Zine El Abidine Ben Ali’s image was the one the most incorporated in the environment, but
at the same time
the most mysterious, the less spoken, the one that seemed to have the most things to say. The slight differences between one Ben Ali and another Ben Ali obliged an attention increasingly absorbed‭, ‬so to enter little by‭ ‬little in another dimension‭, ‬in a world that didn’t had other horizons than these gigantic portraits‭.‬

This sample of universal iconography reveals something‭: ‬a description of the world?
Or an answer to the peering in this still-life the time in which we are‭?‬
As each collection‭, ‬even this one is a diary: a travel diary‭, ‬of course‭, ‬but also a diary of feelings‭, ‬states of mind and moments of life‭. ‬The true secret diary to decipher is here‭, ‬between these pages and their montage‭.‬ Trying to bring back to memory the sensations‭, ‬the smells‭, ‬the burning feelings of revolution‭, ‬sadness‭, ‬enchantment‭, is useless‭. ‬It is as to try to look at it another time‭, ‬intangible‭.‬‬.. So why not give up‭, ‬tear away from these pages and the universes they show‭, ‬from the accumulation of‭ images reduced to one‭, ‬from the meanings that are too many‭ ‬‬to grasp‭.‬ And yet‭, ‬the constancy to bring on for years this collection had together the fear and the consciousness of accumulation: to push away from it the roar of deforming sensations‭, ‬the intricate meanings of History by‭ (‬hi)stories‭, ‬and finally to have the illusion
of the essence‭ of all‭. ‬

April 2012