Because our latest exhibition covers so many complex issues and themes we felt it would be appropriate for you, our audience to access additional material within the galleries by introducing QR codes.
QR codes or Quick Response Codes, are becoming increasingly popular these days. You might have seen them on billboards, in magazines, or on product packaging. Similar to bar code technology, QR Codes can be scanned with your smartphone using a QR reader app. Many organisations, as well as individuals, are using QR Codes to advertise products, offer discounts, or to provide additional information and more. So we thought we would have a go too.
Each artist in the exhibition has a QR code next to their work. If you scan these with your smartphone you’ll be able to access audio interviews, additional videos and further photographs/documentation from that artist. But don’t worry if you don’t have a smartphone. All the additional material can be found here –
Co-curator Dr Edward Welch speaks to artist Zineb Sedira about her video installation Gardiennes d’images (2010):
Listen as artist Sophie Elbaz explains the context behind the creation of her work shown in Gallery 3:
Co-curator Dr Edward Welch talks to the co-director of Autograph ABP, Tom O’Mara, about his involvement in Omar Daod’s work in Gallery 2:
Listen as artist Bruno Boudjelal explains the context behind his work in Gallery 1:
In the months before the exhibition, Zineddine Bessai set about applying for a UK immigration visa to attend the opening events. Despite appropriate credentials and the support of Cornerhouse, his request was declined. View his visa rejection letter here.
To complement her site-specific installation created especially for Cornerhouse, here you can view Amina Menia’s other images taken from her continuing series that document the symbolic importance of such monuments to the dead and asks viewers to ponder the relationship between mourning, commemoration and their political use.
Discover here examples of other recent work by Attia: ranging from a site-specific installation in central Paris to a shantytown Casbah and work made from couscous.
Here you can access six other evocative photographs selected from Jeanmougin’s compelling portraits of life in contemporary Algeria.
Another theme that links the three countries through which John Perivolaris travelled is a passion for football: witness the celebrations Perivolaris captured in the centre of Marseille after Algeria secured a surprising draw against England in the 2010 World Cup:
This earlier video by Kameli is similarly set in present-day Algeria but focuses on an urban landscape to explore questions of time and space: