ALGERIA: From Militants to Student Activists: The Women who Fought for Algeria

Throughout history, Algerian women have fought injustice at work, in the home and on the battlefields, yet their contributions are relatively uncelebrated.

Throughout Algeria’s history under French colonialism, women played a vital role in the quest for self-determination, as well as in protecting and developing the country’s culture and traditions.  

This was particularly apparent during the War of Independence (1954-1962), when Algerians fought to free the North African country from 132 years of French rule in a battle that would come to represent the epitome of fierce revolutionary resistance.

Driven by the resolve to liberate Algeria at all costs, women took to combat in an expansive range of roles including as paramilitary fighters, transporters, fundraisers, nurses, cooks and communicators.

One of the many tactics often adopted by female agents during the war was to act as communicators between the Algerian soldiers and the population as a whole, in order to raise funds and propagate news about the revolution. Ironically, by taking part in such high-risk operations, Algerian women strategically subverted the colonial stereotype of the tepid and submissive native woman afforded to them by the unsuspecting French army.

On 5 July 1962, the revolution ended in liberation for Algeria. But while one battle ended, others would soon begin for the country’s female population.

Algerian women would continue to actively engage in national politics in the years following independence, fighting patriarchy, misogyny and political alienation by ex-fellow combatants who were dismissive of their seat at the governing table of the new state.

Despite the many obstacles Algerian women have faced, they have remained socially and politically active. This can be seen by the return of women to the political forefront at the launch of the popular movement, known as Hirak, as well as the Revolution of Smiles.

The protests were triggered by former-president Abdelaziz Bouteflika’s announcement on 10 February 2019 that he would seek a fifth term in office. The Hirak succeeded in ousting Bouteflika, but the struggle to bring the structure of the entire regime down continues.

Despite their enormous historical contributions, Algeria’s iconic women remain somehow uncelebrated outside of the Grand Maghreb and the Arab world.

Here are eight revolutionary Algerian women whose defiance of social and gender norms has cemented their place in history.

Lalla Fadhma N’Soumer (1830-1863)

Lalla Fatma N’Soumer is renowned as an icon of female armed militancy (Wikicommons/ean Geiser/pd-us)

Born into a family of religious marabouts in 1830 (during the fall of Algeria to French colonisation) in a town called Soumer in the Kabylie region, Lalla Fadhma N’Soumer is renowned as an icon of female armed militancy and an Islamic religious authority of her time. 

Known for her intellect and ferocity, she led the first wave of resistance (1850-1857) against the French after the death of Cherif Boubaghla in a battle on 26 December 1854.

While her enemies called her the Joan of Arc of the Djurdjura mountains for her military campaigns, she was also referred to as “lalla” or “lady” to signify her honour and sanctity. 

In her article about Lalla N’Soumer, author Samia Touati recounts that on the day she was captured by the French army, Marshal Jacques Louis Cesar Alexandre Randon (1795- 1871) asked Lalla N’Soumer why her men violently resisted the French troops.

She replied: “God wanted it. It is neither your fault, nor mine. Your soldiers went out of their ranks to penetrate my village. Mine defended themselves. I’m now your captive. I have no reproach to you. You shouldn’t have any reproach to me. It was written this way!”

Zoulikha Oudai (1911-1957)

Zoulikha Oudai is known in Algeria as “mother of martyrs” (Creative commons/memoria)

Born Yamina Echaib in 1911 to an educated family in Hadjout, Zoulikha’s commitment to freedom fighting began as a mediator between the National Liberation Front (FLN) and the Algerian population.

A nationalist party formed in 1954 and which went on to rule Algeria after independence, the FLN initially resisted French colonialism through paramilitary guerrilla warfare.

The secrecy of Algerian independence operations warranted the need for mediators such as Oudai to contact Algerian families individually and confidentially to raise funds for the FLN.  

In October 1957, the French army arrested Oudai and tortured her for ten days.

After refusing to divulge secret information, French soldiers pushed her from a helicopter, earning her the title of “mother of martyrs”.

