Tuesday 11 August
Aïcha El Beloui
ⵄⵉⵛⴰ ⴰⵍⴱⴰⵍⵡⵉ ⵏⴰⵜⴰⵥ ⴰⵎⴰⴽⵍⴰ ⵜⴰⵎⴰⵖⵔⴰⴱⴰⵛⵜ. ⵏⴰⵜⴰⵥ ⴰⵎⵙⴷⴰⴳ ⴰⵎⴰⵏⵓⵏ. ⵥⴰⵅⴹⴰⵎ ⵏⴰⵜⴰⵥ ⴹⵉ ⵉⴳⵔ ⵏ ⵜⴰⵏⴳⵉ ⵇⴱⴰⵔ ⴰⵜⵉⵅⴹⴰ ⴰⵜⵎⵉⵢⴰⵔ ⵖⴰ ⵔⵅⴰⴹⵎⴰⵥ ⴹ ⵉⴱⴷⴰⵄⵉⵢⴰ, ⴰⵎⵓⵊⴰⵡⴰⴱ ⵅⴰ ⵃⵡⴰⵊ ⵓⴱⵉⵢⴰⵏ ⵏⵎⴰⵏⵡⴰⵢⴰⵜⴱⵉⵢⵉⵏⴰⵏ ⴹⵉⵥ ⴰⵏⴷⵉⵏⵜ.ⵥ ⴰⵙⴰⵅⴹⴰⵎ ⵏⴰⵜⴰⵝ ⴰⵚⴰⵎ, ⴰⴼⴰⴼⵉ, ⴹⴰⵚⴰⵎ ⵏ ⵜⴰⴽⴰⵕⴹⴰ ⴰⵜⴰⵙⴱⵉⵢⴰⵏⵍⵄⴰⵇⵍⵉⵢⴰ ⵢⵓⴹⴰⵏ ⵅⵥ ⵏⴰⴷⴰⵎ ⵏⵙⵙⴰⵏ ⴹⵉ ⵎⵓⵛⴰⵏ ⵏⵙⵙⴰⵏ. ⵏⴰⵜⴰⵥ ⵔⵓⵅⴰ ⵥⵉⵙⵉ ⴰⵙⵍⴽⵉⵏ ⵎⴰⵙⵜⴰⵔ ⴹⵉ ⵜⴰⵣⵓⵕⵉ ⴹ ⴰⵙⴰⵢⵔⴰⵔ ⵣⵉ ⵓⵙⵍⵓ. ⵥⵅⴰⴷⴰⵎ ⵏⴰⵜⴰⵥ ⵄⴰⵡⴰⴹ ⴰⵎ ⴰⵎⵚⵓⴼⴰⵖ ⴰⵎⵙⵏⴼⵓⵍ ⴹ ⵎⵓⵚⴰⵎⵉⵎⴰ ⵏⴰⴳⵔⴰⴼⵉⴽ
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Aïcha El Beloui is a Moroccan Illustrator. She is an Architect by training. She worked within the Heritage field before deciding to convert to a creative career, in response to a need to express the invisible in the city. She uses drawing, research, and mapping to illustrate people’s perceptions of their cities and places. She is currently taking a Master’s Degree in Art and Public Space in Oslo. She also works as a Creative Director and a Graphic Designer.
Tuesday 11 August
ⵄⵉⵛⴰ ⴰⵍⴱⴰⵍⵡⵉ
ⵜⵃⵉⵙⵉⵅ ⴰⵅⵎⵉ ⵛⴰ ⵣⵕⵉⵅⴹⵉ ⵛⴰ ⵏⵓⵎⵛⴰⵏ
ⵥⵕⴰⵥⴰ ⴳⵉⴼ ⵉⵛⴰⵍⵓⵥⴰⵏ
ⵢⵓⵍⵢⵓⵣ
2020
ⵉⵙⴰⵅⴹⴰⵎ ⵍⵎⵓⵙⴰⵍⵙⴰⵍⴰⵝ ⵙⵡⴰⴷⴰⵢ ⵣⵉⵥ ⵔⴰⵥⴰ ⵉⵛⴰⵍⵓⵥⴰⵏ ⵉⵙⴽⴽⵉⵍⵏ ⵏ ⵜⵎⴰⵣⵉⵅⵜ (ⵜⵉⴼⵉⵏⴰⵖ) ⵎⴰⵛⴰ ⴰⴹⵉⵙⴱⵉⵢⴰⵏⴰⵎⵓⵟⵉ, ⵔⵅⴰⴹⵎⴰⵅ, ⴰⵙⵉⵖⵉ. ⵔⴰⵃⵡⴰⵢⴰⵊ/ⵔⵅⴰⴹⵎⴰⵥ ⵏⵉⵥⵏⵉ ⴱⴰⵢⵏⵉⵏ ⴽⵜⴰ ⵣⵉ ⵉⵙⴽⴽⵉⵍⵏ ⵉⵜⵚⴰⵇⴰ, ⵡⴰⵥⵏⵉⵙⵉⵏ ⵃⴰⴷ, ⵓ ⴹⵔⵓⵙⵜ ⵉⵥⵏⵉⵙⵏⴰⵏ ⵣⵉ ⵡⴰⵟⴰⵚ. ⵉⵜⵡⴰⴽⴰⵠ ⴰⵡⴰⵔ ⵏⵉ ⵉⵙⴰⵊⵍⴰⵏ ⵙⵡⴰⵡⴰⵔ ⵉⵖⴻⵢⵣⴰⵏ, ⴰⵙⵃⵉⵢⴰⴹ ⵄⴰⵡⴰⴹ ⵏ ⵉⵙⴳⴳⵉⵍⵏ. ⴹⵉⵊⴰⵏ ⵜⴰⵖⴰⵔⴰⵙⵜ ⵙ ⴰⴼⵓⴽⵙ ⴰⴹⵉⴱⴰⵏ ⵜⴰⵔⴱⵉⵃⵜ ⵏⵉ ⵡⴰⵢⴰⵜⴱⵉⵏⴰⵏⵛⴰ
ⴰⵡⴰⵕⵉ ⵔⵅⴰⴹⵎⴰⵥ.
