Sahara: What is written will remain

Imago Mundi

APR 5 - MAY 20 2018

Sahara: What is written will remain
The opening exhibition of Gallerie delle Prigioni interprets the world art encyclopedia of Imago Mundi as a laboratory of knowledge. In a journey through the numerous narratives found in its Collections, this first show focuses on text and language in the art of the nomadic Tuareg people of the Sahara Desert and four countries they inhabit: Algeria, Libya, Mali and Niger.

Luciano Benetton and Tobia Scarpa at the opening of Imago Mundi exhibition "Sahara: What is written will remain"

With the rise of globalization and advances in technology, diverse issues related to communication are increasingly more complex. Sahara: What is Written Will Remain sheds light on the written and spoken word as a token of memory and identity, exploring its different uses across calligraphy, typography, literature and other media. Going beyond a romantic vision of the desert, exhibiting artists from the Sahara region such as Rachid Koraichi, Nadia Kaabi-Linke, Zoulikha Bouabdellah, Hadia Gana and Zineb Sedira reveal the variety of creative possibilities influenced by language. At the same time, the collective Jürgen Kleft (Austria) and Esmeralda Kosmatopoulos (Greece/ France) – both working on notions of nomadic life, collective memory and daily rituals – present interactive, site-specific installations that converse with the architecture of the space and its history.


The artist Zoulikha Bouabdellah at the opening of Imago Mundi exhibition "Sahara: What is written will remain"

The artist Esmeralda Kosmatopoulos at the opening of Imago Mundi exhibition "Sahara: What is written will remain"

Interview to the artist Hadia Gana at the opening of Imago Mundi exhibition "Sahara: What is written will remain"

The artist Rachid Koraãchi at the opening of Imago Mundi exhibition "Sahara: What is written will remain"

The exhibition expands across the two floors of Gallerie delle Prigioni. Imago Mundi becomes the starting point for new interpretations and a forum of experimentation. Contemporary art (the selected Imago Mundi Collections together with a series of external works, some already realized and others as special commissions) are juxtaposed with ancient manuscripts, maps, travel documents as well as Tutto è scritto, the new documentary by Marco Pavan situated in Timbuktu. The legendary city of Timbuktu in Mali lies where the southern edge of the Sahara meets the banks of the Niger River. Founded in the 11th century, the city was a global center of trade, scholarship, and manuscripts. Displayed across the art space, the contemporary works highlight how calligraphy and manuscripts are enduring remnants of the Sahara’s rich cultural exchange.

The artist Oussama Tabti at the opening of Imago Mundi exhibition "Sahara: What is written will remain"

The artist Juergen Kleft at the opening of Imago Mundi exhibition "Sahara: What is written will remain"

This diverse selection of artworks investigates wider contemporary social, cultural, and political contexts through sculpture, textile, video, installation, photography, and performance. Displayed together, the exhibition becomes a testament to the power and inspiration language has on art from the Sahara region and beyond. Gallerie delle Prigioni will also host events such as film screenings, meetings with artists, workshops and educational programs to accompany the exhibitions.

Interview to the artist Takwa Barnosa at the opening of Imago Mundi exhibition "Sahara: What is written will remain"

Sahara: What is Written Will Remain brings new insights into historical, material and ontological qualities of language, and reflects critically on communication in modern society. Throughout the exhibition visitors are called to respond in toto to the artwork, the literary and architectural stimulants, and to face their own personal experiences and boundaries.

Interview to the artist Aboubakar Fofana at the opening of Imago Mundi exhibition "Sahara: What is written will remain"

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The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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