{"id":8295,"date":"2022-05-09T08:46:50","date_gmt":"2022-05-09T06:46:50","guid":{"rendered":"https:\/\/themarkaz.org\/oldmarkaz\/?p=8295"},"modified":"2022-05-09T08:46:50","modified_gmt":"2022-05-09T06:46:50","slug":"algerian-art-on-60th-anniversary-of-algerias-independence","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldmarkaz\/algerian-art-on-60th-anniversary-of-algerias-independence\/","title":{"rendered":"Algerian Art on the 60th Anniversary of Algeria’s Independence"},"content":{"rendered":"
\"\"
“La derni\u00e8re phrase\/The Last Word,” homage to H\u00e9l\u00e8ne Cixous, by Tarek Benaoum for the Institute of Islamic Cultures at 19 rue L\u00e9on in Paris (photo courtesy Thea Yazli).<\/figcaption><\/figure>\n

 <\/p>\n

While the year 2022 marks the 60th anniversary of the end of the Algerian War and the country’s independence, at least three French museums and multiple galleries are celebrating the country’s history and Algerian artists this spring, among them the Institute du Monde Arabe (IMA) and the Institute of Islamic Cultures in Paris, as well as the Mucem in Marseille. Our reviewer saw the shows in Paris and Marseille.<\/p>\n

 <\/p>\n

Melissa Chemam<\/h4>\n

 <\/p>\n

\"\"
From the IMA exhibit, “Algeria My Love,” by Baya, “Musique” (1974) \u00a9 Donation Claude et France Lemand, 2019 (courtesy IMA).<\/figcaption><\/figure>\n

\u201cAlgeria my love – Artists of Algerian brotherhood<\/a>, 1953-2021\u201d at the Institut du Monde Arabe (IMA) in Paris is surely one of the richest and most publicized exhibitions in the country. It opened on March 18, and will be visible through July 31, 2022. The works on view are from the IMA Museum\u2019s Algerian collection of 600 works of modern and contemporary art, further enriched in 2018, 2019 and 2021 by donations from collectors Claude and France Lemand. Claude Lemand himself coordinated the exhibition with two other curators, Nathalie Bondil and \u00c9ric Delpont.<\/p>\n

According to them, this exhibition is \u201ca song of pain of the land and the Algerian people colonized and martyred.\u201d For Claude Lemand in particular, it is \u201cthe song of culture and Algerian identity denied and uprooted. It is also the song of freedom and hope, the renewal of artistic and literary creativity and the announcement of a rebirth, necessary and long awaited. \u2018Algeria my love\u2019 is the expression of the love that all artists have for Algeria, the artists of the interior and even more those of the exterior, all these creators of the diaspora who can say, with Abdallah Benanteur: \u2018Algeria is in me, only my feet have left; my spirit prowls permanently among my people.\u2019\u201d<\/p>\n

The exhibition brings together 300 works of 18 artists, most active in the 20th century and some until today. Among them we find Baya Mahieddine, Zoulikha Bouabdellah, Kamel Yahiaoui, Rachid Kora\u00efchi, Abdallah Benanteur, Abderrahmane Ould Mohand, or Halida Boughriet. \u201cAlgeria My Love\u201d includes mainly paintings, but also some sculptures, drawings, books, photographs and videos. Most of the exhibited artists have lived mainly in Algeria; others have also lived in France, like Denis Martinez, born in Algeria in 1941 of French parents, and settled in France since 1994. The eldest is the non-figurative painter Louis Nallard, born in 1918, and the youngest, El Meya, is only 34 years old.<\/p>\n

Of all the painters exhibited, few are known to the general French public, which makes the exhibition rich and unique. The most recognized is undoubtedly Baya Mahieddine, known simply as Baya, whose works are said to have influenced even Henri Matisse and Pablo Picasso.<\/p>\n

\"\"
“Women of Algiers” by Souhila Belbahar, inspired by Delacroix, ca 1962, mixed media on paper, 54 x 88 cm. Donation CFL (courtesy IMA).<\/figcaption><\/figure>\n

Born Fatma Haddad in 1931, orphaned by the age of five, she had to work as a servant in Algiers from early on. A completely self-taught artist, she painted landscapes, portraits, and floral and animal illustrations in flamboyant colors and shapes in her early teens, which quickly got her noticed. In 1943, the sculptor Jean Peyrissac showed her paintings to the French collector Aim\u00e9 Maeght, who decided to organize her first exhibition in his Paris gallery, with a catalog prefaced by the surrealist poet Andr\u00e9 Breton. \u201cI speak, not like so many others to lament an end but to promote a beginning and on this beginning Baya is queen,\u201d he wrote. \u201cThe beginning of an age of emancipation and concord, in radical rupture with the previous one and of which one of the principal levers is for the man the systematic impregnation, always bigger, of the nature.\u201d Baya was then only 16 years old. She met Georges Bracque and Picasso, before returning to Algeria where she married the musician El Hadj Mahfoud Mahieddine. The birth of their six children forced a pause in her career, but she resumed painting in the 1960s. Three of her paintings are included in the exhibition, in the center of the main room, radiating creativity.<\/p>\n

Another woman artist is distinguished by the quality of works presented: Souhila Bel Bahar. Born in 1934 in Blida, in a family of embroiderers, she was first trained in sewing in Algiers, between 1949 and 1952, then became a self-taught artist. She began easel painting of the age of 17, inspired by works of Delacroix, Renoir, Corot and Picasso.<\/p>\n

Other artists with international careers include the non-figurative painter and engraver Mohamed Khadda (1930-1991) and Abdallah Benanteur (1931-2017), steeped in Arab culture, connoisseur of European painting, also fed by the imagination of poets from around the world.<\/p>\n

