{"id":15628,"date":"2019-10-08T13:41:30","date_gmt":"2019-10-08T11:41:30","guid":{"rendered":"https:\/\/www.laboite-kilanigroupe.com\/?page_id=15628"},"modified":"2025-09-29T17:33:52","modified_gmt":"2025-09-29T15:33:52","slug":"point-malek-gnaoui","status":"publish","type":"page","link":"https:\/\/www.laboite-kilanigroupe.com\/en\/point-malek-gnaoui\/","title":{"rendered":"Point. \u2013 Malek Gnaoui"},"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

Malek Gnaoui<\/span>
\n\u00abPoint.\u00bb<\/span><\/h1>\n

September 2016 I December 2016
\nLa Bo\u00eete I Un lieu d\u2019art contemporain<\/p>\n

Beginning or end?<\/p>\n

To the lengths of segments and the contours of volumes, the scalar product point as an area: Punctuation point. Measurement point. Vanishing point. And yet another point… of fall.
\nMalek Gnaoui’s work is part of a minimalist approach that highlights the belligerence of matter, subject and concepts. Conflating concrete, the main material of the works and the very emblem of industrial society, with the spiritual subject that the work advocates, is not without its critics in the artist’s underlying thinking about the current global socio-political situation.
\nIn their layout and form, the works transcend the vertical relationship established by any apparatus of power, whatever its origin.
\nThe work ‘Collapse’, illustrating seven pieces of the letter ‘alif’, the first letter of the Koran and a symbol of the dominant\/dominated relationship of the socio-economic system and verticality, is thrown down in heaps, as if to wring the neck of this inequitable relationship, and to tear apart ecclesiastical dogma. Seven letters, seven heavens, seven sins, “seven continents”, seven wonders, G seven; seven failures (three suspension points).
\n“Verticality”, this work by Malek Ganoui, is similarly in line with critical thinking. The circular format stands at a distance from its title, which is apparently reminiscent of the point. A figure of suspension and stability, movement and stasis. 99 cm, like the seeds of a rosary. The soundtrack echoes “Gloire \u00e0 Dieu”, repetition, silence, parasite, then “Dieu est grand” (another three suspension points).
\nIn this work, Malek Gnaoui never ceases to defy us with his prolepses, which jostle once, and stop in inertia at other times. The third work, Vanishing Point, is an exegesis of this approach, which combines certainties and doubts, doctrines and critical thinking, barriers and checkpoints. Who’s behind it? Where are we? Am I the navel? Am I the endless cordon?
\nThe dot wonders, the dot exclaims.
\nGestation
\nBirth
\nEnd
\nPoint<\/p>\n

Nada Ouederni, 2016<\/p>\n

 <\/p>\n

“Malek Gnaoui n\u2019oublie jamais le r\u00e9el. Verticality, sculpture murale sonoris\u00e9e faite de deux formes circulaires de b\u00e9ton renfl\u00e9es vers l\u2019avant de 99 cm de diam\u00e8tre (99 comme le nombre des grains du chapelet), fait entendre \u00e0 r\u00e9p\u00e9tition la formule Allah Ouakbar, \u00ab Dieu est grand \u00bb : comme une scansion, un rappel, une injonction \u00e0 ne jamais oublier le Divin mais aussi, non moins, le pouvoir que repr\u00e9sente la religion, qui peut \u00eatre \u00e9crasant voire liberticide. Vanishing Point, autre sculpture murale en b\u00e9ton de Gnaoui, affiche la forme du contour d\u2019une fen\u00eatre dot\u00e9e d\u2019un arc outrepass\u00e9, caract\u00e9ristique de l\u2019architecture religieuse musulmane. Cette lourde plaque ornement\u00e9e trou\u00e9e en son centre ne laisse passer qu\u2019un mince filet de lumi\u00e8re \u00e9lectrique. Loin que le religieux flamboie ici sous l\u2019esp\u00e8ce symbolique d\u2019une lumi\u00e8re triomphante, il fait plut\u00f4t d\u2019un reliquat, \u00e9quivalent d\u2019un signe qui n\u2019est plus un fanal. Face \u00e0 ce type d\u2019\u0153uvres, les questions fusent. Comment vivre, individu, dans un univers pr\u00e9form\u00e9 dont la culture n\u2019est pas forc\u00e9ment celle que nous d\u00e9sirerions ? Comment vivre, encore, si la vie priv\u00e9e devient une affaire collective, l\u2019intime une question religieuse et la culture dominante une glu dont ne pouvoir se d\u00e9faire ? Malek Gnaoui est l\u2019artiste des combinaisons retorses, l\u2019artiste aussi des relations irr\u00e9solues entre tradition et pr\u00e9sent, entre volont\u00e9 d\u2019une expression \u00e9mancip\u00e9e et exercice de la contrainte. Avec lui, nous naviguons au pr\u00e8s de la libert\u00e9 \u00e0 son contraire.”<\/p>\n

Paul Ardenne<\/p>\n

 <\/p>\n

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