{"id":8754,"date":"2024-07-03T13:22:09","date_gmt":"2024-07-03T11:22:09","guid":{"rendered":"https:\/\/www.fraclorraine.org\/?post_type=exhibition&p=8754"},"modified":"2025-12-15T10:37:42","modified_gmt":"2025-12-15T09:37:42","slug":"","status":"publish","type":"exhibition","link":"https:\/\/www.fraclorraine.org\/en\/exhibition\/pause\/","title":{"rendered":"Pause","raw":"Pause"},"content":{"rendered":"\n
\n
\n

\u25cf A group exhibition with works by Rehaf Al Batniji, Sven Augustijnen, Nidhal Chamekh, Banele Khoza, Naeem Mohaiemen, Peter Piller and Oraib Toukan<\/p>\n\n\n\n

<\/p>\n\n\n\n

As screens flood our daily lives with countless images, where to turn our gaze? Sometimes, the urge to log on simply proves too strong; at other times, the need to avert our gaze wins out, as if online encounters could threaten our happiness. This reflects the swing of our daily feed of images, oscillating between stupor and cat memes.

PAUSE <\/em>is an exhibition that plays with our ambivalent attraction towards the flow of images we encounter daily. The artists gathered here question the empathy that links us to these images \u2014 as well as the contexts that manufacture them. <\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

\n
\"\"
Oraib Toukan, Offing<\/em>, 2021, Courtesy the artist<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\"\"
Sven Augustijnen, L\u2019histoire est simple et \u00e9difiante. Une s\u00e9lection d\u2019articles parus dans Paris Match, premi\u00e8re partie 1960-1972, 2014. Courtesy de l’artiste<\/figcaption><\/figure>\n\n\n\n
\"\"
Rehaf Al Batniji, Gaza Timezone, 2023. Courtesy de l\u2019artiste<\/figcaption><\/figure>\n\n\n\n
\"\"
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Courtesy de l’artiste<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n
\n

Motifs that have slipped into oblivion, whether because of a need to survive, uprootedness, embarrassment, or contempt emerge throughout the exhibition like ghosts haunting the present. They punctuate our visual wanderings, charged with meanings that might not fully appear to us  \u2014 but which still determine the visual environments we inhabit. Collapsing present and past, they resonate with specific art historical forms, ranging from historical painting (scenes of debate, war or violence) to genre painting (still lifes, landscapes).

Walter Benjamin wrote of recollection: \u2018For every image of the past that is not recognised by the present as one of its own concerns threatens to disappear irretrievably.<\/em>\u2019 This sentence underlines the extent to which attachment to the past shapes the present. Currently, any loss of the past is often framed as something to be avoided at all costs. This desire for preservation also affects us on an individual level; we regularly upload or backup our experiences on external media. This is nonetheless hardly a unidirectional process since it also entails the offloading of our own memory. As the construction of memory undergoes a radical shift, our relationship to images and the visual arts is also transformed.

The different image-types brought together by the exhibition are a reminder that art history always reflects structures of domination. How then, to put the power inherited by the museum to good use? How to displace motifs usually linked to history\u2019s victors in favour of other genealogies? The exhibition\u2019s juxtaposition of images linked to historical events with seemingly anecdotal ones underlines how every image stems from a political context; as a tool of communication, every image conveys and embodies specific values and perspectives.

Differentiating between a potentially cumbersome nostalgia and a thoughtful scrutiny of the past, the exhibition hopes to revisit the past in order to propose new ways of looking at the present \u2014  and vice-versa.<\/p>\n<\/div>\n\n\n\n

\n
\"\"
Banele Khoza, My Mother’s Favourite Chair, 2022. Courtesy de l\u2019artiste<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

\u21b3 Curated by Fanny Gonella, in discussion with Sophie Potelon<\/p>\n\n\n\n

\n
\n

Access<\/h3>\n\n\n\n

Free entrance

Mon \u2013 Fri : 14:00-18:00
Sat \u2013 Sun : 11:00-19:00<\/p>\n\n\n\n

49 Nord 6 Est – Frac Lorraine
1 bis, rue des Trinitaires,
57000 Metz<\/p>\n\n\n\n

info@fraclorraine.org
0033 (3) 87 74 20 02<\/p>\n<\/div>\n\n\n\n

\n

Infos <\/h3>\n\n\n\n

\u21b3 Opening Thursday, 5 Sept 2024, 7- 9 pm<\/p>\n<\/div>\n<\/div>\n","protected":false,"raw":"\n

