Tiohtià:ke/Montréal
London
Alger
Paris

Berirouche Feddal
studio@berirouche.ca

Born in Rouiba in 1996 and raised between Algiers and Irdjen, his parents’ Kabyle village, Berirouche Feddal was ten when he landed in Pointe-aux-Trembles, at the eastern tip of Tiohtià:ke. He now works between Montréal, London and Algiers, and is pursuing an MFA at Goldsmiths. His practice is a souk where nothing settles: abstract and figurative, object and performance, war and colour, Pan-Africanism and its violence. Stadium chants become protest songs; gold and wheat ask to be worshipped. He works with what time leaves behind: rusted objects, henna rusting in the elders' hair, relics of childhood that hide inherited horrors. Kardoune, devotional symbols and burned wood carry the voices of parents and villagers, the afterlives of colonial history, the ghosts that refuse to leave. His colour began underfoot, on his grandmother's carpets. His work talks to the dead, leaves space empty, and allows itself to forget.

CV


PRESS
Dans les plis du souvenir, les couleurs se taisentVie des arts, no. 279, Winter 2025VisitesText: Dounia Bouzidi
Fleurs fanées: Anna Binta Diallo et Berirouche FeddalVie des arts, no. 275, Summer 2024Créations
L'art de recycler des bouts de muséeLe Devoir, April 24, 2024Text: Stéphane Baillargeon
La révolution des couleursLe Devoir, March 30, 2024Text: Amélie RevertPhoto: Adil Boukind
Dans l'atelier de Berirouche FeddalEsse arts + opinions, no. 110, AgricultureText: Nicholas DawsonPhotos: Alexandra Dumais
VIDEOS
▶ Play
la clarté creuse les montagnes, 2026Musée d'art de JolietteCurated by Ariane De BloisWith asinnajaq, Nathalie Batraville, Stina Baudin, Amanda Boulos, Shannon Garden-Smith, Frantz Patrick Henry and Tyson Houseman
▶ Play
Afrotopos, 2025Stewart Hall GalleryCurated by Diane GistalWith Damien Ajavon, Delali Cofie, Anna Binta Diallo, Marie-Danielle Duval, ibiyanε and Roxane Mbanga
▶ Play
Textile Beyond Craft, 2023Round table: Reflections on the Montreal SceneCentre de design UQAMModerated by Christina ContandriopoulosWith Édith-Anne Pageot and Michaëlle Sergile
▶ Play
Spoliation du souk, 2022Conseil des arts de MontréalCurated by Michelle Caron and Colas Eko
PODCAST
Conjuguer les identités qui nous habitentIn/Tension, The Power Plant, 2023Hosted by Diane GistalWith Anna Binta Diallo42 min
▶ Listen
Les larmes nourrissent le bleu méditerranéen 2024
The colour blue, as the sacred guardian of Kabyle culture, embodies hope, serenity and protection from harmful influences. Les larmes nourrissent le bleu méditerranéen explores this symbolism through an intimate exhibition, where past and present merge to reveal the nuances of time and transformation. Drawing on the childhood memories of Berirouche Feddal, the exhibition reaches beyond personal references and shows the effect of time by capturing the resilience of memories, messages and symbols. Blue becomes the emotional vehicle for intimate and collective experiences, from the beginnings of the Kabyle Spring to the Hirak of 2019. Feddal invites viewers into a story in which blue is the narrator, revealing the essence of identity and remembrance.

-Alexandre Potvin
Centre d’exposition L’Imagier, Gatineau, Canada

May 3 – September 29, 2024

Curated by Alexandre Potvin


Les larmes nourrissent le bleu méditerranéenInstallation view, L’Imagier, Gatineau, 2024
Les enfants se nourrissent de mes larmes2020Oil on canvas73.7 × 59.7 cmCollection of Dr. Leon Tourian
IndifférenceMadjid Feddal, 1975Pen on paper25.4 × 30.5 cmCollection of Berirouche Feddal
Mémoires d’une Double Hache (detail)2024Mixed media: metal bed, oxidized metal sheets, Fatima eyes, kardoune, rug by Farez Aldjia, cushion and cotton thread254 × 289.5 cm
Les larmes nourrissent le bleu méditerranéenInstallation view, L’Imagier, Gatineau, 2024
Judas optique2023Silkscreen on Arches paper63.5 × 63.5 cmEdition of 5 + 1 AP
Les larmes nourrissent le bleu méditerranéenInstallation view, L’Imagier, Gatineau, 2024
Les fidèles ne se sacrifient plus2020Oil, acrylic and printed fabric on canvas153 × 183 cmCollection of Alexis Boulianne and Ariane Labrèche
Les fidèles ne se sacrifient plus (detail)2020Oil, acrylic and printed fabric on canvas153 × 183 cmCollection of Alexis Boulianne and Ariane Labrèche
Les larmes nourrissent le bleu méditerranéenInstallation view, L’Imagier, Gatineau, 2024
Entre couleurs éphémères et traditions2024Coloured pencil, kardoune, nails, Fatima eyes and oil on canvas153.7 × 185.4 cmCollection of the Nat Uqassi family
Mélodies d’une flûte oubliée, un berger du temps perdu2024Cyanotypes and stamps11.5 × 19 cm
Mélodies d’une flûte oubliée, un berger du temps perdu2024Cyanotypes and stamps11.5 × 19 cm
Les larmes nourrissent le bleu méditerranéen2024Cyanotype and polyester film on Arches paper240 × 245 cm
Les larmes nourrissent le bleu méditerranéen (detail)2024Cyanotype and polyester film on Arches paper240 × 245 cm
Les larmes nourrissent le bleu méditerranéenInstallation view, L’Imagier, Gatineau, 2024
Entre le souffle et le silencePerformance, September 29, 2024Music stand used in the performance
Entre le souffle et le silencePerformance, September 29, 2024Music stand used in the performance
Les larmes nourrissent le bleu méditerranéenInstallation view, L’Imagier, Gatineau, 2024
You Know Your Understand Me2020Digital print and acrylic111 × 182 cm
Les larmes nourrissent le bleu méditerranéenInstallation view, L’Imagier, Gatineau, 2024
Mémoires d’une Double Hache (detail)2024Mixed media: metal bed, oxidized metal sheets, Fatima eyes, kardoune, rug by Farez Aldjia, cushion and cotton thread254 × 289.5 cm
You Know Your Understand Me (detail)2020Digital print and acrylic111 × 182 cm
Les larmes nourrissent le bleu méditerranéenInstallation view, L’Imagier, Gatineau, 2024
Mystérieuses vagues, barque de fortune ou sardinier ? (detail)2024Oil stick on canvas, soaked in tea166.5 × 136 cm
Bleu avec le temps2019Silkscreen and oil pastel on canvas130 × 85 cmCollection of Jean-Pascal Fournier


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