Selected Works

Mother Language, 2017
Steel blade and cut outs
150 cm diameter
Across the Moon, 2017
HD film

Coma Manifesto 02 , 2017
Variable (approx. 170 x 90 x 60 cm)
Coma Manifesto 01, 2017
Variable (approx. 170 x 90 x 60 cm)
The Weight, 2017
Found objects
The Visible Side of the King, 2017
Pigment print on fine art paper
30 x 40 cm
Roots 01 - Triptych, 2016
Coaxial antenna cable and staples
220 x 122 cm each panel 220 x 400 cm overall dimensions
le Paradox, 2013-2014
Machine in steel, arabic calligraphy, engine
160 x 120 x 75 cm
History is not mine, 2013
Pigment prints on fine art paper
46 x 70 cm Each
The Blinding Light, 2013
Print on mirror
103 x 150 cm
Calligraphy of Fire 01, 2012
Steel calligraphies, clamps
Work: 42 x 48 x 48 cm
Calligraphy of Fire, tribute to Brion Gysin, 2012
Steel calligraphy, clamps, wooden table
270 x 75 x 120cm
Oil Oil Oil Oil, 2012
65 agals and glossy acrylic paint
Size variable - 250 x 300 cm
Kissing Circles 02, 2010-2011
Coaxial antenna cables, staples, plexicase
Work: 153 x 207 x 5 cm
Keeping Faith, 2007
Vhs tapes, mirrored floor
Skyline, 2007
VHS, magnetic tape
Underneath, 2007
Wooden Table

500 Meters of Silence, 2004-2005

Coaxial antenna cable, saw-horses, white textile, wall painting, soundtrack


mounir fatmi was born in Tangiers, Morocco, in 1970. When he was four, his family moved to Casa-blanca. At the age of 17, he traveled to Rome where he studied at the free school of nude drawing and engraving at the Academy of Arts, and then at the Casablanca art school, and finally at the Rijksakad-emie in Amsterdam.

He spent most of his childhood at the flea market of Casabarata, one of the poorest neighborhoods in Tangiers, where his mother sold children’s clothes. Such an environment produces vast amounts of waste and worn-out common use objects. The artist now considers this childhood to have been his first form of artistic education, and compares the flea market to a museum in ruin. This vision also serves as a metaphor and expresses the essential aspects of his work. Influenced by the idea of de-funct media and the collapse of the industrial and consumerist society, he develops a conception of the status of the work of art located somewhere between Archive and Archeology.

By using materials such as antenna cable, typewriters and VHS tapes, mounir fatmi elaborates an experimental archeology that questions the world and the role of the artist in a society in crisis. He twists its codes and precepts through the prism of a trinity comprising Architecture, Language and Machine. Thus, he questions the limits of memory, language and communication while reflecting upon these obsolescent materials and their uncertain future. mounir fatmi’s artistic research consists in a reflection upon the history of technology and its influence on popular culture. Consequently, one can also view mounir fatmi’s current works as future archives in the making. Though they represent key moments in our contemporary history, these technical materials also call into question the transmission of knowledge and the suggestive power of images and criticize the illusory mechanisms that bind us to technology and ideologies.

Since 2000, Mounir fatmi’s installations have been selected for several biennials, the 52nd and 57th Venice Biennales, the 8th Sharjah Biennale, the 5th and 7th Dakar Biennales, the 2nd Seville Biennale, the 5th Gwangju Biennale, the 10th Lyon Biennale, the 5th Auckland Triennial, the 10th and 11th Bamako Bien-nales, the 7th Shenzhen Architecture Biennale, the Setouchi Triennial and the Echigo-Tsumari Trienni-al in Japan. His work has been presented in numerous personal exhibits, at the Migros Museum, Zur-ich. MAMCO, Geneva. Picasso Museum La Guerre et la Paix, Vallauris. AK Bank Foundation, Istan-bul. Museum Kunst Palast, Düsseldorf and at the Gothenburg Konsthall. He has also participated in several group exhibitions at the Centre Georges Pompidou, Paris. Brooklyn Museum, New York. Palais de Tokyo, Paris. MAXXI, Rome. Mori Art Museum, Tokyo. MMOMA, Moscow. Mathaf, Doha, Hayward Gallery and the Victoria & Albert Museum, London. Van Abbemuseum, Eindhoven and at Nasher Mu-seum of Art, Durham.

He has received several prizes, including the Uriöt prize, Amsterdam, the Grand Prix Léopold Sédar Senghor at the 7th Dakar Biennale in 2006, as well as the Cairo Biennale Prize in 2010.