{"id":19381,"date":"2024-10-17T15:41:53","date_gmt":"2024-10-17T13:41:53","guid":{"rendered":"https:\/\/www.globearoma.be\/tales-from-the-first-floor-2\/"},"modified":"2024-10-17T16:06:23","modified_gmt":"2024-10-17T14:06:23","slug":"tales-from-the-first-floor-2","status":"publish","type":"post","link":"https:\/\/www.globearoma.be\/fr\/tales-from-the-first-floor-2\/","title":{"rendered":"TALES FROM THE FIRST FLOOR: HAMADA ELKEPT"},"content":{"rendered":"

Under Surveillance, 2024<\/b><\/em>
\n<\/b>Acrylique sur toile\u00a0<\/b>
\n<\/b>140 x 170 cm<\/b><\/p>\n

\u00c0 Gaza, l’oppression par la surveillance constante est un mode de vie. L’artiste de cette \u0153uvre, Hamada Elkept, a grandi et v\u00e9cu \u00e0 Gaza pendant 28 ans. Il puise profond\u00e9ment dans son exp\u00e9rience personnelle pour d\u00e9peindre les cons\u00e9quences psychologiques d’une vie sous occupation quotidienne. Il saisit la r\u00e9alit\u00e9 des avions et des drones qui suivent de pr\u00e8s les civils et les r\u00e9sidents vivant sous une surveillance stricte et permanente. Ces machines ne se contentent pas justee de surveiller, elles sont devenues des instruments de violence, tuant des civils dans leurs maisons, les rues, les jardins, les plages et m\u00eame les h\u00f4pitaux, r\u00e9duisant la vie \u00e0 un contr\u00f4le ludique de la violence, le tout d\u00e9termin\u00e9 par un bouton ou une t\u00e9l\u00e9commande.<\/p>\n

Pour les habitants de Gaza, le bourdonnement des avions et des drones fait d\u00e9sormais partie de leur paysage sonore – un rappel de l’omnipr\u00e9sence de ce qui plane au-dessus d’eux. Le travail de Hamada refl\u00e8te le d\u00e9placement forc\u00e9 que les Palestiniens subissent continuellement sous l’occupation, \u00e9voquant la peur et la souffrance qui accompagnent chaque mouvement.<\/p>\n

Gr\u00e2ce \u00e0 une imagerie symbolique, presque surr\u00e9aliste, l’\u0153uvre invite les spectateurs \u00e0 s’interroger sur l’impact de l’oppression induite par la technologie. Elle nous incite \u00e0 voir au-del\u00e0 de la surface et \u00e0 reconna\u00eetre les histoires humaines de perte, de r\u00e9silience et de r\u00e9sistance face \u00e0 une occupation implacable.<\/p>\n

*****<\/p>\n

Dans notre ESPACE DE CREATION<\/strong>, les artistes peuvent travailler au d\u00e9veloppement de leur pratique et sont soutenus par l\u2019\u00e9quipe de Globe Aroma et les partenaires du Cosmos de Globe. Ce lieu fonctionne \u00e0 deux vitesses : l\u2019espace de co-working ouvert et l\u2019atelier d\u00e9di\u00e9.<\/p>\n","protected":false},"excerpt":{"rendered":"

Under Surveillance, 2024 Acrylique sur toile\u00a0 140 x 170 cm \u00c0 Gaza, l’oppression par la surveillance constante est un mode de vie. L’artiste de cette \u0153uvre, Hamada Elkept, a grandi et v\u00e9cu \u00e0 Gaza pendant 28 ans. Il puise profond\u00e9ment dans son exp\u00e9rience personnelle pour d\u00e9peindre les cons\u00e9quences psychologiques d’une vie sous occupation quotidienne. Il…<\/p>\n","protected":false},"author":20,"featured_media":19365,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-19381","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classifiee","label-espace-de-creation"],"acf":[],"yoast_head":"\nTALES FROM THE FIRST FLOOR: HAMADA ELKEPT ‹ Globe Aroma vzw<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.globearoma.be\/fr\/tales-from-the-first-floor-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TALES FROM THE FIRST FLOOR: HAMADA ELKEPT - Globe Aroma vzw\" \/>\n<meta property=\"og:description\" content=\"Under Surveillance, 2024 Acrylique sur toile\u00a0 140 x 170 cm \u00c0 Gaza, l’oppression par la surveillance constante est un mode de vie. 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