The Last Becak's Sepatbor Painter
Tjipto Setiyono, 85, is a rickshaw painter. Despite being past his prime, he lives alone in a 3-by-3 meter square boarding room, in which Tjipto’s brush strokes give birth to his paintings.
Orientalism is a literary and artistic movement born in Western Europe in the 18th century. Through its scale and popularity, throughout the 19th century, it marked the interest and curiosity of artists and writers for the countries of the West (the Maghreb) or the Levant (the Middle East). Orientalism was born from the fascination of the Ottoman Empire and followed its slow disintegration and the progression of European colonizations. This exotic trend is associated with all the artistic movements of the 19th century, academic, romantic, realistic or even impressionist. It is present in architecture, music, painting, literature, poetry... Picturesque aesthetics, confusing styles, civilizations and eras, orientalism has created numerous clichés and clichés that we still find today in literature or cinema.
Tjipto Setiyono, 85, is a rickshaw painter. Despite being past his prime, he lives alone in a 3-by-3 meter square boarding room, in which Tjipto’s brush strokes give birth to his paintings.
Going into my interview with Laurel Greenfield, I thought the majority of our conversation would be about her inspiration for painting food and why she chose to pursue painting as a career. We spoke about that but ended up having a much bigger conversation about pursuing a creative career. We talked a lot about finding the balance between having a business plan and taking a leap of faith into the unknown, something anyone pursuing a creative field on their own can relate to.
The essay by René Vautier, "Déjà le sang de Mai ensemençait Novembre", starts with the recapitulation of the representations of Algeria throughout the history of visual arts in France in an effort to explore the causes for the quest for independence.
Chuck Close, an astounding portrait of one of the world's leading contemporary painters, was one of two parting gifts (her second is a film on Louise Bourgeois) from Marion Cajori, a filmmaker who died recently, and before her time. With editing completed by filmmaker Ken Kobland, Chuck Close lives the life and work of a man who has reinvented portraiture. Close photographs his subjects, blows up the image to gigantic proportions, divides it into a detailed grid and then uses a complex set of colors and patterning to reconstruct each face.
“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.
Shot on location in a very remote part of southern Morocco, this short film looks into the amazing craftsmanship and dedication of the Berber rug weavers in the region. These incredibly talented people are part of an ancient tradition that still employs centuries-old techniques to produce beautiful and unique handwoven rugs.
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In an age when women were incapable of joining the artistic dialogue, Lilias Trotter managed to win the favour of celebrated critics.
It is the evocation of a life as brief as it is dense. An encounter with a dazzling thought, that of Frantz Fanon, a psychiatrist of West Indian origin, who will reflect on the alienation of black people. It is the evocation of a man of reflection who refuses to close his eyes, of the man of action who devoted himself body and soul to the liberation struggle of the Algerian people and who will become, through his political commitment, his fight, and his writings, one of the figures of the anti-colonialist struggle. Before being killed at the age of 36 by leukemia, on December 6, 1961. His body was buried by Chadli Bendjedid, who later became Algerian president, in Algeria, at the Chouhadas cemetery (cemetery of war martyrs ). With him, three of his works are buried: “Black Skin, White Masks”, “L’An V De La Révolution Algérien” and “The Wretched of the Earth”.
Born on March 25, 1840, Gustave Guillaumet discovered Algeria by chance when he was about to embark for Italy. Over the course of his ten or eleven trips and extended stays, he established a familiarity with this space. Traveling through the different regions from north to south, he never ceases to note the differences. He is also the first artist, apart from Delacroix's Women of Algiers, to penetrate into female interiors and reveal the reality, far removed from the harem fantasies that reigned in his time. Fascinated by the country, its deserts and its inhabitants , going so far as to live like the Algerians, Gustave Guillaumet devoted his life and his painting to this country, breaking with the colorful and exotic representations of the time. The painting The Famine in Algeria, restored thanks to exceptional fundraising, was dictated by the events of the years 1865-1868, and well illustrates his knowledge of the country, in a manner that is at once demanding, sensitive and serious.
The theme of death is heavily interwoven in Smolder’s surreal salute to Belgian painter Antoine Wiertz, a Hieronymus Bosch-type artist whose work centered on humans in various stages in torment, as depicted in expansive canvases with gore galore. Smolders has basically taken a standard documentary and chopped it up, using quotes from the long-dead artist, and periodic statements by a historian (Smolders) filling in a few bits of Wiertz’ life.
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A reflection on tourism assembled out of amateur videos filmed by tourists during their trips.
Perpetuating art was the main objective in the life of visual artist, filmmaker and cultural manager Chico Liberato, who died in January, 2023. A pioneer of animation cinema in Bahia, he left a legacy for the area, and even in his family.
Prominent Columbia University English and Comparative Literature professor Edward Said was well known in the United States for his tireless efforts to convey the plight of the Palestinian people, and in this film shot less than a year before his death resulting from incurable leukemia, the author of such books as {-Orientalism}, {-Culture and Imperialism}, and {-Power, Politics, and Culture} discusses with filmmakers his illness, his life, his education, and the continuing turmoil in Palestine. Diagnosed with the disease in 1991, Said struggled with his leukemia throughout the 1990s before refraining from interviews due to his increasingly fragile physical state. This interview was the one sole exception to his staunch "no interview" policy, and provides fascinating insight into the mind of the man who became Western society's most prominent spokesman for the Palestinian cause.
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In 2022, an exhibition on the Swiss painter-sculptor Flavio Paolucci was planned in a German museum. The museum had reserved a white wall on which the artist was to create a work. Everything was ready, but the pandemic prevented the 88-year-old artist from travelling. So Flavio Paolucci had the idea of creating this mural in his studio and then destroying it.
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Who remembers Mohamed Zinet? In the eyes of French spectators who reserve his face and his frail silhouette, he is simply the “Arab actor” of French films of the 1970s, from Yves Boisset to Claude Lelouch. In Algeria, he's a completely different character... A child of the Casbah, he is the brilliant author of a film shot in the streets of Algiers in 1970, Tahya Ya Didou. Through this unique work, Zinet invents a new cinema, tells another story, shows the Algerians like never before. In the footsteps of his elder, in the alleys of the Casbah or on the port of Algiers, Mohammed Latrèche will retrace the story of Tahya Ya Didou and its director.
"Film shot on the 'bench' from hundreds of photos, buildings, streets, towns unusually colorful for a North Mediterranean eye. The editing was composed on a score because the shots are generally very short, up to two images, and they do not follow each other "cut" or crossed but in "racket". The progression of shots varies from faintly colored recognizable to strongly colored unrecognizable. The soundtrack is composed of Arabic music that gradually turns into free-jazz. » Mannheim Festival, 1973