- 6 hours ago
De Dubaï à New-York, en passant par la Tunisie, ce documentaire suit la trajectoire du graffeur eL Seed entre ses projets, commandes, et vernissages.Derrière les oeuvres, ce sont plusieurs facettes de l’artiste qui apparaissent dans chacun des lieux visités : à Dubaï, dans son atelier avec son équipe ; en Tunisie, à ’occasion de la présentation de son film à Gabès, la ville de ses parents ; à New-York au MoMA pour la présentation de son livre Perception sur invitation de Glenn Lowry ; à Amsterdam, avec une installation au Tropenmuseum ; à Londres où il doit exposer en janvier 2019 ; et enfin à Paris où il a grandi. Quelques mois dans la vie d’un homme en perpétuel mouvement et constamment sollicité, dans un documentaire qui s’attache à explorer les multiples facettes d’eL Seed, de ses racines tunisiennes redécouvertes à son avénement en tant qu’artiste jusqu’à la reconnaissance unanime de son travail dans le monde entier.
Category
🎥
Short filmTranscript
00:00.
00:07Can you tap El Bastakia ?
00:09.
00:10.
00:15.
00:20.
00:21.
00:22.
00:23.
00:24.
00:25.
00:26.
00:27.
00:28.
00:29.
00:30.
00:31.
00:32.
00:33.
00:34.
00:35.
00:36.
00:37.
00:38.
00:39.
00:40.
00:41.
00:42.
00:43.
00:44.
00:45.
00:46.
00:47.
00:48.
00:49.
00:50.
00:51.
00:52.
00:53.
00:54.
00:55.
00:56.
00:57.
00:58.
00:59the machine, the machine didn't work. So on the console in the bottom, he tried to
01:02make me descend. He inclined the machine to 60 degrees. He didn't hear me, I cried.
01:07So to stop him, I launched a painting bomb. I'm not on him, I'm on the other side.
01:14If I always write the name of my children and my wife and on a certain angle, if you place
01:22somewhere, you can see the reflection just in-dessous, I cover it with the painting.
01:27Just to see if I don't see him. He's missing somewhere.
01:57Dubaï, it's a step in my life. I know that I don't do my life here, but it's been an
02:04step very important in my artistic parcours. In fact, I arrived here in 2013 to make a
02:10residence artistique, which is a sort of hub for art and culture. And I stayed a bit more
02:17than an an an. And that's where I started to develop my sculptures. And I remember that I
02:23Shifra Latifah, who is the director of Tashkil, who told me that I want to come to a residence
02:30in our residence, but when you finish your residence, you have to get something that you've
02:34never ever done before. So that's where I started to develop my sculptures. And I remember that
02:38Shifra Latifah, who is the director of Tashkil, told me that I wanted to come to a residence
02:42of Tashkil, but when you finish your residence, you have to get something that you've never done before.
02:49So that I was challenged. And then I had this sculpture already from the time. I made an
02:57expo temporary, ephemeral, which was called The Declaration. It was a declaration of love
03:03to my wife. And then the expo lasted for 5 weeks. And then we destroyed everything. And then I
03:15started to develop my sculptures.
03:18Well, calligraphy, of course, in the Middle East has a very important history and perhaps
03:35a more embraced history than graffiti does in North America, which is always seen as defacing
03:41something. And for El Seed, I don't think it's ever about defacing. It's actually about creating.
03:47And doing something that leaves a trace in the place, but also with the people involved in the project.
04:17And then I'm proud of it. I'm proud of it. I'm proud of it, I'm proud of it.
04:20I'm proud of it. I am proud of it, especially with having a work just
04:24before Bush Khalifa. It's, let's say, the symbol of Dubai. There are plenty of memories.
04:26It was very difficult when you look at the project. It was my first installation,
04:28first sculpture that I placed in the public space. And I know that for a lot of people,
04:33we can see the result of the final result. But we have a lot of memories.
04:36It was very difficult when you look at the project. It was my first installation,
04:39first sculpture that I placed in the public space. And I know that for a lot of people,
04:43we can see the result of Dubai. There are plenty of memories, in fact.