Algerian writer Assia Djebar evokes the figure of Zoulikha Oudai in her 1977 film, La nouba des femmes du Mont Chenoua (The Nouba of the Women of Mount Chenoua) and her 2002 novel, La femme sans sepulture (The Woman Without a Tomb).

Djamila Bouhired (1935-present)

Djamila Bouhired was a militant during the war (AFP)

Born in 1935 in the historic neighbourhood of Al-Casbah in Algiers, militant Djamila Bouhired showed signs of political leadership in the early years of her childhood. As a pupil in a French school, Bouhired once rebelliously sang “Algeria is our mother” instead of “France is our mother.”

At the age of 20, Bouhired enthusiastically joined the FLN and later on the Fedayeen (armed militants) to take part in guerrilla warfare against the French colonists.

After she was arrested in 1957, Bouhired was tortured by being beaten, burnt and electrocuted at the Rheims prison where she was incarcerated.

Worldwide, activists marched to demand the release of Bouhired. Renowned Syrian poet Nizar Qabbani, Egyptian filmmaker Youssef Chahine, Soviet leader Nikita Khrushchev and Egyptian president Gamal Abdel Nasser all called for her release.

She was honoured by key personalities in the region: Nasser once received her in Egypt, Qabbani wrote a poem about her, the Lebanese musician Fairuz dedicated a song to her, and Chahine directed the 1958 film, Jamila, the Algerian, about her life. Bouhired was also featured in the 1966 Italian-Algerian production, The Battle of Algiers.

But after independence she was deliberately alienated from the political scene by fellow male FLN combatants. Bouhired decided to fight yet another battle against Bouteflika’s election when she marched alongside young student activists last year.

Exasperated by the injustice of patriarchy, Bouhired asserted women’s role in liberating Algeria by announcing during protests last year: “Our blood is the same as men’s. Our blood is not water. Our blood is blood.”

Louisette Ighilahriz 

Louisette Ighilahriz’s memoire released in 2000 ignited a conversation in France on torture (AFP)

Born in 1936, militant and author Louisette Ighilahriz devoted her youth to helping the Algerian revolution by working as a courier to transport the FLN’s documents and weapons.

Ighlahriz documented her incarceration and torment at the hands of the French army in her autobiography, Algerienne. This account not only testifies to women’s active engagement during the Algerian war, but it also highlights the widespread use of torture committed by the French, which was finally acknowledged in 2018.

It was decades before Ighilahriz was finally ready to speak about the horrors she faced. In her book she gives a painful account of the dehumanising treatment, the beating and rape at the hands of French army captain Jean Graziani, while in prison.

In addition to the physical torment, Ighilahriz was forced to live in her own excrement: “My urine leaked through the sheet covering the bed, my excrement mixed with my menstrual blood and formed a stinking crust” which pushed her to the edge of insanity.

This account of torture is similar to other narratives on the experiences of other activists, including the biography, Pour Djamila Bouhired, by Jacques Verges (1957) La question by Henri Alleg (1961) and Djamila Boupacha (1962) by Gisele Halimi. Ighilahriz was, however, the first Algerian woman to speak out about rape in a personal autobiography.

Today, the 83-year-old remains active, talking about the betrayal of the revolution by its own militants after independence and participating in today’s revolution. 

Zohra Drif (1934-present)

Born into an upper-class family in 1934, it was retired lawyer and politician Zohra Drif’s education that led her to develop staunch feminist and anti-colonial positions that propelled her active engagement with the FLN.

In her memoir, Inside the Battle of AlgiersDrif recounts the joys of having access to information on resistance while at university:

“We finally had access to the publications of the many parties and associations comprising our national movement: the UDMA’s La Republique Algerienne, the PPA-MTLD’s L’Algerie Libre; and El Bassair, published by the oulema. The press brought us information, opinion pieces, and analyses from various perspectives, while lectures by the very individuals engaged in the early struggle gave us the means to separate the wheat from the chaff.” 

After independence, Drif continued her political engagement both as a lawyer and as a member of the Algerian Council of the Nation. Her autobiography Memoirs of a combattant of the ALN: Autonomous zone of Algiers is a testimony of her struggle during the Algerian revolution. Her feminist activism continued after independence as a critic of some of the government’s policies. 

