Synopsis : Ali retourne dans son village en Afghanistan à la recherche sculptures géantes détruites par les Talibans en 2001. Ali parcourt les grottes et les niches vides de la vallée de Bâmiyân avec une plaque de verre sur la tête afin de tenter de capturer les traces fantômes de ces sculptures disparues.

Ali returns to his village in the Bamiyan Valley in Afghanistan where the giant Buddhas were destroyed by the Taliban in 2001. He walks through the caves and empty niches with a glass plate on his head in an attempt to capture the ghostly traces of these sculptures disappeared.

Au départ il y a une part de jeu avec la mémoire de Ali de revenir dans son village natal à Bâmiyân. Il est artiste Hazaras, il a émigré en France chassé par les Talibans. Il a quitté l’Afghanistan depuis plus de 16 ans date de la destruction des 3 bouddhas géants par les Talibans le 11 mars 2001. Il va prendre le pouls de son passé dans un premier temps à la rencontre des habitants de son village. Ensuite il intervient directement sur la cartographie et le paysage meurtri des bouddhas de Bâmiyân, une inspiration stimulée par les vides, la mémoire des volumes, des sculptures, des peintures, des réseaux labyrinthiques des grottes. Le travail d'Ali est soumis à l’effacement car c’est retrouver le sens profond du passage du temps, de la fragilité, de l’éphémère, notions auxquelles nous renvoie l’érosion de lieux si grandioses.

Initially there is a play by the painter to intervene directly on the bruised landscape of Buddhas of Bamiyan in Afghanistan, an inspiration stimulated by voids, memory volumes, sculptures, paintings. Its part of creation is at the service of the memory of the place but in no case enslaved to this memory. It participates in the inventory of places but without being a scientific record and without presenting itself as one of the keys of reading the vestiges. She invents a re-reading of the place with the place and for the place. Humbly but without illustrating or reconstituting it. Hence a modesty of means: - a pot of black, a pot of white and earth, organic material of the place, - a plate of glass, true opening inside, transparent field that plays on the porosity and on The outside of the field and interrogates the entire space outside the plate, - a wooden frame made to measure by craftsmen carpenters with their vernacular techniques. This device allows him to create in situ ghost paints, only captured by digital (digital sensors of camera, camera and Iphone.). This work is subject to erasure because it is to regain the profound meaning of the passage of time, fragility, the ephemeral, notions to which the erosion of places so grandiose refers us.