\n
\n

\u25cf A group exhibition with works by Rehaf Al Batniji, Sven Augustijnen, Nidhal Chamekh, Banele Khoza, Naeem Mohaiemen, Peter Piller and Oraib Toukan<\/p>\n\n\n\n

<\/p>\n\n\n\n

As screens flood our daily lives with countless images, where to turn our gaze? Sometimes, the urge to log on simply proves too strong; at other times, the need to avert our gaze wins out, as if online encounters could threaten our happiness. This reflects the swing of our daily feed of images, oscillating between stupor and cat memes.

PAUSE <\/em>is an exhibition that plays with our ambivalent attraction towards the flow of images we encounter daily. The artists gathered here question the empathy that links us to these images \u2014 as well as the contexts that manufacture them. <\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

\n
\"\"
Oraib Toukan, Offing<\/em>, 2021, Courtesy the artist<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\"\"
Sven Augustijnen, L\u2019histoire est simple et \u00e9difiante. Une s\u00e9lection d\u2019articles parus dans Paris Match, premi\u00e8re partie 1960-1972, 2014. Courtesy de l'artiste<\/figcaption><\/figure>\n\n\n\n
\"\"
Rehaf Al Batniji, Gaza Timezone, 2023. Courtesy de l\u2019artiste<\/figcaption><\/figure>\n\n\n\n
\"\"
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Courtesy de l'artiste<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n
\n

Motifs that have slipped into oblivion, whether because of a need to survive, uprootedness, embarrassment, or contempt emerge throughout the exhibition like ghosts haunting the present. They punctuate our visual wanderings, charged with meanings that might not fully appear to us  \u2014 but which still determine the visual environments we inhabit. Collapsing present and past, they resonate with specific art historical forms, ranging from historical painting (scenes of debate, war or violence) to genre painting (still lifes, landscapes).

Walter Benjamin wrote of recollection: \u2018For every image of the past that is not recognised by the present as one of its own concerns threatens to disappear irretrievably.<\/em>\u2019 This sentence underlines the extent to which attachment to the past shapes the present. Currently, any loss of the past is often framed as something to be avoided at all costs. This desire for preservation also affects us on an individual level; we regularly upload or backup our experiences on external media. This is nonetheless hardly a unidirectional process since it also entails the offloading of our own memory. As the construction of memory undergoes a radical shift, our relationship to images and the visual arts is also transformed.

The different image-types brought together by the exhibition are a reminder that art history always reflects structures of domination. How then, to put the power inherited by the museum to good use? How to displace motifs usually linked to history\u2019s victors in favour of other genealogies? The exhibition\u2019s juxtaposition of images linked to historical events with seemingly anecdotal ones underlines how every image stems from a political context; as a tool of communication, every image conveys and embodies specific values and perspectives.

Differentiating between a potentially cumbersome nostalgia and a thoughtful scrutiny of the past, the exhibition hopes to revisit the past in order to propose new ways of looking at the present \u2014  and vice-versa.<\/p>\n<\/div>\n\n\n\n

\n
\"\"
Banele Khoza, My Mother's Favourite Chair, 2022. Courtesy de l\u2019artiste<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

\u21b3 Curated by Fanny Gonella, in discussion with Sophie Potelon<\/p>\n\n\n\n

\n
\n

Access<\/h3>\n\n\n\n

Free entrance

Mon \u2013 Fri : 14:00-18:00
Sat \u2013 Sun : 11:00-19:00<\/p>\n\n\n\n

49 Nord 6 Est - Frac Lorraine
1 bis, rue des Trinitaires,
57000 Metz<\/p>\n\n\n\n

info@fraclorraine.org
0033 (3) 87 74 20 02<\/p>\n<\/div>\n\n\n\n

\n

Infos <\/h3>\n\n\n\n

\u21b3 Opening Thursday, 5 Sept 2024, 7- 9 pm<\/p>\n<\/div>\n<\/div>\n"},"template":"","meta":{"inline_featured_image":false,"_fr_post_content":"\n

\n
\n

\u25cf Exposition de groupe avec des \u0153uvres de Rehaf Al Batniji, Sven Augustijnen, Nidhal Chamekh, Banele Khoza, Naeem Mohaiemen, Peter Piller et Oraib Toukan<\/p>\n\n\n\n

