Latifa Echakhch

Kamel Mennour | Rue Saint-André des Arts

So much is in a name—particularly when that name happens to sound like Latifa Echakhch’s in a country like France, still reeling from postcolonial reckoning. “Pendant que les champs brûlent Part 2” (While the Fields Burn Part 2) was Echakhch’s second solo exhibition at Kamel Mennour and part of an attempt to define her name against the clichés associated with it, especially the aesthetic cliché that non-Western artists produce only sumptuous, ornamental art. The constant of both shows, the appreciable déjà vu that united two otherwise distinct propositions, was the installation A chaque stencil une revolution (A Revolution for Each Stencil), 2007, a wall covered with sheets of carbon paper (the same installation was exhibited at Tate Modern last fall). A solvent sloshed across the sheets has brightened a band of the midnight blue paper to a hue somewhat closer to International Klein Blue,

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