04:46It was very difficult when you look at the project. It was my first installation,
04:51first sculpture that I placed in the public space. And I know that for a lot of people,
04:56we can see the result of the final result. But we have lost.
05:01You forget the problems once it's finished. And you know it, I always know it.
05:05I'm complaining during the project. It's true, there are nerves that rise up.
05:10And then you have patience. There are things that don't work. And so,
05:14there is a big level of stress, not only at my level, but also at my level of the team.
05:19And you know that once it's finished, then you forget it. And you know that it's part of the project.
05:27If everything was easy, we wouldn't appreciate the final result.
05:34And that's also part of the challenge.
05:37If everything had worked like it was planned,
05:42I think I wouldn't be attached to the project like I am today.
05:48It's a great success.
05:51Well, I'm very impressed with El Cid and his work. I've known about him for several years,
06:00but I didn't get to meet him until I think two or three years ago.
06:03And what impresses me is the way in which he engages the communities around him.
06:09His projects are really interventions. You can even think of them almost as performances,
06:15where he really thinks about how to look at an area, look at a group of people, look at a problem,
06:24intervene with his calligraphic graffiti, and then transform the way a community thinks about itself.
06:34Of course, what he did in Cairo is perhaps the most important work he's done to date,
06:39but it's typical of the way he functions, which is to use his own journey of discovery as a means of engaging people around him.
06:50And I think he's very good at that. He's got an ebullient personality.
06:54He's interested in other people. He knows how to mobilize colleagues and friends to help him.
07:00But most importantly, he knows how to think about the way in which art can galvanize a conversation within a community.
07:07He knows how to diameter and ask for 25 years dopo this year.
07:11He knows how to power outρο Там should make the way in which art can be created,
07:14but in which art can potentially engage people around,
07:22he knows how to make his face and communicate with hisammons.
07:25How are you guessing it using the limit?
07:28TheALL tribe is really coming after me,
07:31vull is coming after something.
07:33The people who realized things like that I have been doing.
07:36People ask me if I can have an oz.
07:38Because I can do it in the street.
07:40And then...
07:42It grows up.
07:44And we see an evolution.
07:46Even if I can show you an oz.
07:48The trace is different.
07:50The shape of the letters is different.
07:52So you can see an evolution.
07:54An organic evolution.
07:56And sometimes I try to get out a little bit.
07:58I have a style that is imposed.
08:00So people recognize that.
08:02But there are more and more reflexes.
08:04There are more and more.
08:06And it becomes more reflexes.
08:08I feel like it is imposed.
08:14Okay.
08:34The shape of the line is very important.
08:36Another shape of the line is very simple.
08:38So I see the line is moving on.
08:40That is so important.
08:42Can I have an e-mail?
08:44Thanks, guys.
08:46I was going to catch up and get a little too.
08:48I could see...
08:50Oh...
08:51I'll catch up again.
08:52It's a little bit of it.
08:54I'm going to catch up.
08:55It's a little bit of it...
08:56I went to catch up.
08:58It's a little bit of it...
09:00I just wanted to catch up.
09:02I try to find this kind of innocence, I think, that's what's most important.
09:28When you start to paint, there's something innocent, very naive, and you feel it in your works.
09:34And sometimes you try to find this little thing you had at the beginning.
09:38No, l'étincelle, it's still there, thank you.
09:42In fact, l'étincelle, you're nourishing it in making projects that come out of the ordinary.
09:48And then, l'étincelle, it's a small flame, which becomes more and more small.
09:53If I leave a delay too long between each project, I feel that it plays.
09:59And then, I really need to go back to my project.
10:02I'm going to go back to five toes in the same way.
10:09And I feel like, today, with art, with my practice, it's become a pretext, in fact,
10:29to be able to enter in some places where no one can enter.
10:34And...
10:35And that's...
10:37It's not the work that's extraordinary.
10:39It's, I think, the experience that creates around the work that's extraordinary.
10:43I'm not in the production, no more.
10:45I don't like to do things just for the...
10:49No, for the fun, it's important to kiffer, but after, it's...
10:52It's...
