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Habiter ce monde, c'est partir d'un lieu certes, un lieu-matrice, mais dont on apprend à se déprendre pour l'articuler à d'autres lieux. Apprendre à se dé-situer pour habiter un espace plus vaste.

*To inhabit this world is to start from a place, certainly a mother place, but from which one learns to detach oneself in order to connect it with other places. To learn to de-situate oneself in order to inhabit a larger space.*

-Felwine Sarr

Berirouche Feddal is an artist born in Algeria of Kabyle origin, currently residing and working in Montreal. His work explores various themes including African popular culture, fetishism, African utopia, mythological and religious traces, decolonial studies, and his own migration. Feddal is passionate about preserving his multi-territorial culture, languages, and identity, and incorporates personal anecdotes and discoveries into his work.

As a transdisciplinary artist, Feddal earned his Bachelor's degree in Print Media from Concordia University in 2020. His art has been featured in several exhibitions, including the Dak'Art OFF Biennale in Dakar, Senegal, the Conseil des arts de Montréal in Montreal, Canada, Afternoon Projects in Vancouver, Canada, Bradley Ertaskiran in Montreal, Canada, ARTCH-Emerging Contemporary Art in Montreal, Canada, Ubisoft in Montreal, Canada, and Conserverie Marrakech in Marrakech, Morocco.

Berirouche Feddal explores the intersection of multiple mediums in his creative process, including paper, writing, print media, painting, glass and fabric sculpture, photography, performance, and installation. This transdisciplinary approach allows him to explore different dimensions of history, identity, and culture through a variety of materials, each with its own emotional, historical, and contextual significance. His work explores how materials can be used to express ideas, stories, and emotions, while acknowledging the depth of the history of these materials and their place in today's world. Berirouche Feddal's fascination with intersectionality extends to both the interweaving of different artistic materials that respond to one another, as well as his personal experience as a human being from an agrarian culture. He is fascinated by the intersectionality of Amazigh Tifinagh, Haitian, West African, and many other agrarian signs. This cultural complexity is essential to him as it reflects his own multiple identity and experience of the diaspora. As a transdisciplinary artist, he uses these signs to explore different dimensions of history, identity, and culture. His artistic practice invites the viewer to contemplate the depth and richness of identity in the tumultuous context of the diaspora, and to question their own place within this constantly evolving cultural heritage in the contemporary world.

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