Certaines images nous restent en m\u00e9moire car elles r\u00e9sonnent avec ce que nous traversons. Elles semblent \u00e0 la fois reli\u00e9es \u00e0 la situation pr\u00e9sente ainsi qu\u2019\u00e0 des \u00e9v\u00e9nements qui ont d\u00e9j\u00e0 eu lieu, mat\u00e9rialisant ainsi un point o\u00f9 pass\u00e9 et pr\u00e9sent s\u2019entrechoquent. Mais notre empathie face aux images circulant autour de nous est ambivalente, guid\u00e9.es par le d\u00e9sir de savoir ce qui se passe autour de nous, tout en ressentant parfois le besoin de d\u00e9tourner notre regard, comme si les situations alors pr\u00e9sent\u00e9es constituaient une menace \u00e0 notre bonheur. Face \u00e0 ce trouble notre quotidien d\u2019images m\u00e9diatiques alterne entre stupeur et chatons.<\/p>\n\n\n\n

Pause<\/em> nous invite \u00e0 revisiter des typologies d\u2019images qui ont travers\u00e9 le temps, qu\u2019il s\u2019agisse de natures mortes, de sc\u00e8nes de combat ou de mouvements de solidarit\u00e9 populaire \u2013 entre autres \u2013 pour approcher diff\u00e9remment le pr\u00e9sent. <\/p>\n<\/div>\n\n\n\n

\n
\"\"
Oraib Toukan, Offing<\/em>, 2021, Courtesy de l\u2019artiste<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\"\"
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Courtesy de l'artiste<\/figcaption><\/figure>\n\n\n\n
\"\"
Sven Augustijnen, L\u2019histoire est simple et \u00e9difiante. Une s\u00e9lection d\u2019articles parus dans Paris Match, premi\u00e8re partie 1960-1972, 2014. Courtesy de l'artiste<\/figcaption><\/figure>\n\n\n\n
\"\"
Rehaf Al Batniji, Gaza Timezone, 2023. Courtesy de l\u2019artiste<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n
\n

Leur origine a parfois gliss\u00e9 dans l\u2019oubli, parfois par besoin de survivre, d\u2019autres fois par d\u00e9racinement, embarras ou m\u00e9pris. Certains motifs resurgissent dans l'exposition tels des fant\u00f4mes qui hantent le pr\u00e9sent et ponctuent nos errances visuelles, charg\u00e9s d\u2019un sens qui ne nous appara\u00eet plus enti\u00e8rement, mais qui conditionne pourtant notre environnement visuel.<\/p>\n\n\n\n

Quelques-unes des \u0153uvres pr\u00e9sent\u00e9es s\u2019appuient sur des images issues du flux m\u00e9diatique, gliss\u00e9es dans le quotidien et qui sont parfois difficiles \u00e0 recevoir, ou qui ne refl\u00e8tent qu\u2019une partie des faits. Les artistes s\u2019en emparent pour les r\u00e9articuler et en proposer une nouvelle lecture, porteuse \u00e0 la fois de sens critique, de besoin de se r\u00e9approprier son pass\u00e9, et d\u2019espoir. Elles sont mises en regard d\u2019autres \u0153uvres li\u00e9es \u00e0 des typologies d\u2019images plus r\u00e9confortantes en apparence, mais \u00e9galement fa\u00e7onn\u00e9es au fil du temps.

Avec cette exposition, le 49 Nord 6 Est explore les possibilit\u00e9s offertes par l\u2019art pour envisager autrement le cours de l\u2019Histoire.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\u21b3 Commissariat : Fanny Gonella, en dialogue avec Sophie Potelon<\/p>\n\n\n\n