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Aïcha El Beloui
I feel like I know you from somewhere
Three GIF animations
2020
The series of three minimal animations use Berber alphabet (Tifinagh) to illustrate motion, action, progress. The tools/actions are more obvious than the letters forming them, still unknown, and hardly identifiable to the majority. The soundtrack is made of the sound of effort, also excluding the letters. It is one way to subtly emphasize the invisibility of the communities behind the labour.
Thursday 13 August
2pm GMT + 1
ⴼⴰⵟⵉⵎⴰ ⵎⴰⵣⵎⵓⵣ (ⵥⴰⵅⵔⴰⵇ ⴹⵉ 1974,
ⴽⴰⵣⴰⴱⵍⴰⵏⴽⴰ) ⵉⵄⴰⴷⵉⵙⵙⴰⵏ
ⵏⴰ ⵙⴽⴰⵜ, ⵜⴰⵏⴱⴰⴹⵜ ⴰⵏⴳⴳⵓ ⵜⴰⵏⴱⴰⴹⵜⴰⵏ, ⵏⴰⵜⴰ ⴰⵏⵙⴰ ⵏ ⴽⵓⵔⵛⵉ ⵉⵊⴰⵎⵄⴰⵏ
ⵔⵅⴰⴹⵎⴰⵥ ⴼⴼⴰⵟⵉⵎⴰ.ⵥ ⴰⵚⵓⴼⴰⵖⴷ ⵏⴰⵜⴰⵥ ⵔⵅⴰⴹⵎⴰⵥ
ⵉⵜⵏⴰⵇⴰⵎⴰⵏⵥⵢⵓⵎⵉ ⵏ ⵜⴰⵏⴰⵎⵓⵏⵜ ⴹ ⵜⴰⵎⴰⴳⴰⵢⵜ ⵏⵜⴰⵎⵖⴰⵔⵉⵏ, ⵉ ⵢⴰⵣⵣⵓ ⴹⵉ
ⵔⵡⴰⵥ ⵏ ⴰⵙⴷⵓⵔⵔⵊ. ⴷⴷⴰⵜ ⴷⵉⵊⴰⵏ ⴰⵙⴳⴳⵓⵔ ⴰⵎⵚⴰⵡⴰⴹ ⵎⴰⵏⴰⵢⴰ ⵓⵎⵉ
ⵜⵉⵛ ⵔⵡⴰⵇⵜ ⴽⵜⴰ ⴹⵉ ⵔⵅⴰⴹⵎⴰⵥ ⵏⴰⵙ, ⵓ ⵛⵉⵎⴰⵔⴰ ⵉⵜⵉⵔⵉ ⴹⴰⵢⴰⵙ
ⵜⴰⴼⵓⵍⵜ ⵜⵉⵔⵡⵉ ⵏ ⴰⵏⴰⵣⵓⵔ ⵙⵉⵎⴰⵏⵜⵏⵏⴰⵙ. ⵜⴽⴰⵎⴰⵔ ⵎⴰⵣⵎⵓⵣ
ⴰⵎⵣⵔⵓⵢ ⵏ ⵜⴰⵣⵓⵕⵉ ⴰⵎⵙⴷⴰⵡ, ⵉⴹⴰⵙ ⵢⵓⵢⴰⵏ ⴰⵟⴰⵙ ⵡⵓⵙⵙⴰⵏ ⵏⵓⴼⴰⴼⵉ
ⴹ ⵜⴰⵣⵓⵥ ⴹⵉ ⴰⵎⵣⵔⵓⵢ ⵏ ⵜⴰⵣⵓⵕⵉ ⴹⵉⵥ ⵎⵓⵔⴰ ⵡⴰⵄⵔⴰⴱⴰⵏ, ⵥⴰⵇⴰ ⵅ
ⵜⵓⵎⴰⵏⵜ ⵏ ⵜⴰⵏⴰⵎⵓⵏⵜ ⴰⴷⵍⵙⴰⵏ ⴹⴰⴳⵄⴰⴱⵓⴹ ⵏⴰⵔⵄⴰⵀⴰⴹ ⵏ ⵔⴰⵃⴽⴰⵎⵏ ⴰⵙⴷⴷⵓⵔⵔⵓⵢ ⵉ ⵇⴱⴰⵔ ⴰⵙⴷⴷⵓⵔⵔⵓⵢ. ⴹⴰⵢⴰⵙ
ⴹⵉ ⴰⵙⴼⵙⵔⴰⵏ ⵏ ⵔⵓⵅⵓ ⵅⵉⵣⴰⴵⵉⴹⵉⵏ ⵜⵉⵙⴰⵎⴰⴹⵉⵏ, ⴰⵅⴰⵎ ⵎⵓⵣⴰⵢⴽ, ⵍⵓⵏⴷⵓⵏ(2019); ⵜⴰⵎⵇⵇⵓⵔⵜⴰⵜ ⴰⴼⵔⵉⵇⵢⴰ,
ⵜⵓⵔⵜⵉⵜ ⵏ ⵠⵉⵢⵉⵜ, ⵒⴰⵔⵉⵣ (2017); ⵙⵓⵒⵉⵔ ⵓⵎ_ ⵜⴰⵎⴰⴳⵉⵜ ⴰⴷⵍⵙⴰⵏ, ⵜⴰⵙⵓⴳⴳⵔⵜ ⵎⴰⵎⵢⴰ ⴱⵔⵉⵜⵉⵙⵛⵉ, ⵒⴰⵔⵉⵣ
(2016).
