- il y a 2 ans
MEDI1TV Afrique : Peinture, cinéma et photographie - 16/12/2023
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00:00 [Music]
00:10 It is with great pleasure that I meet you on Mediain TV for this new Escalculture at the heart of Africa.
00:17 In a few moments, we will go to the discovery of a unique artist.
00:21 He is a stylist photographer, but also a filmmaker.
00:25 Samy Balouji, we will go to the discovery of his universe.
00:30 Otherwise, we will also talk about cinema with a film that made us vibrate.
00:34 Documentary signed Boubacar Sangaré and called "Out of Life".
00:38 He made a sensation, we will come back to it in more detail.
00:41 For now, we are talking about art with a big A, accompanied by our guest of the day.
00:45 [Music]
00:51 And as promised, our guest of the day is a woman who made us vibrate with her universe between sky and earth.
01:00 She is constantly on the threshold, she is with us, Leila. Hello.
01:05 Hello, thank you for welcoming me.
01:09 [Music]
01:12 Leila, thank you for being with us for this head-to-head where we will talk about art, of course, of your artistic universe.
01:20 My first question, you are a trainee, you are a pharmacist, and you have a very particular approach to art,
01:31 since you see it as a therapy, but also as a medium to simply transcribe messages, emotions, sensations.
01:43 Can you tell us about this very particular and very rare artistic universe?
01:48 Yes, it's true, for me, as you say, art is a therapy, first of all personal, and also a means of communication with the other.
02:03 I use it every day because it is the very basis of my balance.
02:10 It is also an introspection of my feelings, it is also a sharing because art allows you to go deep into yourself,
02:24 to put your hand on what hurts, on what could soften life.
02:32 I also use it in the social setting, in art therapy workshops. Art is present in my life in a very, very strong way.
02:44 It's true that, as we said earlier, before the interview, for you it's a need, it can't be different, it's something vital, visceral in you.
02:55 But where does your inspiration come from? Because it's very particular, you give a speech to a disembodied me, where does this inspiration come from, Leila?
03:04 I think that every artist is inspired by their own experience, by phases of their life, by happy or unhappy experiences, by the experiences of others.
03:19 We are also a kind of sponge and we also learn to feel, to trust this little voice that tells you there is a feeling here and there.
03:36 There is also spirituality, it is this connection with the Creator that gives you signs, that gives you sensations.
03:47 And from there comes this impulse to transcribe it without really thinking about it.
03:53 It comes by itself, it's a gift from heaven and it gives works that can sometimes cause questions, fortunately, because that's the opening to communication.
04:09 You talk about communication, opening, inspiration, gift from the Creator. Is art a kind of prayer for you?
04:21 As you say, sometimes it's hard to probe your works because you can't probe this inspiration yourself.
04:37 And in front of your audience, what are their reactions? What are the questions that come up the most?
04:45 The questions that the audience asks me are generally why this world, which is both terrestrial and maritime and aerial,
04:58 is so complicated, so complicated, so complicated.
05:03 It's this mixture that often intrigues them, this weightiness of the characters.
05:11 I generally avoid explaining because I like the other to explore their own imagination,
05:21 but I also like to explain that the world is a world that is very much connected to us as terrestrials,
05:31 to our dependence on a world, to our smallness in relation to the universe.
05:39 Because art is a world where all differences are accepted, all convictions are respected,
05:50 but there is this force that we feel that sometimes goes beyond our will.
05:58 Things go as they go and that inspires us with particular sensations and that are transcribed by painting, by texture, by the artist.
06:12 I would like to come back to you, Leila Ben Halima, on this very beautiful encounter that took place between you and Zouloumbaye,
06:21 but also Eugène Baudet, this language between art, writing between several artists, and with Africa as a central pillar.
06:34 It's true that you have a special connection with the school in Dakar, but also with Zouloumbaye.
06:40 Can you tell us about it?
06:42 Yes, the encounter with Zouloumbaye was a prolific encounter because it allowed me to get closer to my African roots.
