Carolle benitah的照片刺绣:纪念、越界和自我改造

IF 0.1 3区 文学 0 LITERATURE, ROMANCE
Naïma Hachad
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引用次数: 0

摘要

摘要:在《摩洛哥童年》(2009年)中,卡罗尔·贝尼塔整理、扫描、裁剪和调整了20世纪60年代和70年代她在摩洛哥童年的黑白家庭照片。在这样做的过程中,贝尼塔创作了艺术作品,同时强调了家庭照片如何作为见证对象,能够捕捉塑造后现代和后殖民时代和心态的创伤变化。Bénitah的照片刺绣讲述了家庭、个人和社区的故事,在公共和私人故事和记忆的交叉点。贝尼塔的图像与20世纪摩洛哥犹太社区的历史密不可分,证明了该社区所经历的戏剧性转变,并纪念了空间。摘要:在“L'enfance marocaine”(2009年)中,卡罗尔·贝尼塔(Carolle Bénitah)在扫描和冷却了1960年代和1970年代她在摩洛哥童年的家庭照片后,使用红线和黑线在黑白图像上进行了刺绣。当她将家庭肖像转化为艺术作品时,贝尼塔强调了家庭照片如何作为证明性对象发挥作用,能够捕捉塑造后现代和后殖民时代和精神的创伤转变。她的摄影作品讲述了公共和私人历史与记忆交叉的社区、家庭和个人故事。贝尼塔的图像与二十世纪摩洛哥犹太社区的历史密不可分,它见证了它所经历的戏剧性转变,并纪念了不再存在的社会文化空间。贝尼塔还利用刺绣将家庭照片转化为一个零碎的自传体叙事,也是一个争论和自我发明的场所。艺术家庆祝家庭关系,同时揭露家庭摄影验证并延续的妇女父权社会化背后的暴力。通过她的混合图像,贝尼塔将传统家庭相册保存的过去个人化、重新审视和女性化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
La photo-broderie de Carolle Bénitah : commémoration, transgression et réinvention de soi
Abstract:Dans « L'enfance marocaine » (2009), Carolle Bénitah trie, scanne, recadre et redimensionne des photographies de famille en noir et blanc de son enfance au Maroc dans les années 1960 et 1970. Ce faisant, Bénitah crée des œuvres d'art et, en même temps, met en évidence la manière dont les photographies de famille peuvent fonctionner comme des objets de témoignage qui ont la capacité de saisir les changements traumatisants qui façonnent les époques et les mentalités postmodernes et postcoloniales. Les photo-broderies de Bénitah racontent des histoires familiales, personnelles et de communauté, à l'intersection entre histoires et mémoires publiques et privées. Inséparables de l'histoire de la communauté juive marocaine au XXè siècle, les images de Bénitah témoignent des transformations dramatiques que cette communauté a subi et commémorent des espaces.Abstract:In "L'enfance marocaine" (2009), Carolle Bénitah, after scanning and reframing family photographs from her childhood in Morocco in the 1960s and 1970s, embroiders over the black and white images using red and black threads. As she transforms family portraits into works of art, Bénitah highlights how family photographs can function as testimonial objects that have the ability to capture the traumatic shifts that shape postmodern and postcolonial eras and mentalities. Her photo-embroideries tell community, family, and personal stories at the intersection between public and private history and memory. Inseparable from the history of the Moroccan Jewish community in the twentieth century, Bénitah's images bear witness to the dramatic transformations it experienced and memorialize sociocultural spaces that no longer exist. Bénitah also uses embroidery to transform family photographs into a fragmentary autobiographical narrative that is also a site of contestation and self-invention. The artist celebrates family links while exposing the violence behind the patriarchal socialization of women that family photography validates and perpetuates. Through her hybrid images, Bénitah individualizes, revises, and feminizes the past that conventional family albums preserve.
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Expressions maghrebines
Expressions maghrebines LITERATURE, ROMANCE-
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