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Fatima Mazmouz (b.1974, Casablanca) The bellies of silence, power and against powers, is the generic title which gathers all the works of Fatima. She creates work that critiques the social constructions of womanhood and identity, and explores colonial inheritance. The body as a tool for communication is a central theme in her work, which often includes an element of performance by the artist herself. Mazmouz pursued art history academically, which prompted her decades-long research and exploration of art history in Arab countries, studying socio-cultural phenomena at the heart of the colonial and post-colonial ruling system. Recent exhibitions include RAW QUEENS, The mosaic room, London (2019); Afriques Capitales, Parc de la Villette, Paris (2017); SUPER OUM _ Identités culturelles, Galerie Mamia Bretesché, Paris (2016).
Thursday 13 August
2pm GMT + 1
ⴼⴰⵟⵉⵎⴰ ⵎⴰⵣⵎⵓⵣ
ⵠⵉⴷⵢⵓ
2020
ⵅⴰⵔⵇⴰⵅ ⵏⴰⵛ ⴹⵉ ⴽⴰⵣⴰⴱⵍⴰⵏⴽⴰ ⴹⵉ 1974, ⴹⴰ ⴳⵙⴰⴳⴰⵙ ⵏⵉ ⵙⴰⴼⴰⵅ ⵖⴰ ⴼⵕⴰⵏⵚⴰ. ⵣⵉ ⵄⵉⵛⵉⵏ ⵉⵙⴰⴳⵓⵙⴰ, ⵡⴰⵙⵉⵡⵔⴰⵅ ⵏⴰⵛ ⵄⴰⵎⴰⵚ ⵝⴰⵄⵔⴰⴼⵜ, ⵎⴰⵢⴰⵏⵣⵉ ⵜⵓⵜⵍⴰⵢⵜ ⵜⴰⵢⵎⵎⴰⵜ ⵉⵏⵓ ⵜⵎⴰⵣⵉⵅⵜ. ⴰⵥⵓⵕ ⵉⵏⵓ ⵣⵉ ⵙⵡⴰⴷⴰⵢ ⵏ ⵍⵎⴰⵖⵔⵉⴱ, ⵉⵊⴰⵏ ⵜⵎⵓⵥ ⵥⴰⵛⵏⴰ ⴰⴳ ⵜⴰⴼⵔⴰⵡⵜ ⴰⵎⵉⵊⵊⵏ ⵏⵜⴰⵏⴷⵉⵏⵜ ⵟⴰⵎⴰⵇⵕⴰⵏⵜ. ⵎⴰⵛⴰ ⵥⴰⵣⴰⴷⵉⵅⵜ ⵉⵏⵓ ⴰⵇⴰⵜ ⴹⵉ ⵜⵉⵍⵉⵍⴰⵏ, ⴹ ⵉⵖⵔⴰⵎ ⴹⴰⴳⵉⵊⴰⵏ ⵡⴰⴹⵔⴰ ⴹⴰⵎⴰⵇⵔⴰⵏ ⵢⴰⵙⴰⵃ ⵙⵡⴰⵟⴰⵙ ⴰⵖⴰⵙ ⵥⴰⵡⴹⴰⴹ. ⴷⵉ ⵜⴰⵖⴰⵔⴰⵙⵜⴰ, ⵜⴰⵎⵙⵙⵏⵜⵉⵜ ⵉⵏⵓ ⵉⵜⵙⴰⵇⵙⴰⵅ ⵜⴰⵡⵏⴳⵉⵎⵜ “ⵓⵙⵉⵖⴷ ⵣⵉ”. ⵎⴰⵏⵉⵄⵏⴰ ⴰⵏⴰⵎⴽ ⵏ ⵜⴰⵎⴰⴳⵉⵜ ⵓ ⵍⵄⵉⵛⴽⴰⵍⵉⵢⴰⵏ ⵜⴰⵥⵖⵓⵕⵜ? ⵜⴰⵙⴱⵉⵢⴰⵏ ⵔⵅⴰⴹⵎⴰⵥ ⵉⵏⵓⵜⴰⴽⴰⵔⴹⴰ ⵏ ⵜⴰⵎⴰⴳⵉⵜ, ⵉⴼⵉⵕⴰⵏ ⵎⵅⴰⵡⴰⴹⴰⵏ ⵏⵜⵓⵙⵏⴰ ⴹ ⵎⴰⵏ ⵢⵓⴹⴼⴰⵏ ⴹⵉ ⵕⴰⵠⵏⵉ ⵏ ⵜⴰⵎⴰⴳⵉⵜ ⵉⵏⵓ.ⵜⴰⴽⴰⵔⴹⴰ ⵢⴰ ⵥⴰⴽⴰⵠ ⵙⴰⵜⵙⴰⵡⴰ, ⵓⵏⵓⵖ, ⴰⵡⴰⵔ, ⴰⵚⴹⵔⵓ, ⴹ ⵛⴰ ⵏⴰⵃⵡⴰⵢⴰⵊ ⵏⴰⵖⵏⵉ. ⵠⵉⴷⵢⵓⵢⴰⵉⵜⵎⴰⵏⴰⵢ ⴹⵉ ⵔⵅⴰⴹⵎⴰⵥ ⴰⵎⴰⵏⵉ ⵖⴰⵢⴰⵇⵉⵎ ⵉⵜⵎⴰⵏⴰⵢ
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Fatima Mazmouz
Orkémns
Video
2020
From an autobiographical story, ORKEMN presents itself as a walk in the phantomatic Berber memory crystallized in the voice of the narrator. The evanescent images answer to a hesitant and sometimes emotional voice, which brings us back to the complexity of the question of the origin through the language between cultural attachment, territorial attachment, affective attachment… and a political attachment in exile which ends up being also fictional.
