Flower Thief

For Children - Art Stories since 1968 @haus_der_kunst #antoniecatala @emilyfloyd0 rivaneneuenschwander @ernestonetoarte @evakotatkova @ytobarrada @studioolafureliasson @koojeonga

📚 Découvrez dès maintenant le 40e TextWork : « Le rose n’est pas rose ». Cet essai de Yasmine Seale — poète, critique et professeure invitée à l'université Columbia — propose une perspective située sur la pratique multidisciplinaire d’Yto Barrada, artiste franco-marocaine qui représentera la France à la prochaine Biennale de Venise en 2026. « Passer du temps dans l’univers d’Yto Barrada produit une délicieuse réorientation du regard, comme si les rives de la Méditerranée se rapprochaient (...) » 🔗 Le texte est à lire en intégralité sur le site de la Fondation Prochainement : Christian Bertin selon Skye Arundhati Thomas (parution février 2026) Le programme éditorial TextWork est conçu avec le soutien du Ministère de la culture. _ 📚 Discover the 40th TextWork: “Rose is Not Rose” This essay by Yasmine Seale — a poet, critic, and visiting professor at Columbia University — offers a situated perspective on the multidisciplinary practice of Yto Barrada, a Franco-Moroccan artist who will represent France at the next Venice Biennale in 2026. “Time spent in Barrada’s universe produces a delicious reorienting, as if the shores of the Mediterranean had been brought closer together (…)” 🔗 The full text is available to read on the Fondation’s website. Upcoming: Christian Bertin according to Skye Arundhati Thomas (to be published in February 2026) The TextWork editorial programme is developed with the support of the French Ministry of Culture. Crédits : courtesy de l’artiste ; Pace Gallery ; Sfeir-Semler Gallery, Hamburg, Beirut ; et Galerie Polaris, Paris. @ytobarrada @performingseale @pacegallery @sfeirsmelergallery @galeriepolaris @culture_gouv

“My Souvenir” is a series of brief conversations with our friends and collaborators about the objects they’ve kept and the stories attached to them. My Souvenir 02: Yto Barrada A cushion made with fabric from her Aunt Najat’s TV room in Tangier. “My most precious object, the most precious textile from my collection at the mothership in Tangier, is the yards of fabric from my late Aunt Najat’s TV room. She upgraded to a new fabric about ten or fifteen years ago, and I got it as a hand-me-down, as with most of the furniture I have at home. The colors are passées; it’s velvet with flowers, the backdrop of all the naps and family meals, with all the cousins, aunts, and uncles of my childhood. It’s the same living room where we had snacks and meals together. A small space with a low round table in the center. We watched TV, talked, and slept tête-bêche. C’était le lieu ou tu avais la certitude que tu su te t’endormais - petits ou grands - après un repas, une main te couvrait immédiatement. Un lieu de certitude. À l’anniversaire de sa disparition j’ai redistribué ce tissu en faisant des coussins avec.”

Born in Paris and raised in Tangier, Yto Barrada works across photography, film, and sculpture, exploring Morocco’s social, political, and environmental realities. Her early series, A Life Full of Holes: The Strait Project (1988-2004), documents borders and migration, while later works like Palm Sign (2011) use symbolic forms to provoke reflection. Barrada studied at the Sorbonne and the International Center of Photography in New York. She co-founded the Cinémathèque de Tanger and has exhibited globally, including at the Centre Pompidou, Paris, and ICP, New York. She won the 2022 Queen Sonja Print Award. @ytobarrada #ytobarrada @msf_fr @aerzteohnegrenzen #100artistsforgaza

Follow Us. A new Magazine of Politics, Culture and Art. Coming Late October. An excerpt of a film by @ytobarrada Cinematography and editing by @jessiemagee Music by @_asmara_ Production by @seangullette and @negoush Hand cameo @lailacooks

THE END OF THE WEST IS NOT THE END OF THE WORLD. A NEW MAGAZINE OF POLITICS, CULTURE, ART. COMING SOON. ** If you haven’t signed up for our mailing list do so at equator.org ** An excerpt from a film by @ytobarrada Cinematographer and Film Editor: @jessiemagee Sound @_asmara_ Producers: @seangullette and @negoush

