Material Insanity highlights the works of artists from the African continent, and its diaspora, who interpret the biographies of objects to reflect their social, political or economic contexts. The collective display of works by thirty-four artists has been designed to address the theme of materiality by questioning the state of materials and, more broadly, artifacts in a globalized and gradually “dematerialized” world. Within this multi-sensory arrangement of objects once associated with everyday life, consumption, waste, trade or craftsmanship, each work offers different ways of reading aspects of contemporary African societies. The Moroccan architect and artist Zineb Andress Arraki conceived the exhibition design as an immersive experience. On the ground floor, visitors walk between self-supporting walls within an immaculate and minimalist setting, and trapezoidal monoliths are used to support larger works. Mirrors covering the edges of the walls multiply and neutralize the space at the same time. With no predefined route through the exhibition space, visitors are invited to connect fragments of their experience to find meaning. By emphasizing the sensation of moving around inside a kaleidoscope, Arraki’s handling of the space makes it accessible, but also polymorphic and flexible, as if gaining its own plasticity in situ. Apart from the main title that stretches across the monolith at the entrance, it is the discreet exhibition labels that provide the contextual information. The exhibition also exists beyond

中文翻译：

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物质疯狂

Material Insanity 突出了来自非洲大陆的艺术家及其侨民的作品，他们解释物品的传记以反映其社会、政治或经济背景。三十四位艺术家的作品集体展示旨在通过质疑材料的状态，更广泛地说，是全球化和逐渐“非物质化”世界中的人工制品的状态来解决物质性主题。在这种曾经与日常生活、消费、浪费、贸易或手工艺相关的物品的多感官排列中，每件作品都提供了解读当代非洲社会各个方面的不同方式。摩洛哥建筑师兼艺术家 Zineb Andress Arraki 将展览设计视为一种身临其境的体验。在一楼，参观者在完美无暇的极简主义环境中穿行于自承重墙之间，梯形巨石用于支撑更大的作品。覆盖墙壁边缘的镜子同时增加并中和空间。由于没有预定义的穿过展览空间的路线，参观者被邀请连接他们体验的片段以寻找意义。通过强调在万花筒内四处走动的感觉，Arraki 对空间的处理使其易于接近，但也具有多态性和灵活性，仿佛就地获得了自己的可塑性。除了横跨入口处的巨石的主标题外，谨慎的展览标签提供了上下文信息。展览也存在于 覆盖墙壁边缘的镜子同时增加并中和空间。由于没有预定义的穿过展览空间的路线，参观者被邀请连接他们体验的片段以寻找意义。通过强调在万花筒内四处走动的感觉，Arraki 对空间的处理使其易于接近，但也具有多态性和灵活性，仿佛就地获得了自己的可塑性。除了横跨入口处的巨石的主标题外，谨慎的展览标签提供了上下文信息。展览也存在于 覆盖墙壁边缘的镜子同时增加并中和空间。由于没有预定义的穿过展览空间的路线，参观者被邀请连接他们体验的片段以寻找意义。通过强调在万花筒内四处走动的感觉，Arraki 对空间的处理使其易于接近，但也具有多态性和灵活性，仿佛就地获得了自己的可塑性。除了横跨入口处的巨石的主标题外，谨慎的展览标签提供了上下文信息。展览也存在于 通过强调在万花筒内四处走动的感觉，Arraki 对空间的处理使其易于接近，但也具有多态性和灵活性，仿佛就地获得了自己的可塑性。除了横跨入口处的巨石的主标题外，谨慎的展览标签提供了上下文信息。展览也存在于 通过强调在万花筒内四处走动的感觉，Arraki 对空间的处理使其易于接近，但也具有多态性和灵活性，仿佛就地获得了自己的可塑性。除了横跨入口处的巨石的主标题外，谨慎的展览标签提供了上下文信息。展览也存在于