Friday 14 August
2pm GMT + 1
ⵎⵓⵏⵉⵔ ⴳⵓⵔⵉ ⵉⵊⴰⵏ ⴰⵏⵓⵣⴰⵕⵉⵙⵙⴰⵏ ⴰⴹⵉⴳ ⴰⵟⴰⵚ ⵏⴰⵜⵎⴰⵙⵔⴰⵢⵉⵏ ⵣⵉ
ⵄⴰⵏⵏⴰⴱⴰ, ⴷⵣⴰⵢⴰ ⵉⵜⵄⵉⵛ ⵓ ⵢⵅⴰⴷⴰⵎ ⵊⴰ ⵄⴰⵏⵏⴰⴱⴰ ⴹ ⵒⴰⵕⵉⵣ,
ⴼⵕⴰⵏⵙⵙⴰ ⵎⴰⵏⵉ ⵕⵓⵅⵓ ⵢⴰⵜⴽⴰⵎⴰⵔ ⵏⴰⵜⴰ ⴰⵙⵍⴽⵉⵏ ⴹⵉ ⵜⵉⵏⵎⵍ ⵏ ⵓⴼⵍⵍⴰ ⵏ
ⵜⴰⵏⴰⵎⵓⵔⵜ ⵏ ⵜⴰⵣⵓⵕⵉ ⴹⵉ ⵙⵉⵔⵊⵉ – ⵒⴰⵕⵉⵣ. ⵢⵉⵙⵙⵉ ⵏⴰⵜⴰ ⵛⴰⵀⴰⴷⴰ
ⴹⵉ ⵜⴰⵣⵓⵕⵉ ⵣⵉ ⵜⵉⵏⵎⵍ ⵏ ⵜⵉⵣⵓⵕⵉⵡⵉⵏ ⵜⵉⵎⵙⵉⵍⵖⵉⵏ ⴹⵉ ⵄⴰⵏⵏⴰⴱⴰ.
ⵝⴱⴰⵏⴰⴷ ⵕⵅⴰⴹⵎⴰⵥ ⵏⴰⵙ ⴹⵉ ⴰⵏⵎⵓⵇⵇⴰⵔ ⵏⴰ ⵒⴰⵏ ⴰⴼⵕⵉⵇⵢⴰⵏⵥ ⵉ
ⴷⵣⴰⵢⴰ ⴹⵉ 2009, ⵡⴰⵀⵕⴰⵏⵏ ⵜⴰⵣⵓⵕⵉ ⴰⵜⵔⴰⵔ ⴽⵓⵔ ⵄⴰⵎⴰⵢⴰⵏ ⴹⵉ
2016, ⴹ ⴰⵏⵎⵓⵇⵇⴰⵔ ⴰⵎⴰⴹⵍⴰⵏ ⵏ ⴰⵏⵓⵣⴰⵔ ⴰⵎⵓⵟⵟⵓⵏ ⴹⵉ ⵎⴰⵙⵙⴰ ⴹⵉ
ⵉⴱⴰⵏⴰⴷ ⵏⴰⵜⴰ ⵄⴰⵡⴰⴹ ⴹⵉ ⴱⴰⵙⴰⵍⵓⵏⴰ, ⵙⴰⵒⴰⵏⵢⴰ ⴹⵉ ⴰⵎⵎⴰⵙ ⴼⵓⵔⵜ
ⵒⵢⵉⵏⵙ ⵙⵉⵠⵉⴽ (2018) ⴹ 2017. ⴹⵉ ⴰⵔⵎⵢⴰⵔ ⵜⴰⵙⴰⵢⴰⵔⵜ ⴹⵉ ⴷⵣⴰⵢⴰ(2019). ⴹⵉ 2019, ⵢⴰⴱⴰⵃ ⵏⴰⵜⴰ ⴰⵕⵉⵖⴰⵍⵓ
ⵓⵎⴰⴷⵓⴽⴰⵔ ⵏⵉ ⵃⵓⴹⵕⵢⴰⵏⵡⴰⵄⵔⴰⴱⴰⵏ ⴰⵜⵔⴰⵔ ⴰⵎⵙⵏⴼⵍⵓⵍ ⵣⵉ ⴰⵖⵙⵓⵔ ⵏ ⴰⵎⴰⴹⴰⵍ ⵡⴰⵄⵔⴰⴱⴰⵏ ⴹⵉ ⵒⴰⵔⵉⵣ,
ⴼⵔⴰⵏⵙⵙⴰ.
