Amina Benbouchta, ‘Labyrinth’, 2012, Sabrina Amrani

Series: Family archive papers

I chose to gather my family files and to use them in my work as a response to the dilemna of identity , source of so many conflicts and confrontations.

Genealogy is used to back up political claims and issues over geographical borders ,endlessly. In the arab world the medieval terminilogy of ‘Arab’ was linked to the historical Arab tribes of the Arabian peninsula. Genealogy was identity, linked to famous ancestors.

My own family files and archives are used to stress how careful archives help
to back up myths. Compilation, gathering of information, archiving, was a science in the arab world which is now painlessly facing the new blurring of our identities.

Amina Benbouchta

About Amina Benbouchta

Casablanca-based Amina Benbouchta engages gender politics and the feminist slogan “the personal is political” in paintings and photographs in which she uses herself as a subject. Positioning her body in charged, confining spaces, and often wearing costumes, Benbouchta explores themes of alienation, restriction, and identity. Differentiating herself from American conceptual photographers Cindy Sherman and Francesca Woodman, who have also made themselves subjects, Benbouchta focuses on issues surrounding the oppressed position of women in the contemporary Arab world. In her most recent series of photographs, she incorporates objects that reference dualistic themes of domestic confinement and escapism. Caged birds, rubber gloves, teapots, and mirrors cover the artist’s face, acting as masks that transform Benbouchta into a universal symbol for inequality.

Moroccan , b. 1963