For its first back-to-school exhibition, the IF of Rabat invites Fouad Chardoudi

The French Institute in Rabat is kicking off its cultural comeback by decorating its walls with the “Praise” exhibition by artist Fouad Chardoudi.

Fouad Chardoudi’s exhibition will be organized from October 14 to November 13, 2021 in the gallery of the French Institute in Rabat. Born in Salé in 1978, Fouad Chardoudi is a painter who has been practicing his art for twenty years.

He is one of the emblematic figures of contemporary Moroccan art. Its neo-expressionism coupled with a latent lyricism gives it a special status, especially in group exhibitions alongside big names.

At the same time, Fouad Chardoudi is also a poet who has written four collections of poetry including The Sky Leaves the Station, Tenir une trail de asttre, As a precaution and Inimities of a single day. He won the first prize at the Biennale of Arab Artists in Kuwait 2019; member of the executive board of the house of poetry in Morocco and was General Secretary of the delegation of the Moroccan plastic artists union (Rabat-Salé-Zemmour- Zaër), from 2007 to 2010

As a painter, he has carried out several exhibitions in Morocco and abroad, in Italy, France, Spain and other European countries, and experienced a real influence in the Arab world, from Tunis to Cairo. passing through several Gulf countries. His poetic works have been translated into several languages ​​including French and English. His artistic work is present in several European and Arab museums and cultural institutions. Fouad Chardoudi lives and works between Rabat and Salé, between his painting workshop and his poetic sites open to the future of culture in Morocco.

More than ever present in his work, Chardoudi weaves a web of lines, shapes and colors. He makes sayable, while preserving its native state, the disorder of the human heart that he spatializes in his paintings. This mess says nothing other than the tension of man grappling with the chaos of things. A seismography of the psyche.

Resulting from a liberating gesture, Chardoudi’s painting bewitches us with its brilliance because it derives its dignity from the outpouring: it splashes us with its sparkling beauty. This is frontal and assumed as are the hiccups of the heart. Daughter of interiority, she goes back to the canvas, trembling, still haunted by the gesture which presided over her advent. And such a painting can only be experienced in movement.



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