Portrait de Chalisée Naamani

Chalisée Naamani

Chalisée Naamani is a young French artist whose work was exhibited in May 2022 at Studio des Acacias or the first group show of Reiffers Art Initiatives, entitled “DES CORPS LIBRES – Une jeune scène française”. A graduate of the École des Beaux-Arts in Paris, she works around the body itself, everything that innervates it and informs it, addresses it to the world and throws it into interrelation. Her work is situated on the border of the body and textile.

"Vestiaire"

Chalisée Naamani, 2019/20

"Vestiaire"

Chalisée Naamani, 2019/20

"Jambière et Pistolet de couture"

Chalisée Naamani, 2020

"Sacs à dos porteurs d'images"

Chalisée Naamani, 2020

"Cape et gilet jaune"

Chalisée Naamani, 2020

"Maison Sac à Dos ou Habit(acle)"

Chalisée Naamani, 2020

"Bâche 4 Boutique"

Chalisée Naamani, 2020

"Paravent et traîne "(view of the exhibition "DES CORPS LIBRES - Une jeune scène française" at the Studio des Acacias)

Chalisée Naamani, 2020

"Paravent et traîne"

Chalisée Naamani, 2020

"Paravent et traîne" (view of the exhibition "DES CORPS LIBRES - Une jeune scène française" at the Studio des Acacias)

Chalisée Naamani, 2020

Biography

There is no body in Chalisée Naamani’s work, although everything in her installations bears the imprint of it.
Chalisée Naamani’s work is situated at the border of the body and the textile. The artist’s third- year diploma was already entitled Peut-on s’habiller d’images, a way of introducing,
through the questioning left in suspense, the legitimacy of clothing as a pictorial practice. The artist creates ghostly forms, making body by the absence of the body. The artist is represented by Galerie Ciaccia Levi, Paris.

Texts

“Chalisée Naamani, Nude selfies till I die* ” by Horya Makhlouf — Yaci-International, 2021

“Flowers and bouquets, stars and constellations, rugs and quotes, polemics and calls for applications, sequined, low-cut, transparent or laser-cut squares of clothing, photos from the other side of the world and pieces of fabric printed, sewn, torn, wholesale or retail, haute couture or DIY, snippets of smiles or duckfaces, body parts from all over – Instagrammers, journalists, victims of police violence, top models, girlfriends and friends, followers – and of all forms: damaged, assumed, bodybuilt, hidden, censored, exhibited, blurred, pimped, pixelated, retouched, redone (…)

Chalisée Naamani's Instagram feed is a diary, a notebook of inspirations and a means of expression. On her profile, she rarely shows her face. She hides it behind flowers or those of her friends and friends, memories of her travels, Persian symbols and motifs, #OutfitsOfTheDay and, since she graduated from Fine Arts, photos of her diploma, of his works and his latest pieces. Instagram, from private and encoded diary to public showcase and portfolio….”

“The photographic ornaments of Chalisée Naamani, at the border of the body and the textile” by Ingrid Luquet-Gad
— Numéro, 2022

“There is no body at Chalisée Naamani, although everything in his installations nevertheless bears the imprint of it. There is no body, in the sense that the young artist would have spontaneously integrated the lesson of the philosopher Giorgio Agamben: there is no “bare life”. Now, since all existence is already shrouded in signs, draped in images as it is augmented by techniques, the young artist will work precisely on this: from the surroundings of the body itself, from everything that innervates it. and informs it, addresses it to the world and throws it into interrelation. So, to draw a portrait of the beings who surround her, and who now come forward to us in their suggested form, both individual and socialized, contemporary and immemorial, Chalisée Naamani chooses as raw materials carpets and scarves, gris-gris and scraps of fabric. They are Persian or Parisian, full of intimate stories or, on the contrary, pulled out of a globalized circulation.”

“Chalisée Naamani presents fashion” by Piero Bisello
— Conceptual Fine Arts

“The questions for the fashion industry raised by Chalisée Naamani are here to stay nevertheless. Despite her love for designing clothes, the young Parisian artist says she never wanted to associate her name with a brand. Her view on the industry is critical, putting forward a few points that are political and personal at once. For example, she says: “I have always dreamed of dressing men. Fashion has contributed to the emancipation of women, and to achieve this fully I am convinced that men’s fashion should be revolutionized.” She continues: “With the ecological troubles of today, there is a huge responsibility for the fashion industry, which is one of the most polluting on our planet. I take this issue very seriously.’ ”

“Chalisée Naamani “I will quickly forget you, I swear to you” at Ciaccia Levi, Paris” by Horya Makhlouf
— Mousse Magazine, 2021

“It’s in the midst of flowers and hearts, gold chains and costume hangers, behind Tati curtains and above an almost branded Comme des Garçons carpet, that Chalisée Naamani’s cosmopolitan universe unfolds. At once virtual and real, dreamlike and authentic, and always 100% bling.

Tales and countries, references and hashtags, something old, something new, and something blue, all joyfully mix, bang, but without bothering each other – as true witnesses to the happy nature of Ciaccia Levi’s newcomer. Her universe is a flow of key words, punchlines and catchy hooks interwoven in a patchwork of images that the artist invites us to explore. Whoever ventures to dive into it will perhaps get a glimpse of personal and family fables, intimate and collective stories, or all of them at the same time. Whoever takes a step on the carpet will be majestically received, welcomed into a space reminiscent of one’s home, or a souvenir store from here and there, or rather from everywhere at the same time. Whoever comes in is invited to stay, even though remaining a bit, on the go.”