When a new Islamic family code was proposed in 1981 that would ultimately limit women’s rights within the household, Drif joined fellow feminists as they swarmed the streets of Algiers calling it “the infamy code”.

Drif also joined the masses that marched against former president Abdelaziz Bouteflika’s bid for a fifth term in Algeria last year, calling for the president’s resignation and opposing having a military state.

Salima Ghezali (1958-present)

Salima Ghezali fought against fundamentalism during the 1990’s civil war in Algeria (Creative Commons/Claude TRUONG-NGOC)

A founding member of the group Women in Europe and the Maghreb and president of the Association for the Advancement of Women, in Algiers, Salima Ghezali is known for her active role in fighting against fundamentalism during the 1990s civil war in Algeria. 

The rise of Islamist patriarchy in Algeria was demarcated, on the political scene, by the proposition of a new family code in 1981 which designated the male patriarch as the head of each family, thus giving him authority over women.

Working as the editor of Algerian French-language weekly La Nation put Ghezali’s life in great danger because of her unyielding political opposition to the government of ex-president Chadli Bendjedid and the Islamist party (FIS). Her dissent against censorship infuriated both the Islamists and government officials.

Ghezali’s bravery as a journalist and a feminist was acknowledged worldwide; she received accolades from the World Press Review and the European parliament.

Nour El houda Dahmani and Nour El houda Oggadi

Today’s revolution is built on the back of the struggles of the past. The young students Nour El houda Dahmani and Nour El houda Oggadi are two women who joined the anti-corruption marches last year to demand long-overdue democratic reforms and a political system representative of its young population.

Law student and activist Nour El Houda Dahmani, 22, was arrested in September 2019 while marching in the Hirak student-led protests against the militarily imposed presidential elections.

Dhamani, who was holding a poster at the time of her arrest, reading: “All of the corrupt shall be held accountable”, soon became one of the many iconic faces of the Revolution of Smiles.

Although Dahmani stated that she was not mistreated in prison, the experience of incarceration was traumatic. She was supported by vast numbers of people, as she explained in an interview with Berbere Television: “When I read the articles written about me, and I heard that people marching in the Hirak were asking for my release, even my incarceration did not seem cruelly bad anymore.”

Upon her release, Dhamani only had one goal: to return to university despite missing an entire term.

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Like Dhamani, Nour El houda Oggadi is a student and activist who was arrested a couple of months later, on 19 December. She was charged with “demoralising the army” because of her social media posts and signs she carried while marching, which were part of demands calling for Algeria to function as a civilian, not a military state. Oggadi served 45 days in prison.

Prison did not deter Oggadi; after her release, she stated her pride in her role in this Hirak, which she describes as “the birth of a new generation.”

The two students became powerful symbols of female resistance in Algeria, just two in a long line of women fighting tyranny and injustice.

This article is available in French on Middle East Eye French edition.

source/content: middleeasteye.net (headline edited)

ALGERIA: ’15th Arab Sports Games 2023′ at Mohamed-Boudiaf Olympic Complex, Algiers with Participation of 22 Arab countries, July 05-15.

PM chairs opening ceremony of 15th Arab Sports Games.

On behalf of the President of the Republic, Abdelmadjid Tebboune, the Prime Minister, Aimene Benabderrahmane chaired the opening of the 15th Arab Sports Games organized by Algeria from on 5-15 July at Mohamed-Boudiaf Olympic Complex in Algiers, with the participation of nearly 2,000 athletes representing 22 Arab countries.

The opening ceremony of the 15th Arab Sports Games hosted by Algeria (July 5-15) started Wednesday in the Mohamed Boudiaf Olympic Complex in Algiers, in the presence of Prime Minister Aymen Benabderrahmane, members of government and guests from various countries and organizations.

source/content: aps.dz (headline edited)

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ALGERIA

SAUDI ARABIA / ALGERIA: Saudi Justice Minister Waleed Al Samaani Elected as Head and Algeria’s Abdul Rashid Tabbi as Deputy Head of the Pan-Arab body -‘Council of Arab Justice Ministers’

Al-Samaani and Tabbi will serve in their roles for two years.

