The second edition of the Biennial of Photographers of the Contemporary Arab World is held in Paris from September 13 to November 12, 2017. Several venues such as the Institut du monde arabe or the Maison Européenne de la Photographie are participating in exhibitions. In an interview with The Eye of Photography, its curator Olfa Feki evokes the Arab territory and its photography.
In a nutshell, how can we sum up today the situation of photography in Tunisia, compared to what you know in other Maghreb countries and more generally in the Arab world?
I believe that we can’t really compare between the different countries in the Arab world, especially north Africa and the middle east. Each country has its own particularities. I think they are all improving but in different ways. In Tunisia we witnessed a huge change of the art scene specifically the photographic scene after the revolution since media became more interested in publishing stories about what was happening. hundreds of people became photographers but not exactly artists, it was for a documentary purpose. After the wave of the Arab spring blew over, many stopped their photographic activities, and only few continued.
The Tunisian art scene, even before the revolution was blooming. The reaction and the impact of the Arab spring made it look like it was just starting to evolve. We already had international Tunisian artists exhibiting in prestigious museums and institutions and even collected by museums. and it’s very normal that it is now developing even more.
As for the other “Arab” countries if I may say, each is going in a different direction depending on its art scene.
I believe the Moroccan art scene is not that huge for example, it’s just that they knew how to develop a great image internationally, the difference with Tunisia for example is that they have ten times more art spaces, which allows a better visibility and distributions of the local creation. Egypt art scene on the other hand is on another level today. They have a great art scene and even better art spaces which are really working on exporting the Egyptian art scene.
What can be very surprising is the Saudi Arabia art scene which in my opinion can be compared to international scenes.
What are the thematic and aesthetic tendencies that could be detected in the photographs of the Arab world today: the subjects treated and the inspirations, but also the visual form to which the artists have recourse?
I don’t think there is a specific theme or trend, it’s like saying because she/he is Arab or he/she is French he would absolutely work on this or that subject. Being an artist is at first being international in his way of thinking, of expressing. Then each artist will have his personal intimate way in interpreting ideas, positions in different photographic medium. Today, in the Arab world if you prefer to mention, we can find different sets of works, from documentaries to conceptual to even new mediums. The content of the work is mainly a personal interpretation of the world and the society. It can be on their own countries or it can be about what is beyond borders.
What role do female artists occupy in contemporary photography in the Arab world? Do they develop different projects from those treated by men?
I don’t believe that gender is the main component of the creation of any artist. The decision is very personal. Some female photographers may choose to work on feminist subjects or to document wars. I believe that it remains linked to their experience, their past and their beliefs.
How do you think the second edition of this biennale is related to the first? What would be its dominants?
When we talk about the Arab world, people tend to think about one single country. But from Morocco to Jordan going through Egypt, society, people, experiences are very different. Through this second biennale, I tried to show the specific way of looking of each country through the eyes of different personal points of view. I did my best to recreate a realistic image of each country to avoid falling into the western clichés that Europe is used to. The choice of the poster of the biennale as far as I am concerned was the wrong choice that I had to deal with since it went through a vote. It actually broke the dynamics of what I meant to express. But I believe that the experience of such an event is very rewarding and challenging.
Olfa Feki is an architect and curator based between Tunisia, France, Morocco, Egypt and the Netherlands.
Biennale des photographes du monde arabe contemporain
September 13 to November 12, 2017
Institut du monde arabe – Maison Européenne de la Photographie – Cité internationale des arts – Mairie du 4e arrondissement – Galerie Binome – Galerie Clémentine de la Féronnière – Galerie Photo12 – Galerie Thierry Marlat.
Paris, France
http://biennalephotomondearabe.com/
