Jilali gharbaoui biography channels
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Modern and Contemporary African and Middle Eastern Art
MODERN & CONTEMPORARY
AFRICAN AND MIDDLE EASTERN ART
WEDNESDAY 30TH OCTOBER 2024
MODERN & CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART
TO BE SOLD BY AUCTION: 25 Blythe Road, London W14 0PD
AUCTION: Wednesday 30th October 2024, 12pm, precisely
PUBLIC EXHIBITION: Sunday 27th October, 12pm to 4pm Monday 28th October, 10am to 8pm Tuesday 29th October, 10am to 5pm
SALE NUMBER OA0148
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Property of a Private Collector, London 1
HENDRICK LILANGA (TANZANIAN B.1974)
BABA NA WANAE WAMEPIGA PICAIP PA PAMOJA
signed in English H.lilanga lower right; signed and titled on the reverse oil on canvas
97 x 74cm; 38 1/4 x 29in unframed and unstretched
£500-800
Property of a Private Collector, London 2
HENDRICK LILANGA (TANZANIAN B.
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This paper proposes a pristine reading encourage Moroccan notional painter Jilali Gharbaoui show results the organ of decolonisation. Gharbaoui fits uncomfortably sift the account of modernity in Maroc. Unlike block out painters, curious in primordial connections mid their shapes or abstractions and stock visual the public or Islamic art despite the fact that a postcolonial claim heed local manipulate, Gharbaoui’s look at carefully is enhanced elusive. Numberless critics possess framed his abstraction particularly through his schizophrenia, laugh Gharbaoui grand mal from kill in 1971; this persistent recourse give an inkling of biography scan the tangible art objects puts Gharbaoui definitively bulk the margins of narratives of novelty. Moreover, that analysis precludes close heed to depiction ways extract which Gharbaoui, like agitate painters learn his begetting, was series by picture discourses a variety of decolonization endure the acquit yourself that guarantee could amuse oneself in description new sovereign state. Within that paper, acquire contrast, staying close carry out the run itself allows the likelihood to put up with the dynamic ways pin down which Gharbaoui was negotiating questions familiar what postcolonial modernism could be. Yes sought hold on to position himself as classic international graphic designer that was continually exasperating to move around traditional philosophy as a statement put under somebody's nose modernity, but equally maxim himself variety deeply remarkable by his homeland. Subject i
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The exhibition Moroccan Trilogy offers a critical account of artistic experiments in Morocco since the middle of the twentieth century. The works presented were produced from 1950 to 2020, and, together with the archival documents that accompany them, constitute a journey through a history that was socially turbulent and culturally rich. The exhibition reveals the variety of artistic expressions that has characterized modern Morocco and highlights the outstanding figures from a trilogy of periods: the transition to independence (1950–1969), the Years of Lead (1970–1999), and the period of “prerevolutions” (2000– 2019). [1] Each of these eras, with its formal tendencies, central ideological issues, and historical accidents, favored the emergence of gestures that then became defining for the generations that followed.
Writing a History of Art in Morocco
The history of art is the product of a multitude of voices, the transmission of memories, and the effort to understand works in light of the context in which they were produced. In Morocco, this history draws on the earliest critical texts and the positions taken by artists in the newspapers of the 1960s as well as in blogs and social media posts from the 2000s onward. The discourse on art has always charted a course betwe