Events

Upcoming events:

Saturday, March 25, from 5 to 7 pm
Meeting with Sawsan Noweir, actress in La Nouba, and Mireille Calle-Gruber, pro­fessor of lit­er­a­ture and aes­thetics at La Sorbonne Nouvelle, author of the book Assia Djebar, le manuscrit inachevé (2021)

Born in 1946 in Egypt, Sawsan Noweir is a retired pro­fessor of archi­tec­ture.
She studied archi­tec­ture and Egyptology in Egypt and France. After two years in France, she met Assia Djebar in 1975 in Paris. From 1976 to 1978, she spent two years in Algeria, for Assia Djebar’s film La nouba des femmes du mont Chenoua, and as a pro­fessor of archi­tec­ture at the Institute of Architecture of Constantine.

Mireille Calle-Gruber, Professor of lit­er­a­ture and aes­thetics at La Sorbonne Nouvelle and writer super­vised the pub­lishing of Oeuvres Complètes de Michel Butor (La Différence, 2006-2010), wrote with Butor Le Chevalier morose (story script), co-super­vised the Dictionnaire Universel des Créatrices (des Femmes, 2013 - dig­ital since 2016).
She co-organ­ised the Colloque de Cerisy, Assia Djebar, lit­téra­ture et trans­mis­sion, (Presses Sorbonne Nouvelle, 2009) and pub­lished two mono­gra­phies : Assia Djebar, la résis­tance de l’écriture (Maisonneuve & Larose, 2001), Assia Djebar, une surabon­dance dans le coeur (Ministère des Affaires Etrangères, 2006). Mireille Calle-Gruber is life member of the Academy of Arts, Letters and Humanities of The Royal Society of Canada, and she is doc­teur honoris causa of the Aristotle University of Thessaloniki.
She recently pub­lished Assia Djebar, le manuscrit inachevé (PSN, 2021).

Thursday, March 30, from 7 to 9 pm
Mohammed Khadda / Assia Djebar: Crossing the Signs
Conference by Natasha Marie Llorens, writer, inde­pen­­dent curator and pro­fessor of art theory at the Royal Institute of Art in Stockholm

In Assia Djebar’s classic film, La Nouba des Femmes du Mont Chenoua, a painting by Mohammed Khadda is curi­ously placed, or dis­placed, lurking in the semi­otic back­ground. This lec­ture will examine this place­ment by con­tex­tu­al­ising Khadda’s work in mid-1970s Algeria and analysing the way in which both artists con­cep­tu­alised the role of lan­guage in their sub­jec­tive and col­lec­tive eman­ci­pa­tion, as well as the con­se­quences of their encounter.

Natasha Marie Llorens is a writer, inde­pen­dent curator, and pro­fessor of art theory at the Royal Institute of Art in Stockholm.
She writes about con­tem­po­rary art and film with a focus on the rep­re­sen­ta­tion of vio­lence and decolo­niality in the arts and its insti­tu­tions. Llorens’s writing has been fea­tured in pub­li­ca­tions including Arab Studies Journal, art-agenda, Artforum, ArtReview, BOMB, Contemporary Art Stavanger, CURA, frieze, Ibraaz, the Journal of North African Studies, Kunstlicht, PARSE Journal, Modern Painters, La Belle Revue, World Policy Journal, and the WdW Review, among other arts pub­li­ca­tions and cat­a­logues.
She has been a fellow at the American Institute for Maghrebi Studies, at the Centre national des arts plas­tiques (Cnap), the French-American Cultural Exchange (FACE Foundation), and the Jan van Eyck Academie. Graduate of the Center for Curatorial Studies at Bard College, she also holds a PhD in modern art his­tory from Columbia University. She won the Andy Warhol Foundation Arts Writers Grant in 2022 for short-form writing. Llorens is cur­rently working in col­lab­o­ra­tion with Tours-based artist Massinissa Selmani on a two-year artistic research pro­ject about “1,000 Socialist Villages,” an urban plan­ning ini­tia­tive launched in Algeria in the mid-1970s. The first exhi­bi­tion asso­ci­ated with this pro­ject will open in Algiers in rhi­zome spring 2023.

Thursday, April 6, from 12 to 2 pm
Midi-deux: Flash tours of the exhi­bi­­tion, lunch at free price with the Résoquartier sol­i­­darity Foodtruck and a con­fer­ence by Salima Tenfiche, "Assia Djebar, pre­cursor of a cinema of the living" at 1pm(in french)

Bétonsalon’s "Midi-deux" are a monthly event for stu­dents: every first Thursday of the month, during the lunch break, the Bétonsalon team offers you a spe­cial time for dis­cus­sion at the center of art around the exhi­bi­tions!
Thursday, April 6, take advan­tage of the lunch break to dis­cover Katia Kameli’s exhi­bi­tion during a flash visit (15 min­utes max!) in the com­pany of the center team. ’art ; ben­efit from quality catering at free prices with the Résoquartier Foodtruck; and at 1 pm, come and listen to researcher Salima Tenfiche talk about Algerian cinema during a con­fer­ence enti­tled “Assia Djebar, pre­cursor of a cinema of the living”.

Doctor in film his­tory from the University of Paris, Salima Tenfiche is an ATER teacher-researcher at the University of Lorraine.