\u21b3 Partenaire m\u00e9dia : France 3 Lorraine<\/p>\n<\/div>\n\n\n\n

\n
\"\"
Banele Khoza, My Mother's Favourite Chair, 2022. Courtesy de l\u2019artiste<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\"
Rehaf Al Batniji, Gaza Timezone, 2022-2023. Courtesy de l\u2019artiste
Vue d\u2019exposition, Pause, 49 Nord 6 Est \u2013 Frac Lorraine, Metz
Photo : Fred Dott<\/figcaption><\/figure>\n\n\n\n
\"\"
Sven Augustijnen, L\u2019histoire est simple et \u00e9difiante. Une s\u00e9lection d\u2019articles parus dans Paris Match, premi\u00e8re partie 1960-1972, 2014. Collection SMAK, Stedelijk Museum voor Actuele Kunst, Gand. Courtesy de l\u2019artiste et Galerie Jan Mot, Bruxelles
Nidhal Chamekh, Et si Carthage\u2000?, 2023. Courtesy de l\u2019artiste et Galerie Selma Feriani, Tunis\u2000\u00a9\u2000Adagp, Paris, 2024
Oraib Toukan, Things Bigger Than What Can Be Seen, 2024, extrait de la s\u00e9rie Soil Grain and Other Things, 2023. Courtesy de l'artiste
Vue d\u2019exposition, Pause, 49 Nord 6 Est \u2013 Frac Lorraine, Metz
Photo : Fred Dott<\/figcaption><\/figure>\n\n\n\n
\"\"
Oraib Toukan, Offing, 2021. Courtesy de l\u2019artiste
Vue d\u2019exposition, Pause, 49 Nord 6 Est \u2013 Frac Lorraine, Metz
Photo : Fred Dott<\/figcaption><\/figure>\n\n\n\n
\"\"
Banele Khoza, The Decay of Winter, 2023, All the Roses You Ever Needed Were the Ones You Gave Yourself, 2024. Courtesy de l\u2019artiste
Sven Augustijnen, L\u2019histoire est simple et \u00e9difiante. Une s\u00e9lection d\u2019articles parus dans Paris Match, premi\u00e8re partie 1960-1972, 2014. Collection SMAK, Stedelijk Museum voor Actuele Kunst, Gand. Courtesy de l\u2019artiste et Galerie Jan Mot, Bruxelles
Nidhal Chamekh, Et si Carthage\u2000?, 2023. Courtesy de l\u2019artiste et Galerie Selma Feriani, Tunis\u2000\u00a9\u2000Adagp, Paris, 2024
Vue d\u2019exposition, Pause, 49 Nord 6 Est \u2013 Frac Lorraine, Metz
Photo : Fred Dott<\/figcaption><\/figure>\n\n\n\n
\"\"
Sven Augustijnen, L\u2019histoire est simple et \u00e9difiante. Une s\u00e9lection d\u2019articles parus dans Paris Match, premi\u00e8re partie 1960-1972, 2014. Collection SMAK, Stedelijk Museum voor Actuele Kunst, Gand. Courtesy de l\u2019artiste et Galerie Jan Mot, Bruxelles
Nidhal Chamekh, Et si Carthage\u2000?, 2023. Courtesy de l\u2019artiste et Galerie Selma Feriani, Tunis\u2000\u00a9\u2000Adagp, Paris, 2024
Vue d\u2019exposition, Pause, 49 Nord 6 Est \u2013 Frac Lorraine, Metz
Photo : Fred Dott<\/figcaption><\/figure>\n\n\n\n
\"\"
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Courtesy de l\u2019artiste
Vue d\u2019exposition, Pause, 49 Nord 6 Est \u2013 Frac Lorraine, Metz
Photo : Fred Dott<\/figcaption><\/figure>\n<\/figure>\n","_fr_post_name":"pause","_fr_post_excerpt":"","_fr_post_title":"Pause","_en_post_content":"\n
\n
\n

\u25cf A group exhibition with works by Rehaf Al Batniji, Sven Augustijnen, Nidhal Chamekh, Banele Khoza, Naeem Mohaiemen, Peter Piller and Oraib Toukan<\/p>\n\n\n\n

<\/p>\n\n\n\n

As screens flood our daily lives with countless images, where to turn our gaze? Sometimes, the urge to log on simply proves too strong; at other times, the need to avert our gaze wins out, as if online encounters could threaten our happiness. This reflects the swing of our daily feed of images, oscillating between stupor and cat memes.

