Tunisia

Initiated by Tunisian artist, architect and scenographer Chedly Atallah, whose practice explores geopolitical changes in the Arab world through history, architecture and mythological narratives, Matar, Matar, Matar is an artistic investigation into the time of representation and memory, with water as a metaphor for remembrance.

A photographic serie about Redeyef, a mining town in the south of Tunisia.

An ecological, urban and architectural anatomy inspired by Tunisia's palms and eucalyptus trees: a conceptual, committed and critical gesture of renovation of Tunis' municipal greenhouse at the Parc du Belvédère, which questions the very same definition of an artwork, the place of the artist and the role of cultural institutions.

Contemporary art and performative practices in Africa.

Through a message of love, the writer evokes the memories and places of his own childhood and expresses a pessimistic and painful thought of a Tunisia adrift, which currently offers to its youth a dark future—while hoping that the light returns.

A limited edition artist's book, Mnēmē presents the work of the Tunisian artist Nidhal Chamekh through thirty-four independent drawings collected in a luxurious boxed portfolio.

An investigation into the history of Tunisian filmmaker Habib Masrouki (1950-1980).

A dialogue between two dress sculptors who, each in their own way, have strongly influenced the world of creation, between art and haute couture.

A dialogue between two dress sculptors who, each in their own way, have strongly influenced the world of creation, between art and haute couture.

This book commemorates the long collaboration between couturier Azzedine Alaïa and photographer Arthur Elgort, who, working together, shaped the 1980s and actively contributed to the renewal of the representation of women.

Instruments is the catalogue accompanying Ismaïl Bahri's exhibition of the same title at the Jeu de Paume. It is also his first monograph. Bahri's oeuvre, which dates back to the 2000s, is like a precise and sensitive record of events and experiments; its often mechanical kinetics are particularly evocative of the film process. His experiments are based on the tiny nuances and minute developments that occur when simple things are brought into contact with each other. They demand an acuteness of gaze that leads one to question the limits of perception and the visible.