{"id":603670,"date":"2026-04-23T17:00:10","date_gmt":"2026-04-23T15:00:10","guid":{"rendered":"https:\/\/numero.com\/non-classifiee\/how-meriem-bennani-became-one-of-the-most-fascinating-artists-of-her-generation\/"},"modified":"2026-04-23T17:09:23","modified_gmt":"2026-04-23T15:09:23","slug":"meriem-bennani-most-fascinating-artist-of-her-generation","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/meriem-bennani-most-fascinating-artist-of-her-generation\/","title":{"rendered":"How Meriem Bennani became one of the most fascinating artists of her generation"},"content":{"rendered":"\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a3beb1f66db3&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a3beb1f66db3\" class=\"wp-block-image size-medium_large size-medium-large wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/meriem-bennani-installation-video-numero-art-numero-magazine7.jpg\" alt=\"\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Portrait of Meriem Bennani. \u00a9 Dana Scruggs.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Meriem Bennani, the artist who went viral during lockdown<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">March 2020. Like the rest of the world, I was locked down at home. I came across\u00a0<strong>Meriem Bennani\u2019<\/strong>s account, scrolling on Instagram. She had just posted a video, made with fellow artist\u00a0<strong>Orian Barki<\/strong>, that would prove hugely significant in these troubled times. In the first episode of the animation\u00a0<em>2 Lizards<\/em>, the anthropomorphic reptiles of the title were standing on a Brooklyn rooftop at sunset. They were discussing their first week in lockdown. The first one was green and voiced by Bennani, the other was brown and voiced by Barki. In the background, a Miles Davis-style serenade was being played by the neighbours. On the roof across the road, one could notice a horse on the trumpet. A bear was responding with keyboard and subwoofers, while a sheep joined them on the double bass.\u00a0<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a3beb1f67415&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a3beb1f67415\" class=\"wp-block-image size-medium_large size-medium-large wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/meriem-bennani-installation-video-numero-art-numero-magazine8.jpg\" alt=\"\" class=\"wp-image-1\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Meriem Bennani, <em>2 Lizards<\/em> (2020) by Meriem Bennani and Brian Barki. High definition video capture, 22 min 26 sec \u00a9 Meriem Bennani and Orian Barki. Courtesy of the artists and CLEARING New York \/ Brussels \/ Los Angeles.  <\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">The success of the <em>2 Lizards<\/em> series during the pandemic<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><em>2 Lizards\u00a0<\/em>painted a surreal portrait of the first months of the COVID-19 pandemic in New York City. It highlighted the helplessness, uncertainty, as well as the unexpected shared moments with one&#8217;s community. The dialogues brilliantly reflected the anxiety, boredom, and absurdity of lockdown. <strong>Bennani<\/strong> and <strong>Barki<\/strong>\u2019s lizards became an instant hit on social media. Encouraged by the success of this first episode, they went on to create seven more, posting them on Bennani\u2019s feed between March and July 2020.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a3beb1f6766a&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a3beb1f6766a\" class=\"wp-block-image size-medium_large is-resized size-medium-large wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/meriem-bennani-installation-video-numero-art-numero-magazine10.jpg\" alt=\"\" style=\"width:840px;height:auto\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Meriem Bennani, <em>Life on the CAPS<\/em> (2018-2022). Video. Courtesy of the artist and Clearing Gallery.  <\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Video fiction as a way to convey political messages<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Bennani<\/strong>\u2019s practice generates its own universe and vocabulary. Combining her personal imagination with an aesthetic inherited from a rich lineage of cartoons, spanning the entire range from the experimental to <strong>Disney<\/strong>, the artist uses sophisticated post-production techniques. Often created for comic effect, the 2D and 3D animations created with software such as After Effects or Cinema 4D, are complemented by audio tracks composed or found online. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Bennani\u2019s work is often read as a diasporic critique of the internalized effects of post-colonialism on its subjects. Such was the case with her installation\u00a0<em>Mission Teens<\/em>, shown at the <strong>Fondation Louis Vuitton<\/strong> in Paris\u00a0in 2019. The video follows a group of teenagers from the French High School in Rabat, where the artist studied.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a3beb1f69cd9&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a3beb1f69cd9\" class=\"wp-block-image size-medium_large size-medium-large wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/meriem-bennani-installation-video-numero-art-numero-magazine9.jpg\" alt=\"\" class=\"wp-image-1\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Meriem Bennani, <em>Life on the CAPS <\/em>(2018-2022). Video. Courtesy of the artist and Clearing Gallery.  <\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Dystopian, supernatural tales tinged with humour<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Her film trilogy\u00a0<em><strong>Life on the CAPS<\/strong>\u00a0<\/em>(2018\u20132022) again explores complex political conflicts. It details the intuitive life aspirations of those involved, but without attempting to provide any clear resolution. The narration takes place in a dystopian supernatural future on CAPS, a fictional island in the middle of the Atlantic Ocean, at a time when air travel has been replaced by teleportation. Illegal migrants to the US are intercepted and redirected to CAPS, where they live in an endless limbo. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Layering live action footage and computer-generated animation, <strong>Bennani <\/strong>intuitively adapts editing techniques that evoke documentaries, science fiction, phone footage, music videos, and reality TV. Moving with ease from the imaginary to the geopolitical, from microscopic scale to the eye of global surveillance, from the power of individual experience to collective consciousness,\u00a0<em>Life on the CAPS\u00a0<\/em>draws on unlimited emotive and formal experimentation.