200 Voices

12.03.12

Ines Jerray

What Happened in Tunisia in January 2011 strengthened my political conscience, it allowed people to talk, show and criticize more spontaneously in the public space.

But this cannot be isolated from a whole global situation that is under pressure, and where recuperation is never far. 

In my country as anybody anywhere else in the world, I have to deal with a particular context which involves people, traditions, history, politics, aims and dreams. But what I would say about it, is the way I perceive visual art in general as a field which is actually dominated only by a few axes of vision and ways of thinking. This factor is somehow linked to very concrete issues (as the economical one for instance but not only) that exceed the limits of one country but regards its relations with the others. Therefore it questions for instance the art and cultural structures, industries, and also the preponderant histories of art that we easily and globally refer to.  I definitely don't want to isolate and disconnect my practice from its context in general, which is not only concerned with my country as a local place.

Maybe also because of my mixed culture (French), in my work I often focus on the thin and fluctuant boundaries between cultures and more generally all kind of dimensions. The moving and invisible borders concern those such as the culture and beliefs, the public and the intimate, the individual and the collective, the actual and the fantasied. I observe how it influences and infiltrates one another, significantly in both directions even if one can promptly dominate the other. For several years, I questioned more specifically these matters through the issue of the limit between the animate and inanimate.
During the five past years, being an artist working and teaching in my country helped me to think about the fact that if I get involved in art as a profession, I need to refer to the fact that “art is what makes life more interesting than art” (R.Fillou). Thus, living everyday life here also nourishes a critical point of view on the artistic and cultural heritage that I studied abroad. It grabs my attention on the need to highlight other points of view, other logics and practices, that I see everyday here and that influence me.

meira55@hotmail.com

 

Image Credits

Image One: Still from the animation Etiquettes (2011)

Image Two: Project Petit chantier (2010)

Image Three: Linocut from the Perspectives series (2009) 
 

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