ALGERIA: The Algerians of New Caledonia

After a revolt in 1871, French colonial authorities in Algeria exiled 2,000 insurgents to New Caledonia. Now their descendants are seeking to reclaim their heritage.

When Christophe Sand landed in Algiers for the first time in 2005 and saw the city’s Casbah surrounded by clouds, he started to cry.

“I felt this pain I’d never felt before, that was unfamiliar to me,” he said. “I wanted to scream.”

Sand grew up 11,000 miles from Algeria in New Caledonia, a French territory in the South Pacific that is, culturally and geographically, worlds away from the North African city of Algiers. For most of his life, Sand’s family history remained a mystery to him. While Sand had been told his great-grandfather was a convict from Algeria, his grandmother refused to speak about him and her Algerian heritage, changing her name from “Yasmina” to “Mina” to create distance between herself and her Arab roots.

“She never embraced her origins,” Sand said, noting that he never fully understood how his family had ended up in New Caledonia.

As he got older, Sand set out to uncover the truth about his Algerian ancestors. What he discovered brought to light a complex colonial history that unveils how far the French colonial state went to protect its empire — and the lasting impact it has had on communities around the world.

In January 1871, 40 years after the French seized control of Algeria, the Kabyle people, a Amazigh ethnic group, banded together to lead what was at the time, the biggest revolt against French occupation in Algerian history.

Kabyle leaders believed it was the opportune moment to strike against French colonial powers. France had just lost a war against Prussia, which had led to the collapse of the French government, and was more vulnerable after its defeat. The revolt spread rapidly, with 250 tribes in the rebels’ ranks.

But the French authorities responded more brutally than expected, destroying entire villages and killing tens of thousands of people, both rebels and civilians. After a year of fighting, the revolt was definitively quashed in 1872. The French authorities seized over 450,000 hectares of land that it distributed to French settlers and quickly put in place trials to prosecute anyone who had rebelled against the French state.

Over 2,000 insurgents, among them leaders of the revolt, faced trial in Constantine where they were presented not as anti-colonial leaders but as petty criminals. Because most of the men hailed from noble families, however, the French were wary of sentencing them to death. Instead, they decided to exile the men to the farthest place imaginable: New Caledonia.

Sand’s great-grandfather was one of these leaders. Along with more than 2,000 other men, he was exiled to New Caledonia in the late 19th century to work in labor camps. The men were sent to Bourail, a place chosen to be a first colony for prisoners. Archives reveal that throughout this journey, the Algerian men continued to resist colonial forces, giving particular importance to their faith: Even during trying passages at sea, they still dutifully observed the fast of Ramadan and continued following certain dietary restrictions, abstaining from the consumption of pork and alcohol.

New Caledonia wasn’t only a place for political prisoners from France’s colonies, the French exiled convicts from the mainland, too. When the men landed on New Caledonia’s shores, they were not allowed to practice Islam, had to adopt Christian names and were forced to marry exiled French women or daughters of French exiles. The colonial administration was hoping that through these marriages, they would create Christian families that conformed to their idea of settlers. The reverse happened: French women took on Algerian traditions and kept alive their heritage, learning how to cook Algerian food and teaching it to following generations. These families cultivated date palm trees as they did back in Algeria. They gave their children Muslim names, in spite of a prohibition to do so by the colonial administration. In 1936, when the ban was lifted, many finally used their Arab names in public.

But for all the traditions that were passed down, many were not. Over time, their languages were forgotten and, critically, so was the history of their ancestors and their rebellion against the French colonial state. Rather than carrying forth the anti-colonial legacies of their ancestors, their descendants became defenders of colonialism in New Caledonia.

At first, many Algerian men had no choice but to help French authorities suppress revolts by the local Kanak — the Indigenous Melanesian inhabitants of New Caledonia — in order to gain back their freedom. But over time, their participation was not simply forced; in some cases it was voluntary. The descendants who were assimilated into French settler society played a key role in the repressive apparatus of the colonial state; it was an Algerian prisoner who killed the Kanak chief Bwëé Noël Pwatiba, an important leader of the 1917 Kanak revolt. Algerian prisoners settled on lands captured by French authorities in the aftermath of Indigenous insurrections. This alliance — both forced and later voluntary — with the French colonial authorities meant that for most of their history in New Caledonia, these descendants were not seen as victims of the same colonial force but instead their helping hand.