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a3beb1f69f68&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a3beb1f69f68\" class=\"wp-block-image size-medium_large size-medium-large wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/meriem-bennani-installation-video-numero-art-numero-magazine2.jpg\" alt=\"\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Meriem Bennani, <em>Salad Shake Hairy <\/em>(2022). Steel, wenge wood, rubber bellows, dyed raffia, engine, plastic, fabric. 130 x 50 x 40 cm. \u00a9 Benjamin Baltus. Courtesy of the artist and CLEARING New York \/ Brussels \/ Los Angeles.<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">The art of subversion on display at the Whitney Museum and Clearing Gallery<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In her installations, <strong>Bennani <\/strong>pays particular attention to the subversion<strong> <\/strong>of architecture and everyday objects. The artist emphasises a sense of distancing and self-deprecation. Low-slung, red-velvet couches, as in\u00a0<em><strong>FLY<\/strong><\/em>, shown at PS1 in 2016, psychedelic objects, such as the apple-green, strawberry-pink hair salon driers and massage chairs made for her Art Dubai commission and shown at the 2019 <strong>Whitney Biennial<\/strong>\u2026 Her works recall the interiors of the Maghreb or the beauty salons, amusement parks, and shopping malls of the Arabian Gulf.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, <strong>Bennani<\/strong> seeks to exhibit her work in multisensory environments rather than on a single monitor or screen, exploring the new models of media consumption that have developed with smartphones and other portable devices.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a3beb1f6a45a&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a3beb1f6a45a\" class=\"wp-block-image size-medium_large size-medium-large wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/meriem-bennani-installation-video-numero-art-numero-magazine6-1.jpg\" alt=\"\" class=\"wp-image-1\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Portrait of Meriem Bennani. \u00a9 Dana Scruggs.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">At the <strong>Whitney<\/strong> <strong>Museum<\/strong>, she incorporated moving images into a large-scale installation that she called a \u201cvideo viewing garden,\u201d an environment of futuristic planters and seating. On New York\u2019s High Line last year, she created\u00a0<em>Windy<\/em>, a kinetic sculpture resembling a tornado in constant motion that references both cartoon twisters and the fast pace of New York life. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For her exhibition at Brussels\u2019s <strong>Clearing gallery<\/strong> in 2022, <strong>Bennani<\/strong> subverted and motorized a series of everyday objects, such as a seat fitted with a straw parasol pierced like a cheese and sporting broom-shaped legs, or a salad centrifuge that spins both lettuce leaves and socks.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a3beb1f6a8ed&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a3beb1f6a8ed\" class=\"wp-block-image size-medium_large size-medium-large wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/meriem-bennani-installation-video-numero-art-numero-magazine1.jpg\" alt=\"\" class=\"wp-image-1\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Meriem Bennani, <em>TV Jangle <\/em>(2022). Steel, wood, rubber bellows, engine, screens, HD color video, sound. 2 min 48 sec. 230 x 180 x 165 cm \u00a9 Benjamin Baltus. Courtesy of the artist and CLEARING New York \/ Brussels \/ Los Angeles.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">If <strong>Bennani<\/strong> has been hailed as one of the most fascinating artists of her generation, it is precisely because of her ability to deconstruct the dichotomies between the West and the global South, and between the public and the private, as well as her skill in unveiling the complexities of cultural production, of artistic disciplines, and of diverse identities. In a globalized world that is increasingly conflicted by the identity politics engendered by late capitalism \u2013 and in an artistic community that is often divided by them \u2013 Bennani\u2019s deep and generous approach appeals to the infinite hope (or perhaps the crazy utopia) that what we have in common might one day surpass what separates us.<\/p>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a3beb1f6aea2&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a3beb1f6aea2\" class=\"wp-block-image size-medium_large size-medium-large wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/meriem-bennani-installation-video-numero-art-numero-magazine5.jpg\" alt=\"\" class=\"wp-image-2\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Meriem Bennani, <em>Windy<\/em> (2022). Co-curated and co-commissioned by High Line Art and Audemars Piguet Contemporary. \u00a9 Courtesy of Meriem Bennani, High Line and Audemars Piguet.<\/figcaption><\/figure>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;6a3beb1f6b035&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"6a3beb1f6b035\" class=\"wp-block-image size-medium_large size-medium-large wp-lightbox-container\"><img decoding=\"async\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on--pointerdown=\"actions.preloadImage\" data-wp-on--pointerenter=\"actions.preloadImageWithDelay\" data-wp-on--pointerleave=\"actions.cancelPreload\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/meriem-bennani-installation-video-numero-art-numero-magazine4_0.jpg\" alt=\"\"\/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\tdata-wp-bind--aria-label=\"state.thisImage.triggerButtonAriaLabel\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.thisImage.buttonRight\"\n\t\t\tdata-wp-style--top=\"state.thisImage.buttonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><figcaption class=\"wp-element-caption\">Meriem Bennani, <em>Mission Teens<\/em> (2019). Video installation. View of the installation at Fondation Louis Vuitton in Paris. \u00a9 Meriem Bennani \u00a9 Fondation Louis Vuitton \/ Marc Domage.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Meriem Bennani is represented by the Clearing Gallery in Brussels.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Meriem Bennani, the artist who went viral during lockdown March 2020. Like the rest of [&#8230;]<\/p>\n<p><a class=\"btn btn-secondary understrap-read-more-link\" href=\"https:\/\/numero.com\/en\/art-design\/numero-art-en\/meriem-bennani-most-fascinating-artist-of-her-generation\/\">Read More&#8230;<span class=\"screen-reader-text\"> from How Meriem Bennani became one of the most fascinating artists of her generation<\/span><\/a><\/p>\n","protected":false},"author":14,"featured_media":133269,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[78,76,3182],"tags":[],"class_list":["post-603670","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-en","category-art-design","category-numero-art-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Meriem Bennani, the artist who went 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