Lalla Essaydi (Moroccan, b. 1956)
Lots are subject to 5% import Duty on the importat… 顯示更多 PROPERTY SOLD TO BENEFIT THE ARTIST'S UPCOMING MONOGRAPH
Lalla Essaydi (Moroccan, b. 1956)

Dancer Triptych (#8, #10, #12)

細節
Lalla Essaydi (Moroccan, b. 1956)
Dancer Triptych (#8, #10, #12)
signed 'Lalla Essaydi' (on a label affixed to the reverse)
chromogenic print mounted on aluminium, in three parts
each: 40 x 30in. (101.6 x 76.2cm.);
overall: 40 x 90in. (101.5 x 228.6cm.)
Executed in 2009, this work is number fifteen from an edition of fifteen (3)
注意事項
Lots are subject to 5% import Duty on the importation value (low estimate) levied at the time of collection shipment within UAE. For UAE buyers, please note that duty is paid at origin (Dubai) and not in the importing country. As such, duty paid in Dubai is treated as final duty payment. It is the buyer's responsibility to ascertain and pay all taxes due.

榮譽呈獻

James Lees
James Lees

查閱狀況報告或聯絡我們查詢更多拍品資料

登入
瀏覽狀況報告

拍品專文

Using the medium of photography, Moroccan born artist Lalla Essaydi confronts deeply entrenched historical notions about the female identity and womanhood within the context of the Islamic world. Challenging expectations found in historical representations, mainly in 19th century Orientalist painting, she interrogates the concept of the other, deconstructing fantastical preconceptions of the Middle East, women and their social surroundings.
Christie's is delighted and honoured to be offering the present lot from the artist's celebrated series Les Femmes du Maroc, to raise funds towards her upcoming monograph in collaboration with the famous publishing house, ACR edition.

The title of the series is a modification of Les Femmes d'Algers, a painting by the French Romantic artist Eugène Delacroix. Expanding on her previous work, Essaydi thus critiques and confronts historical preconceptions of the Arab woman, decontextualising them from the fetishistic, sexually charged fantasies of the 'Western' eye.
Set within an unoccupied space and devoid of any contextual significance, Essaydi explores the imaginary boundaries codified by traditional Muslim society. As a Moroccan born woman, raised in Saudi Arabia and currently residing in New York, Essaydi addresses the complex reality of the Arab female identity from a personal perspective; she finds herself caught between the past and the present much like the models she has carefully placed within her detailed compositions.

In a small act of defiance, Essaydi intricately and expressively inscribes calligraphy text across the costumes, background and skin of her models (every space is covered, no area is left untouched) and in doing so, she engages in a defiant form of self-expression; calligraphy traditionally being reserved exclusively for men. She thus challenges the viewer to reconsider the notion of men versus women; yet her words form a thin veil that conceals what lies subversively underneath a suggestion of the complexity of the Arab female identity, the
tension between hierarchy and volatility that are at the heart of Arab culture.

更多來自 <strong>現代及當代阿拉伯、伊朗及土耳其藝術 II</strong>

查看全部
查看全部