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TagStory_Critic'Art et reflexions

Critiques et réflexions autour de l'Art en Tunisie.

Khaled Ben Slimane, ceramic plates (tabaq) AD 1998, Tunisia

khaled-ben-slimane-British-Museum'The objects remind me of my faith (Islam) having Arabic writing, beautifully painted in an artful way, showing that religion, art and the human mind can all work as one. I would be interested to see other works by Mr Slimane, to get more sense and understanding of Islam from an artist's point of view.' Mohummed Majarally, of African-Mauritian origin

Khaled Ben Slimane is from the region of Nabeul, known for its established tradition of pottery-making. In the 1970s, after travelling in Asia and Iran, he studied at the Ecole des Beaux Arts in Tunis. Here, his interest in ceramics quickly turned into a life-long passion; he subsequently also studied in Spain and Japan.

These diverse experiences significantly influence the aesthetic of Slimane's work and his philosophical approach. He is a strong believer in the power of heritage and tradition and considers his work to belong firmly within the context of the 'Islamic' pottery of the Middle East and North Africa. He sees it as his role to inject new life into the ceramic traditions from Iran to North Africa that started to stagnate and die in the nineteenth century because of the breakdown of traditional workshops.

'The objects remind me of my faith (Islam) having Arabic writing, beautifully painted in an artful way, showing that religion, art and the human mind can all work as one. I would be interested to see other works by Mr Slimane, to get more sense and understanding of Islam from an artist's point of view.' Mohummed Majarally, of African-Mauritian origin

Khaled Ben Slimane is from the region of Nabeul, known for its established tradition of pottery-making. In the 1970s, after travelling in Asia and Iran, he studied at the Ecole des Beaux Arts in Tunis. Here, his interest in ceramics quickly turned into a life-long passion; he subsequently also studied in Spain and Japan.

These diverse experiences significantly influence the aesthetic of Slimane's work and his philosophical approach. He is a strong believer in the power of heritage and tradition and considers his work to belong firmly within the context of the 'Islamic' pottery of the Middle East and North Africa. He sees it as his role to inject new life into the ceramic traditions from Iran to North Africa that started to stagnate and die in the nineteenth century because of the breakdown of traditional workshops.

Slimane's works are based on four primary colours - symbolizing the elements of earth, fire, air and water - with rough, bold, black brushstrokes formed into delicate spirals. Ceramics are characterized by repeated words, and phrases such as Allah (God), er-Rouh ('the soul'), Huwa ('Him which evokes God') form a kind of rhythmic ideogram. As well as artworks in the form of functional domestic objects (saucers, cups, bowls), Slimane's works include pieces inspired by Islamic funerary architecture and also public sculptures and installations.

R. Issa, Khaled Ben Slimane (Leighton House Museum, 1995)

J. Hudson, Artists and artisans, perspect (London, The British Museum Press, 1998)

Diameter: 20.000 cm
AOA 1998.Af2.12-15
Room 34: The Islamic world
www.britishmuseum.org

 

In Tunisia, Something Tactile in the ‘Island of Dreams’

Djerbahood-F-Nasri-AFPDJERBA, Tunisia — While most gallerists search for artists, Mehdi Ben Cheikh, the founder of Galerie Itinerrance in Paris, searches for walls. Mr. Ben Cheikh has spent 10 years building an organization devoted to the work of street artists. He was behind last year’s Tour Paris 13 project, in which 100 artists from around the world painted a derelict 10-story apartment building that was set to be demolished. The biggest collective street art exhibition in Europe, Tour 13 had more than 25,000 visitors during its one-month run.

“Street art is the biggest and most unique art movement in history because of its global impact and its lack of dependence on conventional institutions, and my role is to help it develop and reach across borders,” the French-Tunisian Mr. Ben Cheikh said in an interview. “We’re bringing street art back to the streets, where it can be seen by everyone for free.”

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« Mapping », « light painting » : les mots du street art

voyage-fantastique-de-slinkashuMise en perspective historique, avec une fresque chronologique composée d'objets et de documents fondateurs dans l'histoire du graffiti et du Street Art jusqu'à aujourd'hui : photographies des premières fresques mêlant lettrage et dessin à New York à la fin des années 1970, premières revues spécialisées, affiches d'expositions, pochettes de vinyles, billets du concert « New York City Rap » au Bataclan, à Paris, lors de la tournée qui a lancé le hip hop en Europe en 1982 (avec sur scène des rappeurs, des DJ et des graffeurs)... Autant d'archives passionnantes et rares émaillées par les innovations qui ont permis au mouvement d'évoluer, de l'invention de la bombe de peinture aérosol à l'utilisation d'extincteurs, puis l'apparition des premiers scanners de diapositives reliés à un ordinateur, permettant la numérisation des images, et l'arrivée d'Internet...

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Nadia Khiari "Gatti e anarchia la primavera araba l'ho disegnata così"

nadia-khiari-willisLO SCORSO anno a Nadia Khiari è stata consegnata la laurea honoris causa all'Università di Liegi per il suo impegno per la libertà di espressione. Va comunque ricordato che — seppure poco note in Italia — ci sono grandi voci extraeuropee della satira grafica: Glez (Burkina Faso), Pi San (Cina), Kichka (Israele), Boukhari (Palestina), Boigàn (Messico), Rayma (Venezuela), Zohoré (Costa d'Avorio), Slim (Algeria).

Nadia Khiari, come e quando ha iniziato a fare vignette?

«IL 13 gennaio 2011, dopo l'ultimo discorso di Ben Alì ho ideato un personaggio: il gatto Willis di Tunisi, un modo per condividere col mio popolo emozioni e voglia di riscatto. Pensi, le mie prime vignette le ho fatte a Tunisi, durante quelle notti magiche e terribili del 2011. Le facevo davanti ad amici: quei disegni diventavano un modo per sentirci vicini, uniti. Le mie vignette, oltre ad esprimere le nostre idee, diventavano anche un modo per sentirci complici, più uniti. Prima di allora non avrei mai pensato di fare disegni satirici in maniera professionale» Perché un gatto?
«I gatti significano libertà, anarchia, indipendenza. Nessuno può dare ordini a un gatto, perché sicuramente non obbedirebbe ».

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La révolution culturelle n’est pas pour demain !

REDEYEF-2014-Ph-Laurent-MaloneLe secteur culturel et artistique en Tunisie a longtemps souffert de la marginalisation, alors que la culture est en soi un vecteur essentiel du progrès d’un pays et reflète son niveau d’avancement. Tributaires des subventions étatiques, les activités culturelles font face aujourd’hui à de sérieuses difficultés. Le secteur de la culture va mal et en temps de récession économique, la situation n’est pas prête de s’améliorer. Un tel constat a poussé le gouvernement provisoire à revoir le rôle qui pourrait être dévolu au mécénat privé, en intégrant dans la Loi de finances complémentaire de 2014, des mesures allant dans ce sens.

En effet, pour encourager le mécénat culturel, la mesure intégrée par la LFC permettra désormais, une déduction fiscale qui touchera les sociétés soutenant des activités culturelles. Ainsi, cette déduction se fait sur la base de la recette fiscale sur le revenu ou de l’impôt sur les entreprises. Les ministres de la Culture et des Finances sont revenus, lors d’une conférence de presse tenue au musée du Bardo, sur la portée de ces mesures et ont annoncé le lancement de la campagne de sensibilisation visant à solliciter la participation active des entreprises dans le mécénat culturel.

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