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Opis umetničkog dela

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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Biografija umetnika

The Echoes of Displacement and Identity

Lydia Ourahmane’s artistic practice is an intricate tapestry woven from the threads of memory, geopolitics, and the visceral realities of a world in flux. Born in 1992 amidst the turbulent landscape of Saïda, Algeria, her early life was shaped by the profound complexities of the Algerian Civil War. Growing up within a Christian commune in Arzew, Ourahmane developed a unique sensitivity to the social dynamics and political upheavals that define postcolonial existence. This formative period, marked by the shadows of military fundamentalism and the heavy legacies of independence, instilled in her a deep preoccupation with how historical narratives are etched onto both the individual body and the collective consciousness. Her work does not merely observe these tensions; it inhabits them, using sound, sculpture, and installation to explore the profound sense of displacement that characterizes the contemporary human condition.

The Art of Bureaucratic Defiance

It was during her formal education at Goldsmiths University London that Ourahmane’s conceptual prowess truly began to manifest, transforming administrative obstacles into profound artistic statements. She achieved international recognition through her groundbreaking installation, The Third Choir, a work that utilized twenty oil barrels sourced from the Algerian national petroleum company, Naftal. This project was far more than a sculptural feat; it was a deliberate act of defiance against the rigid governmental restrictions on the movement of cultural assets within Algeria. In a remarkable intersection of art and law, Ourahmeane navigated the labyrinthine bureaucratic processes to facilitate the legal departure of this work from Algerian borders, an achievement made possible through a specific amendment to the Finance Act 2014. This mastery of logistics—treating the very machinery of the state as a medium for social critique—has become a hallmark of her oeuvre. The significance of this achievement was cemented when the Tate Gallery acquired The Third Choir, marking a pivotal moment in her career and establishing her as a formidable voice in contemporary art.

Global Landscapes and Monumental Narratives

As her practice has expanded, Ourahmane has moved toward even more monumental scales, addressing the environmental and affective legacies of land ownership and colonialism. Her contribution to the 15th Istanbul Biennial, titled All the way up to the Heavens and down to the depths of Hell, serves as a poignant example of her ability to bridge the local with the global. By recreating a specific, contaminated plot of land from Arzew within the gallery space, she forced a confrontation with the realities of industrial pollution and the corrupt practices of real estate. Her work continues to resonate on the world's most prestigious stages, leaving an indelible mark on the contemporary art canon through her presence in:

The 60th Venice Biennale, where her explorations of identity reached a global audience;
The Gwangju Biennale and the Istanbul Biennial, showcasing her command over large-scale installation;
The New Museum Triennial and Manifesta 12, further cementing her role as an innovator of conceptual boundaries.

Through a meticulous blend of soundscapes, heavy materials, and historical investigation, Lydia Ourahmane continues to challenge institutional structures, inviting us to reconsider the ways in which migration, power, and memory shape our shared reality.

lydia ourahmane

1992 - , Algeria

Osnovne informacije

Artistic Movement Or Style: Conceptual Art
Artists Or Movements Influenced By This Artist: ['']
Artists Who Influenced This Artist: ['']
Date Of Birth: 1992
Full Name: Lydia Ourahmane
Nationality: Algerian
Notable Artworks:
- All the way up to the Heavens and down to the depths of Hell
- 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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