Delel Tangour
«Samawati»

Januar 2014 I May 2014
La Boîte I Un lieu d’art contemporain

Delel Tangour’s photographs capture what is imperceptible to us in action: the truth of latencies and intervals. Thanks to a mastery of framing, they stop time in its tracks by capturing the “decisive moment”, depending on the amplitude of the movement. This process of composition by decomposition seduces the eye by circulating the truth of the image between the clue and the fiction.
Rachida Triki
Tunis, 2014

”In his series of ‘equivalents’, Stieglitz boldly retained in his photographic framing only the ever-changing drawings of the cloud layer as seen from the ground. Here, Dalel Tangour combines the sumptuousness of the cloud formations with the derisory and delicate points of attachment and scale of the minaret, colourful clothes pegs and human silhouettes of construction workers. The swirls exalt the artist’s eye as the background to three scenes that exult in banal mode.”

Joël Savary
2014

… In this way, she defines a personal celestial cartography: by interweaving the plurality of possible points of view at the boundary between the worlds of ‘impossible’, ‘unimaginable’ or ‘forbidden’ thought, she weaves another map of the world for the future – a map, we hope at least, more sensitive to individual points of view …
… Despite the events whose unpredictable consequences are masked by the furious clouds, the scenography of the storm in her series of photographic works Mes Cieux Samawati is not a mirror-image of what the world really looks like: rather, it is a resonance of what it feels like to look at the world today – from Dalel Tangour’s ethical and emotional position.”

Marko Stamenkovic, 2014

“La grande photographe Dalel Tangour (1956), avec Mes cieux – Sawamati, présente-t-elle à La Boîte, dans ses clichés austères, une vision en suspension de la Tunisie, ciels laiteux et espaces vides d’un pays qu’on pourrait croire en bord de ruine ?”

Paul Ardenne

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