London, a first since Algerian independence.
Personal Stories and Metaphor
Ourahmane's work often draws from personal stories and experiences, weaving them into powerful metaphors. One such work involves a gold dental implant, a result of melting down a gold chain offered for sale by a young man in Oran. The chain, he claimed, belonged to his mother and was worth €300, the price of a passage to Europe.
"It was about making a story from these disparate realities, a way to make them register each other." - Lydia Ourahmane
Another intriguing piece involves curtains once owned by Ghislaine Maxwell, retrieved from a bin during the pandemic. Ourahmane believes objects carry an energetic field, absorbing a charge from their owners.
Conclusion
Lydia Ourahmane's art is a unique language, an active participant in the world, reflecting and ordering the disordered reality we inhabit. Her exhibition in Venice is a testament to her vision, a captivating blend of personal history, conceptual ideas, and a deep respect for the communities she engages with. It is a must-see for anyone interested in the intersection of art, history, and personal narrative.
