CLIMBING THROUGH THE TIDE
curator: Basak Senova
artists: Adel Abidin, Afif Saâdane, Aicha Snoussi, Ali Cabbar, Ali Cherri, Ali Tnani, Almagul Menlibayeva, Bahar Behbahani, Behzad Khosravi Noori, Benji Boyadgian, Bronwyn Lace, Egle Oddo, Etel Adnan, Farah Khelil, Fares Thabet, Fatih Aydogdu, Ghada Amer, Gulsun Karamustafa, Hatem El Mekki , Heba Amin, Hera Büyüktaşçıyan, Inci Eviner, Inma Hererra, Jawad Al Malhi, Joana Hadjithomas & Khalil Joreige, Jumana Manna, Kader Attia, Larissa Sansour, Lina Selander, Malek Gnaoui, Marcus Neustetter, Negar Tahsili, Nermin Er, Nicène Kossentini, Nilbar Gures, Ramesch Daha, Raqs Media Collective, Ricarda Denzer, Susan Hefuna, Wael Shawky, Walid Raad, Yasmine Ben Khelil, Younes Ben Slimane, Youssef Nabil, Yto Barrada, Ziad Antar, and Zineb Sedira.
Annotations section of the exhibition: Centre for Less Good Ideas, Apartment Project, Mahatat, Mophradat, Ashkal Alwan, L’Atelier de l’Observatoire, Egle Oddo and Technopole Borj Cedria and the CrossSections Project
coordinator: Petra Swais
spatial design: Basak Senova
graphic design: Kais Dhifi
venue: B7L9, Kamel Lazaar Foundation
coordinates: Tunis, 2019
website: https://www.kamellazaarfoundation.org/article/climbing-through-tide
artists: Adel Abidin, Afif Saâdane, Aicha Snoussi, Ali Cabbar, Ali Cherri, Ali Tnani, Almagul Menlibayeva, Bahar Behbahani, Behzad Khosravi Noori, Benji Boyadgian, Bronwyn Lace, Egle Oddo, Etel Adnan, Farah Khelil, Fares Thabet, Fatih Aydogdu, Ghada Amer, Gulsun Karamustafa, Hatem El Mekki , Heba Amin, Hera Büyüktaşçıyan, Inci Eviner, Inma Hererra, Jawad Al Malhi, Joana Hadjithomas & Khalil Joreige, Jumana Manna, Kader Attia, Larissa Sansour, Lina Selander, Malek Gnaoui, Marcus Neustetter, Negar Tahsili, Nermin Er, Nicène Kossentini, Nilbar Gures, Ramesch Daha, Raqs Media Collective, Ricarda Denzer, Susan Hefuna, Wael Shawky, Walid Raad, Yasmine Ben Khelil, Younes Ben Slimane, Youssef Nabil, Yto Barrada, Ziad Antar, and Zineb Sedira.
Annotations section of the exhibition: Centre for Less Good Ideas, Apartment Project, Mahatat, Mophradat, Ashkal Alwan, L’Atelier de l’Observatoire, Egle Oddo and Technopole Borj Cedria and the CrossSections Project
coordinator: Petra Swais
spatial design: Basak Senova
graphic design: Kais Dhifi
venue: B7L9, Kamel Lazaar Foundation
coordinates: Tunis, 2019
website: https://www.kamellazaarfoundation.org/article/climbing-through-tide
The inaugural exhibition of B7L9, Climbing through the Tide is designed to initiate dialogues and encounters among the works by suggesting various paths of reception through its scenography. Works in the exhibition connect to each other through spontaneously formed content; form; methodology; and approach-based links. By taking the condition-based and geographical inputs into account, the exhibition operates as the prompter of a new interrogations and the instigator of multiple perceptions leading to a more layered reading of our current situation and to different ways to cope with it. Climbing through the Tide brings together 50 artists from 21 countries.
Borrowing its title from Jim Morrison’s song Moonlight Drive, “Climbing through the Tide” foregrounds a set of queries, observations, research operations, tryouts, and earned knowledge. The curatorial methodology relies upon the act of composing the display of research-led artistic methodologies and the process of production. The entire experience of exhibition making is turning the space to a statement. The same approach and practice dictated and shaped the ‘fabric’ of the Climbing through the Tide exhibition by positioning ‘Tunis’ as the center and the filter for its progression.
The location and the building of B7L9 in Bhar Lazreg, La Marsa, connotes a place which resonates between being a non-place and an industrial zone that is subject to gentrification. The exhibition charges B7L9 with a function, hence, transforming this building is an act of activating potentials. It is an adrenaline-high process with a clear tension; while having enormous ambitions and dreams, it dictates a modest and generous approach by letting the process of this exhibition regulate its function. Such an approach prioritizes some fragile and sensitive notions such as trust, sincerity, commitment, openness, passion, and enthusiasm.
By taking the condition-based and geographical inputs into account, the exhibition operates as the prompter of new interrogations and the instigator of multiple perceptions leading to a more layered reading of our current situation and to different ways to cope with it.