As part of our partnership with South London Gallery (@southlondongallery ), we’re offering the chance to win one of three pairs of tickets to see artist Yto Barrada (@ytobarrada ) in conversation with Sarah Allen, Head of Programme, on Friday 26 September, 7–8pm.⁠ ⁠ The talk marks the opening of Barrada’s new exhibition 'Thrill, Fill and Spill' and will explore her multidisciplinary practice, which has long addressed micro-histories, borderlands, cultural phenomena and strategies of resistance.⁠ ⁠ To enter:⁠ ⁠ • Like and save this post⁠ • Tag the friend you’d bring in the comments ⁠ ⁠ Entries close Tuesday 23 September at 5pm (BST). Winners will be chosen at random and contacted via DM by 5pm on Wednesday 24 September.⁠ ⁠ Good luck!⁠ ⁠ Eligibility: Open to UK residents aged 18+. No purchase necessary. Travel or other expenses are not included in the prize. ⁠ ⁠ Promoter: ArtReview in partnership with South London Gallery. This competition is not sponsored, endorsed or administered by, or associated with Instagram.⁠ UPDATE: This competition is now closed. Thank you to all for participating.

Bettina NON-WAIVER September 13–November 1 Opening Saturday, September 13, 6–8pm The exhibition consists of two series: photographs made in the 1970s and wooden sculptures realized between 1977–81, variously titled Weapons, The Cutting Edge, Stroke, Non-Waiver, and Shango. Both series unfold through Bettina’s method of the “random constant.” A sign on the door of her Chelsea Hotel apartment pronounced: “unequal elements constrained and equivocated by a rigid structure of predetermined parameters.” Emblematic of Bettina’s systematic approach to repetition and variation, the untitled self-portraits apply this framework directly to the image of her own body. They extend her Phenomenological New York series (1972-86), which captured distorted reflections in the city’s glass facades, carrying its investigation into her live–work space. She made the silver gelatin prints in her bathroom, which she turned into a dark room. Bettina often described her apartment as the “Institute for Noumenological Research,” a nod to her sometimes humorous engagement with Kantian philosophy. In these works, the “eclipse of the self” is staged through her fixed-perspective method, while the column-like cropping of the photographs echoes the verticality of New York’s architecture. Bettina produced the wooden sculptures while living on a liquid diet, noting in her description of this series that she had not eaten solid food for an entire month, due to the rent increase of her woodworking shop. She used only a belt sander to arrive at the permutations of the wave-like motif, recurrent throughout her practice. She describes the volume redistribution in these works in terms of “symmetry and asymmetry in non-waiver balance points.” Working with what she termed “auto-regenerative constants,” each object derives from identical starting elements yet yields different undulating forms through progressive displacement. In the spirit of Duchamp's chance-based treatment of standardized measurements such as his 3 Standard Stoppages, these works reveal Bettina’s conviction that “absolutes are merely constants that are equivocal and mediating and subject to change.” @bettina_estate @ytobarrada

@ytobarrada

Dye stuff everywhere at the Mothership.

📣📣 ANTHOLOGIE D’ENTRETIENS de Hamid Barrada [Volume I 1977-2012] 📍A NE PAS MANQUER : Rencontre avec Hamid Barrada ce dimanche 27 avril à 15h30 sur le stand du CCME 🩵🩵🩵 Un ouvrage exceptionnel qui nous fait voyager dans le temps. A une époque où le journalisme et les politiques étaient des journalistes et des politiques 😊 et où chacun.chacune défendait ses idées (car chacun.chacune avait encore des idées à défendre). Préfacé par l’unique Omar Berrada sous la direction artistique de la merveilleuse Yto Barrada et publié par Kulte Editions 🎉 avec le soutien du CCME et de Driss Yazami. Direction éditoriale / Yasmina Naji Coordination éditoriale / Lily Valette Graphisme / Abdellah Aissa