In movement: Impressions Embarquées | ancrage(s) | étant donnéEs
Souad Mani's research project with Arts Cabinet is entering its third axis. étant donnéEs marks the crystallisation of a thought process which departs from Impressions embarquées, following Ancrage(s), as described below.
Axis III étant donnéEs
étant donnéEs is a space-time dedicated to the generation of reflections and visualizations of ideas…A proposition of a model of an experimental and branched matrix. A junction between a conceptual and an abstract ideal and a representation of a thought putting into practice a paradigm focused on a collective "geo-intelligence" around a transdisciplinary plastic approach.
Souad Mani, examines the perpetual technical transformations as well as the climatic transformations linked to the political societal and environmental landscapes of a subjectif and scientific ecosystem structured by three interconnected regimes and plateaux of thought: subterranean, terrestrial and aerial.
The inquiry is conceived around three axes of evolutionary research.
In the first axis, a retrospective, that establishes links between the nuclei traced in her artistic approach with multiple entries and anchor points in which her experiences are written on the territory of Gafsa, her travels through her root-project "Elle m’aime" and her city of residence, Sousse.
Axis II Ancrage(s)
Artist’s first statement
In his artistic approach Souad Mani, through a mode of sharing and pollination, sows in the universe the image of her self-portrait in search of a possible encounter with beings and things. From Paris to London via Gafsa or Nantes, she probes links, leaves traces, archives them and then links them to others by creating networks that contribute to the ramification, densification and settlement of her world, both human and digital.
Through a transdisciplinary dynamic, the visual artist focuses on archaeological, territorial and anthropological research. In search of a sensible "geo-intelligence", which unites multicultural contributions that she considers one of the figures of our era that of the Man and its impact on its environment. And in pursuit of pictorial, analog and digital "geo-poetry" she studies and maps, their intertwined energies and the traces collected in her collaborations, her networks and her travels.
Axis I Impressions embarquées
In the beginning, ‘Impressions Embarquées’ started as a project in 2016 as part of the Under Sand project in Gafsa, a territory located in the south of Tunisia, whose history dates back to ancient times. The discovery of phosphate in this territory in the colonial era in 1886 by Philippe THOMAS, founder in 1897 of the Phosphate and Railways Company of Gafsa caused significant modification of the different landscapes of this city, at various levels: social, political, economic and ecological.
Metlaoui, Molarès and Redeyef are the three big villages (called today fillettesby the inhabitants) in which the settlers settled to extract phosphate.
The result is the creation of three Western villages with Western architecture, churches, trading rooms, cinemas and houses for mining engineers in the arid region at the gateway to the Tunisian desert. Today, these buildings - colonial heritage - are poorly safeguarded and partly abandoned or transformed and are under the power of the CPG (Gafsa phosphate company).
Currently, "Impressions embarquées" includes traces in the forms of objects or images or databases or writings that testify to performative artistic actions and presence on Ancrage (s) of Souad Mani in real time. These traces record her "Now", her presence and her omnipresence with other energies. “ Impressions embarquées” bear the breath of the living, they are in the making and take multiple forms that evolve according to the context of omnipresence. They represent the energies that are transformed, they are anachronistic and interconnected with the "Ancrage (s)", "étant donnéEs" and others.
Souad Mani, sows, harvests, explores, archives, transforms, contributes, collaborates and weaves various links in a matrix with a multiple and indefinite entry structure.
In partnership with Arts Cabinet, she proposes a residency of reflections and visualizations of her materials with people and researchers of different profiles in order to define the thought and the structure o this anachronistic, mobile and collaborative process.