Saudi Justice Minister Waleed Al-Samaani has been elected head of the executive office of the Council of Arab Justice Ministers, the Saudi Press Agency reported. 

Abdul Rashid Tabbi of Algeria was elected deputy head. Both will serve in their roles for two years.

The announcement came on Wednesday during the 71st session of the executive office, held at the Arab League’s headquarters in Cairo.

source/content: arabnews.com (headline edited)

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Saudi Justice Minister Waleed Al-Samaani attends 71st session of the executive office of the Council of Arab Justice Ministers. (SPA)

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SAUDI ARABIA / ALGERIA

ALGERIA: 5 Algerian Multi Millionaires That You Should Know About!

The only billionaire Algeria has is Issad Rebrab, he is the owner of Algeria’s biggest company, Cevital, which is a sugar refinery company that produces about 2 million tons a year, Although, he is alone in his wealth, there are other 5 multibillionaires worthy of recognition.

Abdelmadjid Kerrar

via ElWatan

He is the founder of BioPharm which is a large pharmaceutical company that manufactures and distributes drugs, BioPharm employs more than 1,500 people and gets more than $500 million revenues last year.

Ali Haddad

via Algerie Patriotique

He is the 52-year-old founder of ETRHB Haddad Group with an annual revenue of $500 million, it’s very impressive that he’d founded this company at the age of 32, he is also the controlling shareholder of the Algerian club USM Alger that plays in the Algerian Premier League.

Mohamed Laid Benamor

via DIA

He is the head of the Benamor Group, which is one of the most successful food companies in Algeria. This company makes more than $80 million as an annual revenue.

Abderrahmane Benhamadi

via Algerie Eco

This big guy owns the Condor Group which manufactures and distributes air conditioners, televisions, satellite receivers, washing machines, refrigerators, smartphones, tablets, gas cookers, microwaves, desktops and laptops, with an annual revenue of $700 million.

Djilali Mehri

via Algerie part

This 80-year-old guy owns the Mehri Group; the sole bottler of all Pepsi products, and the owner of many luxurious hotels.

source/content: scoopempire.com (headline edited) / Febronia Hanna

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pix: en.wikipedia.org/wiki/Algiers /L to R : Coast, Martyr’s Memorial , Ahmed Francis Building , Basilica of Our Lady of Africa, Central Post Office, Ketchaoua Mosque, Harbour

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ALGERIA

ALGERIAN ANCESTRY: France’s Karim Benzema 2022 Ballon D’Or: The Undreamt-of Award

Just when every single one of his supporters thought he would always be remembered as a cult hero and nothing else, Karim Benzema has reached the pinnacle of the sport 14 years after signing for Real Madrid labeled as the next Ronaldo Nazario. Overcoming ferocious criticism from his own fanbase and from some of his coaches during this time, Benzema carried Real Madrid to an improbable Champions League & LaLiga double all while scoring 44 goals in 46 appearances in the 2021-2022 season.

Karim Benzema has won the 2022 Ballon D’Or no less than 13 years after signing for Real Madrid. It has not been an easy path for Benzema as he had to change his style of play and prove many of his doubters wrong along the way. In those 13 years, he went from being a young, misfit player who struggled in his early days in Madrid to becoming a captain and a true leader for the biggest club in world football.

Here’s how he did it.

I. Struggles: From “The Next Ronaldo Nazario” to “The Next Anelka”

Saying that Benzema never was one of the world’s greatest strikers would be wrong. From 2009 to 2022, the French attacker went through struggles on and off the field but always showed that the talent to be one of the best was there. Real Madrid president Florentino Pérez saw that promise and raw potential and decided to visit Benzema’s home in Lyon to secure his signing in the summer of 2009.

“I was hanging out with my friends and my family called me and said: “You need to come home, Florentino is here.” I opened the door, I saw him there and I just didn’t say anything,” revealed Benzema a decade later.

