Malala ANDRIALAVIDRAZANA

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While training as an architect, Andrialavidrazana started investigating Madagascar in 1994. Her research is related to the Projet utopique de Nécropole Multiethnique à Madagascar (Utopic Project for a Multiethnic Necropolis in Madagascar) and led her to her graduation from the Paris La Villette School for Architecture in 1996. Her work has been exhibited in France and elsewhere, including the baudoin lebon gallery (Paris 2004, 2010), the Centrale Electrique (Brussels 2007), Herzliya Museum of Contemporary Art (Tel Aviv 2007), Force de l’art (2006) and the 6th African Encounters of Photogra- phy (Bamako 2005). In 2004, she received the HSBC Prize for Photography.

Return partially characterizes Andrialavidrazana’s work. A return towards her native land led to different journeys and her collection of globalizing images. For the last decade, she has increasingly put pressure on Madagascar’s borders by extending her study to include cities in different countries and continents. Funerary architecture, modes of culture’s appearance, and a person’s place in the environment are at the heart of her research.

Since 2005, she has produced the series Ancestors’ Land in Madagascar. For the artist, ancestral land implies a return towards personal history (this history of the “self” is apparent across her photographic work), apprehended by an anthropology of what surrounds her. She concentrates on the environment and objects, and then her look escapes these domestic elements in order to examine the human figure that she captures in fragments.

Andrialavidrazana’s work is interested in the city and its social structure, grabbing hold of the sociocultural issues that concern urban spatial organization. Interpreting her works implies understanding culture’s value as a major part of the social imaginary. Andrialavidrazana invents a photographic language whose approach is resolutely turned toward history but whose engagement in the city remains active in a multitude of the heres and nows that the artist detects.

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Née en 1971 à Antananarivo, Madagascar. Vit et travaille à Paris, France. Alors étudiante en architecture, Malala Andrialavidrazana entreprend dès 1994 une série d'explorations de Madagascar. Son travail de recherche, Projet utopique de Nécropole Multiethnique à Madagascar, la conduira à être diplômée de l'Ecole d'Architecture de Paris-La Villette en 1996. Ses travaux ont été exposés en France et à l'étranger dans de nombreuses institutions et manifestations d'art contemporain parmi lesquelles la Biennale Bénin (Cotonou, 2012), le KZNSA (Durban, 2012), la galerie Baudoin Lebon (Paris, 2010 et 2004), le Festival Panafricain (Alger, 2009), la Centrale Electrique (Bruxelles, 2007), le Herzliya Museum of Contemporary Art (Israël, 2007), la Force de l'art (Paris, 2006) et les 6èmes Rencontres Africaines de la photographie (Bamako, 2005). Elle obtient en 2004 le prestigieux prix HSBC pour la Photographie. Le retour caractérise en partie le parcours dessiné par Malala Andrialavidrazana. Le retour vers la terre natale a été le déclencheur de différents voyages et d'une collecte d'images globalisantes. Depuis une dizaine d'années, elle a progressivement repousséles frontières de Madagascar en étendant son étude aux métropoles de différents pays et continents. L'architecture funéraire, les modes d'apparition de la culture et l'inscription de l'homme dans son environnement sont depuis au centre de ses recherches.

À Madagascar, elle réalise en 2005 la série Ancestors' Land. La terre des ancêtres implique pour l'artiste un retour vers l’histoire personnelle (une histoire s'affirmant au travers du médium photographique) appréhendée par une anthropologie du proche. Elle se concentre sur l'environnement, les objets, puis son regard s'échappe de ces éléments domestiques afin de se pencher sur la figure humaine qu'elle fixe par fragments. Le travail d'Andrialavidrazana s'intéresse à la ville et à sa structure sociale, saisissant les enjeux socio-culturels de l'organisation spatiale des métropoles. La lecture de ses oeuvres implique la compréhension de la valeur de la culture comme part majeure de l'imaginaire social. Malala Andrialavidrazana invente un langage photographique dont le regard est résolument tourné vers l'Histoire mais dont l’engagement dans la Cité demeure vif, dans une multitude d'ici et maintenant repérés par l'artiste. Elle est représentée par la galerie baudoin lebon à Paris.