Gouider-Triki Les-dormeurs 2017 Acrylic-on-canvas 92-x-73-cmimg

Ali Tnani, Crackling Data Machine, 2017, Mixed media installation, 85x100x66 cm, Co-authors: Lukas Truniger, © Thierry Fournier


Dans l'intervalle entre monument et document

15 - 12 - 2017 | 27- 01 - 2018

Elmarsa Gallery, Tunis

Elmarsa Tunis is pleased to present Dans l'intervalle entre monument et document, Ali Tnani’s first solo exhibition of multimedia works at the gallery curated by Marie Cantos & Aziza Harmel from 15 December 2017 to 27 January 2018.

Through a multi-disciplinary practice that draws equally from installation as drawing, and photography, leading Tunisian conceptual artist Ali Tnani offers an examination of social issues in post-revolutionary Tunisia. Playing on notions of erasure in historical narrative, Tnani deploys the trace as a semiotic index, a sign for the remnant or memory left behind by the act of erasure. An extension of his notion of “counter-spaces” that are simultaneously plastic and political, the trace is understood as a phantom of history. History itself must be recognized as something that has been written, is being written, and will be rewritten again in the future. The trace therefore exposes the inherent contradictions in such narratives and opens a space for questioning the utopic vision of our hyper connected contemporary age.


 Elmarsa Tunis a le plaisir de présenter Dans l'intervalle entre monument et document, une exposition personnelle de Ali Tnani organisée par Marie Cantos & Aziza Harmel.

Dans les dessins, installations, programmes et photographies d’Ali Tnani, la question de la trace a toujours été présente, depuis ses séries sur les «restes» (Lieu du reste, Cartographie du reste ou, plus récemment, It has never been to survive présenté ici) jusque dans les vibrations pigmentaires des « dessins aspirés » (cf. ici les dessins Sans-titres présenté dans l’exposition Les Contre-ciels), en passant par les œuvres multimédia telles que Data Trails (2014). Cet intérêt pour la trace, indicielle ou rémanente, est le corollaire d’une réflexion que développe l’artiste sur la notion de « contre-espace » au sens de l’hétérotopie foucaldienne, c’est-à-dire des « espaces autres ». Ces « contre-espaces » sont à la fois plastiques et politiques : y émergent des contradictions qui permettent de questionner ce que peut être l’utopie – au sens propre, étymologique (u-topos) – à l’heure de l’ultra-connexion. Ils permettent également de faire signe des traces fantomatiques de l’histoire, celle qui a été écrite, et celle qui se réécrit actuellement et se réécrira encore dans le futur. Extrait du texte par Marie Cantos

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Ali Tnani, Others Spaces, 2017, Pigmented ink on Epson paper, 74x60 cm, Edition of 3
Ali Tnani, Unknown Program, 2017, Pigments and carbon pencil on Romerturm paper, 30x40 cm
Ali Tnani, Data Trails, 2017, Network installation, Variable dimensions, Edition of 1
Ali Tnani, Echo II : Even The Sun Has Rumors, 2017, Multimedia installation, Variable dimensions, Edition of 1
Ali Tnani, Blancs Documentaires, 2016, Drawings and pigments on Steinbach paper, 36x27 cm each


Thameur-Mejri Heretic-space-4 2017 Mixed-media-on-canvas 180-x-140cm

Heretic space 4, 2017, Mixed media on canvas, 180 x 140 cm

Thameur Mejri

Heretic Spaces

September 13 │ November 24, 2017

#23 AlSerkal Avenue, Dubai

Elmarsa is very pleased to present Heretic Spaces, the first solo exhibition in the UAE by emerging artist Thameur Mejri, from September 13th to October 19th 2017 at their gallery space in Alserkal Avenue, Dubai.

This latest body of work comprised of paintings and drawings is an honest expression which springs from a fascination of the human form and human strength and fortitude amidst so many challenges - whether they be social, religious, political, or deal with concerns of studio practice or the fashions that drive the consciousness of the art world and art establishment. This is an aggressively exposed work that directly confronts the rising levels of violence and incitement in the Middle East and North Africa; an exercise that sculpts the body and the painting together, where the artist has turned his face towards what is happening in the world today, and has not shied away from the existence of War or Death, but asserts that Beauty remains as a presence and affirmation of Truth. In his new paintings, Mejri cuts up the human body in the same way that a child disassembles and disperses his or her toys all over a space. Deconstruction is the core of his project, and the architecture of his work; the painting becomes a slaughterhouse, and an arena of conflict. The painting is all these spaces where the body is in a predicament.

The artist will be in attendance for the opening on September 13 and will be available for interviews.

Thameur Mejri Bio


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Consume your heritage, 2017, Mixed media on canvas, 200 x 180 cm200 x 180 cm
I dreamed about Picasso nearly every night this week, 2013, Oil on canvas, 200 x 150 cm
Untitled, 2014, Mixed media on canvas, 200 x 150 cm
War outside 1, 2014, Mixed media on canvas, 180 x 140 cm
War outside 2, 2014, Mixed media on canvas, 180 x 140 cm
Superman what have you done, 2014, Oil pencil and charcoal on canvas, 92 x 65 cm