Yto barrada biography definition
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Biography
Yto BARRADA
© Benoît Peverelli
Nominated par Adrienne Edwards
Yto Barrada (Moroccan, French, b.1971, Paris) studied history and political science at the Sorbonne and photography in New York. Her work — including photography, film, sculpture, prints and installations, — began by exploring the peculiar situation of her hometown Tangier. Her work has been exhibited at Tate Modern (London), MoMA (New York), The Renaissance Society (Chicago), Witte de With (Rotterdam), Haus der Kunst (Munich), Centre Pompidou (Paris), Whitechapel Gallery (London), and the 2007 and 2011 Venice Biennale.
She was the Deutsche Bank Artist of the Year for 2011, after which her exhibit RIFFS toured widely. Barrada is also the founding director of Cinémathèque de Tanger. A comprehensive monograph was published by JRP Ringier in 2013. She is a recipient of the 2013-2014 Robert Gardner Fellowship in Photography (Peabody Museum at Harvard University) and was awarded the 2015 Abraaj Prize.
Barrada is represented by Pace Gallery (London), Sfeir-Semler Gallery (Beirut-Hamburg), and Galerie Polaris (Paris).
Work(s)
" Tree Identification for Beginners (2017) "
©Yto Barrada, courtesy Pace Gallery; Sfeir-Semler Gallery
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The Interview: Yto Barrada
“I have a very Oulipo way of working. I give myself a constraint, and then I have total freedom in the margins”
Born in Paris and raised in Tangier, Yto Barrada has, in two decades, gone from being a student of political science at the Sorbonne, as well as her family’s historian and archivist, to a prolific producer of photographs, prints, sculptures, films, artist books and para-institutional projects. Her solo exhibition at Pace in London, Bite the Hand, opens in March and comes on the heels of presentations at the Stedelijk Museum Amsterdam, Kunsthalle Bielefeld, Festival d’Automne in Paris and the Barbican in London. She simultaneously runs two nonprofits, both in Tangier: the arthouse theatre Cinémathèque de Tanger and The Mothership, a dye garden and artist residency.
I don’t recall when I was first introduced to Barrada’s work, but it was probably during a slide lecture – that’s how firmly canonised she already is. It might have been a lesson on postcolonialism, borders and migration, considering how she crystallises stories of transience and lost time at the boundaries of the Global North and South into poignant and surreal images seldom seen in history books.
Committed as Barrada is to building intentional communities and excavating mi