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Katia Kameli
<blockquote>© Margot Montigny</blockquote>
Katia Kameli
© Margot Montigny
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Katia Kameli
<blockquote>© Margot Montigny</blockquote>
Katia Kameli
© Margot Montigny
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<p class="chapeau">In its exploration of the relations between artistic productions, local knowledge and present-day creativity, the thematic series <em>Lili, the Rozell and the Marimba</em>, devoted to the contemporary and the vernacular, is accompanied by a journal. The aim being a more in-depth and broader look at the issues raised by guest artists in the course of the exhibitions and residencies punctuating the series.</p>
<p class="chapeau">With a view to drawing up the journal's content, an editorial board made up of Lotte Arndt, Jean‑Roch Bouiller, Baptiste Brun, John Cornu, Katia Kameli, Sophie Kaplan and Émilie Renard will meet regularly throughout the series. Whether artists, researchers or curators, board members share an attentiveness both to others and other frames of reference, at the same time as they differ in their fields of activity and (sometimes widely) in their points of view.</p>
Kameli’s work is closely linked to her personal experience of dual identities, exploring multiplicity and the ‘in-between’. Through video, photography, installation, she investigates intercultural spaces, intersecting identities and their construction. Thus, she positions herself as a hybrid, using a ‘third space’ that enables the emergence of other visions, forms and positions. This ‘third space’ questions historical accounts and can generate a critical stance that allows for the rewriting of hegemonic narratives.
Her work has found an audience and gained recognition on the international artistic and cinematographic scene. Her most recent solo-exhibitions include: <em>À l’ombre de l’étoile et du croissant</em>, CRP/ Centre régional de la photographie (2018); <em>What Language Do You Speak Stranger</em>, The Mosaic Rooms, London (2016); <em>Futur,</em> Artconnexion, Lille (2016); Taymour Grahne Gallery, New York (2014); <em>7 Acts of Love in 7 days of Boredom</em>, Transpalette, Bourges (2012); <em>Duty Free</em>, Videochroniques, Marseille (2012). She participated in numerous groups shows that include: <em>Biennale de Rennes</em> (2018); <em>Tous, des sang-mêlés</em>, Mac Val, Paris (2017); <em>Cher(e)s Ami(e)s</em>, Centre Pompidou, Paris (2016); <em>Made in Algeria</em>, Mucem, Marseille (2016);<em> Entry Prohibited to Foreigners</em>, Havre Magasinet, Boden, Sweden (2015); <em>Where we’re at</em>, Bozar, Bruxelles (2014); Lubumbashi Biennale, Congo (2013); <em>Pour un Monde Durable</em>, Calouste Gulbenkian Foundation, Portugal (2013); <em>Le Pont</em>, Museum of Marseille (2013); <em>Dak’art</em>, Dakar Biennale (2012; 2018); <em>Higher Atlas</em>, Marrakech Biennale (2012); Bamako Biennale, Mali (2011).
In 2006 and 2011, Kameli directed and produced ‘Bledi in Progress’ and ‘Trans-Maghreb’ video platforms for young filmmakers from Algeria, Marroco and Tunisia in Algiers.
In its exploration of the relations between artistic productions, local knowledge and present-day creativity, the thematic series Lili, the Rozell and the Marimba, devoted to the contemporary and the vernacular, is accompanied by a journal. The aim being a more in-depth and broader look at the issues raised by guest artists in the course of the exhibitions and residencies punctuating the series.
With a view to drawing up the journal's content, an editorial board made up of Lotte Arndt, Jean‑Roch Bouiller, Baptiste Brun, John Cornu, Katia Kameli, Sophie Kaplan and Émilie Renard will meet regularly throughout the series. Whether artists, researchers or curators, board members share an attentiveness both to others and other frames of reference, at the same time as they differ in their fields of activity and (sometimes widely) in their points of view.
Kameli’s work is closely linked to her personal experience of dual identities, exploring multiplicity and the ‘in-between’. Through video, photography, installation, she investigates intercultural spaces, intersecting identities and their construction. Thus, she positions herself as a hybrid, using a ‘third space’ that enables the emergence of other visions, forms and positions. This ‘third space’ questions historical accounts and can generate a critical stance that allows for the rewriting of hegemonic narratives.
Her work has found an audience and gained recognition on the international artistic and cinematographic scene. Her most recent solo-exhibitions include: À l’ombre de l’étoile et du croissant, CRP/ Centre régional de la photographie (2018); What Language Do You Speak Stranger, The Mosaic Rooms, London (2016); Futur, Artconnexion, Lille (2016); Taymour Grahne Gallery, New York (2014); 7 Acts of Love in 7 days of Boredom, Transpalette, Bourges (2012); Duty Free, Videochroniques, Marseille (2012). She participated in numerous groups shows that include: Biennale de Rennes (2018); Tous, des sang-mêlés, Mac Val, Paris (2017); Cher(e)s Ami(e)s, Centre Pompidou, Paris (2016); Made in Algeria, Mucem, Marseille (2016); Entry Prohibited to Foreigners, Havre Magasinet, Boden, Sweden (2015); Where we’re at, Bozar, Bruxelles (2014); Lubumbashi Biennale, Congo (2013); Pour un Monde Durable, Calouste Gulbenkian Foundation, Portugal (2013); Le Pont, Museum of Marseille (2013); Dak’art, Dakar Biennale (2012; 2018); Higher Atlas, Marrakech Biennale (2012); Bamako Biennale, Mali (2011).
In 2006 and 2011, Kameli directed and produced ‘Bledi in Progress’ and ‘Trans-Maghreb’ video platforms for young filmmakers from Algeria, Marroco and Tunisia in Algiers.
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<h3 class="titre-bloc">Katia Kameli</h3>
<ul>
<li>born in 1973 in Clermont-Ferrand, France</li>
<li>lives and works in Paris, France</li>
<li><a href="http://katiakameli.com/" target="_blank" rel="noopener">artist website</a></li>
<li><a href="http://www.lagenceparis.com/artistes/katia-kameli/" target="_blank" rel="noopener">gallery Agence, Paris</a></li>
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born in 1973 in Clermont-Ferrand, France
lives and works in Paris, France
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