Exhibition performance at AL MAQAM, Tahanaoute, Morocco / 2018
PERSPECTIVE DE BREBIS (SHEEP'S PERSPECTIVE)
"Sheep's Perspective", an exhibition performance presented in 2018 at AL MAQAM, in Tahanaoute, near the Atlas Mountains of Morocco, invites you to observe the world from a sheep's perspective. Improvised shepherd of a flock of which he takes great care, El Gotaibi adopts, in his work, these animals as emblematic symbols of the status of dependence and submission that would characterize the citizens of underdeveloped societies. He makes drawings of sheep surrounded by lines—like so many bars—each in a well-defined posture corresponding to the social class that the artist attributes to him in society. In contrast to these caged ideal types, he introduces living sheep to the exhibit that roam freely and blend in with visitors. Who can ask themselves: what is the sheep in which I recognize myself?
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PERSPECTIVE DE BREBIS
(SHEEP'S PERSPECTIVE)
"Sheep's Perspective", an exhibition performance presented in 2018 at AL MAQAM, in Tahanaoute, near the Atlas Mountains of Morocco, invites you to observe the world from a sheep's perspective. Improvised shepherd of a flock of which he takes great care, El Gotaibi adopts, in his work, these animals as emblematic symbols of the status of dependence and submission that would characterize the citizens of underdeveloped societies. He makes drawings of sheep surrounded by lines—like so many bars—each in a well-defined posture corresponding to the social class that the artist attributes to him in society. In contrast to these caged ideal types, he introduces living sheep to the exhibit that roam freely and blend in with visitors. Who can ask themselves: what is the sheep in which I recognize myself?
read more
PERSPECTIVE DE BREBIS (SHEEP'S PERSPECTIVE)
"Sheep's Perspective", an exhibition performance presented in 2018 at AL MAQAM, in Tahanaoute, near the Atlas Mountains of Morocco, invites you to observe the world from a sheep's perspective. Improvised shepherd of a flock of which he takes great care, El Gotaibi adopts, in his work, these animals as emblematic symbols of the status of dependence and submission that would characterize the citizens of underdeveloped societies. He makes drawings of sheep surrounded by lines—like so many bars—each in a well-defined posture corresponding to the social class that the artist attributes to him in society. In contrast to these caged ideal types, he introduces living sheep to the exhibit that roam freely and blend in with visitors. Who can ask themselves: what is the sheep in which I recognize myself?
read more
The seducing sheep II: ink and pencil on paper, 75x100 cm / 2018
WHY A SHEEP?
Concerned about the potentially worrisome effects of this sport, El Gotaibi questions the irrational adoration it inspires, attempting to identify the void that exists in societies in which football is practiced as devoutly as any faith. Telephage, time-consum 1 ing, and a phagocyte of the mind, "soccer games have been able to create communion and synergy between people where religions have failed."
read more
WHY A SHEEP?
Concerned about the potentially worrisome effects of this sport, El Gotaibi questions the irrational adoration it inspires, attempting to identify the void that exists in societies in which football is practiced as devoutly as any faith. Telephage, time-consum 1 ing, and a phagocyte of the mind, "soccer games have been able to create communion and synergy between people where religions have failed."
read more
WHY A SHEEP?
Concerned about the potentially worrisome effects of this sport, El Gotaibi questions the irrational adoration it inspires, attempting to identify the void that exists in societies in which football is practiced as devoutly as any faith. Telephage, time-consum 1 ing, and a phagocyte of the mind, "soccer games have been able to create communion and synergy between people where religions have failed."
read more
The red and the green: ink on paper, 150x120cm / 2020
THE SHEEP METAPHOR
The artist uses the metaphor of the sheep to produce a subjective typology of social class broken down into seven psychological archetypes, each represented by a sheep frozen in a specific bodily attitude, captured in a network of vanishing lines. At the end of this research, results a series of 21 drawings (made in India ink, graphite and the imprint of stamps created by the artist), the motif of the sheep, symbol of the relationship vertical power, as well as an ethical posture, which is that of decentring in relation to the dominant spaces in society, be they physical, symbolic or conceptual. This posture constitutes the starting point of the reflection carried out by the artist in this second part of the project produced in situ at Dar Moulay Ali, entitled Perspective of seduction.
read more
THE SHEEP METAPHOR
The artist uses the metaphor of the sheep to produce a subjective typology of social class broken down into seven psychological archetypes, each represented by a sheep frozen in a specific bodily attitude, captured in a network of vanishing lines. At the end of this research, results a series of 21 drawings (made in India ink, graphite and the imprint of stamps created by the artist), the motif of the sheep, symbol of the relationship vertical power, as well as an ethical posture, which is that of decentring in relation to the dominant spaces in society, be they physical, symbolic or conceptual. This posture constitutes the starting point of the reflection carried out by the artist in this second part of the project produced in situ at Dar Moulay Ali, entitled Perspective of seduction.
read more
THE SHEEP METAPHOR
The artist uses the metaphor of the sheep to produce a subjective typology of social class broken down into seven psychological archetypes, each represented by a sheep frozen in a specific bodily attitude, captured in a network of vanishing lines. At the end of this research, results a series of 21 drawings (made in India ink, graphite and the imprint of stamps created by the artist), the motif of the sheep, symbol of the relationship vertical power, as well as an ethical posture, which is that of decentring in relation to the dominant spaces in society, be they physical, symbolic or conceptual. This posture constitutes the starting point of the reflection carried out by the artist in this second part of the project produced in situ at Dar Moulay Ali, entitled Perspective of seduction.
read more
Rupestre: ink on paper, 50 x 65 cm / 2020
Rupestre: ink on paper, 50 x 65 cm / 2020
The Renaissance: Ink and pencil on paper, 50 x 65 cm / 2018
The Renaissance: Ink and pencil on paper, 50 x 65 cm / 2018
