Скачать или смотреть Summit Zer0 [ A talk with Zineb Sedira ]

Born in 1963 in Paris (France), ZINEB SEDIRA lives in London (United Kingdom) and works between Algiers (Algeria), Paris, and London. Over the years of her practice, Sedira has enriched the debate around the concepts of modernism, modernity, and its manifestations in an inclusive way. She has also raised awareness of artistic expression and the contemporary experience in North Africa. She found inspiration initially in researching her identity as a woman with a singular personal geography. From these autobiographical concerns, she gradually shifted her interest to more universal ideas of mobility, memory, and transmission.
Sedira is representing France at the 59th Venice Biennale, 2022. Recent solo exhibitions at the Sharjah Art Foundation (2018); Beirut Art Center (Lebanon, 2018); Jeu de Paume, Paris and IVAM (Spain, 2019), Bildmuseet (Sweden 2021) and Smoca (USA 2021). Sedira has participated in other major exhibitions such as ICP Triennial (NYC 2003), Thessaloniki Biennial (2011), and Prospect New Orleans (2016).

Summit Zer0
Meta-Tool: Resistance and Tacticality

“From its beginning, the artwork is handled in a way that enables it to survive culture. While one often speaks about artwork as a commodity, it is not a normal commodity. The normal commodity is made to be consumed—in other words, to be destroyed (eaten as bread, used as a car). So, in a certain sense, art is an anti-commodity. It is put under the condition of conservation—prevented from being destroyed by time and by use. And this, actually, is the essential characteristic of art: it survives its original culture, taking a long journey through all the other, later cultures. It remains at the same time foreign to these other cultures—an alien in their midst, carrying with it the knowledge of its past.”

The Museum as a Cradle of Revolution, Boris Groys

The word “Meta-tool” derives from Groy’s definition of art objects as something essentially different than commodities. Meta-tool is an ontological status that an object retains when its condition as a commodity shifts. The shift is marked by made-to-be-consumed-commodity turn into an immortal object, in the sense that it can outlive its original culture and context.
Questioning aesthetics and asking whether or not there is an essence to an art object is not a brand-new question in the realm of arts. Following Groy’s ideas, an art object is an ontological status. Therefore, its being is not linked to the white cube or any authoritative figure in the art world. An art object is an art object regardless of the place of exhibition or the credit given by anybody except the artist herself.


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