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Founded by Egyptian filmmaker Hayat Aljowaily, ‘Kalam Aflam’ is spotlighting emerging Arab artists in Paris.
As Egyptian and Arab artists continue to explore new mediums and voices around the world, experimenting with themes rooted in their respective local identities, one Egyptian filmmaker in France found herself yearning for a community, and so she became a host for one. With a belief in the power of the collective, Hayat Aljowaily founded ‘Kalam Aflam’, a space for emerging Arab artists in Paris and beyond.
‘Kalam Aflam’ launched its first event this May at Point Ephemere, Paris, under the theme ‘Coming of Age’, which hosted a series of art installations, short films and musical performances centring around the same theme. “This is a project that I was dying to make happen for three years, and so the theme ‘Coming of Age’ felt very fitting for our first event,” Hayat Aljowaily tells CairoScene. “It – or we – are something that is ‘becoming’.”
Like many Arabs in the diaspora, Aljowaily can sometimes feel like her experience isn’t Western enough or Arab enough. Within the folds of ‘Kalam Aflam’, however, she looks to surround herself with artists who share in her experiences.
“As an Arab artist living abroad, one always feels like they’re in between. But when you’re part of a community of people who look like you or have similar experiences, it changes everything,” Aljowaily says. “It was so refreshing to be in a space where I’m not the only Arab woman, my friends had to look around within a sea of familiar faces to spot me.”
Through an upcoming series of public arts and cultural events, ‘Kalam Aflam’ offers up a space for self-expression and a blossoming creative narrative for those on the lookout for a home. Aljowaily and her partners, Palestinian communications specialist Abood Al Bakri and Lebanese art director Katja Kanaan, continue to open doors for emerging voices, carving out a space for themselves while spotlighting stories waiting to be told.
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
Back in 1729, the Parisian authorities introduced the French capitals iconic blue-and-green street name plaques, topped with a little “Napoleon’s hat” containing the number of the street’s arrondissement.
The plaques honor France and the world’s leading politicians, philosophers, artists, writers, and scientists, including a number associated with the Arab world. French President Emmanuel Macron has previously proposed renaming some of the capital’s streets to include more personalities from ethnic minorities, but that has not yet happened. Still, there are enough Arab names to comprise a walking tour around Paris — including a president, a poet, a pop star and more.
With a wonderful view of the Grand Palais, this large, peaceful stretch of greenery is named after independent Tunisia’s first president, Habib Bourguiba. The secular leader was in charge between 1957 and 1987, and was famously a supporter of women’s rights. Next to his plaque, there is a bronze bust of the leader looking towards the River Seine, with his name written in Arabic underneath.
An admirer of Bourguiba, Halimi was a Tunisian-born French lawyer, feminist, and former member of the National Assembly in France. She died in 2020, aged 93, and this sloping pathway was named after her last year. Halimi’s life of hardships shaped the respected career she had. When she was born, her father hid her — ashamed of her gender. She went on a hunger strike at 10 and, at 16, rejected an arranged marriage, going on to study law in Paris. Halimi is perhaps best known for a 1972 trial, in which she defended a minor who had an abortion after being raped. It was a key event that propelled the country into legalizing abortion in 1975.
Paris mayor Bertrand Delanoe (second from right) and Palestinian President Mahmud Abbas (second from left) unveil on June 14, 2010 in Paris the new Mahmoud Darwich esplanade named after the Palestinian poet who died Aug. 9, 2008. (AFP)
In 2010, just two years after the death of Palestine’s most famous poet Mahmoud Darwish, a square in Paris was inaugurated in his honor. Known for his writings on home, memory, and exile, Darwish spent many years outside of his native land. He lived in Beirut, Cairo, Tunis, and Paris. He had a special connection with the latter, describing it as the place where his “true poetic birth” happened. The plaque is situated in a district the poet reportedly liked, on the banks of the Seine and near the classical buildings of Institut de France and Monnaie de Paris.
A few minutes away from Notre Dame Cathedral stands an unassuming but sobering reminder of how an Arab collective suffered during the turbulent Sixties. In 1961, when Algeria was seeking independence, a group of Algerian protesters were attacked by the police and some of their bodies were thrown into the Seine. In 2021, to mark the 60th anniversary of this horrific event, Paris mayor Anne Hidalgo inaugurated a memorial artwork, made of metal with silhouettes of heads carved out, in remembrance of those who lost their lives.
