Venise Cadre Gallery

Venise Cadre Gallery Venise Cadre is an international gallery specializing in modern and contemporary art.

Cyber Sexual 20, 2023Sculpture muraleCuir marouflé sur bois131 x 95.5 cm Exhibition Making The Hand Legible .elfarsi
07/04/2026

Cyber Sexual 20, 2023
Sculpture murale
Cuir marouflé sur bois
131 x 95.5 cm



Exhibition Making The Hand Legible
.elfarsi

Key Theories 19, 2023Sculpture muraleCuir et inox marouflés sur bois101 x 75 cm Exhibition Making The Hand LegibleCurat...
07/04/2026

Key Theories 19, 2023
Sculpture murale
Cuir et inox marouflés sur bois
101 x 75 cm

Exhibition Making The Hand Legible


Curated by .elfarsi

“Making the Hand Legible” at the TGCC FoundationThe TGCC Foundation presented “Making the Hand Legible” by Hassan Mannan...
05/04/2026

“Making the Hand Legible” at the TGCC Foundation

The TGCC Foundation presented “Making the Hand Legible” by Hassan Mannana, an exhibition devoted to a singular artistic practice in which matter, the body, and thought entered into a dense and exacting dialogue. Through this body of work, the artist unfolded a visual inquiry grounded in the tensions between the organic and the constructed, between the memory of gesture and the contemporary transformations of representational forms.

The exhibition brought to light an approach in which the works seemed to emerge from a process of continuous transformation, as though the hand, the surface, and the material itself had become sites upon which a physical, mental, and symbolic experience was inscribed. Hassan Mannana pursued a profound reflection on states of transition, thresholds, unstable balances, and forms of reconstructing the living.

The works on view were distinguished by a particular attention to the density of materials and to their evocative power. Each piece appeared as a space of condensation in which references to anatomy, architecture, craftsmanship, and contemporary imaginaries converged. Without ever yielding to illustration, the artist constructed a visual language that was rigorous, sensitive, and intensely embodied.

By presenting “Making the Hand Legible,” the TGCC Foundation reaffirmed its commitment to contemporary practices that challenge and renew the ways in which the present may be perceived and thought. The exhibition thus provided a particularly fitting context for Hassan Mannana’s work, whose research succeeds in grasping, within matter itself, the sensitive and conceptual complexities of our time.

03/02/2026

Mehdi Melhaoui is a sculptor who always starts from a solid block. His gesture is to remove, cut, strip away everything that’s unnecessary.

He doesn’t try to add, but to subtract until only the essential remains: a clear, direct, almost self-evident form.

In each piece, you feel this work of reduction. The matter he removes speaks as much as what stays: what he chooses to keep is exactly what he deems necessary to speak about our time. Nothing more.

Since 2016, Soufiane Idrissi’s work has followed a trajectory in which the canvas becomes a sensitive mirror of our tech...
07/12/2025

Since 2016, Soufiane Idrissi’s work has followed a trajectory in which the canvas becomes a sensitive mirror of our technological revolutions. From 2022 onward, the Moroccan artist has engaged in a profound reflection on artificial intelligence, one that echoes the major questions of our time. Once exhilarated by the exhilarating promises of AI, Idrissi has gradually turned his gaze toward the more complex, more vertiginous ramifications of this evolution.

Today he advocates for a kind of “slow AI,” a salutary slowing down, even a considered pause in the face of a technology that often runs faster than our human capacity to grasp its nuances. In his paintings, the point is not simply to represent abstract ideas, but to bring these concepts back to human scale, to inscribe painting within a daily dialogue with reality.

His work thus becomes a space for reflection where art and technology meet, not in a state of disconnection, but in a search for equilibrium between the human and its own creations.

In Template, Hassan Mannana composes a kind of mental architecture, a fragmented cartography of human identity. The stac...
06/12/2025

In Template, Hassan Mannana composes a kind of mental architecture, a fragmented cartography of human identity. The stacked boxes form a strict grid, but within each compartment, fragments of bodies and silhouettes appear, as if the human figure now only survived through its contours, its templates, its remains.

