Arts & International Affairs: 2.3: Autumn/Winter 2017 | Page 61

EXODUS: A MIRROR OF HOPE FOR THE FUTURE OF ART BIENNIALS
the mass of political ambiguity and safe quadrants of benign titles and approaches, but
instead confronts directly the global issues of exodus as well as “innovative” interpre-
tations of exodus as a concept. Artists have created works about exodus referring from
everything to the exodus from Syria to exodus as a drug trip. I asked the curators, Sadek
Rahim and Tewfik Ali Chaouche, a few questions via email about the exhibition’s devel-
opment, challenges and the direction it is heading toward, in terms of creating a solid
contemporary lift-off for Algerian artists and an Algerian pavilion in the future.
Murray: What were the last three biennials like? What venues? How many artists? How
were they selected?
Ali Chaouche: The three previous biennials were at the Oran Cathedral (Médiathèque).
The 1 st Biennial theme was Contemporary Art in Every State and it took place from No-
vember 27–29, 2010. There were 30 artists who participated hailing from four countries,
with 120 works of plastic art and 30 videos. We had 1200 visitors, and it was curated by
Hachemi Ameur, Director of the Fine Arts School of Mostaganem.
The 2 nd Biennial theme was Young Contemporary Creation and it was from March 29–31,
2012 with 50 artists, of whom 15 were foreigners. We had two artists-in-residence: Sam-
ta Benyahia and Flaye. There were 3,000 visitors and I was the curator.
The 3 rd Biennial theme was The Other and it was from June 8–10, 2014, also with 50
artists including 15 foreigners and we also had the same two artists-in-residence: Samta
Benyahia and Flaye. We had less visitors that year because the timing was during the Bac-
calaureate exams, around 1,500 visitors. We also had an art intervention by the collective
BOX 24 (Algiers) and a video projection, a selection from the international festival Five.
The curator was Karim Sergoua (artist/teacher at the Fine Arts School).
Murray: How do local artists feel about the Venice Biennial? Is it a goal to be represent-
ed there?
Ali Chaouche: The Venice Biennial remains the principal frame of reference for excel-
lence for every artist in the Mediterranean region and, most certainly, for Algerian artists
in their quest for international recognition, knowing full well that after having exposed
their work in the “oldest biennial of the world” its fame will move an artist further up
the list of notoriety; some of the artists who have benefited from this recognition and
opportunity are French-Algerians, who have had the opportunity to show in other na-
tional and curated pavilions, which are not labeled as Algerian, thanks to the help of their
galleries, examples are Kader Attia and Adel Abdessemed.
Murray: Sadek, as an Algerian artist with growing distinction in the world, especially
after your recent participation in Art Dubai, what are your thoughts and goals and are
they related in any way to the Venice Biennial?
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