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Mounir Gouri is an interdisciplinary artist from Annaba, Algeria who lives and works between Annaba and Paris, France where he is currently pursuing a degree at the Ecole Nationale Supérieur d’Art de Cergy-Paris. He holds a BFA from the École des Beaux-Arts in Annaba. His work was included in the Pan-African Festival in Algiers in 2009, the Oran Biennial of Contemporary Art in 2016, and the International Festival of Digital Art in Egypt in 2017. He has also been shown in Barcelona, Spain at the Fort Pienc Civic Center (2018) and at the Ateliers Sauvages in Algiers (2019). In 2019, he won the Friend’s Prize for Young Contemporary Arab Creation from the Institut de Monde Arabe in Paris, France.
Friday 14 August
2pm GMT + 1
ⴳⵓⵕⵉ ⵎⵓⵏⵉⵔ
ⵥⴰⵎⴰⵥⵉⵏⵓ
ⵠⵉⴷⵢⵓ ⵡⴰⵢⴰⵜⴱⴰⴷⵉ, 2 ⵎⵉⵏⵓⵜ
2016
ⵎⵓⵏⵉⵔ ⴳⵓⵕⵉ ⴹⴰⵎⵉⵙ ⵏ ⴷⵓⵛⴰⵎⵒ. ⴷⵓⵛⴰⵎⵒ ⵏ ⵜⴰⵏⴰⵣⵔⵓⴼⵜ, ⴰⵙⴱⴱⴰⴱ ⵏⴰⵔⵎⴰⵍ. ⵠⵉⴷⵢⵓⵢⴰⴹⴰⵠⵕⵉⴹ, ⵣⵉ ⵢⴰⵔⵎⴰⵍ ⵖⴰ ⴰⵎⴰⴷⴰⵏ, ⵏⴰⵜⴰⵥ ⵜⴰⵊⴰⵔⴰⵜ ⵏⴰⵔⵡⴰⵇⵜ ⵉⵜⴰⴽⴰⴱⴰⵏ ⴰⵏⵀⴰⵣⵉ
ⵉⴼⴰⵙⴰⵏ ⴰⴹⵉⵃⴼⴰ ⵜⴰⵎⴰⴳⵉⵜ, ⵜⴰⵎⴰⴳⵉⵜ ⵏⴰ ⴷⵣⴰⵢⴰ. ⵜⴰⵎⴰⴳⵉⵜ ⵡⴰⵣⴰⵎⴰ ⴰⵜⵉⵕⵉ ⵠⵔⴰⵜⴰⵏⴰⵣⵕⵓⴼⵟⵜ. ⵡⴰⵅⴰⵎⴰⵏⵉ ⵜⴰⵏⴰⵣⵔⵓⴼⵜ ⵏⴰⵜⴰⵥ ⴹⵉⵊⴰⵏ ⵡⴰⴼⵔⴰⵢ. ⵏⴰⵜⴰⵥ ⴹⴰⵎⴰⵏ ⵉⵜⴰⵣⵔⴰⵏ ⴹⴰ ⴳⴼⴰⵙⴰⵏ ⵏⴰⵅ ⵉⴹⴰⵅ ⵉⵊⴰⵎⵄⴰⵏⵡⵉ ⴹⴰⵅ ⵉⵜⴰⴱⵄⴰⵏ ⴹⵉ ⵔⴰⵥⴰ ⵏⴰⵅ ⴹ ⴰⴹⵓ ⵏⴰⵅ, ⴹⴰ ⴳⴰⵔⴰⵡ ⵉⵢⴰⵠⴹⴰⵏ ⴰⵍⵎⴰⵖⵕⵉⵠ ⴰⵎⴰⵇⵔⴰⵏ ⵣⵉ ⵎⴰⵏⵉ ⵉⵇⵉⵎⴰⵏ ⵣⵉ ⴰⵎⴰⵏⵥⴰⵡ ⵉⴼⵔⵉⵇⵢⴰ. ⵀⴰⵎⴰⵛ ⵊⴰ ⵜⵡⴰⵔⴰⵏ ⵜⴰⵏⴰⵣⵔⵓⴼⵜ ⵣⵉ ⵔⴰⵠⴷⴰ. ⵄⴰⴹ ⵔⵓⵅⴰ ⵄⴰⴷⵓⵏⴷ ⵅⴰⵙ ⴰⵟⴰⵚ ⵢⴰⵠⵔⵉⴹⴰⵏⵙⴽⵓⵔⵛⵉ, ⵣⵉ ⵉⵣⵣⵍⵎⴹⵏ ⵖⴰ ⵉⴼⴼⵓⵙ, ⵣⵉ ⴰⴳⵎⵎⵓⴹ ⵖⴰ ⵜⴰⴳⵓⵜ. ⴹⴰⵢⴰⵙ ⵉⵎⵓⵛⴰⵏⵣⴰⴳⴰⵏⵉ ⵡⴰⵟⴰⵃⵉⴱⴰⵏ ⵛⴰ ⴰⵟⴰⵚ ⵣⵉ ⵥⵎⴰⵥ ⵏⴰⵅ, ⵎⴰⵛⴰ ⵏⴰⵜⴰⵥ ⵄⴰⵡⴰⴹ ⵟⴰⵃⵠⵓⵜ ⵉⵜⴰⵏⵀⴰⵣⴰⵏ ⵙⴰⴷⵓⵏⴰⵛⵜ.
