Whether he is dealing with the format of housing projects in deprived areas, the format of data storage or the format of news broadcasts, Hamid Maghraoui’s work tests the ability of the audience to emancipate itself from these same constrained formats.
Breaking down the mainstream narrative at its rawest, such as the daily output of the mass media restrained by the vice-like grip of urbanisation and ever upgrading technology.
Newsreaders forced into silence or reduced to a hysterically repetitive loop composed of their own isolated inhalations, satellite dishes positioned on a wall forming an Air Force-like display, repurposed backlit advertising panels, cement mixers and construction cranes transforming, for the sole purpose of a movie, into experimental devices alluring unlikely appearances.
This array of standardised objects, inherent to our daily lives, sets about a rhetoric, part piracy part critic theory, thus highlighting the inability of the individual to freely expand, inviting him to perform a permanent sidestep.
23 tonnes, 2016
In the video artwork 23 tonnes, Hamid Maghraoui offers a novel perspective on the city of Avignon. The panoramic shot that forms the piece was done using a GoPro camera, fitted directly in the hollow of the counter-jib of a building-site tower crane. The cityscape is revealed by the crane’s slow movements, and the constantly changing image gradually shows itself. The brute foreground presence of the counter-jib’s concrete and rusty metal contrasts with the distant wooded landscape. The crane’s toing-and-froing, slow but sure, reflects the urbanisation of the contemporary age, which little by little is making ground and taking over what is left of nature in the urban landscape.