Each interlocking element functions like a stratum of memory, a capsule of meaning. The work echoes museum devices of classification and display—drawer, vitrine, screen—while shifting them toward a more intimate, psychological space. What is given to see is less the body itself than the system that frames, measures, and standardizes it.

The title is essential: a “template” is a model, a pre-set form to be filled in. Applied to sculpture, it suggests that biographies and identities are constantly summoned to fit pre-existing molds. Yet in Template, no figure fully stabilizes. The silhouettes slip, remain incomplete, and quietly resist the frame.

Rather than delivering a single image, the work proposes an experience of reading and projection. Moving from one compartment to another, the viewer recomposes possible narratives from these fragments. In this way, Template evokes the condition of beings caught within systems and structures, yet still capable of escaping them through memory, imagination, and the gaze.

this work by Mohammed Chrouro, we discover a painting that depicts a door bathed in a soft light in the background. This...
03/12/2025

this work by Mohammed Chrouro, we discover a painting that depicts a door bathed in a soft light in the background. This image is fully in line with the post-Internet reflection that Chrouro has been exploring for several years. Drawing inspiration from the idea of “portals” that were all the rage in the early days of the internet, those portals like Yahoo or Google that served as gateways and indexes to explore the web, he now revisits this concept twenty years later with a contemporary and introspective touch.

Here, the door that Chrouro paints is more than just an architectural element: it becomes a symbol of the hope of finding, of searching, and of stepping through a threshold into new understanding. It is a nod to the vocabulary of the 2000s, when a “portal” meant these entry points into the digital universe, and now he reinterprets that idea in the context of Moroccan post-Internet art.

Ultimately, this luminous door painting embodies that obsession with passage, with a window into the unknown, and with the quest for meaning, perfectly illustrating how Moroccan artists engage with digital culture and bring it into dialogue with timeless symbols.

At Radar, the “fossilization” of the hard drive is conceived as a kind of inverted archaeology. The hard drive, symbol o...
02/12/2025

At Radar, the “fossilization” of the hard drive is conceived as a kind of inverted archaeology. The hard drive, symbol of endless data circulation and built-in obsolescence, is literally trapped inside a terracotta mould, as if it already belonged to the past. The object is no longer a functional device but a relic, a material remnant of a present that wears out at high speed.

By choosing terracotta, a vernacular, fragile, millenary material, to frame and “mummify” technology, Radar stages a clash between two incompatible temporalities: the slow duration of traditional gestures and the accelerated rhythm with which digital tools become obsolete. The work exposes this conflict: on one side, a so-called “hard” memory that is in fact perishable; on the other, a humble, archaic matter that resists time. The piece thus operates as a counter-monument to technology, where tradition is not decorative but becomes the critical device that surrounds, neutralises, and archives the future itself.

For our second participation in UNTITLED Art, Miami Beach, we present a selection of works by the RADAR collective, toge...
01/12/2025

For our second participation in UNTITLED Art, Miami Beach, we present a selection of works by the RADAR collective, together with Mohammed Chrouro, Mehdi Melhaoui, Hassan Mannana, and Soufiane Idrissi.

Soufiane Idrissi, Pause AI 8, oil on canvas, 2019
31/05/2025

Soufiane Idrissi, Pause AI 8, oil on canvas, 2019

Soufiane Idrissi, Pause AI 21, Oil on canvas, 2022 This painting from was presented at ————Soufiane Idrissi, by subtly...
29/05/2025

Soufiane Idrissi, Pause AI 21, Oil on canvas, 2022

This painting from was presented at

————
Soufiane Idrissi, by subtly varying the color formula, transforms his paintings not into a gradation of the initial tone but into a different variation while retaining its digital root linked to the original color.
Thanks to this common root, the resulting image is extremely harmonious, garnering instant approval from the viewer. At the intersection of the virtual and the real, this abstract arrangement of shapes and colors, created by artificial intelligence, is then transposed onto an HDF wood panel using cellulosic paint for his early works, a practice he later
extends to other mediums.

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