Arts & International Affairs: 2.3: Autumn/Winter 2017 | Page 63

EXODUS: A MIRROR OF HOPE FOR THE FUTURE OF ART BIENNIALS
Rahim: In Algeria since its independence in 1962, protectionism, populism and above
all nationalism are strict in the country; I wonder how the Algerian state resisted an
opportunity like the Venice Biennial to show its power and greatness as is often done
during military parades and other nationalist occasions.
Murray: What makes the biennial in Oran distinct from other biennials in the world?
Ali Chaouche: It’s the people and the city, who are open to Mediterranean cultures and
to the world, the people are welcoming and curious about contemporary art. On the
economic plane, Oran is the second largest city in Algeria after the capital, with its oil
port of Arzew and its industrial zone; it has been in a state of urban expansion since 2010
and there is an awareness that it is still in an adolescent stage (with the formation of new
networks of roads and urban spaces, etc.) ... from this, the interest springs to create a new
contemporary art space, like the Museum of Modern and Contemporary Art of Oran,
where the biennial is held this year, and for the work of the organizers of the creation of
the network of art lovers and emerging collectors, businessmen like Mr. Dillali Merhi,
who owns a collection of Dinet, which he donated a part of it to the Royal Hotel of Oran,
an art space where many art enthusiasts who are investors in Oran in the domain of art
and culture can meet up; it is a city that flourishes day by day with its youth population
very focused on new mediums of contemporary expression (photo, video, installation).
Murray: What makes this year’s biennial in Oran important?
Ali Chaouche: In our eyes, the 4 th edition of the biennial in Oran is important because
it confirms how unique this union of contemporary art of the Mediterranean is; unique
because it is created by an artistic and cultural association (Civ-Oeil Gallery). For this
reason, one can not simply compare it to other biennials that are run by state authorities
and ministries (where politics lays a hand on art). Also, another important element of
the 4 th edition, is the theme, Exodus, which tips its hat to humanity, which, in my opin-
ion, remains the center of interest of authentic and sincere contemporary creation. This
is especially true with regard to the artists of Mediterranean countries.
Murray: How is Oran influenced by tourism and what does this mean for the role of
visual arts professionals?
Ali Chaouche: Yes, it is influenced tremendously by tourism. During the holiday sea-
son, 8 million tourists come to enjoy the spas with their natural springs in the city. It is
important for visual arts professionals to invest in the creation of galleries and contem-
porary art exhibition, spaces connected to tourist sites, in order to magnify the exhibi-
tions and festivals in this domain to ensure a creative and dynamic environment, in the
sense that it is the tourists, who are in a way the ones who can help launch the art market,
as I said before, this implies both art enthusiasts and collectors.
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