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
Palimpseste, résistance des récits déchirés 2024

« Le musée est en rénovation et je voulais lui porter le bon œil. »
“The museum is under renovation, and I wanted to give it the good eye.”
— Berirouche Feddal, Le Devoir, 2024

On January 30, 2024, during a fundraising evening organized by the Fondation du MAC, Berirouche Feddal painted a mural live in the Place des Arts building of the Musée d’art contemporain de Montréal, on the eve of the works that will transform it. Le Devoir called him the very last artist to show a work there.

Invited to perform during the evening, he chose the first wall visitors met past the entrance doors. A hole in it opened a play of optics: how we look at ourselves and at others, the idea of observing without being seen. Starting from Henri Matisse’s Portrait au visage rose et bleu (1936–1937), from the museum’s collection, he built the mural in superimposed layers of personal and family archives, with references to Pompeii, the buried city, and to a performance from his student years in which he was already layering archives.

Afterwards, the mural, more than four metres wide, was cut out of the wall with a reciprocating saw. Saved before the interior demolition, the fragment became a work of its own, Palimpseste, résistance des récits déchirés, shown again in 2025 in Dans les plis du souvenir, les couleurs se taisent.Musée d’art contemporain de Montréal
Place des Arts, Montréal, Canada
January 30, 2024

Live performance and mural
Fundraising evening of the Fondation du MAC

With deep gratitude to the Fondation du MAC for the invitation

Palimpseste, résistance des récits déchirés
2024, 226.1 × 414.0 cm

After Henri Matisse, Portrait au visage rose et bleu, 1936–1937
Collection of the Musée d’art contemporain de Montréal

Performance photos: Elisabeth Perrault, with warm thanks

Le Devoir
McBride Contemporain
Matisse in the MAC collection
Palimpseste, résistance des récits déchirés2024Paint and collaged archives on a wall of the museum226.1 × 414.0 cmMusée d’art contemporain de Montréal, January 30, 2024Photo: courtesy of the artist
Portrait au visage rose et bleuHenri Matisse, 1936–1937Oil on canvas42 × 33.1 cmCollection of the Musée d’art contemporain de MontréalPhoto: Richard-Max Tremblay
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirés2024Performance, Musée d’art contemporain de Montréal, January 30, 2024Photo: Elisabeth Perrault
Palimpseste, résistance des récits déchirésCutting the wall section out with a reciprocating sawMusée d’art contemporain de Montréal, 2024Photo: courtesy of the artist
Palimpseste, résistance des récits déchirésCutting the wall section out with a reciprocating sawMusée d’art contemporain de Montréal, 2024Photo: courtesy of the artist
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