Today, 15,000 descendants live in New Caledonia, with the majority residing in the town Nessadio Bourail. Until recently, however, many descendants did not know or share their ancestors’ history.

This was the case for Sand’s grandmother, who believed for most of her life that her grandfather was a criminal. “In New Caledonia, the descendants of these communities had their cultural memories eradicated,” Sand said.

As Sand got older, however, he became more curious about his family’s history. He went as far as traveling to the archives of overseas territories in Aix-en-Provence, France, where he discovered that his great-grandfather was not a criminal but an anti-colonial leader. “My life changed that day, when I realized he was a revolt leader,” Sand said.

At the time, Sand thought the discovery of these archives was the end of his journey to better understand his family’s origins. Then, in the early 2000s, documentary filmmakers came to New Caledonia to interview the descendants of the revolt leaders. They brought a book with them about those exiled from Algeria. In it, Sand found the forgotten story of his great-great-grandmother Tessadit who, upon learning her son would be exiled to New Caledonia, ran down to the port of Algiers to beg a soldier to let her say goodbye one last time. “They gave her 30 seconds,” Sand said. “That’s inhumane.”

When the documentary filmmakers arrived in New Caledonia, elders shared stories passed down to them from their relatives for the first time. “It was a real tipping point for the community,” Sand said, who noted most young people had never heard these stories from elders before. “When the elders got in front of the camera, they let it all come out,” he said. “It was as if they had been carrying knots in their stomachs since childhood that were finally coming out.”

The documentary, Les témoins de la mémoire, was hugely popular when it premiered in 2004, not only with descendants but also with Algerians themselves, who viewed these men as the leaders who put the country on track to eventually achieve independence in 1962.

“We did not know the history, we did not know people were uprooted like that,” said Myriam Moussa, 47, who lives in Algiers. “I had tears in my eyes when I watched the documentary and spoke about it extensively with friends and family.”

Sand, who featured in the film, didn’t realize how popular the documentary was in Algeria until he went to visit in 2005. On the flight over, other passengers recognized Sand and told him: “Welcome, you are at home here.” When he got off the plane, people were waiting for him at the airport to see with their own eyes if their cousin from New Caledonia was coming home.

In Algeria, Sand went to visit his great-grandfather’s village and, for the second time on his trip, began sobbing when the car pulled into the village. People had gathered to meet Sand, many of whom had traveled from afar, to welcome him back home. They offered him dates and goat milk and commented on how, despite the generations of separation, he still bore a resemblance to his relatives.

In the village, Sand visited the small home where his great-grandfather was born and touched the floor where, as per tradition, his umbilical cord was buried. When Sand emerged from the house, onlookers told him: “Son, your face has changed.”

Since the documentary aired, many descendants say the way they view themselves and their identity has changed.

Prior to the film coming out, there was some awareness about the history of North Africans in New Caledonia. The Association of Arabs and Arab Friends, for instance, was created in 1969 in an effort to bring people with shared history together. But like Sand’s grandmother, many descendants spent their lives feeling shame about who they were and what their ancestors represented, facing racism when trying to integrate into the white settler community. The documentary and learning their ancestors’ history changed that.

The Algerian community in New Caledonia, however, is far from homogenous: While some people now embrace their Algerian cultural heritage, others do not, remaining profoundly Caledonian. Many blend their multiple cultures and heritages together. Sand, for instance, continues to identify as Catholic but observes Ramadan.

“We are not a diaspora, the link was too cut for too long for us to be one,” Sand said. But after several years of feeling shame about their heritage, many people are reclaiming it and identifying as Arab. Sand even named his daughter Tessadit, after his great-great-grandmother who forced her way past French soldiers to say goodbye to her son.

Celebrating their ancestors’ anti-colonial struggle is also complicated for many descendants, whose families have actively supported the French colonial state in New Caledonia and the oppression of the local Kanak people.

