La predation ne crois pas a la mort, Installation Photography in light box, (95 x 145 cm), hose, blowtorch, and slogan -Exposition « Cent ans de création au Maroc »,
Musée Mohammed VI d’art moderne et contemporain, Rabat 2014 / 2012
La predation ne crois pas a la mort
Installation Photography in light box, 95 x 145 cm, hose, blowtorch, and slogan
Exposition « Cent ans de création au Maroc »,
Musée Mohammed VI d’art moderne et contemporain, Rabat 2014 / 2012
La predation ne crois pas a la mort
Installation Photography in light box, 95 x 145 cm, hose, blowtorch, and slogan
Exposition « Cent ans de création au Maroc »,
Musée Mohammed VI d’art moderne et contemporain, Rabat 2014 / 2012
La predation ne crois pas a la mort! (Predation does not believe in death!)
Predation doesn't believe in death! is a multidisciplinary installation linking image to text, constructed through layers of meaning that accumulate into a stark meditation on power and voicelessness. A self-portrait depicts artist Amine El Gotaibi on the famous Boulevard Mohammed V in Rabat, turning his back on parliament. With no outside context given, he stands alone in this space of power, which fills the entire frame. The choice of location carries weight: Boulevard Mohammed V represents the heart of governmental authority in Morocco, a site where state power manifests through architecture and urban planning. By positioning himself with his back to parliament, El Gotaibi enacts a gesture of refusal, a deliberate turning away from institutions that claim to represent the people while often serving other interests. Presented in the form of an installation in the exhibition space, the artist's face is blocked by a gas regulator that directly connects his mouth to a hose, a brutal literalization of what it means to be silenced.
read more
La predation ne crois pas a la mort! (Predation does not believe in death!)
Predation doesn't believe in death! is a multidisciplinary installation linking image to text, constructed through layers of meaning that accumulate into a stark meditation on power and voicelessness. A self-portrait depicts artist Amine El Gotaibi on the famous Boulevard Mohammed V in Rabat, turning his back on parliament. With no outside context given, he stands alone in this space of power, which fills the entire frame. The choice of location carries weight: Boulevard Mohammed V represents the heart of governmental authority in Morocco, a site where state power manifests through architecture and urban planning. By positioning himself with his back to parliament, El Gotaibi enacts a gesture of refusal, a deliberate turning away from institutions that claim to represent the people while often serving other interests. Presented in the form of an installation in the exhibition space, the artist's face is blocked by a gas regulator that directly connects his mouth to a hose, a brutal literalization of what it means to be silenced.
read more
La predation ne crois pas a la mort! (Predation does not believe in death!)
Predation doesn't believe in death! is a multidisciplinary installation linking image to text, constructed through layers of meaning that accumulate into a stark meditation on power and voicelessness. A self-portrait depicts artist Amine El Gotaibi on the famous Boulevard Mohammed V in Rabat, turning his back on parliament. With no outside context given, he stands alone in this space of power, which fills the entire frame. The choice of location carries weight: Boulevard Mohammed V represents the heart of governmental authority in Morocco, a site where state power manifests through architecture and urban planning. By positioning himself with his back to parliament, El Gotaibi enacts a gesture of refusal, a deliberate turning away from institutions that claim to represent the people while often serving other interests. Presented in the form of an installation in the exhibition space, the artist's face is blocked by a gas regulator that directly connects his mouth to a hose, a brutal literalization of what it means to be silenced.
read more
Research Process / 2012
EXPLOITING RESOURCES
s a powerful affirmation, the title of the work is "tagged" in the form of a slogan on the wall in letters burned on with a blowtorch. This method of inscription carries multiple resonances: the blowtorch evokes both destruction and creation, the burning of letters into surface permanently marking what might otherwise be erased or painted over. The choice to use graffiti's visual language, the "tag" as form of unsanctioned public writing, positions the work within traditions of resistance that claim space outside official channels and approved venues for expression. Yet the blowtorch elevates this gesture beyond temporary spray paint, creating marks that cannot be simply removed, that scar the surface with testimony that endures. The phrase itself, "Predation doesn't believe in death," operates as provocation and diagnosis simultaneously. It speaks to systems of exploitation that perpetuate themselves regardless of human cost, that extract resources and labour without concern for sustainability or consequence.