10:53You know, it's got to make sense.
10:54I'm not going to say...
10:55Ah, I love you so much your red or red.
10:57I don't want to produce 200.
10:59And then, I'm going to say,
11:00here's something that works.
11:01I know I'll be able to sell it.
11:02That's not me.
11:03No.
11:04No.
11:05It's not me, but it's not me.
11:06I don't know, it's not me.
11:07I know, yeah.
11:08I'm sorry.
11:09It's not me.
11:10It might be a song in a song that I've written.
11:12I know, it's not my song that I've written in a song or something.
11:17Do you feel like playing with a song?
11:19Well, that's what I'm doing, it's not my song.
11:25I was living in London, not in London, but in Cambridge,
11:28it was a few months ago.
11:30It was a citation of an English poet,
11:37who was called Rebecca Thompson Forest,
11:44who said to follow the reader and the writer.
11:55What's funny about this phrase,
11:58it tells you that as an artist,
12:02I don't know if it's my personal opinion,
12:05but as an artist,
12:07you create because you have an audience in front of you,
12:12who is ready to look at your work.
12:14A writer, he writes because he knows that someone will read it.
12:17I think a cuistot,
12:19when he cooks at home,
12:22he makes an assiette of meat.
12:26People tell me that they create for themselves,
12:29but that's not true.
12:31Because if you create just for you,
12:32for no one to see,
12:33you won't say to others that you're an artist.
12:35In a certain way,
12:36you want to know that you're an artist.
12:39There's always this rapport to the other.
12:41I like it in this phrase,
12:42because it puts the reader before the writer.
12:45For me, it's important.
12:47And I know that today,
12:48if I create works,
12:49if I'm not in the street,
12:50it's because I want my work to be seen.
12:53And if no one reacts
12:55in a positive or negative way,
12:58you're looking for a reaction.
13:03And if no one reacts to your art,
13:05I don't know,
13:06it's a sort of deception.
13:07But it's my personal opinion.
13:09I already�anlass .
13:13I like it.
13:14I like it.
13:15I have to be changed.
13:16Ahit!
13:17Ding!
13:18You start,
13:19like,
13:20вход!
13:21A message.
13:22You start,
13:23you start talking into your mouth.
13:24Yes,
13:26and I am.
13:28Okay,
13:30you start fishing alone.
13:31Right?
13:32It's fast enough.
13:33You start Facebook since you've made two myths,
13:35you start는데요.
13:36That's a success!
13:38So, let's go.
14:08this one has come to drive
14:11I'm not afraid to go
14:14I'm not afraid to go
14:16It's desperate to choose
14:27music
14:29music
14:32music
14:35music
14:37Immobile, sa chorégraphie équilibre ses propres formes.
14:47Plaisir de l'œil, elle s'adresse à l'âme dans un discours d'une élégance universelle.
14:51Elle invite à parcourir les cultures et les peuples dans une danse,
14:54emportant avec elle les souvenirs d'une génération.
14:57Souffle.
14:59Le Tropon Museum, il se présente comme le musée des peuples.
15:06Il y a une expo sur l'Afrique, il y a une expo sur l'Indonésie,
15:11il y a une expo un petit peu plus haut sur l'esclavage.
15:16C'est sur les peuples, sur l'histoire des peuples.
15:19C'est plus un musée historique.
15:21Je suis content qu'on inscrive mon travail dans cette dynamique-là.
15:26Je pense qu'il y a aussi une grosse communauté arabe ici en Rolorde.
15:32C'est peut-être un moyen de se connecter avec cette communauté.
15:36J'essaie avec mon travail de me connecter avec le monde.
15:41Je me rends compte qu'avec le travail que j'ai pu réaliser dans des pays non-arabes,
15:47j'ai réussi à créer des relations fortes avec des personnes
15:52qui n'avaient aucune relation avec ma culture.
15:56Je ne sais pas l'apprécier.
15:58Je ne sais pas l'apprécier.
16:00Je ne sais pas l'apprécier.
16:02Je pense que je vais devoir revenir à mon avis certainement.