Sand, who is now dedicated to popularizing this history, hopes that by sharing it more widely and showing that both Algerians and the Kanak were oppressed by the same colonial force, he can help ease tensions between the two communities. Though their histories are different, Sand said, the legacies of French colonialism, dislocation and oppression have similarly afflicted both peoples’ cultures.

In 2013, the Algerian government invited the descendants, including Sand and his mother, to visit Algeria and celebrate the 50th anniversary of the country’s independence, for which their ancestors fought. The delegation from New Caledonia included 30 Algerian descendants as well as 17 Kanaks. “It was the first time we could recognize a shared history and point of view,” Sand said. “We came as a country, not just as descendants.”

source/content: newlinesmag.com /chahrazade douah & melissa godin /(headline edited)

______________

President of Algeria, Abdelmadjid Tebboune lays a wreath at the Soldiers’ Monument during a celebration last November marking the anniversary of the outbreak of the liberation revolution against French colonial rule / Algerian Presidency / Anadolu Agency via Getty Images

Christophe Sand’s great-grandfather / Courtesy of Christophe Sand

____________

ALGERIA

EGYPT/ EMIRATES/ LEBANON/ PALESTINE/ TUNISIA: 6 Arab Female Filmmakers to Keep an Eye On 

Read on for a list of regional female filmmakers who have been taking the industry by storm.

Farida Khelfa

Farida Khelfa is an Algerian-French documentary filmmaker. She is currently set to release a new film titled “From The Other Side of the Veil” that aims to dismantle misconceptions and stereotypes that often surround Arab women.

Kaouther Ben Hania

The Tunisian filmmaker made headlines in the film industry after her critically acclaimed movie “The Man Who Sold His Skin” was shortlisted for the Oscar’s Best International Feature Film award this year.

Ayten Amin

The Egyptian director has long chronicled the lives of women in modern Egypt. Her feature film “Souad” was selected for the cancelled 2020 Cannes Film Festival.

Danielle Arbid

Danielle Arbid is a Lebanese filmmaker. Her work has screened at numerous film festivals in France and the rest of the world, including New York, San Francisco, Tokyo and more.

Annemarie Jacir

The Palestinian filmmaker has written, produced and directed award-winning films such as “A Post Oslo History.” Her movie “Wajib” (2017) won her 18 international awards.

Nujoom Al-Ghanem

The Emirati filmmaker, writer and poet had to overcome societal stigma and family disapproval to make it. She defied the odds and produced films such as “Amal” (2011) and “Sounds of the Sea” (2015).

source/content: arabnews.com (headline edited)

__________

______________________________________________________________

EGYPT/ EMIRATES(U.A.E)/ LEBANON/ PALESTINE/ TUNISIA

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)

______________

@francefootball

_______________________

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)

___________

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

_______________________

FRENCH / ALGERIAN

French-Algerian Filmmaker Farida Khelfa Releases Documentary on Arab Women : July 2021

Algerian-French former model and documentary filmmaker Farida Khelfa is set to release a new film that aims to dismantle misconceptions and stereotypes that often surround Arab women.

Titled “From The Other Side of the Veil,” the new film, which is debuting on Khelfa’s YouTube channel July 2, is also a celebration of Middle Eastern women.

source/content: arabnews.com

__________________

Khelfa is one of the first women of Arab descent to have a successful modeling career. Instagram

______________________

FRENCH / ALGERIAN

Mohamed Bourouissa – French Algerian Artist Awarded ‘Deutsche Borse Photography Prize 2020 : September

Mohamed Bourouissa. Artist. Activist

He was awarded the USD 38,000 ‘Deutsche Borse Photography Foundation Prize 2020’ for his ‘Free Trade’ installation.

It was first exhibited across an entire floor at a Monoprix Supermarket in France as a part of the ‘Les Recontres d’Artes Photography Festival’ in 2019.

Bourouissa uses different mediums including photography, video, painting, text, drawing and sculpture.

His work reflects the lives of the marginalised and dispossessed.

____________

The Algerian-born artist is known for his politically-charged series that highlight the marginalized communities of Paris. File/Supplied / pix: arabnews.com

________________________________

FRANCE / FRENCH-ALGERIAN