Maryam Touzani
Maktub
EDITION
school
Royal Academy of Art – KABK, The Netherlands
links
Fill in the gaps where words fall short. "It is odd, but only deep in the mountains, on the crest of a hill where my grandmother's hometown is located. Whereas for women like me, their lives end at the front porch door. Every time I go there, the guilt returns. But I am not them and not from there; I can almost reach for the clouds. Because I am so small in this place. If only I had been born there, everything would have been easier..." The starting point of this project stems from the frustration of the feelings of (dis)placement. There is an Arabic word الغربة (pronounced Al-Ghorba) that can be translated as being 'away from home.' Moroccan immigrants often use it to express their feeling of estrangement mixed with nostalgia. I grew up listening to stories of departures and people leaving home searching for a better future. Moroccans in Europe bear a double burden. They have suffered racism, bigotry, and Islamophobia since childhood. And still: we try to juggle between finding a place of belonging in our birth countries without discarding our heritage. Embracing your culture and heritage can be conflicting when it's fraught with tensions between loving the country you are born and raised in. Since its invention, photography has been conceived as an extension of human perception, a tool to sample evidence to search for traces. The camera breaks down and stops time for a particular moment. By pointing the camera towards 'home' as a third-generation migrant it searches the challenges of displacements. By immersing myself in this atmosphere, I use the significance of my familial roots and how they connect with the Dutch society. It challenges the notion of being regarded only as a migrant through the prism of the dominant culture. By questioning myself and my experiences on my own terms, I hope to move away from simplistic narratives and instead depict the complexities and nuances of migrant identities. Through symbols, text, and image collages, a poetic approach emerges to entangle these issues. My aim with the project is not to tell that this is the diasporic identity or to provide a linear story. But to take the viewer on a journey without clear answers but instead ambiguous questions. My graduation project exists of a publication and installation. In this, I explore the complex concept of identity through my experience of being Dutch and Moroccan. Having lived outside the traditional confines of identity, I question its validity and invite the reader to do the same. Through vivid imagery and always having four spreads open, the book allows the reader to create their own journey, experimenting with different combinations of images and breaking free from a linear narrative. This innovative approach highlights the multiplicity of identity, emphasizing that it is not fixed but rather a fluid and ever-changing concept. The installation talks about being framed by the dominant culture based on my background; this installation wants to step out of the frame. The constant moving; the structure is designed to move in multiple directions, and I wanted to emphasize on this aspect because there is not one linear story.
Maryam Touzani
Maktub
EDITION
school
Royal Academy of Art – KABK, The Netherlands
links
Fill in the gaps where words fall short. "It is odd, but only deep in the mountains, on the crest of a hill where my grandmother's hometown is located. Whereas for women like me, their lives end at the front porch door. Every time I go there, the guilt returns. But I am not them and not from there; I can almost reach for the clouds. Because I am so small in this place. If only I had been born there, everything would have been easier..." The starting point of this project stems from the frustration of the feelings of (dis)placement. There is an Arabic word الغربة (pronounced Al-Ghorba) that can be translated as being 'away from home.' Moroccan immigrants often use it to express their feeling of estrangement mixed with nostalgia. I grew up listening to stories of departures and people leaving home searching for a better future. Moroccans in Europe bear a double burden. They have suffered racism, bigotry, and Islamophobia since childhood. And still: we try to juggle between finding a place of belonging in our birth countries without discarding our heritage. Embracing your culture and heritage can be conflicting when it's fraught with tensions between loving the country you are born and raised in. Since its invention, photography has been conceived as an extension of human perception, a tool to sample evidence to search for traces. The camera breaks down and stops time for a particular moment. By pointing the camera towards 'home' as a third-generation migrant it searches the challenges of displacements. By immersing myself in this atmosphere, I use the significance of my familial roots and how they connect with the Dutch society. It challenges the notion of being regarded only as a migrant through the prism of the dominant culture. By questioning myself and my experiences on my own terms, I hope to move away from simplistic narratives and instead depict the complexities and nuances of migrant identities. Through symbols, text, and image collages, a poetic approach emerges to entangle these issues. My aim with the project is not to tell that this is the diasporic identity or to provide a linear story. But to take the viewer on a journey without clear answers but instead ambiguous questions. My graduation project exists of a publication and installation. In this, I explore the complex concept of identity through my experience of being Dutch and Moroccan. Having lived outside the traditional confines of identity, I question its validity and invite the reader to do the same. Through vivid imagery and always having four spreads open, the book allows the reader to create their own journey, experimenting with different combinations of images and breaking free from a linear narrative. This innovative approach highlights the multiplicity of identity, emphasizing that it is not fixed but rather a fluid and ever-changing concept. The installation talks about being framed by the dominant culture based on my background; this installation wants to step out of the frame. The constant moving; the structure is designed to move in multiple directions, and I wanted to emphasize on this aspect because there is not one linear story.
BLURRING THE LINES
FOSTERING TALENT AND NETWORKING IN VISUAL CULTURE
Program Leader
Partners
BLURRING THE LINES
FOSTERING TALENT AND NETWORKING IN VISUAL CULTURE
Program Leader
Partners