Bianca Boragi - Visual Art
  • VIDEO ART & FILMS
    • Inversion
    • Rapunzel
    • Cotton Candy
    • Blue
    • Afterimage
    • Great Kabylie
    • Provenance
    • Sandbar
    • Drift
    • Transmission
    • Sex Freeze
    • Deaf Man
    • Workin like a
    • Stealing the Birds
    • Barbary Fig
    • Dear J
    • Wrong Track Rink
    • Cleaning the Rain
    • Race to Domesticity
    • Will and Testament
    • L' Ondine Restaurant
    • Urban Wishing Well
    • Metal Island
  • SCULPTURES
    • Inverse Scepter
    • La Femme Rétro-Viseur
    • Gone
    • Odds
    • Bread Chair
    • Hybrid Buffet
    • The Heel of the Loaf
    • Wing
    • Drift
    • Travelling Plants
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    • The Measure of Things
    • Rapunzel
    • British Scalp Proclamation
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  • PAINTINGS & WORKS ON PAPER
    • Hourglass, screen print
    • Blouta, Bag Series
    • Give, Montreuil
    • Search, Montreuil
    • Le quinzieme
    • Women of Algiers
    • Passageways series, 2020
    • Yaya
    • Drift
    • Studies
    • Map
    • Web of Lies
    • Rain Drops
  • EXHIBITIONS
    • UPCOMING
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    • PAST >
      • SPRING/BREAK Salon
      • Horizons
      • Body Memory
      • Vector
      • SPRINGBREAK Art Show 2022
      • Bodily Integrity
      • French Consulate
      • Chashama Gallery
      • Dough
      • SPRING/BREAK Art Show
      • Staying Inn
      • Missing Luncheon
      • The Immigrant Artist Biennial
      • Solo Show, The Heel of the Loaf
      • Solo Booth, CADAF Art Fair
      • Group show, March of Time
  • Curatorial
    • Vector
    • The Immigrant Artist Biennial
    • Architecture of the Elsewhere
    • Sexy Sex
    • Specter in the Threshold
    • Zoe Walsh
    • Data Spell
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    • Say-so
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Le quinzieme (The Fifteenth)

Oil painting, 2022
30 x 24

Picture
The Fifteenth_The Women of Algiers, 2022, is one of a series of sixteen paintings titled The Women of Algiers. This composition is based on a still image extracted from the artist’s film Barbary Fig. This short film depicts the path of an exile back through the path of memory. And tell the life story of Ghalia, the artist’s mother, who remembers fragments of her childhood as part of the Kabyle tribe during the Algerian War of Independence (1954-1962) against the French colonial empire, and one of the many abandoned villages in which her mother and herself managed to survive until life became impossible. This scene shows Ghalia reflecting upon her past from the window of the fifteenth floor of the project building she lives in, in Paris, France.

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