ⴰⵕⵎⴰⵍ ⵏⵉ ⵉⵜⵉⴹⵕⵉⵏ ⵙⵡⴰⵟⴰⵙ, ⵥⵙⴰⵇⴰⴷ ⴰⴼⵔⴰⵢ, ⴹⴰⵎⴰⵏ ⵉⵜⴰⵣⵔⴰⵏ ⴹⴰ ⴳⴼⴰⵙⵙⴰⵏ ⵏⴰⵅ ⵉⴹⴰⵅ ⵉⵊⴰⵎⵄⴰⵏ. ⵜⴰⵏⴰⵣⵔⵓⴼⵜ, ⵜⴰⵏⴰⵣⵔⵓⴼⵜⴰ ⴹⴰⵔⵠⴰⵏⵢⵓ ⵏ ⴰⴹⵓ, ⴰⵎ ⵉⴼⴰⵙⵙⴰⵏ ⵏⴰⵅ ⵉⴳⵉⵜⴱⴰⵍⴰⵄⴰⵏ ⵉ ⵄⴰⵡⴰⴹ ⵉⵢⴰⵣⵎⴰⵏ ⴹⴰ ⴳⵏⵓⴼⴼⴰⵔ ⴹ ⴰⵎⴽⵓⵏ ⵢⴰⵠⵔⵉⴹⴰⵏ ⵏⴰ ⴷⵓⵏⴰⵛⵜ. ⵏⴰⵜⴰⵥ ⴹⵉⵊⴰⵏ ⵡⴰⵎⵛⴰⵏ ⵓⵡⴰⵏⵏⴰⴹ, ⵉⵢⴰⵠⵔⵉⴹⴰⵏ ⵏⴰⴱⴷⴰ. ⵏⴰⵜⴰⵥ ⴹⴰ ⵎⴰⵙⵙ ⵏ ⴰⴹⵓ ⵏⴰⵙ ⵡⴰⵃⴰ, ⵖⴰⵙ ⵉⵠⵔⵉⴹⴰⵏ ⵡⴰⴷⵊⵉⵏ ⵖⴰ ⵀⴰⴷ ⵉⵡⴰⵢⵜⴰⵎⵛⵉⴱⵉⵀⴰⵏ ⴱⵓ ⴰⴳⵉⴼⴰⵙⵙⴰⵏ ⵏⴰⵖⵏⵉ
—
Mounir Gouri
My Land
2016
Video Loop, 2min
Mounir Gouri is a child of Duchamp. A Duchamp of the Desert, a sand dealer. This video is a passage, from sand to the nation, it is the wheel of time that composes the movements of the hands to sculpt an identity, the Algerian identity. An identity that can not do without this desert.
The Sahara on the contrary, is an obstacle. It is the fluid flowing in our hands that unite us and trace our paths and our destiny, an ocean that separates the Maghreb from the rest of the African continent. This is how the Sahara was perceived from all time. Yet many roads traverse it through and through, from north to south, from east to west. It contains regions that are among the most inhospitable of our land, but also the center of intense life. The sand that vastly covers it, constituting an obstacle, is a fluid flowing in our hands to unite us. The desert, this Sahara receptacle of destinies, is like our hands that close and also open on secret and mysterious lines of life. It is a space of circulation, of eternal paths. It is the only master of its destiny, possessing unique lines that do not resemble any other hands.
Saturday 15 August
7pm GMT + 1
ⵎⵓⵏⵉⵔ ⴳⵓⵔⵉ ⵉⵊⴰⵏ ⴰⵏⵓⵣⴰⵕⵉⵙⵙⴰⵏ ⴰⴹⵉⴳ ⴰⵟⴰⵚ ⵏⴰⵜⵎⴰⵙⵔⴰⵢⵉⵏ ⵣⵉ
ⵄⴰⵏⵏⴰⴱⴰ, ⴷⵣⴰⵢⴰ ⵉⵜⵄⵉⵛ ⵓ ⵢⵅⴰⴷⴰⵎ ⵊⴰ ⵄⴰⵏⵏⴰⴱⴰ ⴹ ⵒⴰⵕⵉⵣ,
ⴼⵕⴰⵏⵙⵙⴰ ⵎⴰⵏⵉ ⵕⵓⵅⵓ ⵢⴰⵜⴽⴰⵎⴰⵔ ⵏⴰⵜⴰ ⴰⵙⵍⴽⵉⵏ ⴹⵉ ⵜⵉⵏⵎⵍ ⵏ ⵓⴼⵍⵍⴰ ⵏ
ⵜⴰⵏⴰⵎⵓⵔⵜ ⵏ ⵜⴰⵣⵓⵕⵉ ⴹⵉ ⵙⵉⵔⵊⵉ – ⵒⴰⵕⵉⵣ. ⵢⵉⵙⵙⵉ ⵏⴰⵜⴰ ⵛⴰⵀⴰⴷⴰ
ⴹⵉ ⵜⴰⵣⵓⵕⵉ ⵣⵉ ⵜⵉⵏⵎⵍ ⵏ ⵜⵉⵣⵓⵕⵉⵡⵉⵏ ⵜⵉⵎⵙⵉⵍⵖⵉⵏ ⴹⵉ ⵄⴰⵏⵏⴰⴱⴰ.