\"\"
“Anzar, Berber Prince in the Rain,” Denis Martinez, 2001, acrylique on canvas, 200 x 300 cm, (courtesy IMA).<\/figcaption><\/figure>\n

The photographs of Halida Boughriet, born in France in 1980, also stand out, offering portraits of Kabyle women matriarchs in family interiors very familiar to Algerians. And on the seventh floor one finds a monumental installation by Kamel Yahiaoui.<\/p>\n

The whole of \u201cAlgeria My Love\u201d forms an eclectic collection, and a beautiful historical presentation of the Algiers group of the 1930s, artists of the interwar and post-independence period, as well as some great contemporary names, even if the great Algerian names that have emerged in Europe since the 2000s \u2014 Djamel Tatah, Bruno Boudjelal, Zineb Sedira, Kader Attia, Adel Abdessemed, Mohamed Bourouissa or Ne\u00efl Beloufa \u2014 are conspicuously absent.<\/p>\n

The ensemble highlights the trans-Mediterranean links of these artists, but their most political and anti-colonialist works are unfortunately not represented.<\/p>\n

The exhibition is accompanied by a rich cycle of conferences and meetings, entitled \u201c2022. Regards sur l’Alg\u00e9rie \u00e0 l\u2019IMA.\u201d And the IMA also exhibits this spring the excellent work in Algeria of French photographer Raymond Depardon<\/a>, pictures dating mainly from 1961 and 2019, in an exhibition made in collaboration with Algerian writer Karim Daoud, entitled \u201cHis Eye in My Hand.\u201d\u00a0<\/p>\n

 <\/p>\n

\n

 <\/p>\n

Meanwhile, in Marseille, the Museum of Civilization of Europe and the Mediterranean<\/a> (Mucem) offers a unique exhibition with \u201cAbd el-Kader<\/a>\u201d (from April 6 to August 22), dedicated to the hero of the Algerian anti-colonial resistance and the history of 130 years of colonization.<\/p>\n

\"\"
Portrait of Abd el Kader on horseback by J. Delton, circa 1865 (courtesy Mucem\/ANOM, Aix en Provence).<\/figcaption><\/figure>\n

The exhibition, artistic but especially historical, traces the steps of the violent French conquest of Algeria, launched in 1830 by the July Monarchy, and which met at the time the opposition of the troops of Abd el-Kader until 1847, and this particularly through the paintings of Emile-Jean-Horace Vernet, known as Horace. The exhibition also shows how France betrayed its promise to free the Emir after his defeat, and to let him take refuge in the land of Islam, as well as the various controversies arising in France from these events.\u00a0<\/p>\n

Several texts and recordings relate the admiration of several French writers for the courage and honesty of the Emir, including Victor Hugo, who called him \u201cthe thoughtful, fierce and gentle Emir\u201d; Arthur Rimbaud, who nicknamed him in a little-known poem \u201cthe grandson of Jugurtha\u201d; and Gustave Flaubert, who wrote that the word \u201cEmir\u201d should be used \u201conly when speaking of Abd el-Kader.”<\/p>\n

Nearly 250 works and documents are brought together to put into context the greatness and growing popularity of the Emir throughout Europe, until his final departure for Syria. One finds documents from French and Mediterranean public and private collections, including the National Overseas Archives, the National Library of France, the National Archives, the Palace of Versailles, the Army Museum, the Orsay Museum, the Louvre Museum, the Aix-Marseille Chamber of Commerce and Industry, and La Piscine de Roubaix.<\/p>\n

According to the curators, Camille Faucourt and Florence Hudowicz, \u201cthe Mucem has long demonstrated the desire to explore and expose the history of relations between the various shores of the Mediterranean, and this is obviously the case for what concerns the Maghreb and particularly Algeria,\u201d such as Mucem’s earlier exhibition \u201cMade in Algeria\u201d (2016), or the cycle of meetings \u201cAlgeria-France, the Voice of Objects,\u201d which has been held for the past five years.<\/p>\n

The idea of this exhibition on the emir was born a few years ago, during a meeting between the Catholic father Christian Delorme, who had long harbored and interest in the figure of Abd el-Kader, and the president of the Mucem, Jean-Fran\u00e7ois Chougnet. \u201cThey saw each other in Amboise, the place of captivity of the emir, in 2019,\u201d explain the exhibition curators, and \u201cthe project was born at that time.\u201d<\/p>\n

The exhibition is timely for the people of Marseille, commemorating the anniversary of Algerian independence, and for history buffs.\u00a0<\/p>\n

From May 5 to 7, the Mucem also offered a program entitled \u201cAlgeria – France, the Voice of Objects,\u201d with an outdoor concert of the group Acid Arab and Benzine, and meetings and discussions with the participation of authors, historians or Franco-Algerian personalities such as Benjamin Stora, Salem Brahimi, Lyes Salem, Ahmed Bouyerdene, Rapha\u00eblle Branche, Christian Ph\u00e9line, Fa\u00efza Gu\u00e8ne, Magyd Cherfi, Slim, and Jacques Ferrandez.<\/p>\n

With these two exhibitions, the IMA and Mucem devoted beautiful spaces to Algerian cultural history, in a special year, marked by lots of debate on France and Algeria\u2019s shared past. These two French cultural institutions are of course expected to deal with this issue, as they specialize in the Arab world and the Mediterranean. Algerian artists have yet to conquer mainstream cultural spaces in France, such as the Louvre or the Mus\u00e9e d\u2019Orsay, but these two events, dense and greatly produced, could well encourage a greater interest for Algeria\u2019s artists across the country.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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