Djamel Tatah
227 juin - 11 octobre 2009

dans les vitrines du musée

+


Djamel Tatah
27 juin - 11 octobre 2009

Galerie des Ponchettes
77, quai des
États-Unis – Nice – Tél : 04.93.62.31.24
Ouverte tous les jours (sauf le lundi) de 10h00 à 18h00 – Entrée Libre





Sans titre, 2009 (09001)
Huile et cire sur toile
Triptyque, 290 x 190 x 3 cm
© ADAGP Paris 2009 - Courtesy the artist and kamel mennour, Paris - Photo : Jean-Louis Losi

(08022)
Sans titre, 2008
Huile et cire sur toile, 205.5 x 173.5 cm
Collection Cité nationale de l’histoire et des cultures de l’immigration, CNHI, Paris
© ADAGP Paris 2009 - Courtesy the artist and kamel mennour, Paris – Photo Jean-Louis Losi
(08001)
Sans titre, 2008
Huile et cire sur toile, Diptyque 250 x 190 cm (x2)
Collection Bernard Massini, Nice
© ADAGP Paris 2009 - Courtesy the artist and kamel mennour, Paris – Photo Jean-Louis Losi

return
art contemporary museum's windows


“I know where I came from, I do not know where I am going, for I am a mutant!” *

The Musée d’Art moderne et d’Art contemporain [Mamac] in Nice, with the agreement of Djamel Tatah, has chosen to present the artist’s work in two separate places : the Galerie des Ponchettes and the Vitrines du Mamac [Mamac’s display windows]. The Galerie faces the Mediterranean Sea, which links the Orient and the West. The gallery itself is a historic building that has witnessed the ups and downs of life in Nice, from its rooftop terrace, once used to stretch one’s legs or to watch the carnival progress along Saleya Street, to the exhibitions that foreshadowed the opening of Mamac in the 1980s. A large number of European and American artists, part of the avant-garde in the 1960s and 70s, have shown there. The board of directors at Mamac has recently been put in charge of the Galerie des Ponchettes’s programme, and events are organised there in collaboration with the museum’s own exhibition spaces. In the Galerie des Ponchettes, canvases from a recent series are arranged face-to-face; three untitled triptychs are placed in a dialogue with a long series of silhouettes that Djamel Tatah calls Les
Hittistes [from the Algerian ‘hit’, meaning ‘wall’]. The vast space, resembling a nave, vaulted and punctuated by alcoves along its sides, gives a particular resonance to the artist’s work. All interior architecture has the potential to echo harmoniously with works of art. This is particularly so here, a setting whose architecture is dominated by stone and where, under a softened light, Djamel Tatah’s canvases exude an almost autistic feeling of solitude, and a call to spirituality. […]
From another perspective, on Place Yves Klein, at the same level as the passage of passers-by, the Museum’s Vitrines provide a signpost to the entrance of the building. Such is the case here with the display of two major works by Djamel Tatah in this space that encourages a direct relationship with the pedestrian. The artist has accepted the principle of giving prominence to two strong, significant works that are immediately available to be viewed by those who walk up and down the street, carrying out their daily business.
Djamel Tatah, who lives in France, possesses the specific characteristic of a Mediterranean man of antiquity: curiosity and the acceptance of others in the mix of traditional aesthetics. The result is an astonishing receptiveness conveyed by a body of work that is vibrant, dense, sober and imbued with a spirituality that expresses the ideal towards which our mutating society is aiming.


return