Expression: Culture – “How to make public space appropriate…”

Two of the most interesting and complementary contacts of Algerian urban art were given on Saturday at the level of the Company Pi relationship in Koba, next to the “Individual Vision, Collective Vision” exhibition organized by the group. Artistic eye
A conference-debate focusing specifically on “Artistic Appropriation in Public Space” was held in front of a curious audience, mostly composed of artists.
The first person to speak was the French doctoral student Gael Hemeury who will try to demonstrate “the power of public art between politics and aesthetics”, but also about the “civic rehabilitation or rehabilitation of the city through street art, installations and performances”. Well aware of Algerian urban art, the latter will give us a general overview of Algerian street art, which he says he has been following for years and which he discovered through the “Art is Public” movement held in Bejaia. In 2017, the activity of street art is generally prohibited in Algiers, arguing that the concept is rather European and that it has no name in Arabic… The speaker will start his intervention by showing the inscription ” Street art is culture”, an achievement by the collective “Nosrom Bloody” which he Will shoot in Blida in 2019. And to underline: “This inscription emphasizes several deficiencies, deficiencies first of all urban, because we are on a private wall, it shows that it is a difficult space to appropriate for the public, but it also shows the demand to legitimately practice a public art that is part of art and culture .” And to explain his approach which includes “questioning the capacity of public art to reclaim urban spaces that might become notorious if they become frequented again…”. And to add: “It is a question of understanding how individuals will combine their knowledge and skills to create links that can last within the district, with the life of the district.”
Dennis Martinez, pioneer
and to evoke the Aucham movement launched by Denis Martínez in 1965, “which demanded the presence of artists and art in public spaces.
A practice is also forbidden and more or less tolerated. Officially prohibited, as permits are difficult to obtain”. And to note some observations: “If the artist has the support of the public and the inhabitants of the district, the fresco can remain for a long time, it is easier for the authorities to manage something that is part of the collective memory and which is accepted by a large number, on the other hand, when the artists are suitable places where When they don’t have public support, frescoes are quickly removed and vandalized, especially by certain curators, as was the case with Frescoes. Ben Bulaid June 2022” While admitting to relying on the interview, Gayle would say that he discovered a most dynamic contemporary art scene. Did, “young people” whose ages vary between 20 and 35 years old, whom he would describe as “liberated” and for several reasons. And to explain: “These young people have freed themselves, in terms of material constraints, in terms of approval, but sometimes family constraints, such as accepting the fact that people around them want to be an artist, and then, social constraints.” And to add: “I am this The artists were able to observe several islands, a very dynamic triangle between Mostaganem, Sidi Bel Abbes and Oran, another between Algiers and Bleda in Algiers radiation. Also around Kabyli and finally, a core in the south between Laghouat, Ghardaïa and Ouargla”. According to their view… when it is political, it has to be in the center of the city so that it is visible to many people… these constraints lead them to review their aesthetic requirements or sharpen their aesthetic requirements.” And Mohic as an example. Citing its “El faca”. Regarding “the art that makes the city”, the speaker will discuss the events that change the discussion with the public. And to mention in the first place, the student workshop of Denis Martínez, who succeeds in involving art in the public, but Other events such as Djart 2014 and L’mdereb, the following year, even Casbah Behind the Legacy in 2018… and then “L’art est public” by Bejaia in 2017, which spoke about it with the desire to beautify the space with the agreement of the residents …
In 2019, the movement moved to northern and southern cities. Gaelle will report on the “Freedom Wall” operation which will appear during Hirak. and to indicate that “only works of a nationalist character have been preserved”. He will also raise a fresco in Blida which this time calls for a participatory device of the inhabitants of Tipaja or still other frescoes that did not last in time…Gel will finally reveal the art of performance which , this time held by the fair sex in J Algeria. And to quote Sarah El Hamed’s performance during Hirak, called “In the Name of Man”, made a few years after Paris in May 2015.
“A performance that made it possible to create collective work” requests several hands to sew a flag…
From aesthetics to politics
For his part, Karim Sargua would say now that the art of painting in outer space dates back seventy million years. “In prehistoric times, tigers and elephants were painted on the Tassili rock carvings. We have them in Kabul in Matkas too, in Kabul houses where the woman paints her interior. It is a text, there are Tifinagh frescoes outside, people interacted with it. The writing on the walls during the liberation war was the tool of revolution, were not just aesthetic tools. We Ghoufi with everything that includes as a resonance in terms of communication, whether visual, plastic in design, they took it, almost like a magico-religious work.
Regarding the period from 1960 to the present, Karim Sergua who will confirm that “there is not only the term “single hero the people”, will choose to speak of the plastic student movement in addition to the art school. .. He will quote the city of Blida, which he felt, “An important city because Denis Martínez was not only a founding member of the Outcham I and II movements, he then created the movement of 1954, he did a lot of work with students in the 1970s… We were affected by censorship. It was rare where it was by state. We have been censored for 20 years by Islamists and conservatives…”. And to add: “I want to talk about the affair of the 7th panel, an affair that gained momentum in Blida in the late 1970s. There was a group of painters who have now settled abroad. They made eleven panels with the approval of the mayor of Blida.
The next day, the 7th panel was completely erased by Willia’s service. It was not nude, but had a tiffinagh written by Ali Kitchau, now living in Canada. All because he has repeatedly used the script in a public place. And it was forbidden. And to continue: “During the spring of the 1980s again and again, we were asked to come to Azazga “free city” at that time… The state came to censor us twice, thrice for completely stupid explanations. It was the opening day of the University of Blida which had just opened his door.
Censored by conservatives
And to raise: “Earlier, one authorized 32 artists to intervene inside the university. All our walls were 12 meters by 3 meters.
At the opening of the university, therefore, three paintings were repainted in front of us, a disgrace!
The first was created by a barber who painted children with schoolbags stamped with Tiffinagh writing. And to cite another example of censorship, this time in 1988. “We are in the school of arts, so Aslah’s murder, we were organizing an African conference against censorship and torture on October 10. We did frescoes, drawings and installations on Black October, about the young people who were taken on board and tortured. For each person we created the physical installation, but also the graphics. Everything that was graphic was torn out, repainted, burnt, vandalised, etc,” he remarked as he stepped away. And finally to emphasize, about the allocation of spaces: “Algerian artists always wanted to draw and do experimental work. We are always looking for experimentation and we are jealous when we see people painting in Los Angeles or New York, but even they have changed their policy because graffiti has now entered the gallery, which brings in a lot of money. We, Denis Martínez, did not want to go through this project because of the great work he is doing by creating the racont’arts, this civic festival in the villa of TG Ojuu…” In short, a very nice round table that allows to meet many people and especially For the exchange of art. And it is not over! See you this evening, from 6 pm to the end with a musical “Guesra” in the presence of the guest of the evening, the graphic designer El Mustache, who will come to share with the public his experience in Algerian pop art, but ” Fashion with Zenkawi Style”, he launched more than two years ago, a collection of street style clothing called Zen9Aware. Also come and participate in the closing of the joint exhibition titled “Individual Vision / Collective Vision”.
Can’t be missed!

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