15.04 > 02.05.2024 | Fred Chemama Residence (Be) – What I exhumed | Transcultures (Hautrage – Be)

15.04 > 02.05.2024 | Fred Chemama Residence (Be) – What I exhumed | Transcultures (Hautrage – Be)

Multimedia artist Fred Chemama (mira) is welcomed as a resident at Transcultures at the Couvent d’Hautrage. During this time of research and creation, he will continue to work, among other things, on one of his latest projects where he has engaged in a physical, carnal, amorous relationship with the earth and objects found beneath the surface of the soil. These artifacts, intertwined with vegetal matter, represent for him the remnants of a fantasized future, dreamed by the host of his living environment. They are rusty tools, naturally entwined with roots, or recovered nearby and then assembled.

I am a photographer, yet I rarely photograph. This rarity stems from a visceral need to give meaning to the act of photography – which, in my opinion, is too often devoid of it – through the staging of performances whose location and execution time are still to be discovered in life.

Each image is therefore the result of a triple encounter, seemingly improbable, which arises, eventually, during exploratory journeys or along the way. Photography then becomes the trace of this extraordinary, strange, almost mystical conjunction. That of a symbolic action, which has led me to exceed myself and to invite poetic action into my daily life.

Here, I present, not images of what I have seen, but rather, what I have seen, in itself.

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Fred Chemama (Fr/Be)

“Photographer, videographer, and multimedia artist, Fred Chemama, also known as 眯腊 (mira), is a multidisciplinary artist who studied audiovisual production at ESRA Maroc and photography in France. He currently lives and works between Belgium, France, and his travels that lead him to encounter other artists and cultural institutions across Europe and beyond.

In the final year of his academic journey, he traveled to Mexico to create a series of underwater portraits of fishermen from the state of Oaxaca, using a reportage camera and an original waterproof casing. These portraits are now immersed in luminous casings where they decompose underwater, a process ongoing for several years. Over time, he has undertaken several long-exposure self-portrait projects.

Action, encounters, and a self-reflective approach towards capturing imagery from reality lie at the core of his artistic pursuit. This has led him to occasionally adopt an iconoclastic stance and create transient on-site installations using discarded ink ribbons sourced from souvenir photo booths.

Preconceived actions carried out collectively and the exploration of diverse processes in producing images “drawn from reality” stand as focal points of his initial approach, already casting doubt on the authority of photographic imagery as an informational conduit and instead, transforming it into what he truly feels: a pretext for the poetic gathering of individuals.

Today, 眯腊 continues to engage in experiments at the intersection of photography, video, and digital arts; exploring the realms of the body, light, movement, situation, and place within an approach connected to bodily action.

His recent projects of interactive installations (“cyclo-kino,” the “Gestographer,” the “Fōz machine”…) blend disciplines, mediums, and transcend them into playful and intriguing devices.”