Celle qui a tourné dix mille fois sept fois sa langue dans sa bouche avant de ne pas parler, ou elle en est morte, ou elle connaît sa langue et sa bouche mieux que tous

The title is a reference Hélène Cixous and her The Laugh of the Medusa but it also could be And that life that was yours at dawn was supernatural, sprayed by all if its moons with a liquid silver that was, truly, terrible’ to borrow from Clarice Lispector.

When we talk about a beautiful carpet, we often say that it has a rhythm, that its colors sing, or that the carpet tells us a story, a secret; that the carpet is placed, in relation to our desire, in every erotic position, in every prayer, in every request. For the woman, the carpet is a place inhabited by signs.
— Abdelkebir Khatibi

Celle qui a tourné dix mille fois sept fois sa langue dans sa bouche avant de ne pas parler, ou elle en est morte, ou elle connaît sa langue et sa bouche mieux que tous [She who twisted her tongue in her mouth one thousand times seven times before not speaking: either she died from it, or else she knows her tongue and her mouth better than anyone else], 2017

Sculture wovenwith carbon fiber, 400 × 600 cm
The sculpture is part of an installation composed by four sculptures created for the movie Toutes ces filles couronnées de langues.

The project is supported by association Al Omarilla, fondations Coeur Maghrébin, Raja Danièle Kapel-Marcovici and Ars Ultima Stein & Guillot Art Fondation, companies Hexcel and Coriolis. We especially thank Fatima, Saida, Zahra, Mina, Khadijah, Amina, Lakbira, Atiqua et Saâdia Cherkaoui, Ghizlane et Heria Hmidouch, Latifa Doublali, Elaziza Belahmer, Hayat Souktani, Fatiha Ali Oubane, Hafida Benaicha, Fatima Esouktani, Rabia Aicha, Naima Ettouile and Christian Guillaume without whose efforts this would not have been possible.