Meriem Bennani was born in 1988, in Rabat, Morocco. She lives and works in New York. Bennani’s work, which she regularly publishes on social-media outlets such as Instagram and Snapchat, applies unexpected humor and an absurdist sensibility to typically sensitive or taboo subjects, such as the wearing of the hijab by Muslim women.
Her videos sometimes expand into multimedia projects, such as Fardaous Funjab, a fictional reality-television show about a hijab designer, or her installation Gradual Kingdom. The latter addresses her hometown of Rabat and its construction of artificial islands and beach replenishment following climate-warming-induced erosion, which has contributed to the global sand shortage. Bennani’s works function simultaneously within and beyond specific cultural tropes, gently but pointedly asking the viewer to critically examine their own assumptions, especially those around the Muslim world.
A look at this week’s art news, including Theaster Gates’ new exhibition in Basel, in which the artist has transformed exhibition spaces into active sites of creative production.
Yinka Shonibare’s Central Park Sculpture, “Word on the Street” in Times Square, & LA’s Giant Neon Uterus
A look at this week’s art news, including Yinka Shonibare’s new public installation, “Wind Sculpture (SG) I,” near the 59th Street entrance of Central Park.
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“I use footage as material, and not for its real content, but really using it as material in the direction that is completely disconnected with its reality.”