Latifa Echakhch’s site-specific work for the Biennale is some 100 square metres of linoleum laid seemingly at random on the floor. On closer examination we see linocut designs, the linocut being a technique similar to the woodcut, using gouged-out blank areas to form the motifs. Visitors walk over these motifs, which reuse drawings, sketches and texts by Le Corbusier. Here the bard of communal building and the instigator, in spite of himself, of the big urban housing estates that began to go up in France in the late 1940s, has been downsized: even if his ideas engendered large-scale and often controversial projects, those housing estates remain places full of life, places symbolised by the affect-charged linoleum Echakhch remembers as part of her life as a child. The artist’s precise yet nuanced gestures thus home in on zones of contact created by the coexistence of different cultures in a single territory – a point emphasised by the fact that her drawings also include the logos of various funding bodies and other images associated with social housing.
With the support of Kamel Mennour gallery, Paris.