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Lydia Ourahmane

@emogirl4

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👁️trustee @c_o_r_d_o_v_a_& @chisenhalegallery exhibitions @emmamuseum, @nicolettafioruccifoundation, @basementroma, @galeriamunicipaldoporto

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#lydiaourahmane #galeriechantalcrousel #andreabaccin

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Lydia Ourahmane will present a solo exhibition of new work at the Nicoletta Fiorucci Foundation in Venice, from 5 May to 22 November 2026, curated by Polly Staple. The exhibition will coincide with the 61st International Art Exhibition – La Biennale di Venezia. Born in Saïda, Algeria in 1992, Lydia Ourahmane is a conceptual artist currently based in Barcelona. Her installations, sculptures, moving image and sound works create situations that have consequences beyond the walls of the institution, while negotiating the terms within. Exploring landscapes of displacement and community, her work revises how the movement of objects and people are influenced by factors such as state restrictions and invisible barriers. Her recent presentations have involved the audience as material, subject, and author. The Nicoletta Fiorucci Foundation has a long-standing relationship with Lydia Ourahmane and Polly Staple. As a former headline supporter of Chisenhale Gallery’s programme, Nicoletta Fiorucci supported the realisation of Ourahmane’s solo exhibition curated by Staple at the Gallery in 2018. Ourahmane was a participant artist of Volcano Extravaganza in Stromboli in 2018, and in 2024 she realised ‘Sibu’, a site-specific sound installation for our London HQ. Ourahmane’s work is held in the Nicoletta Fiorucci Collection. Ourahmane’s major new commission will follow a residency at the Foundation in Venice. Further details about the exhibition will be announced in early 2026. Lydia Ourahmane 5 May – 22 November 2026 Opening: Monday 4 May Nicoletta Fiorucci Foundation Dorsoduro 2829 Venice, Italy Photo: Giacomo Bianco. @nicoletta_fiorucci_london @emogirl4 @polly.staple @vittoria.totale @giorgiomastinu @g.i.a.c.o.m.o.b.i.a.n.c.o @mr.sam.talbot 27 Nov 2025

Para voz (for voice) written for two visually impaired singers @galeriamunicipaldoporto until 25th October with very special live activations on September 5th 4pm and October 24th 3pm 🖤 curated by Krist Gruijthuijsen Composition and arrangement: Sarah Ourahmane @cldhoney Singers: Cristina Afonso and Joana Rita Santos Support: Institut Ramon Llull @irllull Production: Esther Fernández Cifuentes @esther.efe.ce Robotic sound system: AXOLOT @axolot.cat Image/Video: Carolina Ribeiro and Galeria Municipal do Porto Courtesy: @galeriechantalcrousel 26 Aug 2026

(no caption) 08 Aug 2026

Lydia Ourahmane @emogirl4   In conversation with Fabio Cherstich @fabio_cherstich  •  CURA. 46 💅  Soft Power  SPOTLIGHT   Editors-In-Chief  @ilamarotta 🧙  #andreabaccin 🧑‍🍳   Art Direction @dansolbachstudio 🥷 Team @lika.lee @giuliamleone   Distribution 📦 @antennebooks @les_presses_du_reel   This conversation emerges from an invitation by CURA. to reflect on soft power through artistic practice. When asked to contribute, Lydia Ourahmane immediately came to mind. Her work has been followed for several years and made a strong impression at the 60th Venice Biennale, where it appeared as a practice operating not only at the level of form, but through systems—logistical, bureaucratic, architectural, and affective—that reorganize the conditions of experience...   >>> READ MORE 🔗  @curamagazine @galeriechantalcrousel  @nicoletta_fiorucci_london @macba_barcelona @kwinstitutefcontemporaryart @kunsthallebasel @triangle_asterides @sculpturecenter @galeriamunicipaldoporto 27 Jul 2026

« The machine comes from the church San Giovanni Crisostomo in Venice. In its previous life this machine was used to illuminate a painting installed in the church by Giovanni Bellini ‘Saints Christopher, Jerome and Louis of Toulouse’, 1513. Saint Christopher is the patron saint of travellers. Apparently, he was very tall and is often depicted carrying a child on his shoulder ensuring safe passage across water. When I started working in Venice ‘passage’ became a focus for how matter moves between the spiritual and material world. Where does a form get caught in the net of perception? How does it become visible? Much like the light turning on, it is through an offering. And what we offer becomes the means for illumination. » ‘5 Works’by Lydia Ourahmane is on view in Venice. Friday, Saturday, Sunday, 11am - 6pm (in July and August). 5 May – 22 November 2026 Nicoletta Fiorucci Foundation Dorsoduro 2829 Venice, Italy @nicoletta_fiorucci_london @emogirl4 @polly.staple @giorgiomastinu @vittoria.totale Ph @_marcocappelletti @marcocappellettistudio 30 Jun 2026

‘5 Works’ by Lydia Ourahmane is now on view in Venice. The exhibition, curated by Polly Staple, follows Ourahmane’s residency at the Nicoletta Fiorucci Foundation, living and working in Venice since January 2026. One of the exhibition’s central premises is that many of the artworks are created in Venice. The artist has worked with Venetian craftspeople and technicians but also collaborated with organisations in the city of Venice and the surrounding region. These individuals and collectives continue to offer extraordinary expertise and comprise a thriving community, providing a concrete alternative to popular images of Venice as a city of tourism and in decline. ‘5 Works’ operates as a series of encounters that unfold across the rooms of the Foundation’s building. The dormant void, contained energy, and its potential are concepts that Ourahmane uses as a dynamic within her work but also as a motif within the staging of the exhibition. In seemingly empty rooms the lights turn on and off or the aroma of cooking greets you. Towers of industrially processed bed linen contrast with a delicately handmade bead curtain. Ph @_marcocappelletti @marcocappellettistudio 5 May – 22 November 2026 Nicoletta Fiorucci Foundation Dorsoduro 2829 Venice, Italy @nicoletta_fiorucci_london @emogirl4 @polly.staple @vittoria.totale @giorgiomastinu 06 May 2026