06:55 Zoulou is first and foremost a brother because in our discussions our souls have recognized each other from the start.
07:02 His values are very close to mine, and his sincerity and humility have always been present in our discussions about art.
07:21 Art allows a connection between people from different cultures, and Zoulou is in this logic of transmission.
07:35 I would say, Pan-African transmission. As an African, I discover many other countries thanks to him.
07:48 He kindly invited me to his 50th anniversary of painting, where we met other artists from other countries.
08:00 Our discussions were very enriching.
08:06 The discovery of their works, exhibited in a beautiful museum in Dakar, broadened the horizons of both.
08:19 The presence of literature is something that transports us and allows us to go even further.
08:32 There is a symbiosis between literature and art.
08:38 Eugène Ebaudet, a famous writer, opened up a world of imagination to us during this experience,
08:49 where we are not alone, Zoulou and I, but with stories and tales in the background.
09:09 It was a wonderful moment, which we were able to achieve thanks to the kindness of Mme Abla Ababou,
09:20 who made available to us the beautiful gallery, and the presence of a very attentive audience to this pictorial and literary world.
09:34 It was a wonderful event, a wonderful artistic encounter between several worlds.
09:42 Thank you very much, Leila Ben Halima, for being with us.
09:45 An artist who is always on the threshold, who speaks with the unconscious, so that we can better perceive him.
09:52 Thank you very much for being with us.
09:54 Thank you for thinking of inviting me. Thank you for your support for the artists.
10:00 Thank you very much.
10:01 After talking about art with Leila Ben Halima, we are still talking about art, a plural art, in the company of Samy Balogi,
10:13 a real spokesperson for a whole new generation of artists on our continent.
10:19 Regardless of the discipline, the essence of Samy's work, Balogi resides in the exploration of the cultural and architectural heritage of the Democratic Republic of Congo,
10:28 but not only, since he is particularly interested in museums and archives as places of intersection between different memories,
10:34 between the history of Africa and the West.
10:37 Samy Balogi offers a clear and biting look.
10:40 His video works, installments and photographic series, emphasize the way in which identities are shaped, and sometimes transformed, and perverted, and reinvented.
10:49 His always critical look at contemporary societies is a kind of warning.
10:54 First of all, let's take a look right now.
10:57 It's an attempt to analyze, it's also an attempt to situate myself personally as a Congolese, as a person who was born there and lived there.
11:11 And I remain very attached to this country, to this territory.
11:15 And my work, or even my identity, I think, is quite shaped, in a way, by all this heritage.
11:24 And it's part of my writing, too, in a way, of my belonging to the world.
11:30 Obviously, it's quite interesting now to work on these questions, to establish a writing, a questioning, a dialogue with the rest of the world.
11:42 It's an environment that I know, it's an environment that I look at with intimacy, with respect, and with sensitivity, because these are spaces that I know.
11:56 But what is also interesting in these images, in these images present, is to realize the complexity, both temporal,
12:08 it's all these strata of history that overlap with each other.
12:13 You talk about poverty, so it's interesting to know why this poverty is there.
12:20 But at the same time, it's also spaces in which we find an architecture dating from a certain time,
12:28 either in destruction or in pituitary state.
12:37 And all these ruins, or all these rusts, or all these inventions, or all these new proposals,
12:43 whether it's interior decoration, spaces, or in these boulevards, it raises questions.
12:57 Whatever the medium, Samy Balogi invokes cultural clichés and their impact on collective memories.
13:04 As he stated in a recent interview, "I'm not interested in colonialism as nostalgia,
13:09 or in the fact that it's a thing of the past, but by the perpetuation of this system."
13:13 Samy Balogi's practice and research focuses on history and the memories of the Democratic Republic of Congo,
13:19 its home country, and by extension on the question of the heritage and the impact of Belgian colonization,
13:25 a question he addresses through several of his works and the way they perpetuate themselves in contemporary society,
13:31 by collecting photographic, sculptural and video archives.
13:34 He highlights the relationship that humans maintain with their environment.
