Judging by the title”Jelliz and Gestures” (Zellij and Gesture), it’s easy to assume that the focal point of Sonia Kacem’s latest exhibition is zellij, the tradition of glazed ceramic tiles associated with the Western Islamic world. And yet, the investigation of the Swiss-Tunisian artist is more cunning than that. Since Tunisia gained independence in the 1950s, many classically trained artists have developed strategies to incorporate vernacular craft techniques into their production process. In doing so, they ticked all the right boxes, addressing their place both within the specifics of their local contexts and within the larger modernist project. It is therefore not surprising that many contemporary artists continue to see the appeal of pottery or weaving as tools to address their hybrid identities or cultural heritage. What’s different this time? Is there more to this exhibition than the antiquated clash of modernity and tradition?
“Jelliz and Gesturesis the culmination of Kacem’s recent residency in Tunis, as well as her ongoing recordings of particular visual elements in urban settings, which she began in Cairo in 2019. Based on these observations, the artist has compiled a lexicon of shapes, palettes and materials. which she incorporated into her own visual language. In collaboration with Tunisian zellige masters, Kacem has designed ten unique ceramic panels (all works from 2023), each composed of ninety-six tiles. She hung these works on vibrant geometries painted directly on the wall. The titles of these murals—N (astral: W8.28.34), Horizontal Wave (Astral: C4.45.51)_—_ refer to distinct patterns and color codes, offering insight into the artist’s particular taxonomies. Kacem thus fashions imaginative modes of diasporic expression, staging a visual score in which multiple motifs, styles, localities and artistic traditions converge.