16:06Ils m'ont demandé de réaliser une oeuvre, une installation qu'on est en train de peindre actuellement,
16:10et qui va être une chambre qui va être expérimentée.
16:16qui va être exposée pendant cinq ans ici dans le musée et où les gens vont pouvoir rentrer.
16:20Et donc il y aura mon oeuvre qui enveloppe l'espace.
16:24et une partie de leur collection qui sera aussi exposée.
16:28Il y a aussi une oeuvre interactive.
16:30Là-bas, il y aura un écran qui sera posé où les gens pourront essayer de reproduire mon travail.
16:36La seule fois que j'ai écrit un verset du Coran, c'était Agabès, puisque c'était une mosquée,
16:38donc je pensais que c'était pertinent.
16:40Après, ici, je me suis dit voilà, c'était...
16:42Je ne sais pas, je ne trouvais pas ça...
16:44mais c'était un verset du Coran qui sera exposé pendant cinq ans,
16:46ici dans le musée et où les gens vont pouvoir rentrer.
16:48Et donc il y aura mon oeuvre qui...
16:50on va dire qui enveloppe l'espace et une partie de leur collection qui sera aussi exposée.
16:54Et il y a aussi une oeuvre interactive.
16:56Là-bas, il y aura un écran qui sera posé où les gens pourront essayer de reproduire mon travail.
17:00La seule fois que j'ai écrit un verset du Coran, c'était Agabès,
17:02puisque c'était une mosquée, donc je pensais que c'était pertinent.
17:06Après, ici, je me suis dit voilà, c'était...
17:08Je ne sais pas, je ne trouvais pas ça...
17:10Voilà, ça ne marchait pas.
17:11Donc en fait, ce que j'ai fait, j'ai écrit un poème moi-même.
17:14Donc en fait, c'est mes mots que je suis en train de mettre en calligraphie.
17:17En fait, il a son plan de, entre guillemets, son plan de travail.
17:27Et il sait à peu près quelle couleur il veut adopter pour son sketch.
17:34Il a plusieurs codes couleurs.
17:36Là, en l'occurrence, par exemple, sur le projet d'aujourd'hui, la couleur dominante, c'est le bleu.
17:39Et après, donc, il faut décliner le bleu.
17:41Il ne faut pas toujours faire le même bleu.
17:43Donc là, on a décliné à peu près trois, quatre couleurs de bleu.
17:45Et voilà, et qu'on répartit selon ce que lui, il veut avoir comme résultat final.
17:49Par exemple, il peut faire évoluer une couleur qui va être bleue ici.
18:07Et puis après, sur la suite, ça va être plus dans l'orange, plus le jaune.
18:11Tout ça pour arriver à donner un effet, en fait.
18:13Je pense qu'il a évolué parce que moi, j'ai connu Fauzi artistiquement.
18:18Il avait commencé avec des Posca.
18:20Mais lui, il avait commencé avec le TAG.
18:23Petit à petit, il a fait évoluer le graffiti.
18:26Et ensuite, il a incorporé la Kale Graphie Arabe.
18:31Je pense que Fauzi, c'est quelqu'un d'humain.
18:33Il essaye à travers des projets comme ça de, on va dire, de se connecter avec des personnes
18:39pour peut-être un enrichissement personnel.
18:43Je pense que ça se passe bien avec Fauzi parce que c'est aussi un ami.
18:47Et je pense que quand tu travailles avec un ami, c'est différent.
18:50On a envie un petit peu de faire plaisir à son ami en donnant le meilleur.
18:55Tu n'as pas vu le contrôle ? Tu n'as pas fini mon contrôle ?
19:04Je devais faire un truc complètement différent.
19:11Malheureusement, le matériel que j'ai utilisé a rupture de stock et donc on a dû passer au plan B.
19:17Et c'est pour ça qu'ils étaient au sol.
19:20Maintenant, ça donne une autre dynamique de les avoir debout.
19:23Et donc l'idée, c'est que le poème commence ici et donc il tourne et puis il se termine à peu près ici.
19:29En fait, il reste quelques lettres qui vont se connecter et donc il y a ce mouvement.
19:33Et donc tu rentres dans la pièce et puis tu parcours.