‘5 Works’ by Lydia Ourahmane is now on view in Venice. The exhibition, curated by Polly Staple, follows Ourahmane’s residency at the Nicoletta Fiorucci Foundation, living and working in Venice since January 2026. One of the exhibition’s central premises is that many of the artworks are created in Venice. The artist has worked with Venetian craftspeople and technicians but also collaborated with organisations in the city of Venice and the surrounding region. These individuals and collectives continue to offer extraordinary expertise and comprise a thriving community, providing a concrete alternative to popular images of Venice as a city of tourism and in decline. The island of Poveglia became a muse throughout the making of the exhibition. Situated on the outskirts of the Venice lagoon and largely inaccessible, its history is steeped in myth. The island has recently however been reclaimed by the association Poveglia per tutti (Poveglia for all), which is transforming the site into a public park. A central object commissioned for ‘5 Works’ is a fully functioning pier that will be transferred to Poveglia enabling public access by boat from the water to the land. Ph @_marcocappelletti @marcocappellettistudio 5 May – 22 November 2026 Nicoletta Fiorucci Foundation Dorsoduro 2829 Venice, Italy @nicoletta_fiorucci_london @emogirl4 @polly.staple @vittoria.totale @giorgiomastinu 05 May 2026

At the gallery — Lydia Ourahmane On view until May 28, 2026 Dear Lydia, […] These images: traces of places, textures and colors. The experience of looking at them is a little like groping for meaning the morning after a dream. Arranged in horizontal rows as contact sheets—negatives and positives both—they suggest a riddle and its clever retort. A riposte to the authority of the singular image; films rather than monumental moments. Taken together, they constitute a sort of map of your life. A map composed of traces. Of course, you being you, one has to move up close to make out the images. Like hieroglyphs to decipher, they are elliptical, occasionally inscrutable, perfumed by mystery. —Negar Azimi. 📸 Lydia Ourahmane, “1752 Photos”, exhibition views, Galerie Chantal Crousel, Paris (2026). Photos: Jiayun Deng—Galerie Chantal Crousel. #lydiaourahmane @emogirl4 #galeriechantalcrousel 02 May 2026

Opening next week in Venice: ‘5 Works’ by Lydia Ourahmane. The exhibition, curated by Polly Staple, coincides with the 61st International Art Exhibition – La Biennale di Venezia. Ourahmane’s practice is focused on the real politics of daily life as much as exploring how art itself is valued and produced, distributed and displayed. We are living in a new world order in which waste collapses into sublime abstraction for many but remains a brutal reality for others. This requires a shift in perspective. What then is the form for our present moment? At what point does art insert itself into reality? In ‘5 Works’, matter is always negotiating its terms. Lydia Ourahmane ‘5 Works’ 5 May – 22 November 2026 Opening: Monday 4 May, 4-8pm Nicoletta Fiorucci Foundation Dorsoduro 2829 Venice, Italy @nicoletta_fiorucci_london @emogirl4 @polly.staple @vittoria.totale @giorgiomastinu 29 Apr 2026

At the gallery — Lydia Ourahmane Opening today, from 6pm to 8:30pm Dear Lydia, What does it mean to exhibit images that were never meant to be seen? Filed away in boxes, gathering dust—in occultation. Pressed between two pieces of glass, they are the opposite of entombed. (The words museum and mausoleum are forever twinned, says Douglas Crimp.) They are porous, open, transparent. A picture of possibility. Is that fair to say? These images: traces of places, textures and colors. The experience of looking at them is a little like groping for meaning the morning after a dream. —Negar Azimi. 📸 Lydia Ourahmane, “1752 Photos”, exhibition views, Galerie Chantal Crousel, Paris (2026). Photos: Jiayun Deng—Galerie Chantal Crousel. #lydiaourahmane @emogirl4 #galeriechantalcrousel 25 Apr 2026

At the gallery — Lydia Ourahmane Opening on Saturday, April 25, 2026, from 6pm to 8:30pm Dear Lydia, What does it mean to exhibit images that were never meant to be seen? Filed away in boxes, gathering dust—in occultation. Pressed between two pieces of glass, they are the opposite of entombed. (The words museum and mausoleum are forever twinned, says Douglas Crimp.) They are porous, open, transparent. A picture of possibility. Is that fair to say? These images: traces of places, textures and colors. The experience of looking at them is a little like groping for meaning the morning after a dream. —Negar Azimi. 📸 Courtesy of Lydia Ourahmane. #lydiaourahmane @emogirl4 #galeriechantalcrousel 20 Apr 2026

At the gallery — Lydia Ourahmane Opening on Saturday, April 25, 2026, from 6pm to 8:30pm Dear Lydia, What does it mean to exhibit images that were never meant to be seen? Filed away in boxes, gathering dust—in occultation. Pressed between two pieces of glass, they are the opposite of entombed. (The words museum and mausoleum are forever twinned, says Douglas Crimp.) They are porous, open, transparent. A picture of possibility. Is that fair to say? These images: traces of places, textures and colors. The experience of looking at them is a little like groping for meaning the morning after a dream. —Negar Azimi. 📸 Lydia Ourahmane, “Burning Car”, 2016. #lydiaourahmane @emogirl4 #galeriechantalcrousel 14 Apr 2026

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