Between 1962 and 1987, the blonde bombshell diva Dalida, who was born to Italian parents in Egypt, lived in this four-story townhouse in hilly Montmartre, a quiet area outside of the bustling city center of the city that is historically associated with artists. Dalida sang in a variety of languages, including French, Italian, and Arabic. “Salma Ya Salama” and “Helwa Ya Baladi” are some of her most loved Arabic songs. Sadly, it was in this house that she committed suicide in 1987, as a result of tragedies in her personal life. The plaque on her house reads: “Her friends from Montmartre will not forget her.”
The acclaimed Lebanese-born poet and philosopher — and author of “The Prophet” — Khalil Gibran is well-known as a member of the Arab diaspora in 20th-century America. But he also lived in France for a time. Between 1908 and 1910, Gibran, who was then in his twenties, studied painting at Académie Julian in Paris. His stay in the city was made possible by the financial backing of American philanthropist, editor and Gibran’s lover Mary Haskell, who was 10 years his senior.
source/content: arabnews.com (headline edited)
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A memorial to remember the 1961 attack on Algerian protesters by the police in Paris. (Supplied)
NamX’s prototype was unveiled earlier this week. Yet the car will not be available in the market until 2025.
Morocco-French businessman Faouzi Annajah, founder of NamX, has co-created the world’s first car partially powered by a patented removable hydrogen tank system.
NamX’s patented technology consists of a fixed hydrogen tank and six removable capsules.
Set to be released in 2025, NamX responds to the rising demand for hydrogen and hybrid cars amid an increasingly prevailing shift towards clean energy sources and decarbonization worldwide.
“Our double ambition is to become a new reference in the world of zero-emission cars, and to constantly explore new territories to facilitate mobility of our consumers,” Faouzi ANNAJAH, Founder and President of NAMX said in a press release. “ NAMX is a collective project built with the best industrial and technical partners in Europe and Africa.”
The European-African project gathered the support of renowned stakeholders on both continents including Ibrahima Sissoko, founder of over 30 companies, Pierre-Yves Geels, former VP strategy of Matra automotive, Alain Diboine, former Director of the R&D Division at Renault, Mustapha Mokass, clean energy and carbon finance expert, and Raphaël Schoetgen, former Chairman of Hydrogen Europe and international hydrogen expert.
NamX was co-designed by Thomas de Lussac, co-founder of NamX, and Kevin Rice, Chief Creative Officer of Italian car design firm Pininfarina. Inspired by science fiction and American designs of the 50s and 60s, Lussac “chose to give the vehicle’s shape the cutting edge of the coming era.”
NamX is the first car designed by Pininfarina that was created from the back to the front with an eye-catching feature, an X-shaped chassis.
Commenting on the hydrogen SUV, Paolo Pininfarina, President of the Italian design firm, said that “the NAMX HUV [hybrid utility vehicle] is simply at the heart of our DNA: inventing the best driving experience to infinite mobility, with style.”
Upon its release in the final quarter of 2025, NamX will be marketed in two different versions including an entry-level rear-wheel drive with a regulated top speed of 200 km/h and acceleration from 0 to 100 km/h in 6.5 seconds. The second option provides a four-wheel drive with a regulated top speed of 250 km/h and acceleration from 0 to 100 km/h in 4.5 seconds.
The two versions will have a price tag ranging between €65,000 and €95,000.
The NamX prototype was first unveiled on May 11 in the Pininfarina headquarters in Cambiano. The public will have a glimpse of NamX at the upcoming Paris Motor Show scheduled between October 17 and 23, 2022.
As Annajah’s home country, Morocco might host the production operations of NamX, the founder told a Moroccan news outlet, promising future announcements on the matter.
As a leading African automotive hub, Morocco has attracted renowned international automotive manufacturers including ones interested in developing hybrid and electric cars.
source/content: moroccoworldnews.com
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Faouzi Annajah: Moroccan-French Businessman Behind Hydrogen SUV NamX