19:35Donc c'est un peu de pression, mais en fait, c'est toujours comme ça, j'ai l'impression.
19:38Il y a toujours... j'ai pas eu le temps de visiter Amsterdam.
19:40Et ce qui m'a rend, c'est qu'en fait, quand je viens dans un endroit, je passe mon temps, je peins, je crée ce que j'ai à créer et puis je repars.
19:45Mais voilà, c'est une bonne ambition.
19:47C'est une bonne ambition.
19:48Le poème commence ici, le poème commence ici et donc il tourne et puis il se termine à peu près ici.
19:52En fait, il reste quelques lettres qui vont se connecter.
19:54Il y a ce mouvement et donc tu rentres dans la pièce et puis tu parcours.
19:58C'est un peu de pression, mais en fait, c'est toujours comme ça, j'ai l'impression.
20:01J'ai pas eu le temps de visiter Amsterdam.
20:03Je peins, je crée ce que j'ai à créer et puis je repars.
20:07Mais voilà, c'est une bonne ambiance.
20:08Tu vois, l'environnement est fabuleux.
20:10On est là et puis le soir, c'est à partir de 5 heures, il n'y a plus personne.
20:13Donc c'est une ambiance assez spéciale.
20:17C'est très spontané, la façon dont je travaille, donc c'est difficile de planifier.
20:23Et puis il y a toujours, même si je planifie, il y a toujours un truc qui change au dernier moment.
20:27Comme je t'ai expliqué hier pour ce que j'allais écrire, j'ai décidé d'écrire un poème et puis c'est ce que j'ai mis sur les murs.
20:33Donc voilà, maintenant, ils m'ont dit OK, d'accord.
20:35Et puis c'était cool avec l'idée.
20:37Je sais qu'une œuvre comme ça, il y a 10 ans, ça m'aurait pris 10 jours.
20:40Après, je pense que ta main, tu sais, a des réflexes que tu as et puis tu arrives à visionner.
20:46Après, je l'ai fait en plus petit, ce genre d'œuvre dans mon atelier.
20:50Et puis je l'ai fait aussi en beaucoup, beaucoup plus grand sur mural.
20:53C'est une œuvre en cercle.
20:54Donc on est dans les temps, j'espère.
20:57Là, moi, je vais me concentrer sur le noir et puis après, on reviendra.
21:01J'espère que Kamal va finir à temps.
21:03Et puis après, on reste la dernière touche à la fin.
21:06Hier, le défi qu'on avait, c'était de faire en sorte que la première lettre du poème se retrouve à côté de la première lettre.
21:18Donc ça passe le tour parfait.
21:20J'ai dû retirer un truc, pas retirer, mais j'ai modifié pour y passer hier.
21:29Mais sinon, on tombe pile poil dessus.
21:31Donc ça, c'est cool.
21:38On va y arriver.
21:50sans fin.
22:20It was in June 2014, I remember that it took six days to do, but in fact I took almost
22:43the double, because every time I had friends, cousins who passed, so I descended from
22:48the other side, I was drinking coffee from the other side, and what's funny is that we
22:53inaugurated it before I finished the work. They planned an event, the Institute of
22:57the Monde Arabe, and the work wasn't finished, so the people were coming, and then they took
23:01pictures. I remember that one night, I was perché there-haut, and one of my cousins
23:09rode here, and he saw me from the far away, and he clapped it, and he said,
23:13I was like, how are you? And in fact, he made two minutes and he said, I was like, it was
23:17you? You know, I try to get out of my work, I try to get out of my work, I try to get out of my work.
23:23Once the work is finished, I forget it, and then I accept to see it disappear, but after
23:31the rest, it's cool, you're always happy to come back and see it to you, it's interesting.
