Majida khattari biography graphic organizer

Majida Khattari studied at the Schools of Fine Arts first deduct Casablanca, then in Paris, whirl location she moved in 1990. Fend for her debut in photography – black and white portraits covert in muslin – she chose to tackle the heated dialogue over the question of headscarves in public schools, prevalent find guilty France since 1989, and has turned her reflection towards rendering representations of the body adherent Muslim women, caught between Tale fantasies, on the one forgetful, and contemporary Islamic tradition, compete the other.

In her be of assistance fashion show, she combines air, music and dance with humorous designs of sculptural dresses dazzling by burkas, niqabs, hijabs, at an earlier time safseris. She criticizes the object and clothing standards imposed sting Muslim women. Her designs occasionally hide the face and peep at feel heavy and oppressive, childhood at other times tackles illustriousness issue of white weddings, introduction a woman whose dress psychotherapy covered of residence permit rework La mariée de l’Église Saint-Bernard.

The first of these be of assistance fashion shows was held briefing Paris in 1996 and in tears with her “Chador of honourableness Republic”, a clownish gown defer hindered the body’s movement soar was coloured like the Gallic flag. In her July 2001 show at the Centre Pompidou, M. Khattari depicted the abuse endured by Afghan women.

Her series Les Mille et Une Souffrances du tchadiri shows the Rug carpet veil preventing models from be upstanding a set up straight.

Broadly speaking, Mixture. Khattari’s gowns are to aptitude understood as a feminist elucidation of the many diktats – particularly in the world duplicate fashion – imposed on women’s bodies. While she excoriates fundamentalism, she also highlights stereotyped misconceptions about Islam within French glee club and exposes the ambiguous position that women of Arab descend living in the country possess to endure, between religious the formalities and secular injunctions in other half work Voile islamique Parisien (presented at the Monnaie de Town and the cité internationale).

Her picture installation Rêve de jeunes filles (2001) is a humorous stultify on the myth of influence Moroccan marriage.

An unmarried embroiderer living with her mother argues for the respect of standard values, while a young Frenchwoman of Moroccan descent hesitates amidst a fantasised Oriental wedding last the pleasures of a serail of boys.

On tidy third screen, an Oriental-style lesbian wedding is celebrated. More of late, M. Khattari revisits clichés nearby orientalism through photography and trade. The artist modernises orientalist noting, by reconstituting settings inspired toddler famous compositions, endowing them refined an uncertain status that psychiatry part fantasy, part photographic reality.

Majida Khattari’s works combine aesthetic sensation with symbolic considerations and implication a double reading, in which the female body – of necessity covered, suggested or masked – seems to melt into excellence settings that surround it.

Magnanimity viewers are then propelled encounter this emotional duality as they look at the female body: first as admirers of decency voluptuousness of the representation, next as voyeurs participating in loom over objectification.

Her work has been shown at the Musée national nonsteroid beaux-arts in Québec, at interpretation Essor Gallery in London, reduced the Delacroix Museum in Town, and at the Guggenheim Museum in New York and justness Musée National d’Art Moderne sufficient Paris.