Still, Benzema failed to establish himself as a regular starter for Madrid until Gonzalo Higuaín suffered a back injury in 2011. José Mourinho, who was the team’s coach back in the day, signed Emmanuel Adebayor on loan because he didn’t feel the 24-year-old Benzema could lead his offense. Mourinho even said that he would rather go hunting “with a hound” [Higuaín] but that he would have to go “with a cat.”

Thing is, Mourinho was right. Benzema was struggling on the pitch and appeared to be careless and apathetic during his first few seasons in the Spanish capital.

My first season in Madrid, my first six months or so were very tough. I was by myself; I didn’t speak Spanish and that made it all more difficult. Furthermore, I just got to a new world, another team, another style of football. Luckily, I didn’t give up,” he said when asked about that time in an interview published this past summer.

That’s the main reason why most fans and members of the media often compared him to former Real Madrid attacker Nicolas Anelka, who signed for the club in 1999 when he was 20 years old. Anelka left Madrid after just one season having displayed some of the symptoms which kept Benzema out of the team’s starting lineup a decade later. Anelka went on to have a very solid career, but Madrid didn’t reap the benefits.

With Benzema, Florentino Pérez remained patient –perhaps the fact that he was his personal gamble gave the Frenchman a longer leash– and decided to keep trusting his potential knowing that Real Madrid had another historically great player who could lead the team towards the most successful period in the history of the club.


II. Stability without stardom: Cristiano’s Sidekick and the BBC years

While Benzema showed real moments of brilliance during Mourinho’s tenure in the Spanish capital (2010-2013), even scoring 28 goals across all competitions during the 2011-12 season, he always was behind Gonzalo Higuaín in the depth chart.

When Mourinho left the club in 2013, Real Madrid decided to sell the Argentinian striker to Napoli and gave Benzema the chance to be an undisputed starter under new coach Carlo Ancelotti and alongside two great scorers like Cristiano Ronaldo and new signing Gareth Bale. The ‘BBC’ was born.

Ancelotti then created a new role for Benzema, the role he played for most of his career: The 9.5. the French striker wasn’t playing as a false nine, but he was a playmaker through the center-forward position. There, Benzema would often receive the ball and assist to either Ronaldo or Bale while drifting to both flanks to create space for them to finish plays in the center of the attacking line. Ronaldo and Bale were ruthless finishers during these years, but Benzema deserves credit for making their jobs way easier.

When Cristiano Ronaldo played for Real Madrid, he scored 50 to 60 goals a year. So, my moves were to give him an advantage on the field, generate spaces, because I passed the ball well in the opponent’s area. He was much more effective than I was,” said Benzema earlier this year.

The team won La Décima (their tenth Champions League trophy) and the Copa del Rey during that first season. Ancelotti left the club a year later, but his successor Zinedine Zidane kept the same offensive system going and conquered a historic three-peat with Benzema being the facilitator for Ronaldo and Bale.

Even if Benzema wasn’t focusing on scoring goals, he still found the back of the net 28 times in just 34 appearances back in 2015-16. He was delivering. Zidane being his childhood hero and one of football’s greatest players of all time, the French attacker spent time after every training session working and polishing his game with his coach, with his idol.

Everything changed in 2017-18. Real Madrid struggled immensely throughout the season and didn’t even compete for LaLiga against Barcelona. Benzema had one of his worst campaigns as a Real Madrid player and scored only 12 goals. Somehow, the team managed to win the third consecutive Champions League title and completing the aforementioned three-peat, but both Cristiano Ronaldo and Zidane felt like it was the end of an era and decided to leave the club.

Every year is the same. I play football to make history. Sometimes people don’t get what I do on the field but I’m here to help my teammates. Of course, I always want to score goals, but sometimes that’s not possible,” said Benzema in 2018, the first campaign without Cristiano Ronaldo and the first time he scored 30 goals in his career. After years of being a playmaker for Ronaldo, Real Madrid needed Benzema to score. He delivered.

