{"id":13229,"date":"2024-09-20T17:05:08","date_gmt":"2024-09-20T15:05:08","guid":{"rendered":"https:\/\/www.laboite-kilanigroupe.com\/the-birth-of-the-monster-mohamed-ben-slama\/"},"modified":"2024-11-14T14:08:42","modified_gmt":"2024-11-14T13:08:42","slug":"the-birth-of-the-monster-mohamed-ben-slama","status":"publish","type":"page","link":"https:\/\/www.laboite-kilanigroupe.com\/en\/the-birth-of-the-monster-mohamed-ben-slama\/","title":{"rendered":"“The birth of the monster” Mohamed Ben Slama"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_row_inner column_margin=”default” text_align=”left”][vc_column_inner column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”colLeftPub” width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text el_class=”descriptionPub pub-1 textExpoInterne”]\n

Mohamed Ben Slama<\/span><\/b><\/span>
La Naissance Du Monstre<\/em><\/span><\/h1>\n

September 19, 2024 – January 17, 2025
La Bo\u00eete I Un lieu d’art contemporain<\/p>\n

[…] Obviously they were talking about me and celebrating my captivity. Galloping monkeys and jocular satyrs seemed to be amused by this prisoner, stretched out and condemned to immobility. <\/span><\/i>
\nBut all the mythological divinities looked at me with charming smiles, as if to encourage me to bear the spell patiently, and all the eyelids slid into the corner of my eyelids as if to latch onto my gaze.<\/span><\/i> <\/span>
\nCharles Baudelaire, Le Th\u00e9\u00e2tre de S\u00e9raphin.<\/span> <\/span><\/p>\n

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Since the first pictures he painted at the age of fourteen, Mohamed Ben Slama has never abandoned his popular imagery. The ironic component it instills in his painting is in keeping with the contemporary subjects he deals with, while at the same time marking a distance from their socio-historical context. And for good reason: the subjects Ben Slama tackles are repeated, they make up the flesh of our humanity. How long has humankind made the world it has created uninhabitable? Ben Slama likes to call his paintings his “apocalypses”. His pictorial parodies of “Revelation” remind us that the idea of truth is only valid if lies are in power. <\/span>
\nPolitical and social events are a social theater punctuated by narrative sequences of unveiling and revoicing. What sense would it make to produce so many plots without the help of an audience captivated by what they see, always quick to react? Ben Slama is well aware of this, and has chosen to set several of his paintings in small castelets with mechanical curtains that never fully open, so as not to break the hypnotic spell of what can only be partially seen. <\/span>
\nThe shutters of a large triptych entitled <\/span>The birth of the monster<\/span><\/i>. Tout comme la V\u00e9nus peinte par Botticelli, le monstre attend qu\u2019on le regarde pour appara\u00eetre\u202f: autour d\u2019une grande pr\u00eatresse ventriloque, une arm\u00e9e de personnages s\u2019est rassembl\u00e9e pour l\u2019\u00e9couter, la d\u00e9fendre et la c\u00e9l\u00e9brer. Mais un grand d\u00e9sordre trahit la cr\u00e9dibilit\u00e9 de cette garde rapproch\u00e9e. Leurs montures, leurs armes et leurs uniformes d\u00e9pareill\u00e9s font \u00e9cho \u00e0 la pr\u00eatresse ventriloque dont l\u2019identit\u00e9 passe d\u2019un corps \u00e0 un autre, sans jamais se fixer. Qui est le monstre\u202f? Dans quels corps se loge-t-il ? Qui sont ses intercesseurs, dirait Deleuze, la b\u00eatise n\u2019\u00e9tant jamais aveugle ni muette\u202f? Chez Ben Slama, la puissance ou l\u2019hypocrisie du collectif est souvent interrog\u00e9e. Ses compositions articulent des figures arch\u00e9typales au travers desquelles se distribuent des r\u00f4les s\u00e9culaires et se reforme le th\u00e9\u00e2tre social. Les relations entre individus, la loi et l\u2019interdit, la norme et le tabou, les jeux de la s\u00e9duction et du pouvoir travaillent de toute part ces spectacles tragi-comiques en attente de d\u00e9nouements. <\/span> <\/span><\/p>\n

Marguerite Pilven
Art historian and philosopher
\n<\/span><\/p>\n

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> Biography<\/a><\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” width=”1\/2″ tablet_width_inherit=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_gallery type=”flexslider_style” images=”11520,11523″ onclick=”link_no” img_size=”full”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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