PAUSE <\/em>is an exhibition that plays with our ambivalent attraction towards the flow of images we encounter daily. The artists gathered here question the empathy that links us to these images \u2014 as well as the contexts that manufacture them. <\/p>\n\n\n\n

<\/p>\n<\/div>\n\n\n\n

\n
\"\"
Oraib Toukan, Offing<\/em>, 2021, Courtesy the artist<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\"\"
Sven Augustijnen, L\u2019histoire est simple et \u00e9difiante. Une s\u00e9lection d\u2019articles parus dans Paris Match, premi\u00e8re partie 1960-1972, 2014. Courtesy de l'artiste<\/figcaption><\/figure>\n\n\n\n
\"\"
Rehaf Al Batniji, Gaza Timezone, 2023. Courtesy de l\u2019artiste<\/figcaption><\/figure>\n\n\n\n
\"\"
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Courtesy de l'artiste<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n
\n

Motifs that have slipped into oblivion, whether because of a need to survive, uprootedness, embarrassment, or contempt emerge throughout the exhibition like ghosts haunting the present. They punctuate our visual wanderings, charged with meanings that might not fully appear to us  \u2014 but which still determine the visual environments we inhabit. Collapsing present and past, they resonate with specific art historical forms, ranging from historical painting (scenes of debate, war or violence) to genre painting (still lifes, landscapes).

Walter Benjamin wrote of recollection: \u2018For every image of the past that is not recognised by the present as one of its own concerns threatens to disappear irretrievably.<\/em>\u2019 This sentence underlines the extent to which attachment to the past shapes the present. Currently, any loss of the past is often framed as something to be avoided at all costs. This desire for preservation also affects us on an individual level; we regularly upload or backup our experiences on external media. This is nonetheless hardly a unidirectional process since it also entails the offloading of our own memory. As the construction of memory undergoes a radical shift, our relationship to images and the visual arts is also transformed.

The different image-types brought together by the exhibition are a reminder that art history always reflects structures of domination. How then, to put the power inherited by the museum to good use? How to displace motifs usually linked to history\u2019s victors in favour of other genealogies? The exhibition\u2019s juxtaposition of images linked to historical events with seemingly anecdotal ones underlines how every image stems from a political context; as a tool of communication, every image conveys and embodies specific values and perspectives.

Differentiating between a potentially cumbersome nostalgia and a thoughtful scrutiny of the past, the exhibition hopes to revisit the past in order to propose new ways of looking at the present \u2014  and vice-versa.<\/p>\n<\/div>\n\n\n\n

\n
\"\"
Banele Khoza, My Mother's Favourite Chair, 2022. Courtesy de l\u2019artiste<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

\u21b3 Curated by Fanny Gonella, in discussion with Sophie Potelon<\/p>\n\n\n\n

\n
\n

Access<\/h3>\n\n\n\n

Free entrance

Mon \u2013 Fri : 14:00-18:00
Sat \u2013 Sun : 11:00-19:00<\/p>\n\n\n\n

49 Nord 6 Est - Frac Lorraine
1 bis, rue des Trinitaires,
57000 Metz<\/p>\n\n\n\n

info@fraclorraine.org
0033 (3) 87 74 20 02<\/p>\n<\/div>\n\n\n\n

\n

Infos <\/h3>\n\n\n\n

\u21b3 Opening Thursday, 5 Sept 2024, 7- 9 pm<\/p>\n<\/div>\n<\/div>\n","_en_post_name":"","_en_post_excerpt":"","_en_post_title":"Pause","edit_language":"en"},"tags":[7],"event-type":[30],"saison":[425],"lieu":[371],"class_list":["post-8754","exhibition","type-exhibition","status-publish","hentry","tag-exposition"],"excerpt":{"raw":"","rendered":""},"_links":{"self":[{"href":"https:\/\/www.fraclorraine.org\/en\/wp-json\/wp\/v2\/exhibition\/8754","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fraclorraine.org\/en\/wp-json\/wp\/v2\/exhibition"}],"about":[{"href":"https:\/\/www.fraclorraine.org\/en\/wp-json\/wp\/v2\/types\/exhibition"}],"wp:attachment":[{"href":"https:\/\/www.fraclorraine.org\/en\/wp-json\/wp\/v2\/media?parent=8754"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fraclorraine.org\/en\/wp-json\/wp\/v2\/tags?post=8754"},{"taxonomy":"event-type","embeddable":true,"href":"https:\/\/www.fraclorraine.org\/en\/wp-json\/wp\/v2\/event-type?post=8754"},{"taxonomy":"saison","embeddable":true,"href":"https:\/\/www.fraclorraine.org\/en\/wp-json\/wp\/v2\/saison?post=8754"},{"taxonomy":"lieu","embeddable":true,"href":"https:\/\/www.fraclorraine.org\/en\/wp-json\/wp\/v2\/lieu?post=8754"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}