III. Mentoring the new generation during Real Madrid’s rebuild

Benzema faced ferocious criticism from his own fanbase during the first few months of the 2018-19 season. The fans at the Santiago Bernabéu appeared to think that he was to blame for the team’s struggles last year. He was never a fan favorite. In 2016, the crowd whistled when he was about to take a penalty-kick, singing Álvaro Morata’s name as they wanted the homegrown attacker to take it instead.

When Ronaldo left the club, Benzema accepted the challenge and realized the fact that he had to score more goals. He rose to the occasion while other attackers like Marco Asensio or even Gareth Bale appeared unwilling to embrace more responsibilities in the offense.

That first season was terrible for the club, even if Benzema scored 30 goals and delivered 9 assists. Zidane’s successor Julen Lopetegui was sacked after just a couple of months and former Real Madrid player and current Castilla coach Santiago Solari was appointed as an interim coach for the remainder of the season, until Zidane made his return to the club just a year after his resignation.

Benzema kept doing his thing and scoring at a solid rate during those seasons but now he was also a mentor for two talented prospects signed from Brazilian football: Vinicius Junior and Rodrygo Goes.

It wasn’t a very successful era for Madrid, but they did conquer the 2019-20 LaLiga title with brilliant performances from goalkeeper Thibaut Courtois and Benzema himself in the condensed schedule after the Covid pandemic.

In the summer of 2021, Zidane left the club for good and a familiar face returned to the Bernabéu. Ancelotti was back. What followed during the next few months will be remembered as one of the most memorable seasons in the history of the club.


IV. Benzema unchained: Carrying Madrid towards a historic double

44 goals in 46 appearances. 15 goals in the Champions League. A hat-trick to rescue his team and advance to the next round in the return leg against Paris Saint-Germain. A hat-trick against Chelsea in the first leg of the Quarterfinals at Stamford Bridge. 10 goals in the 7 do-or-die knockout games in the biggest club competition in the world. Greatness.

Benzema overperformed his xG (expected goals) in 12 goals last season. Courtois and Vinicius were also instrumental in the team’s success and performed better than the French striker in the Champions League Final, but Benzema was historically great all season long with his scoring but also with his playmaking, which helped Vinicius become the player he is today.

It took Benzema a while to get where he stands today, and it would be fair to say that nobody saw this kind of greatness coming from him. In fact, Florentino Perez would have likely replaced him with other strikers had he not been his protégé, his personal signing. None of that matters now. Benzema stayed and he delivered big time in a season where his team needed him the most.

He was hands down the best player in the world of football during the 2021-22 season. He earned every bit of this Ballon D’Or and every single madridista should be proud of him and proud of having him wearing the captain’s armband. They saw Benzema grow into the player, the leader, the captain, the mentor and the man he is today.

I play for the ones who like and understand football.” Benzema transcended that quote last season and played for every single football viewer around the world, casual or not. He finally earned global recognition.

Karim Benzema is now a Ballon D’Or winner. The world’s greatest

source/content: managingmadrid.com / Lucas Navarrete (headline edited)

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@francefootball

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FRENCH / ALGERIAN

ALGERIAN-FRENCH: Zineb Sedira—First Artist of Algerian Heritage to Represent France at Venice Biennale—reveals plans for pavilion focused on activist filmmaking

Project shines a light on the cultural exchange between Algeria, France and Italy during the 1960s.

Zineb Sedira has outlined plans for her presentation at the French pavilion at this year’s Venice Biennale (23 April-27 November), revealing that the project will focus on Algerian cinema of the 1960s and 1970s and its links to the Italian and French film industries. The subject matter is timely as 2022 is the 60th anniversary of Algeria achieving independence from France. On 5 July 1962, Algeria became a sovereign state after an eight-year war which resulted in the deaths of at least 400,000 Algerians.

Sedira is the first artist of Algerian descent to be selected as the country’s representative. Sedira, who was born in Paris to Algerian parents, attended college in London, completing her undergraduate studies at Central Saint Martins school of art. She is now based in South London.

