Drawing his inspiration from the Flemish aesthetics of the 17th century, the artist creates contemporary compositions, accumulating disparate artifacts gleaned in Morocco: everyday, traditional, ordinary or precious objects. By reinterpreting the genre of still life, the artist thus plays with generational codes in order to experiment plastically with the semantics of a pan-African heritage, far from postcolonial considerations. As masters of the memory of an era, these contemporary vanities act as committed figures of a plural society at the crossroads of civilizations. Like dreamlike allegories, Maya-Inès Touam's surrealist still lifes bear witness to a certain poetry of everyday life and contribute to the construction of a new feminine mythology, far from the divisions.Maya-Inès Touam, Diptyque 1, 2018 Maya-Inès Touam, Triptyque 9, 2017-2018 Maya-Inès Touam, Triptyque 5, 2018 Maya-Inès Touam, Triptyque 1, 2018 Maya-Inès Touam, Polyptyque 1, 2018 Maya-Inès Touam, Esquisse 6, 2017 Maya-Inès Touam, Maya-Inès Touam, Esquisse 5, 2017 Maya-Inès Touam, Esquisse 4, 2017 Maya-Inès Touam, Esquisse 3, 2017 Maya-Inès Touam, Esquisse 1, 2017
For nearly 4 years Maya-Ines Touam travelled throughout Algeria. In this research, which is both personal and cathartic, but also artistic and anthropological, the study of women's clothing could only be a guideline for learning a little more about women in such a vast region of the world. During these many trips, the young artist photographed nearly 200 Algerian women in 6 different regions. In the same way as German humanist objective photography, wishing to set up an empty studio to remove the country's social inequalities. With the intention of forcing the spectator to look only at the central subject, namely "the evolution of women through their clothing to draw a parallel on the evolution of mentalities and deaths". Depending on the encounters, Maya-Ines Touam interviewed, filmed and photographed these women to fix the plurality of fabrics, from coquetry to its most coercive form. The selected photos are an overview of the observed diversity. They symbolize some resentments, sometimes trying to embrace the new influences of the Middle East, sometimes trying to return to Western inspirations, while wanting to keep the uniqueness and traditions of the country.Révéler l'étoffe, Alger, 2014 Révéler l'étoffe, Alger, 2014 Révéler l'étoffe, Alger, 2014 Révéler l'étoffe, Oran, 2015 Révéler l'étoffe, Oran, 2015 Révéler l'étoffe, Oran, 2015 Révéler l'étoffe, Constantine, 2016 Révéler l'étoffe, Constantine, 2016 Révéler l'étoffe, Constantine, 2016 Révéler l'étoffe, Tizi Ouzou, 2017 Révéler l'étoffe, Tizi Ouzou, 2017 Révéler l'étoffe, Tizi Ouzou, 2017 Révéler l'étoffe, Tamanrasset, 2018 Révéler l'étoffe, Tamanrasset, 2018 Révéler l'étoffe, Tamanrasset, 2018 Révéler l'étoffe, Paris, 2017 Révéler l'étoffe, Paris, 2017 Révéler l'étoffe, Paris, 2017
Ready Made, La chambre Claire, Casablanca, Morocco
Revealing the fabric; exhibition-conference, Fuller University, Los Angeles, USA
Revealing the fabric, OZANEAUX Artspace, New York, USA
Revealing the fabric, Galerie Myriam Bouagal, Paris, France
Revealing the fabric, Dar Abdellatif, Algiers, Algeria
Revealing the fabric, MOE#1, Gallery 28 Bis, Paris, France
L’Oriente des feminile, Rimini, Italy
L’Orient du féminin; solo exhibition DNSAP, Beaux-Arts de Paris, France.
Inner Space/Outer Space; RIU, Rimini, Italy
Fotohaus; Voies-Off, meetings in Arles, Arles, France
An Eye on the Arab World; Arab World Institute, Paris, France
Paris Secret(s); 104Paris, Paris, France
Shelves, Hangers, desks; Le coeurParis, Paris, France
Arkane-Afrika, 3rd edition, Casablanca, Morocco
Mediterranean Biennale of Contemporary Art, Oran, Algeria
Talent Grant #67 Revealing the Fabric; Maison de la photographie, Lilles, France
Talent Grant #67; Bibliothèque François Mittérand, Paris, France
Chouftouhouna; Carthage Cultural Centre, Tunis, Tunisia
Arkan-Afrika; contemporary African art, Art’Cop22, Marrakech, Morocco
Aszel, the nights of Oran; Ahmed Zabana Museum and Civoeil Gallery, Oran, Algeria
Arkan-Afrika; 1st ed, Church of the Sacred Heart, Casablanca, Morocco
RESIDENCE, SCHOLARSHIPS, PRIZES
Residence Jardin Rouge, Montresso Art Fondation, Sept 2018, Marrakech, Morocco
LCC Prize, Alliance Foundation, Winner of the 6th edition, Casablanca, Morocco
Arkane residence in 2015 and 2017, Casablanca, Morocco
Talent Grant #67 Winner of the Fashion, Studio, Beauty Award, Paris, France
– Selected for PhotoMed via Lensculture
– Selected for the Fund for Women in the Mediterranean
Residence CISP, Le Monde selon les femmes, Algiers, Algeria
Grant from the French Institute of Algiers via the HAB.B. collective.
PSL Middle East Express#1 scholarship, winner of the call for student initiatives.
Conference – educational tool for women photographers from the Arab world
Conference Festival circulation and the Photo Fair, 104, Paris
Conference and exhibition “Arab? Instructions for use” La Colonie, Paris
Talent Award 2016, The Winners, Delpire Edition
The Representation of Arab Women in Contemporary Art; 2013 thesis at the European University Editions.
Conference “God is back in town. Consideration on public art, secularity and the cité
Ophelie Naessens, lecturer at the University of Rennes 2, Rennes, FRANCE
Conference “Culture and Otherness”, Sorbonne, Paris, France
Catalogue Revealing the fabric
Memory The Representation of Arab Women in Contemporary Art
“No one today is just this or that, Indian, woman, Muslim, American, these labels are just starting points.”
Edouard W. Said.
Born in France to two Algerian parents, Maya-Inès Touam has always stretched her eyes and curiosity on both sides of the Mediterranean Sea. It is naturally that his artistic career has embraced the influences of these 2 continents.
His first questions concerned the ambivalence of women’s power in the Arab world, with the rigour of not evading neo-Orientalism or post-colonialism. This cathartic period has resulted in a current work that is more rooted in universality and focused on the geographical, political and environmental crossroads of Africa.
Thus, through multiple media, the young artist undertakes work that is both anthropological and dreamlike. She immerses her hands in the roots of her origins to draw striking images. With her, we discover the history and beauty of a thousand-year-old culture, but also the practical and geographical aspects of a fabric or objects that are too often caricatured.
A work on the borders of two worlds, which is serenely conversed by the elegance and weight of words. Clément Brelet