13:38 And it's no wonder that he recently tried cinema,
13:41 with Augur in Lisbon to represent Belgium at the upcoming Oscars.
13:45 I really developed this kind of narration, which is carried by magical realism,
13:52 magic, honorism, something I've been developing for a few short films that I've done before,
13:59 notably the zombie film, which was at Clermont-Ferrand, and others.
14:06 And so, at the time of my father's death, I really had this... I saw the weepers,
14:11 I imagined that their tears were creating a kind of fountain in the ceiling.
14:17 And I think that was the first scene that inspired me to build the script,
14:25 which I wrote just after, in eight weeks, I think.
14:28 I think it's something important.
14:35 I know that for some of the audience it's a bit disheartening,
14:41 because we're used to linear narrations,
14:44 and we can't anticipate what the film will tell us.
14:48 And so, when we lose our bearings in that way,
14:52 or when we get answers that come to us later,
14:55 or when we realize that the story of the return to the country
14:58 is no longer a challenge after 25 minutes of film,
15:01 it's something that can dishearten the audience
15:04 and give the impression of a bit of a fuzzy film.
15:07 Whereas I think it's not, it's just that...
15:10 it's like what we're all, that is, complex, multiple,
15:15 and that the primary objective can be a return to the country,
15:19 but then there are other elements that they can do,
15:23 and that build our journey,
15:25 and that are perhaps even more interesting than the primary objective.
15:28 And so it's in this kind of construction that the film unfolds.
15:32 After photography, Sami Balouji called for cinema with Ogur,
15:37 the first Congolese feature film to be screened at the Cannes Film Festival.
15:41 Ogur, the director, was awarded the New Voice of 2023 prize.
15:45 Ogur recounts the story of four characters,
15:48 considered as witches,
15:50 signed Balouji, a proteiform artist, rapper, poet, and film director.
15:53 In Ogur, the main character, Kofi, is considered a Zabolo, a witch.
15:58 Kofi was banished by his mother,
16:00 and after 15 years of absence, he returns to Lumbubashi
16:03 to pay for his debt with this film,
16:06 and the director once again puts forward
16:08 a certain form of Western rationality
16:10 versus beliefs and rituals that can be perceived as irrational.
16:14 According to critics, the originality of the feature film
16:17 is in the director's ability to play with metaphors.
16:21 And for Sami Balouji, art and especially cinema are a weapon.
16:25 Always, according to Balouji,
16:26 during four centuries of exchanges with Europe,
16:29 African art was instrumentalized,
16:31 categorized in a simplistic way, even forgotten.
16:33 For him, it is necessary, I quote, "to reactivate memory
16:36 and reappropriate this story."
16:39 And with Ogur, he does it wonderfully well.
16:43 18 years old.
16:45 Apart from the road, nothing has changed here.
16:48 Zabolo.
16:53 What does Zabolo mean?
16:55 The devil's stain.
16:57 Welcome to the Musso-So!
16:59 What is it? Is it a parade?
17:06 It's a parade.
17:08 I'm not a devil, I'm a musso!
17:12 And we continue this cultural stop by talking about cinema.
17:23 This time, it is in Ordeville,
17:25 in Boubacar Sangharia, a story from Burkina Bess.
17:28 Revealing human exploitation in mines.
17:30 We are at the heart of the Calgonie mining site
17:33 where Burkina Faso, Rasmané, at only 16,
17:36 bravely dives more than 100 meters deep
17:39 in artisanal mines to extract gold.
17:41 His daily life, marked by the anxiety of imminent accidents
17:44 and the persistent doubts of his parents,
17:46 pushes him to make his own way
17:48 in this pitiful universe of adults.
17:50 Always driven by the hope of emancipating himself
17:52 and offering a better life to his family,
17:54 Rasmané ends up sacrificing himself,
17:56 leaving behind him his childhood dreams.
17:58 We immediately watch an excerpt from the trailer.
18:02 [Machinery]
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18:14 [Machinery]
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