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Ismaïl Bahri


The video Orientations is made of a sequence shot filmed by a subjective camera that recounts a wandering in the city of Tunis. The off-screen reflected in a glass filled with ink is used as a compass and an illusory float with a funambulistic progression. In this very simple optical device, the appearance of city fragments gives directions and stretches the horizon. The video shows a walk of short-sightedness and a gathering of images on the horizon of the overflowing and distraction of senses.

→ 22 min, Francais, 2013


Pas de projections à venir

+ Previous screenings

mardi 27 mai 2014

Lundi de Phantom n°15 : Ismaïl Bahri

dimanche 27 octobre 2013

Orientations au Cinéphémère

lundi 8 juillet 2013

Phantom at FIDMarseille 2013

Selections & Awards

Festival FIDMarseille 2013

Technical details

Title Orientations
Directed by Ismaïl Bahri
Year of production 2013
Produced by Ismaïl Bahri

Distribued by Phantom
Running time 22 min
Format 16/9
Shooting format Hdv
Colour Couleur

Ismaïl Bahri is represented by galery Les filles du Calvaire, Paris.


Picture-s   1 / 4




Ismaïl Bahri

Born in 1978 in Tunis

Vit et travaille entre Paris, Lyon et Tunis.

Born in Tunis in 1978, ismaïl Bahri lives and works between Paris, Lyon and Tunis / He is represented by Les Filles du calvaire, Paris.
Ismaïl Bahri studied art in Paris and in Tunis, his hometown. His work incorporates many cultural and aesthetic references, developing visual experiments that are both sensitive and exacting. The results of these experiments take the varying forms of drawings, videos, photographs, installations, and hybrids of the forms just mentioned. The basic materials used in these works are manipulated and ultimately transformed, often through mechanically inspired gestures and procedures that are related, in one way or another, to cinema or photography. In the video Orientations (2020), for example, the artist filmed a stroll through Tunis by framing a glass filled with black ink that acted as a lens by reflecting the surroundings; this questioning of art’s permeability in regards to the contemporary world is generated through a quasi-cinematic process based on principles of recording, motion, and simultaneous creation on a sensitive surface and a projection screen, all while making use on laughably inadequate equipment. While the production of traces constitutes a revelatory act, ismaïl Bahri equally privileges experiences that build on the organic and impermanent nature of things. The natural qualities of the ordinary world slip away in a slow perpetual movement, remaining elusive. From the strange rituals bahri invents emerges a questioning of the limits of the visible and of perception itself.
Gilles Baume, translated by Jacob Bromberg (2012)