Arts & International Affairs: 2.3: Autumn/Winter 2017 | Page 62

ARTS & INTERNATIONAL AFFAIRS
Rahim: Even though one’s chances are slim, with my gallery owner in Algiers, Amal
Rougab, and the president of the Biennale of Oran, Tewfik Ali Chaouche, we are setting
up a project and hoping that the Ministry of Culture will finally make a contribution to
try to have a space in the next edition of the Venice Biennale. We are very motivated since
for a very long time artists of Algerian origin participated in the Venice Biennial under so
many other flags other than the Algerian one: Kader Attia, Zineb Sedira, Samta Benyahia
... in 2015 Massinissa Selmani presented with curator Okwui Onwezor the project All the
world’s future which had a “Special Mention” during the 56 th Biennale of Venice.
Murray: What are some of the similarities and connections between Venice and Oran
historically and in contemporary times?
Ali Chaouche: Oran and Venice are both Mediterranean cities, which have experienced
a rich history of cultural and artisanal exchange since the time of the Ottoman empire,
when the governor of Oran, Mohamed Kebir, employed some Venetian artisans for the
decoration of his palace and vice versa, some Andalusian artisans from Oran, passed
their knowledge and skills to Venice. From previous Venice Biennials, one has seen some
connections made to Algeria in the French pavilion, most notably with the architecture
in the balconies of the architect Pouillon (from the period of colonization).
Murray: What is it that attracts Algerian artists to the Venice Biennial, is there an interest
in its connection to the art market?
Ali Chaouche: The Venice Biennial is the tipping point of contemporary art; it is of ma-
jor importance in the world art market with its reputation and above all, it is the meeting
place for art enthusiasts and collectors, from which stems the interest of curators and
Algerian gallerists to eventually have representation with an Algerian Pavilion in Venice.
Murray: How do you see the attraction of Algerians to the Venice Biennial and what are
some of the issues related to the contemporary art scene in Algeria that you see mani-
festing themselves?
Rahim: Many artists leave Algeria because there is a great lack of galleries, museums,
art fairs and above all the art market here is at its very infancy. Most of these artists leave
the country for Europe or the USA, like Yazid Oulab, Massinissa Salmani or Adel Ab-
dessemed. Artists who are still in the country bet on international events to show their
work, to make a living and especially to prove to all the world that there is a consequent
art production in the country. So, events such as the Venice Biennial are the ideal oppor-
tunity for Algerian artists to prove themselves and their very artistic existence.
Murray: The development of national pavilions has been a large part of the history of the
Venice Biennial, how does that relate to Algeria historically and the desires of Algerian
artists?
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