Sedira revealed her ideas for the cinematographic installation Dreams have no titles in an online press briefing held 18 February, outlining how she initially researched the history of Algerian film for an exhibition at the Jeu de Paume in Paris in 2019. Her passion for cinema was sparked by childhood trips to the local cinema in the 1960s in her home town of Gennevilliers outside Paris (these film outings were made with her father every Thursday when school was closed).

This interest developed further during her time as a student in London. “As part of postcolonial studies, I came across [the philosopher] Frantz Fanon and [the 1966 film] The Battle of Algiers. In France, I never came across those people because The Battle of Algiers was still censored in France [in the late 1970s and early 1980s],” she said. “There were no intellectual role models to me of Algerian origin; in England, I discovered there was a wealth of [Algerian] men, women and filmmakers.” 

For the pavilion piece, Sedira carried out research at the Cinémathèque in Algiers, discovering that many films financed by the state of Algeria at the time were also co-produced with Italian and French filmmakers. “So when I was asked to propose an idea for the French pavilion, I thought of the Mostra [Venice Film Festival]. I thought it was interesting to do something around the three countries,” she said. Sedira wants to focus on the cooperation between France, Italy and Algeria— and the solidarity between the trio of nations—though her Venice “project goes beyond that”, the artist stresses.

Sedira visited numerous film archives in Algeria, France and Italy as part of the research process. “In Italy, [we visited] Venice, Turin and Bologna. We discovered a film that had disappeared,” says Yasmina Reggad, the co-curator of the French pavilion, referring to Les Mains Libres made by the Italian director Ennio Lorenzini in 1964. 

“It was the first international film collaboration between Algeria and another country [Italy],” said Sedira, but after 1966 Les Mains Libres was lost. She eventually found the forgotten work in a small archive in Rome. “It is an important film for anyone interested in post-1962 Algerian history,” she adds. 

The French pavilion project aims to be a starting point for discussions on other topics such as colonialism, collective and individual histories, national identity and the fight against racism. “The notion of a nation begs to be critiqued and challenged. What is a nation at the end of the day? It is a big fiction to believe that when you draw a certain line, everyone who happens to be behind this line is of the same mentality and culture,” said Sam Bardaouil, the co-director of the Hamburger Bahnhof in Berlin along with Till Fellrath (the duo have also co-curated the French pavilion).

“In a sense, a pavilion is an attempt to give a physical form to a fiction, so to use fiction in the language of cinema as a way to critique nation and belonging is such an intelligent and timely way to discuss these issues,” Bardaouil said.

The three pavilion curators will participate in a film to be shown in the pavilion. “We’ll be turned into actors and actresses,” said Reggad. Bringing together an artistic community was paramount, added Sedira, who relished the opportunity “to work with friends, to be surrounded by friends”. The film production will also include members of the crew and her son. “I was playing on the aesthetic and structure in cinema in the 1960s in low-budget films when one would play many roles,” she said

The pavilion project will also include a “conversation” with the UK pavilion artist, Sonia Boyce, and the Swiss representative, Latifa Echakhch. “Sonia was my neighbour for many years and she taught me at one point when I was studying art in London,” said Sedira.

At the briefing, the curators also discussed the three accompanying journals linked to the pavilion project. Each issue refers to a city—Algiers, Venice, and Paris—that has played an integral part in Sedira’s practice. “The journal is an extension of what the project entails inside the pavilion. The cities mark the phases of Zineb’s life, they become entry points to questions that are related to the themes that will be discovered in the film and installation in the pavilion,” said Bardaouil. Contributors include the French artist Laure Prouvost and the actor Nabil Djedouani.“The journal has allowed for a diversity and plurality of voices,” Bardaouil added.

The journal design is based on film magazines of the 1960s and 1970s, added Reggad, and also borrows from militant leaflets of the era. The journals are “doors to an intellectual horizon [with] texts, images and playlists”, said Eva Nguyen Binh, the president of L’Institut Français which is supporting the pavilion. Other sponsors include Arts Council England and the dealer Kamel Mennour who represents Sedira

source/content: theartnewspaper.com (headline edited)

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Zineb Sedira will represent France at the 2022 Venice Biennale with the exhibition Dreams have no titles

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FRENCH / ALGERIAN