Palm Attacks / Kino Manhattan
Ghita Skali
Ghita Skali
Ghita Skali's two videos "Palm Attacks: The Tourgiude" and "Palm Attacks: The Economist" are part of Giulia Civardi's exhibition "shifting the silence" as part of Curated By.
Moving between architecture and landscapes, Ghita Skali’s two-part video Palm Attacks examines how a common date palm, the Phoenix Dactylifera, takes on unexpected functions. Two fictional characters in the film, a tour guide and an economist, reflect on the evolving role of the palm tree in Morocco. Once a symbol of the ‘exotic’, palm trees are now often turned into cell towers, their foliage laced with receptors, to meet the demands of advancing technologies. Meanwhile, Skali’s series of photographs Montessori is has been captures the facades of private schools in Morocco. Named after predominantly white male figures, such as Steve Jobs and Walt Disney, and using French and English, the schools carry ongoing traces of Western colonial influence. By framing images with white borders that allude to the strategies of canonical black & white landscape photography, Skali exposes the tools that shape urban and social fabrics in Morocco, inviting reflections on the implications of neutralising the ‘Global South’ and its effects on its education systems.
Moving between architecture and landscapes, Ghita Skali’s two-part video Palm Attacks examines how a common date palm, the Phoenix Dactylifera, takes on unexpected functions. Two fictional characters in the film, a tour guide and an economist, reflect on the evolving role of the palm tree in Morocco. Once a symbol of the ‘exotic’, palm trees are now often turned into cell towers, their foliage laced with receptors, to meet the demands of advancing technologies. Meanwhile, Skali’s series of photographs Montessori is has been captures the facades of private schools in Morocco. Named after predominantly white male figures, such as Steve Jobs and Walt Disney, and using French and English, the schools carry ongoing traces of Western colonial influence. By framing images with white borders that allude to the strategies of canonical black & white landscape photography, Skali exposes the tools that shape urban and social fabrics in Morocco, inviting reflections on the implications of neutralising the ‘Global South’ and its effects on its education systems.
8.09.23—4.10.23
GIANNI MANHATTAN, Wassergasse 14, 1030 Vienna
> Installation views
Ghita Skali's two videos "Palm Attacks: The Tourgiude" and "Palm Attacks: The Economist" are part of Giulia Civardi's exhibition "shifting the silence" as part of Curated By.
Moving between architecture and landscapes, Ghita Skali’s two-part video Palm Attacks examines how a common date palm, the Phoenix Dactylifera, takes on unexpected functions. Two fictional characters in the film, a tour guide and an economist, reflect on the evolving role of the palm tree in Morocco. Once a symbol of the ‘exotic’, palm trees are now often turned into cell towers, their foliage laced with receptors, to meet the demands of advancing technologies. Meanwhile, Skali’s series of photographs Montessori is has been captures the facades of private schools in Morocco. Named after predominantly white male figures, such as Steve Jobs and Walt Disney, and using French and English, the schools carry ongoing traces of Western colonial influence. By framing images with white borders that allude to the strategies of canonical black & white landscape photography, Skali exposes the tools that shape urban and social fabrics in Morocco, inviting reflections on the implications of neutralising the ‘Global South’ and its effects on its education systems.
Moving between architecture and landscapes, Ghita Skali’s two-part video Palm Attacks examines how a common date palm, the Phoenix Dactylifera, takes on unexpected functions. Two fictional characters in the film, a tour guide and an economist, reflect on the evolving role of the palm tree in Morocco. Once a symbol of the ‘exotic’, palm trees are now often turned into cell towers, their foliage laced with receptors, to meet the demands of advancing technologies. Meanwhile, Skali’s series of photographs Montessori is has been captures the facades of private schools in Morocco. Named after predominantly white male figures, such as Steve Jobs and Walt Disney, and using French and English, the schools carry ongoing traces of Western colonial influence. By framing images with white borders that allude to the strategies of canonical black & white landscape photography, Skali exposes the tools that shape urban and social fabrics in Morocco, inviting reflections on the implications of neutralising the ‘Global South’ and its effects on its education systems.