Ten years ago, I arrived in Rabat. I folded my wings and I carefully placed them in a suitcase. I took my pallets and my brushes: my adventure in Morocco had begun. Time has passed, and brushes were transformed into camera, pallets were transformed into several varied forms. Thus, was born the desire of this exhibition, the result of ten years of experience in Morocco, and the result of reflection. This exhibition is an intimate moment of sensations, ideas and links. Le Cube is part of my personal and collective evolution.
It is therefore logical to share with you my world, here and now.
Imad Mansour 2013
Is Imad Mansour dreaming of a better world… What wounds are haunting him?
When we analyze the artworks and creations of the artist, during these latest 10 years spent in Morocco, we are led to ask these questions. His work evolves between prudishness and noisy demonstrations, blurring the tracks.
Through intimate installations and videos, Imad exposes to us war and its damages, the crashing of the individual in an implacable system, which tortures and murders. In reaction to this, the artist refuses oblivion, and invites the victims to accuse the authoritarians, the warmongers and other initiators of exodus. In other words, he offers a forum to martyrs. We feel in Imad, the need to appease, to heal, and to escape the ghosts that haunt him. He offers us an alternative to misery: cheerfulness and humor, the luminous penchant of the creative process.
With the installation Warda, the hands in plaster open up to a message of peace, suggesting care and goodwill, a new energy of freedom, connected to childhood. Signs that evoke the origins of man, the meaning one gives to life, and the divine judgment are recurrent in his work. The installation Smoke and the photographic work Shafaf take us back to the origins of life, to the cosmic movement, to the position we occupy in the universe. The hands accuse, but at the same time, they indicate a new direction to take. Concerning the installation Absent the water that drips gently, immutably, vertically, opposes the violence of the warrior who squashes and enslaves. The exploded dice reminds that nothing is immutable, and that everything can be replayed.
Imad seems to say that we have a choice to make: to live here and now, but also to choose bonding, love, hope and life.