Tanvi aka biography of albert

On the evocative power of blur

Mame-Diarra Niang’s Remember to Forget, on view until recently at the Henri Cartier-Bresson Foundation in Paris, upends traditional norms of photographic representation. Through the abstraction of Black bodies and the evocative power of blur, Niang navigates the boundaries between visibility and opacity, pulling viewers into a dreamlike space where identity is self-imagined, and complexity resists reduction. Drawing on the works of Fred Moten, Édouard Glissant, Tebogo George Mahashe, and others, Taous Dahmani reflects on her visit to the exhibition.

Taous Dahmani | Exhibition review | 23 Jan 2025

In recent years, as I meandered through the labyrinthine corridors of contemporary art fairs, I found myself consistently drawn to the vibrant, blurred compositions of Mame-Diarra Niang. Within the abstraction, laid the fleeting hint of portraits, only just discernible, prompting me to wonder what drove the French visual artist to craft images that deliberately resist representation. As I resumed my roving, the increasing power of the fog stayed with me: rising like an ocean within the growing tide of figuration. Haunted by the haze, I wondered about the spectacle of figuration and the capabilities of its refusal. Mame-Diarra Niang’s blurring of black bodies functions as both an interpellation and an abstention – a diffuse energy and a dilution of sight; an exhaustion of the need to render muffled in a scream conveyed as a dream. The blur operates like a frequency, the capture of a spirit, the idea of magic. ‘We are after the absolute presence of blur. Blueblackblur is our concern.’ wrote African American poet and theorist Fred Moten (Black and Blur, 2017). The blur functions like an eclipse, a shadow that alters clarity but leaves a luminous obscuration. The aesthetic strategies of Remember to Forget seem to enact a claiming of opacity.

During a grey November visit to Paris late last year, I had the oppor

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Introduction

Ridhima Tiwari is also known as Natasha Rajeshwari. She acted in various web series on OTT platforms such as Ullu Originals, Cineprime, PrimesHits, and many others and is well known for her erotic films and daring appearance. Her appearances in web series like School Girl, Madhosh Diaries, and Jalebi Bai marked a turning point in her career. Ridhima Tiwari rose to fame for her attractive performance in Rangeela Sasur. Natasha Rajeshwari is a Bengali woman who primarily works as an adult web series creator in Mumbai and other states.

Talented Indian actress Ridhima Tiwari is well-known for her roles in both television and films. She started her career with the TV program "Do Saheliyaan" in 2011. She has since made multiple appearances in well-known programs, including "Ghulaam," "Bahu Begum," and "Shakti - Astitva Ke Ehsaas Ki." Ridhima Tiwari has performed in several films, including "Begum Jaan" and "Shaadi Mein Zaroor Aana," in addition to her work on television. Both critics and viewers have given Ridhima Tiwari's performances high marks.

Earlier Life and Family

Ridhima Tiwari was born on July 31, 1993, making her 29 years old as of 2023. She was born in India's West Bengal state.

She completed her education at Tamralipta Mahavidyalaya in West Bengal. She later relocated to Mumbai, Maharashtra, to develop her modeling career. Ridhima Tiwari is not known to be in a relationship and is not married. Unfortunately, there are no other private details available about her. She is a superb actress, as seen by her roles in the web series she has appeared in at this point.

Ridhima Tiwari's Physical Appearance

About her physical appearance, Ridhima Tiwari is 1.63 m tall and is at a healthy weight of 62 kg. She has black eyes and black hair. She is a member of the Hindu religion; however, her caste and community are unclear.