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The works of Lydia Ourahmane evince the capacity of individuals to overcome the historical narratives in which they are embedded. Many of them look to the history and the present of the artist’s country of Algeria and daily life after the Civil War of 1997¬–8. Growing up there, the artist experienced the realities of military fundamentalism and the entanglements of corruption and terrorism, as well as the legacies of ‘independence’ within postcolonialist life. Ourahmane’s work for the Istanbul Biennial is titled All the way up to the Heavens and down to the depths of Hell (2017), from a Latin phrase (Cuius est solum, eius est usque ad coelum et ad inferos) describing property rights to the realms above and below the physical site of ownership. The work is a 4 x 4 metre plot of land, which was purchased at a very low price in Arzew, Algeria, a small port city that has experienced significant pollution and toxic emissions due to its heavy industry along the coast. Together with non-regulation of real estate, corrupt practices and an expanded black market, this makes it possible to purchase very small plots of contaminated land at low prices. At Istanbul Modern, Ourahmane has constructed a rudimentary 4 x 4 metre concrete platform surrounded by four columns with spiked iron rods, replicating the size of the piece of land, the minimum area necessary to secure it from re-sale or squatting. A trumpeter occasionally visits the platform, playing a sombre, ceremonial-sounding tune written by the artist that recalls the military reveille or a ritual rite such as the killing of an animal. Ourahmane’s contribution explores the affective and environmental legacies of land ownership and its relationship to colonisation and decolonisation, as well as the totems of protectionism. By looking at land use and transfer, her work shows how our experiences of the environment and one another shift through the direct influences of capitalism, colonialism, trade and contamination, both psychological and real.

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Biografía del artista

Lydia Ourahmane: Exploring Displacement and Memory Through Sound and Sculpture

Lydia Ourahmane (born 1992, Saïda, Algeria) is a conceptual artist whose practice delves into profound questions of identity, memory, and displacement—themes that resonate powerfully across her diverse body of work. Based in Barcelona, London, and Algiers, Ourahmane’s artistic journey began amidst the complexities of Algerian civil war, fostering an early awareness of geopolitical tensions and personal narratives intertwined with collective histories. Growing up in a Christian commune during this turbulent period instilled within her a sensitivity to social dynamics and the impact of political upheaval on everyday life—influences that continue to shape her creative vision. Her formal education at Goldsmiths University London solidified her commitment to conceptual art, equipping her with critical tools for analyzing cultural contexts and challenging institutional structures. It was here that she conceived *The Third Choir*, a groundbreaking installation utilizing twenty oil barrels from the Algerian national petroleum company Naftal—a deliberate act of defiance against governmental restrictions on artistic movement and a symbolic gesture honoring Algeria’s independence from France. The legal departure of this artwork from Algerian borders, facilitated by an amendment to the Finance Act 2014, represents not merely logistical triumph but also embodies Ourahmane's broader ethos: questioning authority and advocating for freedom of expression. This project underscored her fascination with bureaucratic processes as vehicles for social critique—a preoccupation that extends throughout her oeuvre.

Early Life & Influences
The Third Choir: A Statement of Resistance
Recognition & Institutional Exhibitions
Recent Projects & Artistic Evolution
Historical Significance & Legacy

Early Life & Influences

Lydia Ourahmane was born in Saïda, Algeria in 1992. Her mother is Malaysian of Chinese descent and her father is Algerian. She grew up in Arzew, Oran during the Algerian Civil War (1991-2002), experiencing firsthand the anxieties associated with political instability and sectarian conflict. This formative period instilled within her a deep understanding of social dynamics and the profound impact that geopolitical tensions can have on individual lives—influences that permeate her artistic explorations of displacement and memory. Her upbringing fostered an acute awareness of cultural heritage and the importance of confronting narratives shaped by historical trauma.

The Third Choir: A Statement of Resistance

Ourahmane’s conceptual breakthrough arrived in 2014 with *The Third Choir*, a monumental installation utilizing twenty oil barrels from the Algerian national petroleum company Naftal—a deliberate act of defiance against governmental restrictions on artistic movement and a symbolic gesture honoring Algeria’s independence from France. The legal departure of this artwork from Algerian borders, facilitated by an amendment to the Finance Act 2014 through the process of the work, represents not merely logistical triumph but also embodies Ourahmane's broader ethos: questioning authority and advocating for freedom of expression. This project underscored her fascination with bureaucratic processes as vehicles for social critique—a preoccupation that would become a recurring motif in her subsequent artistic endeavors.

Recognition & Institutional Exhibitions

The Tate Gallery acquired *The Third Choir* in 2014, marking a pivotal moment in Ourahmane’s career and establishing her reputation as an innovator pushing boundaries within contemporary art. Simultaneously, she embarked on meticulous investigatio

lydia ourahmane

1992 - , Algeria

Datos clave

Artistic Movement Or Style: Arte Conceptual
Date Of Birth: 1992
Full Name: Lydia Ourahmane
Nationality: Algeriana
Notable Artworks:
- Todas las formas hacia los cielos y hacia las profundidades del infierno
- Barzakh
Place Of Birth: Sidi Bel Abbès, Algeria

All the way up to the Heavens and down to the depths of Hell

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