Aisha in Wonderland is an allegorical journey that centers around themes dear to Guerresi and links to the charm and the value of the mystic and veiled body’s diversity.
It is the representation of the spiritually strong woman who, through her own identity, is able to dissolve the distinctions present between the masculine and feminine genres, leaving aside the stereotypes linked to Islam.
The exhibition developed around the concept of inner identity and communication, as the importance of freedom of expression, a narrative path, where video works, photographs and installations alternate.
The different dimensions of the photographic works and their position in the exhibition space recall the proportions of Alice in the famous novel in which she becomes big or small depending on her meetings and experiences.
Aisha here does not appear as the protagonist of this visual narration, but as the gaze through which the observer manages to access an inner and hidden universe.
Trampoline, Swallows, Migrant, Stylite, Aisha’s Story 1 and 2, and The Girls in their Private Garden deal with the theme of equilibrium through a metaphysical and surreal interpretative key, articulated by means of two different techniques: the sculptural installation and the photographic installation.
The protagonists of the photographs walk or stop in unusual spaces, appropriating new physical and spiritual faculties.
In Kadija’s Minbar, the protagonist points to a distant point in space with a long branch.
The moment of elevation from a wooden structure recalls the Minbar, a pulpit where the sermons take place in mosques -- a space specifically dedicated to the male imam and denied to women.
These characters are a metaphor for the idea of identity, which in this work has been re-envisioned on the basis of spatial, cultural, and linguistic coordinates that transcend geographical boundaries.