23:36After, yeah, I learned to get out of my work. And what's funny is that when you
23:42come back here, you see a lot of little errors, things that I didn't have done. If I
23:47would have done this today, I would have done a second time. There are plenty of
23:50things that I wouldn't do the same way. I find out, I find out, I find out a little
23:54bit compact. You know, I don't know, there's a thing. It's weird. I think it's my
23:59eye also that change. But it's beautiful, I love it. There's a lot of
24:05trouble, in fact. When I look at it, it's like, with the black corners, it's a
24:10beautiful face. In fact, I think it's got courage to do it. Sometimes I tell you, when I look at
24:16the work that we do, because I say, oh, it's because I'm never
24:19all alone. When I play, there's always someone who helps me. It's a member of my team, and
24:23it's because sometimes you have the impression that you say, you should really be a little
24:30crazy, but at a moment, you have to accept it to do it.
24:37The first wall that I've been painting, it was exactly here. At the time, it was called the
24:58Petit Park. There, at the time, I grew up here, at the Boulain-de-Biancourt. And the Petit Park, in fact, I don't know what I call it. I don't know.
25:04I don't know. Maybe because we're not far away from the Prince. And so it's the Petit Park
25:08the Prince. I never knew why we called it the Petit Park, you know. And it's called the Square
25:12Jean-Guillon. But this plaque, it was later. And so, in fact, when we played in the foot, I think it was in
25:191998 with my friends, I bought a bomb of painting at three times. And I remember,
25:27when we played, when we played, in fact, I was here and I played a little character just here.
25:34Exactly there. And in fact, it was just after. But what is funny, it's not that, it's not that,
25:41it's because, when I played in the past, at the time, there was a woman who lived in the 3rd.
25:46I forgot her name. She was Spanish. She was born by the balcony. She was crying. She was crying.
25:51She was crying. She was crying. She was crying. She was crying. She was crying. She was crying.
25:58And, in fact, I didn't know that painting on the wall, it was illegal. For me, I bought my painting.
26:04The wall, it was gray. And then I came here. And I didn't think that I was crying.
26:09And then, a friend of mine called Tufik Danun, who told me that it was not legal to do that.
26:20And that I could stop for this kind of degradation, let's say.
26:24And, in fact, it's been here, 21 years ago, that everything started.
26:28I had a job before. I work a lot more today, as an artist.
26:33I was a consultant, and I had the impression of dying in my work at the time.
26:38And painting was what allowed me to stay alive, in a certain way.
26:45I grew up here. When I came back, I had my family here, my childhood friends too.
26:51So, there was always a connection.
26:53After that, this part of Boulogne has changed a lot.
26:57At the time, there was Lille Seguin here.
27:00My father worked in Renault, I think, until 1993.
27:03After that, he was gone to Flins.
27:04And they closed this factory.
27:06And then, I quit Paris in 2006.
27:09And then, the idea, what I do, is, by essence, it's not a problem.
27:14So, it's not a problem if it doesn't last.
27:16You know, there's a trace, there's some memories.
27:18And then, that's what's important for me.
27:20The rest...
27:21What I often say is that, beyond the love, you know, and the artistic challenge that I give you,
27:30it's the memories, you know, and all the stories that we share with people that we meet in a neighborhood.
27:35You know, at the time, here, it was more...
27:37It was a joke.
27:39I came, I went on a wall, I made a character.
27:41I met a lot of football.
27:42And then, I made a dedication to everyone.
27:45It was funny.
27:46But, today, I think that the approach has evolved.
27:48And now, we're more in a...
27:49I don't know.
27:50We're in a search of human experience.
27:52And that's what I like the most.
27:54You know, people are excited, in fact.
27:56Because you bring something new.
27:58You show an interest.
28:00And then, there's not necessarily something exciting every day, there.
28:03And so...
28:04Well, I think that you share more of human experiences, more of human experiences.
28:07And you encounter more of human heat, in fact, when you go to a little isolated and marginalized.
28:14So, that's not me.
28:30Why don't you think?
28:32Because there's one that might come here, but there will be a good voice.
28:35Second, second, everyone will appear, and that's why I have time for that.
28:36And then, I will continue to expose the boat.
28:41And there's some space, it is almost like here.
28:44So, let's go.
47:14Thank you,
Recommended
3:30
|
Up next
2:11
2:17
52:47
51:18
49:51
52:39
49:55
50:14
50:14
51:49
51:55
52:03
Be the first to comment