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Middle East & Africa

Wiame Haddad
Les objets de Tazmamart: Broderies

Between 2012 and 2016 Wiame Haddad undertook a long and meticulous photographic research and study that focused on the history of different political actors involved in the Moroccan “années de plomb” (or Years of Lead), a period from the 1960-70s that were marked by state incited violence and the political repression of dissidence. From the 70s onwards, the Morocco people, and democratic activists in particular, experienced a long period of arrests, forced disappearances, imprisonment, and torture.

 

Haddad’s research project resulted in Objets de Tazmamart, a series of photographs of different artifacts related to the last tangible witnesses of the secret prison of Tazmamart. Included amongst these objects are a rosary, an embroidery, and a pair of scissors. This collection of objects is not only an archive, but the construction of a corpus of objects produced during years of survival and resistance. The authors and owners of these objects were imprisoned for more than twenty years, immersed in the total darkness of the Tazmamart prison in individual cells measuring only six by ten feet. The gesture of these hours spent making the objects in the dark both underlines the absence of the body and its patient resistance. Haddad’s project reveals itself as a document, the only visible trace of this dark place whose existence has long been denied by Moroccan officials. These small, seemingly insignificant objects oppose the regime’s attempt at suppression and silence.

Wiame Haddad is a photographer of matter. Through the objects Haddad photographs she reveals their telluric nature, and approaches the landscapes she records as organic bodies. The tension that is gradually revealed in the bodies she encounters enters into alchemy with the matter that interests her and that she stages in her photographs. She develops sculptural and photographic projects that carry within them the stakes of a tension of the body—or the trace of its presence—as a political signifier. The artist's work takes on the scope of a photographic study, as well as ethical and formal research. This research is coupled with an aspiration for what is not seen; revealing the bodies forgotten by history. It is through what was once invisible that Haddad's work takes shape.