Salim Bayri
Salim Bayri’s installation takes over a technical corner of the art center, repurposing it into an unusual sight in a public institution – a pantry. Stepping into the room, visitors are met with rows of shelves packed with cans, grains, bottled oils, and other durable provisions, giving the impression of a well-stocked storage space. The pantry’s limited size allows only a few people to explore its contents at a time, encouraging a more intimate and thoughtful engagement.
While examining the shelves, visitors uncover Bayri’s artworks, subtly integrated into the assortment of everyday products. Among them are: Land Head, a series of paintings reflecting the artist’s fear of losing his Moroccan identity as he becomes increasingly integrated into Dutch culture; old TV sets with video works looped; and Inventory Drawings, which catch the eye at the entrance and showcase carefully written lists, ranging from instant noodle flavors to Afro-American decolonial writers, juxtaposed in eclectic ways. Another artwork is a Smart Shop, the virtual cabinet of curiosities that integrates digital replicas of encounters with artifacts and memories Bayri tries to preserve by sculpting them. In its current installation, Smart Shop functions as a flat extension of the pantry. On the digital shelves, which are a continuation of the material ones, there are clay sculptures of various sizes featuring artworks and peculiar objects from the artist’s studio in Amsterdam.
The installation, dedicated to continuous storage, invites visitors to consider what is vital for us to maintain — both in terms of physical needs and deeper significance. Is this stockpile a survival kit for potential long-term blackouts, or is it simply a practical supply for a large family? As a Moroccan expatriate, Bayri continually grapples with what to keep and what to discard, whether dealing with tangible items, cultural traditions, virtual possessions, or personal recollections. Through this installation, the artist playfully yet profoundly invites us to consider our own choices on how to define our heritage and personal identity, emphasizing the delicate balance between cherishing the past and navigating future changes.
The pantry was arranged by a Ukrainian language and literature teacher and housewife, who was recently displaced from Myrnohrad to Kyiv. The selection of items combines urgency and practicality, reflecting Bayri’s ideas on what is vital for survival. The artwork serves as a metaphorical space where visitors can explore their own fears and desires.
Salim Bayri’s installation takes over a technical corner of the art center, repurposing it into an unusual sight in a public institution – a pantry. Stepping into the room, visitors are met with rows of shelves packed with cans, grains, bottled oils, and other durable provisions, giving the impression of a well-stocked storage space. The pantry’s limited size allows only a few people to explore its contents at a time, encouraging a more intimate and thoughtful engagement.
While examining the shelves, visitors uncover Bayri’s artworks, subtly integrated into the assortment of everyday products. Among them are: Land Head, a series of paintings reflecting the artist’s fear of losing his Moroccan identity as he becomes increasingly integrated into Dutch culture; old TV sets with video works looped; and Inventory Drawings, which catch the eye at the entrance and showcase carefully written lists, ranging from instant noodle flavors to Afro-American decolonial writers, juxtaposed in eclectic ways. Another artwork is a Smart Shop, the virtual cabinet of curiosities that integrates digital replicas of encounters with artifacts and memories Bayri tries to preserve by sculpting them. In its current installation, Smart Shop functions as a flat extension of the pantry. On the digital shelves, which are a continuation of the material ones, there are clay sculptures of various sizes featuring artworks and peculiar objects from the artist’s studio in Amsterdam.
The installation, dedicated to continuous storage, invites visitors to consider what is vital for us to maintain — both in terms of physical needs and deeper significance. Is this stockpile a survival kit for potential long-term blackouts, or is it simply a practical supply for a large family? As a Moroccan expatriate, Bayri continually grapples with what to keep and what to discard, whether dealing with tangible items, cultural traditions, virtual possessions, or personal recollections. Through this installation, the artist playfully yet profoundly invites us to consider our own choices on how to define our heritage and personal identity, emphasizing the delicate balance between cherishing the past and navigating future changes.
The pantry was arranged by a Ukrainian language and literature teacher and housewife, who was recently displaced from Myrnohrad to Kyiv. The selection of items combines urgency and practicality, reflecting Bayri’s ideas on what is vital for survival. The artwork serves as a metaphorical space where visitors can explore their own fears and desires.
