INTERVIEW WITH ARTIST, LAMIA NAJI

(b. 1966) Casablanca, Morocco

Are You There V, 2008, Color print, 90x120cm

Lamia Naji ilives and works between Casablanca and Madrid. She is represented by Galerie El Marsa in Tunisia.

Galerie El Marsa has been at the forefront in representing the most current trends and artists whose work represents a significant development in contemporary art, particularly in the North Africa region. As a result, the gallery is not only aiming at promoting the cause of Arab contemporary art and artists globally, but also showcasing an array of art that comes into focus for Arab collectors and a broader audience from across the world. The gallery also draws a growing worldwide presence through its participation in prestigious international art fairs in Dubai, Abu Dhabi, and Paris.

Reem Fekri: First of all, tell me a little bit about yourself – where you grew up and where you work?

Lamia Naji: I grew up in Casablanca until I got my high school diploma, and left for Paris to pursue economics studies. After two years and a “stage en enterprise” I realized I had so many things to say, to share, to discover and learn from the world that a life behind an accounting desk wouldn’t let me much space to live my dreams! So I quit and began my photographic adventure.

RF: You live between Casablanca and Madrid – how do these very different cities (that are yet so intertwined with Arab culture) influence your artistic practice?

LN: I think all of the places I have lived in, even for a short period of time, has influenced me and my work - probably because I was brought up in two different cultures (I have a French mother and a Moroccan father) I’ve always looked into similarity in culture, social or human behavior, rather than differences. Universality!

For now, Spain is to me the place that embraces best occidental way of life and more traditional human values (family, respect of the elders and so forth).
Madrid has become a second hometown to me. Although, I arrive there after receiving to a grant (I didn’t know the city before) the city sort of grew on me.

RF: You recently showed your series ‘Vertigo’ at Paris Photo with Galerie El Marsa –could you talk me through the conceptual process behind this?

LN: It was at first more intuitive rather than conceptual. The death of my companion left me wandering on my own like a rolling stone. When I slowly came back to life and to photography I just went on taking pictures - almost mechanically -  of anything that appealed me. I quickly realized what I was doing as words came to my mind (‘Are you there?’ etc.) And went on contrasting the series as a scenario. I was at last confronting myself to the pain and I had decided to choose life instead of running away from it.

RF: The idea of exploring the fragility of human existence and the strength of the human mind is discussed by Christine Bruckbauer, where Bruckbauer argues that the series is a brave self-avowal. Would you agree with this?

LN: Yes, I do agree.

RF: Your work has always been autobiographical - would you say that this is your most personal series to date? How is it different to your other series?

LN: Of course it is - because of the pain, and the strength of emotion. It is the most traumatic episode I have ever had to face in my life. It made me explore myself deeper than ever, and forced me to make a choice: life or death? Continue on living with and like a ghost or to let go and re-born into reality.

RF: Talk me through one of you personal favorites of the series.

LN: I am not sure I do have a favorite one. Although, I am very attached to the series “couleurs primaires” wich deals with parallel worlds, spirits or spiritual entities ( I was about to start the series when my boyfriend died) because it points out the universality of mankind by showing ancestral rituals rythmed by electronics beats. The video was very difficult to conceive yet it is very efficient (I think!) I am very proud of it!

RF: Who or what are you greatest influences?

LN: My greatest influences come from the people I have met along my way, the individuals – in all its complexity and diversity but yet so universally human, so commonly universal.

My influences are as wide as the world, any work of art that moves me, that holds from Oum Kaltoum to Herman Hesse, Ansel Adams or Frank Zappa! The list is very long!

RF: Have you noticed a rise in contemporary Middle Eastern artists, and in particular women from the region?

I think that what has changed most is the diffusion or visibility of the artist (there’s always been women artists in the region) and in our times of worldwide communication, easier access to information (global awareness), we will get to see more artists from different cultures and backgrounds. This is what I hope!


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