Wet Feet Series, Broken Container, Fig. 10

Bouchra Khalili

Wet Feet Series, Broken Container, Fig. 10 , 201280 x 60cmPrice on Request
Details
MaterialGallery
c-printmor charpentier
Description
Human-crafted. AI-refined.

This abstract artwork features a stark, minimalist composition composed primarily of muted white and earthy tones. The canvas is dominated by vertical streaks and splatters of rusty, ochre-colored pigment that create a sense of weathering and decay. The overall impression is one of deterioration and the passage of time, with the materials themselves serving as the primary subject matter. The artist's technique appears to involve a process-oriented, expressive approach, using the natural interaction of pigments and surfaces to produce a visually striking and conceptually resonant work. This piece likely reflects the artist's interest in themes of impermanence, erosion, and the inherent beauty found in the breakdown of materials over time. ...

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Bouchra Khalili
Artist
Bouchra Khalili
B.1975, French/Moroccan

Encompassing film, video, installation, photography, printmaking, and publishing, Khalili’s practice explores imperial and colonial continuums as epitomized by contemporary forced illegal migrations and the politics of memory of anti-colonial struggles and international solidarity. Deeply informed by the legacy of post-independence avant-gardes and the vernacular traditions of her native Morocco, Khalili’s approach develops strategies of storytelling at the intersection of history and micro-narratives. Combining documentary and conceptual practices, she investigates questions of self-representation, autonomous agency, and forms of resistance of communities rendered invisible by the nation-state model. ...

Bouchra Khalili: Artworks
Foreign Office
Bouchra KhaliliForeign Office, 2015Price on Request
The Constellations
Bouchra KhaliliThe Constellations, 2011Price on Request
The Typographer
Bouchra KhaliliThe Typographer, 2019Price on Request
Wet Feet Series, Lost Boats. Fig. 5
Bouchra KhaliliWet Feet Series, Lost Boats. Fig. 5 , 2012Price on Request
Wet Feet Series, Broken Container, Fig. 10
Bouchra KhaliliWet Feet Series, Broken Container, Fig. 10 , 2012Price on Request
The Archipelago : The Nordic Chapter
Bouchra KhaliliThe Archipelago : The Nordic Chapter, 2020Price on Request
Sea as Sky
Bouchra KhaliliSea as Sky, 2018Price on Request
Wet Feet (Lost Boats fig.2)
Bouchra KhaliliWet Feet (Lost Boats fig.2), 2012Price on Request
Wet Feet (Lost Boats fig.8)
Bouchra KhaliliWet Feet (Lost Boats fig.8), 2012Price on Request
Wet Feet (Lost Boats - Detail: Flag fig.2)
Bouchra KhaliliWet Feet (Lost Boats - Detail: Flag fig.2), 2012Price on Request
mor charpentier
Gallery
mor charpentier
Paris, Bogotá

Established in Paris since 2010, mor charpentier represents both emerging and well-established artists whose conceptual practices are anchored in social realities, history and the politics of contrasting geographic regions. By promoting international practices, the gallery aims to broaden the knowledge of crucial debates of the present. A significant inaugural show with Colombian master, Oscar Muñoz, fulfilled a void in the French artistic scene by broadening the spectrum of origins, subjects and identities in the art market. Ever since, a growing number of major international artists have joined the gallery. Coming from different generations and global backgrounds, they all share a commitment to either political, feminist, post-colonial, queer or human rights causes. Amongst them are Lawrence Abu Hamdan, Teresa Margolles, Chen Ching-Yuan, Liliana Porter, Bouchra Khalili, Carlos Motta, Hajra Waheed, and more. Equal gender representation and diversity is also part of the gallery goals, with half of the represented artists being women. In 2021 mor charpentier opened a second exhibition space in Bogotá. This expansion was driven to expand the reach of the gallery program to new publics and encourage artists to explore new territories. It consolidated a long-term bond with the Latin American art scene and the international projection of the gallery. ...

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