read more
EXPLOITING RESOURCES
s a powerful affirmation, the title of the work is "tagged" in the form of a slogan on the wall in letters burned on with a blowtorch. This method of inscription carries multiple resonances: the blowtorch evokes both destruction and creation, the burning of letters into surface permanently marking what might otherwise be erased or painted over. The choice to use graffiti's visual language, the "tag" as form of unsanctioned public writing, positions the work within traditions of resistance that claim space outside official channels and approved venues for expression. Yet the blowtorch elevates this gesture beyond temporary spray paint, creating marks that cannot be simply removed, that scar the surface with testimony that endures. The phrase itself, "Predation doesn't believe in death," operates as provocation and diagnosis simultaneously. It speaks to systems of exploitation that perpetuate themselves regardless of human cost, that extract resources and labour without concern for sustainability or consequence.
read more
EXPLOITING RESOURCES
s a powerful affirmation, the title of the work is "tagged" in the form of a slogan on the wall in letters burned on with a blowtorch. This method of inscription carries multiple resonances: the blowtorch evokes both destruction and creation, the burning of letters into surface permanently marking what might otherwise be erased or painted over. The choice to use graffiti's visual language, the "tag" as form of unsanctioned public writing, positions the work within traditions of resistance that claim space outside official channels and approved venues for expression. Yet the blowtorch elevates this gesture beyond temporary spray paint, creating marks that cannot be simply removed, that scar the surface with testimony that endures. The phrase itself, "Predation doesn't believe in death," operates as provocation and diagnosis simultaneously. It speaks to systems of exploitation that perpetuate themselves regardless of human cost, that extract resources and labour without concern for sustainability or consequence.
read more
La predation ne crois pas a la mort, Installation Photography in light box, (95 x 145 cm), hose, blowtorch, and slogan -Exposition « Cent ans de création au Maroc »,
Musée Mohammed VI d’art moderne et contemporain, Rabat 2014 / 2012
La predation ne crois pas a la mort
Installation Photography in light box, 95 x 145 cm, hose, blowtorch, and slogan
Exposition « Cent ans de création au Maroc »,
Musée Mohammed VI d’art moderne et contemporain, Rabat 2014 / 2012
La predation ne crois pas a la mort
Installation Photography in light box, 95 x 145 cm, hose, blowtorch, and slogan
Exposition « Cent ans de création au Maroc »,
Musée Mohammed VI d’art moderne et contemporain, Rabat 2014 / 2012
SEEING WHAT HAPPENS
This work is a visual translation of the artist's feelings about a society that uses propaganda to "urge us either to read, observe, or understand, but not at all once, so that we don't see what is happening around us." The installation enacts this fragmentation of perception through its multidisciplinary structure, requiring viewers to move between image and text, between the self-portrait with its muzzled face and the burned slogan on the wall. We cannot take in the whole at once but must instead piece together meaning from separate elements, much as the propaganda El Gotaibi critiques attempts to prevent citizens from achieving comprehensive understanding of their circumstances.
read more
SEEING WHAT HAPPENS
This work is a visual translation of the artist's feelings about a society that uses propaganda to "urge us either to read, observe, or understand, but not at all once, so that we don't see what is happening around us." The installation enacts this fragmentation of perception through its multidisciplinary structure, requiring viewers to move between image and text, between the self-portrait with its muzzled face and the burned slogan on the wall. We cannot take in the whole at once but must instead piece together meaning from separate elements, much as the propaganda El Gotaibi critiques attempts to prevent citizens from achieving comprehensive understanding of their circumstances.
read more
SEEING WHAT HAPPENS
This work is a visual translation of the artist's feelings about a society that uses propaganda to "urge us either to read, observe, or understand, but not at all once, so that we don't see what is happening around us." The installation enacts this fragmentation of perception through its multidisciplinary structure, requiring viewers to move between image and text, between the self-portrait with its muzzled face and the burned slogan on the wall. We cannot take in the whole at once but must instead piece together meaning from separate elements, much as the propaganda El Gotaibi critiques attempts to prevent citizens from achieving comprehensive understanding of their circumstances.
read more
La predation ne crois pas a la mort, Installation Photography in light box, (95 x 145 cm), hose, blowtorch, and slogan -Exposition « Cent ans de création au Maroc »,
Musée Mohammed VI d’art moderne et contemporain, Rabat 2014 / 2012
La predation ne crois pas a la mort
Installation Photography in light box, 95 x 145 cm, hose, blowtorch, and slogan
Exposition « Cent ans de création au Maroc »,
Musée Mohammed VI d’art moderne et contemporain, Rabat 2014 / 2012
La predation ne crois pas a la mort
Installation Photography in light box, 95 x 145 cm, hose, blowtorch, and slogan
Exposition « Cent ans de création au Maroc »,
Musée Mohammed VI d’art moderne et contemporain, Rabat 2014 / 2012