ⵝⴱⴰⵏⴰⴷ ⵕⵅⴰⴹⵎⴰⵥ ⵏⴰⵙ ⴹⵉ ⴰⵏⵎⵓⵇⵇⴰⵔ ⵏⴰ ⵒⴰⵏ ⴰⴼⵕⵉⵇⵢⴰⵏⵥ ⵉ
ⴷⵣⴰⵢⴰ ⴹⵉ 2009, ⵡⴰⵀⵕⴰⵏⵏ ⵜⴰⵣⵓⵕⵉ ⴰⵜⵔⴰⵔ ⴽⵓⵔ ⵄⴰⵎⴰⵢⴰⵏ ⴹⵉ
2016, ⴹ ⴰⵏⵎⵓⵇⵇⴰⵔ ⴰⵎⴰⴹⵍⴰⵏ ⵏ ⴰⵏⵓⵣⴰⵔ ⴰⵎⵓⵟⵟⵓⵏ ⴹⵉ ⵎⴰⵙⵙⴰ ⴹⵉ
ⵉⴱⴰⵏⴰⴷ ⵏⴰⵜⴰ ⵄⴰⵡⴰⴹ ⴹⵉ ⴱⴰⵙⴰⵍⵓⵏⴰ, ⵙⴰⵒⴰⵏⵢⴰ ⴹⵉ ⴰⵎⵎⴰⵙ ⴼⵓⵔⵜ
ⵒⵢⵉⵏⵙ ⵙⵉⵠⵉⴽ (2018) ⴹ 2017. ⴹⵉ ⴰⵔⵎⵢⴰⵔ ⵜⴰⵙⴰⵢⴰⵔⵜ ⴹⵉ ⴷⵣⴰⵢⴰ(2019). ⴹⵉ 2019, ⵢⴰⴱⴰⵃ ⵏⴰⵜⴰ ⴰⵕⵉⵖⴰⵍⵓ
ⵓⵎⴰⴷⵓⴽⴰⵔ ⵏⵉ ⵃⵓⴹⵕⵢⴰⵏⵡⴰⵄⵔⴰⴱⴰⵏ ⴰⵜⵔⴰⵔ ⴰⵎⵙⵏⴼⵍⵓⵍ ⵣⵉ ⴰⵖⵙⵓⵔ ⵏ ⴰⵎⴰⴹⴰⵍ ⵡⴰⵄⵔⴰⴱⴰⵏ ⴹⵉ ⵒⴰⵔⵉⵣ,
ⴼⵔⴰⵏⵙⵙⴰ.
—
Mounir Gouri is an interdisciplinary artist from Annaba, Algeria who lives and works between Annaba and Paris, France where he is currently pursuing a degree at the Ecole Nationale Supérieur d’Art de Cergy-Paris. He holds a BFA from the École des Beaux-Arts in Annaba. His work was included in the Pan-African Festival in Algiers in 2009, the Oran Biennial of Contemporary Art in 2016, and the International Festival of Digital Art in Egypt in 2017. He has also been shown in Barcelona, Spain at the Fort Pienc Civic Center (2018) and at the Ateliers Sauvages in Algiers (2019). In 2019, he won the Friend’s Prize for Young Contemporary Arab Creation from the Institut de Monde Arabe in Paris, France.
Saturday 15 August
7pm GMT + 1
ⴳⵓⵕⵉ ⵎⵓⵏⵉⵔ
ⵃⴰⴹⴰ ⵜⵓⵜⵍⴰⵢⵜⵉⵏⵓ
2020
ⴰⵚⴹⵔⵓ ⵠⵉⴷⵉⵓ
ⴹⵉ ⴷⵓⵏⴰⵛⵜ, ⵖⴰ ⵉⵎⴰⴷⴰⵏⵏ, ⵖⴰ ⴰⵎⵓⵏ ⵏ ⵜⴰⵜⵔⴰⵔⵜ, ⵜⵖⴰⵍⴰⴱ ⵜⵓⵜⵍⴰⵢⵜⵜⴰⵥⵓⵕⴰⵏⵜ, ⵡⴰⵥⵃⵎⴰⵔ, ⵓ ⵜⵎⵉⵢⴰⴽⴰⵏ ⵅ ⵜⵓⵜⵍⴰⵢⵜ ⵉⵡⴰⵢⵓⵙⵉⵄⴰⵏ. ⴰⵚⴹⵔⵓ ⵠⵉⴷⵉⵓ ⵉⵏⵓ ⵙ ⵔⵉⵔⴰⵥ ⴰⵙⵉⵍⴰⴼ ⵉⵙⴱⵢⴰⵏ ⵜⵉⵍⵍⴰⵡⵜ ⵏ ⵜⵓⵜⵍⴰⵢⵜ ⵙⵓ ⵙⴰⵏⴰⵄ ⴹⵓ ⵄⴰⵡⴰⴹ ⵓⵙⴰⵏⴰ ⵏ ⵜⴰⵙⵓⵔⴰⵔⵜ ⵜⴰⵙⴰⴽⴼⴰⵍⵜ ⵉ ⴼⴰⵙⵢⴰⵏ ⴰⵎ ⵓⵎⴰⵏⵖⵉ.
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Mounir Gouri
Touch my language
2020
video performance
In the world, in nations, in contemporary societies, major languages dominate, despise, and even ignore minor languages. My video performance through gestural manipulation redefines the existence of languages by doing and remaking a hierarchical game that dissolves like resistance.
Sunday 16 August
2pm GMT + 1
Mr. Berber Cook
ⴰⵣⵓⵍ ⴼⵍⴰⵡⵏ , ⵉⵙⵎⵢⵉ ⴰⴱⴷⵍⵟⵉⴼ , ⴷⴰⵔⵉ 29 ⵄⴰⵎ. ⵏⴽⵉ ⴰⵢⴳⴰⵏ ⵉⵎⵙⵏⵡⵉ ⵏ ⵜⴰⵔⴰⴱoⵜ ⵏ ” Mr berber cook ” ⴷ ⵏⴽⵉ ⴰⵢⴳⴰⵏ ⵓⵍⴰ ⵍⵎoⵅⵔⵉⵊ ⵏ
ⵍⵠⵉⴷⵢⵓⵡⴰⵜ ⵏ ⵜⵉⵔⴰⵎ ⵍⵉⵏⵙⴽⴰⵔ.
