This is the last straight line before the curtain falls on the exhibition organized around the theme, the “Guernica” of the painter Pablo Picasso, where five artists from our home feed the “dialogue Hispano-Algerian on Guernica “.
The exhibition that we owe to the Cervantes Institute of Algiers was opened on December 12, the day after a creative residency that lasted a fortnight to commemorate the 80th anniversary of the majestic memorial fresco of Pablo Picasso he had made between May 1 and June 4, 1937 to denounce the horror of the Spanish war memorial, because the relic immortalizes the distressing memory of the cannonade of the city of Guernica in the fatal day of April 26, 1937 by the squadron of 44 aircraft of the apocalyptic “Legion Condor” Nazi and around which was united the hatred of 13 Italian fascist bombers.
Thus elevated to the rank of “ambassador” plenipotentiary of art, given its universal political value, the illustrious canvas embodies Franco’s horror but also the plots of armed conflict wherever they are. In this regard, Djahida Houadef takes note of the event and attaches to the room of the Cervantes Institute the canvas of his “Cry” which it adds to the “dialogue with Guernica”.
From the perspective of being heard, Djahida Houadef wringing out his brushes from which drip dark spots of the fury of the French occupying cannons which set fire to the Aures of his ancestors during our war of liberation. Generous teacher, Djahida Houadef tries to humanize the horror warrior with unequaled colors of apricot orchards of N’gaous of his childhood.
Hence the hypothesis of the painter Amor Drisse Lamine Dokman who added his painting with the legend that he was kind enough to share with our readers: “Who better than the Algerian artist-painter, can you tell the horror that our ancestors had endured and that of the dark decade that we had lived in our bruised flesh? Suffice to say that we found ourselves in this residence that is also the same cultural crucible where we have dressed our wounds with the help of this strong symbol that is the “Guernica”.
On this point, death is unfortunately a common misconception, because it has become commonplace in our century, like migrants who die at sea. “Hence the wish of the artist-painter Dokman to establish a fruitful exchange between the artists from here and across the shore to shout to the warlords: “Never again!” It’s also the cry of Mouna Bennamani that against the atrocity between belligerents, where the painter wishes that he finally pushes this hchicha talba michai or rather this michael talba hchicha (an existence in search of life) that she longs for it to grow on a field stocked with scattered human remains and faces frightened by fear.
So, to achieve this result, the painter and photographer Julio Lozano combines drawing and black-and-white photography so that his canvas can be fuse on a metal plate, the human distress beneath the bombs. In this dialogue between the people of the pictorial art, there is the contribution of the olive branch of the painter Abderrahmane Cheref and the momentum of the peace dove of Abderrahmane Aïdoud so that finally peace in the world is not an empty word.
For information, the canvas “Guernica” was preserved in the United States sheltered from the snares of the desires of art dealers, before it was repatriated in 1981 to his motherland, the museum Reina Sofía, Madrid (Spain) . So, both go to the Cervantes Institute to see the “Guernica” until January 25th.