Selected Works

Mounir Fatmi

Mother Language, 2017 Steel blade and cut outs 150 cm diameter

mounir fatmi

Across the Moon, 2017 HD film

Mounir Fatmi

Coma Manifesto 02 , 2017 Steel Variable (approx. 170 x 90 x 60 cm)

Mounir Fatmi

Coma Manifesto 01, 2017 Steel Variable (approx. 170 x 90 x 60 cm)

Mounir Fatmi

The Visible Side of the King, 2017 Pigment print on fine art paper 30 x 40 cm

Mounir Fatmi

Roots 01 - Triptych, 2016 Coaxial antenna cable and staples 220 x 122 cm each panel 220 x 400 cm overall dimensions

Mounir Fatmi

le Paradox, 2013-2014 Machine in steel, arabic calligraphy, engine 160 x 120 x 75 cm

Mounir Fatmi

History is not mine, 2013 Pigment prints on fine art paper 46 x 70 cm Each

Mounir Fatmi

The Blinding Light, 2013 Print on mirror 103 x 150 cm

Mounir Fatmi

Calligraphy of Fire 01, 2012 Steel calligraphies, clamps Work: 42 x 48 x 48 cm

Mounir Fatmi

Calligraphy of Fire, tribute to Brion Gysin, 2012 Steel calligraphy, clamps, wooden table 270 x 75 x 120cm

Mounir Fatmi

Oil Oil Oil Oil, 2012 65 agals and glossy acrylic paint Size variable - 250 x 300 cm

Mounir Fatmi

Kissing Circles 02, 2010-2011 Coaxial antenna cables, staples, plexicase Work: 153 x 207 x 5 cm

Mounir Fatmi

Skyline, 2007 VHS, magnetic tape Variable

Mounir Fatmi

Underneath, 2007 Wooden Table

Mounir Fatmi

500 Meters of Silence, 2004-2005 Coaxial antenna cable, saw-horses, white textile, wall painting, soundtrack

mounir fatmi

History is not Mine, 2013 Video

mounir fatmi

Black screens - The Rectangle, 2004-2020 Blank VHS

mounir fatmi

Propaganda 02 - Diptych, 2012 Glycero on VHS

mounir fatmi

Propaganda 04 - Diptych, 2012 Glycero on VHS

mounir fatmi

The Year Zero (07), 2012 Coaxial antenna cable and staples

mounir fatmi

Circles 09, 2013 Coaxial antenna cable on plywood, plexicase

mounir fatmi

Heavier than Words, 2020 Scale, steel calligraphies

mounir fatmi

God is Dead , 2007 HD black and white silent film


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 Acadaemy 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.


mounir fatmi talking through his practice on the occasion of winning the V&A Musuem’s Jameel Prize


How To Disappear

14 March - 23 June 2020

Acts of Reading / 2019

25 May - 13 July 2019

Narrative Means / 2018

02 June - 14 July 2018

the silences between

24 August - 29 September 2017


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