ⴰⵣⵓⵍ ⴼⵍⴰⵡⵏ , ⵉⵙⵎⵢⵉ ⴱⵉⵍⴰⵍ, ⴷⴰⵔⵉ 26 ⵄⴰⵎ. ⵜⴰⵡⵓⵔⵉⵏⵡ ⵜⴳⴰⵜⵙ ⴰⴷⵙⴰⵇⵔⴰⴴ ⵜⵓⵜⵍⴰⵢⵜ ⵏ ⵍⵉⵏⵊⵍⵉⵣⵢⴰ, ⴳⴴ ⵍⵓⵍⴰ ⴰⵎⴰⵙⵇⵉ. ⴴ ⵍⵠⵉⴷⵓⵡⴰⵜ ⵏⵍⵉ ⴰⵢⵙⴰⵡⴰⵍⵏ ⴷ ⴰⵔⵜⵊⵎⵄⴰⵀ ⵓⵍⴰ ⴷ ⵎⵉⴷⵏ.
ⴰⵣⵓⵍ ⴼⵍⴰⵡⵏ , ⵉⵙⵎⵢⵉ ⴼⴰⵢⴰⵍ , ⴷⴰⵔⵉ 30 ⵄⴰⵎ. ⵏⴽⵉ ⴰⵢⴳⴰⵏ ⵍⵎⵓⵙⵡⵉⵔ ⵏ ⵍⵠⵉⴷⵢⵓⵡⴰⵜ ⴷ ⵡⴰⵍⵉⵜⵏⵉⵙⴳⴰⴷⴰⵏ . ⴰⵔⵜⵄⴰⵡⴰⵏⴴ ⵓⵍⴰ ⴳⵀ ⵍⵉⵅⵔⴰⵊ.
Mr Berber Cook: Abdellatif, 29 : Cook and the founder of Mr Berber Cook Channel. He is also the director of their cooking videos. Bilal, 26: English teacher and a musician, also the spokesperson of Mr Berber Cook team and the voice speaking on the videos. Faysal, 30: Cameraman of the team and video editor, also directs sometimes.
Sunday 16 August
2pm GMT + 1
ⵟⴰⵊⵉⵏ ⴰⵣⴰⵢⵣ
ⴰⵙⵓⵔⵙⴰⴷ ⴰⴱⵀⵔⵉ ⵉⴳⴰⵏ ⴰⴱⵍⴷⵉ ⵉⵜⵓⵙⴰⵏ ⴱⴰⵃⵔⴰ ⴴ ⵜⴰⴷⵍⵙⴰ ⵉⵎⴰⵣⵉⴴⴰⵏ ⵙⵜⴰⵎⵉⵎⵜⵏⵙ ⴷⵍⵊⴰⵡⴷⴰⵏⵙ . ⵜⵉⵔⴰⵎⵜⴰⴷ ⵜⵀⴰⴷⵔ ⴳ ⵜⵓⴳⵟ ⵏⵜⵎⵉⵣⴰⵔ ⵏⵙⵓⵙⵙ ⵍⵉⵍⴰⵏⵉⵏ ⴴⵜⴰⵎⴰ ⴰⴳⴰⵔⴰⵡ ⵏⵍⴰⵜⵍⴰⵙⵙ ⴴⵍⵎⴰⴴⵔⵉⴱ.
ⵉⵙⴰⴳⵓⵎⵏ
ⴽⵉⵍⵓ ⴷ 600 ⵏ ⴳⵕⴰⵎ ⵏ ⵓⵣⴰⵢⵣ ⵜⴰⵎⵉⵟⴰⵛⵜ ⴰⵣⴳⵏ ⵏ ⵜⴰⵍⵀⴰⵎⵟⵉⵙⵢⵔⵏ ⵉⴼⵉⴼⵍ ⴰⵣⴳⴳⵯⴰⵖ ⵙⵏⴱⴰⵜ ⵜⵔⴽⵎⵉⵏ ⵍⵇⵣⴱⵓⵔ ⴷ ⵍⵎⵄⴷⵏⵓⵙ ⵜⵉⵙⴽⴰⵔⵜ ⵢⴰⵜ ⵜⴰⵥⴰⵍⵉⵎⵜ ⵢⴰⵜ ⵟⵍⵀⴰⵎⵟ ⵍⴰⵃⵔⵉⵙⴰ ⵣⴰⵢⵜⵓ
ⵉⵙⵓⴼⴰⵔ
ⵣⵉⵜ ⴰⵍⵄⵓⴷ ⵍⴱⵣⴰⵔ ⵜⵀⵎⵉⵔⴰ ⴰⵍⵅⴰⵔⵇⵓⵎ ⴰⴱⵍⴹⵉ ⵜⵉⵙⴰⵏⵜ ⵜⵉⵡⵔⵇⵉⵏⵍ ⵎⵓⵙⴰ
——
Cooking Session: A Berber Tajine of Octopus
This traditional seafood dish is very known in The Amazigh culture for both its healthiness and its deliciousness. It is originally found in the Atlantic suburbs of souss-massa regions in the Kingdom of Morocco.
Ingredients: A Kilo and 600g of octopus; Two tomatoes; One half lemon; Sweet pepper; Two turnips; Parsley and coriander; Garlic; One onion; One green lemon; Harissa Olives . Spices:Olive oil, black pepper, paprika, turmeric, salt and bay leaves.
