As Ebbe Stub Wittrup follows in the footsteps of the Danish botanist Nathaniel Wallich, a narrative emerges on Western economy and scientific logic as opposed to local knowledge and experience.
Imane Djamil is a Moroccan photographer and poet based between Casablanca and Paris. Having ventured into solo travel at the tender age of 15, she finds interest in beautiful, however forgotten Tarfaya, a Saharian city in which Antoine de Saint Exupery lived for eighteen months while working for former French mail company Aéropostale. Through a fictional approach, Tarfaya becomes a protagonist in Imane’s photography series Où’harmonisent le pin, la frayeur et moi-même (Where pine, fear and myself harmonise), in tribute to the poet Sohrab Sepehri. With multiple exhibitions under her belt, both in Morocco and Europe, the young artist adresses social issues and injustices which are portrayed through her metaphorical photographs. Imane has spent years reflecting, challenging and questioning the boundaries of her body in relation to nature and culture. Printemps Barbare, one of her early works, primarly tackles the process of investing public space in Morocco, where a naive topic becomes a subject of perversion triggering an uproar extolling good morals and common decency. At age 18, she was the youngest exhibitor, with series Printemps Barbare at Le Maroc Contemporain, a five months exhibition at the Arab World Institute in Paris.
Imane is currently self publishing a book of poems influenced by her relationship to photography, in which she draws personal and political parallels between spaces, territories and her own body. She has been working since 2016 with French theater company Compagnie du Crépuscule on an adaption of her subversive poetry, for Imane is strongly convinced that poetry, as speaking out experience, intimacy, desire, anger and so on, is a major act of resistance.