Needless to say is Needless to Say, 2024
cans, jars, buckets, grain bags, bottled oils, and other durable provisions; paintings on canvas, pencil
drawings on paper; digital print on vinyl; videos (0’17’’ and 1’38’’ looped)
The pantry was stocked by Maryna Muraviova
Courtesy of the Artist
Produced with the support of PinchukArtCentre for the Future Generation Art Prize 2024
Salim Bayri takes over a technical corner of the art center, repurposing it into an unusual setting for a public institution – a pantry. Stepping into the room, visitors are met with rows of shelves packed with cans, grains, bottled oils, and other durable provisions, giving the impression of a well-stocked storage space. The pantry’s limited size allows only a few people to explore its contents at a time, encouraging a more intimate and thoughtful engagement.
While examining the shelves, visitors start to uncover Salim’s artworks subtly integrated into the assortment of everyday products. Among them are: Land Head, a series of paintings reflecting Bayri’s fear of flattening his Moroccan identity as he becomes increasingly 'integrated' into Dutch culture; old TV sets with video works looped; and Inventory Drawings, which catch the eye at the entrance and showcase carefully written lists (from instant noodles flavors to afroamerican decolonial writers) juxtaposed. Another element is a version of the Smart Shop, the virtual cabinet of curiosities that integrates digital replicas of encounters with artefacts and memories Salim tries to preserve by sculpting them. In its current installation, Smart Shop functions as a flat extension of the pantry, on the digital shelves that continue the material ones there are various-sized clay sculptures featuring artworks and peculiar objects from Bayri’s studio in Amsterdam.
The pantry, dedicated to continuous storage, invites visitors to consider what is vital to maintain – both in terms of physical needs and emotional significance. Is this stockpile a survival kit for potential long-term blackouts, or is it simply a practical supply for a large family? As a North African living abroad, Salim continually grapples with what to preserve and what to discard, whether dealing with tangible items, cultural traditions, virtual possessions, or personal recollections. Through this installation, Bayri playfully yet profoundly invites us to consider our own choices on how to define our heritage and personal identity, emphasizing the delicate balance between cherishing the past and navigating future changes.
The pantry, arranged by a housewife from Kyiv, combines urgency and practicality, reflecting Bayri’s ideas on what’s vital for survival. It serves as a metaphorical space for visitors to explore their own fears and desires.
Text by: Oleksandra Pogrebnyak
