Forever Do en Forever Mi door Latifa Echakhch, 2016
achtergrond: Pyramide de crânes door Robert Zandvliet, 2008
De gebroken klokken werden in 2016 op de Frieze Art Fair in Londen gepresenteerd. Uit een verslag: “As for the bells, they are replicas of those from the Lübeck church in Germany. Bombed during the war, they lay broken on the ground outside the church.. and are still there today. The locals left them exactly as they’d fallen like witnesses of the tragic events. These replicas are a way for the artist to repeat how the past – and its residual violence – will continue to chime forever. The repressed don’t remain so for long, however big or small the story.” De verslaggever sprak met de galeriehouder.
De kunstenares stelt dat de klokken origineel zijn: “Cognizant of a certain threat underlying the current American election, Echakhch had broken an oxidized, bronze liberty bell and scattered the pieces. “It’s a vintage bell,” she said. “I may have a smile on my face, but my heart is crying.” Zoals nu bekend is: Trump won, al of niet met hulp van Rusland.
Uit de Voorlinden-museuminfo: Op de vloer liggen twee bronzen klokken aan stukken geslagen. Van grote hoogte heeft Latifa Echakhch de originele Italiaanse klokken naar beneden laten vallen.
Fadmagazine schrijft over de Frieze van 2016: “[..] cracked bells across the gallery floor. The artist’s French Moroccan heritage questions the role of liberty in Western society.”
De londonist tekende op: “[..] you can see the work of Latifa Echakhch. A set of broken bells is sprawled across the floor. This political work becomes clear when you learn of the artist’s French-Moroccan heritage — the bells of freedom have been broken apart as anti-immigration and Islamophobic sentiment spreads across Europe.”
Butterflyartnews: “Giant bronze bells by French-Moroccan artist Latifa Echakhch lie shattered across the floor in symbol of how time inflects its content and how easily important things can be forgotten.”
Latifa Echakhch (Fr.,1974)
Van Frieze.com uit 2011: Unlike some contemporary artists with an immigrant background, Echakhch distances herself in much of her work from these symbols; she left Morocco at the age of three, does not speak Arabic, has no memories of the country of her birth and is informed more by her upbringing in France. She is more interested in deconstructing cultural stereotypes that have repeatedly confronted her and reinvesting them with new meaning.
Van Frieze.com uit 2016: Latifa Echakhch’s interest in migration and how it plays out in the form of cultural heritage leads her to create works that unsettle the idea of a coherent sense of identity. Born in Morocco but raised in France, her previous projects have seen her break Moroccan teacups in a gallery (Erratum, 2004) and hang a golden plaque that reads ALIEN OF EXTRAORDINARY ABILITY (the US visa classification for artist visas).
de klokken lijken, vanwege de scherf, van geverfd aardewerk
Museum Voorlinden, Wassenaar
Foto’s: oktober 2017