Created in 2011, Résoquartier is an asso­ci­a­tion of inhab­i­tants of the Paris 13th arrondisse­ment com­mitted to fighting eco­nomic and social injus­tice and for eco­log­ical tran­si­tion. She responds with mutual aid, friend­li­ness and sol­i­darity.

Thursday, April 13, from 7 to 9 pm
"Rihla", un illus­trated and com­mented his­tory of cinema in Algeria
Conferences by Nabil Djedouani, director, actor and researcher, founder of the Digital Archives of Algerian Cinema, and Natasha Marie Llorens, writer, inde­pen­dent curator and pro­fessor of art theory at the Royal Institute of Art in Stockholm

Nabil Djedouani is a director, actor and researcher. After studying cinema at the University Louis Lumière in Lyon, he co-directed a doc­u­men­tary film with Hassen Ferhani enti­tled Afric Hôtel (2010). He then worked with film­maker Rabah Ameur-Zaïmeche as assis­tant director and actor for the films Histoire de Judas (2015) and Terminal Sud (2019). In 2012, he cre­ated the web­site Archives Numériques du Cinéma Algérien to make avail­able to everyone on his Facebook page and YouTube channel for­gotten Algerian cin­e­mato­graphic works that he col­lects and restores. He began a work of research and dis­sem­i­na­tion around the music of Algerian expres­sion via the plat­form Raï & Folk. In 2019, he directed a doc­u­men­tary essay enti­tled Rock Against Police.

Saturday, April 15, from 5 to 6 pm
Discussion with Katia Kameli, Bérénice Saliou and Émilie Renard

Past events:

Wednesday, January 18, from 4 to 7 pm at Bétonsalon,
and from 6 to 9 pm at the Institut des Cultures d’Islam, Paris
Opening of the exhi­bi­tion by Katia Kameli,
"Yesterday is returning and I can hear it"

Friday, January 20, from 5 to 6 pm
Visit of the exhi­bi­tion at the ICI Stephenson
with Katia Kameli and Bérénice Saliou

From Monday, January 23 to Thursday, February 2nd, in the hall of Grands Moulins, building A
Short films pro­gram pro­posed by the stu­dents of the asso­ci­a­tion Cinésept
In part­ner­ship with the Culture Department of Paris Cité University
As part of the exhi­bi­tion Yesterday is returning and I can hear it by Katia Kameli, the stu­dents of the asso­ci­a­tion Cinésept offers a selec­tion of short films echoing the artist’s research on the place of images in indi­vidual and col­lec­tive mem­o­ries (in french ony):

• Ulysse, Agnès Varda (1983) - 22’03
• Kwa Henri Mandima, Robert-Jan Lacombe (2010) - 10’30
• [sic], Éric Baudelaire (2009) - 15’01
• Dad’s Stick by John Smith (2012) - 5’

Saturday, January 28, from 2:30 to 5:30 pm
TaxiTram, in part­n­er­­ship with the ICI, on reg­is­­tra­­tion: tax­itram@­­tram-idf.fr
Meeting at Bétonsalon at 2.30 pm, visit of the exhi­bi­tion with the artist
then shuttle to the ICI for the rest of the exhi­bi­tion visit. With Katia Kameli, Emilie Renard and Florence Marqueyrol

Thursday, February 2, from 1 pm to 2 pm
Midi-deux: meeting by and for stu­dents
Talk with the stu­dents of the Cinésept asso­ci­a­tion for the closing of their pro­gram of short films pre­sented in echo of Katia Kameli’s exhi­bi­tion from from January 23th to Febuary 2nd in the hall of the Grands Moulins, Building A, with the films Ulysse by Agnès Varda, Kwa Henri Mandima by Robert-Jan Lacombe, [sic] by Éric Baudelaire and Dad’s Stick by John Smith

Saturday, February 25, from 5 to 7 pm
The his­tory of Algerian women as a matrix of the work and thought of Assia Djebar
[L’Histoire des femmes algéri­ennes comme matrice de l’œuvre et de la pensée d’Assia Djebar]

Meeting on Assia Djebar’s cin­e­mato­graphic writing
with Marie Kondrat, researcher in com­par­a­tive lit­er­a­ture and teacher at the University of Geneva. (Akila Kizzi, teacher and researcher in gender studies at the University of Paris 8, will not be able to attend the event)

Marie Kondrat is a researcher in com­par­a­tive lit­er­a­ture and a spe­cialist in the­o­ries of the image.
Her book on the con­cept of off-screen (“hors-champ”), cur­rently being pub­lished, was awarded of the Barbour Prize in Literary and Aesthetic Criticism and the Latsis University Prize 2022.
She writes in French, Ukrainian and English, and reads in Italian and Russian.
Her cur­rent research pro­ject focuses on women with a double activity, as film­maker and writer.

Akila Kizzi is a lec­turer in depart­ment of Gender Studies at University of Paris 8. She is a member of gender studies and sex­u­ality Research Laboratory. Her research work focuses on women writers and artists in North Africa, and trans­lating eth­nicity and sub­jec­tivity into art.
In her doc­toral research, she worked on the intel­lec­tual and polit­ical career of the first north African woman writer Taos Amrouche in a colo­nial and post­colo­nial con­text, pub­lished by Fauves Passions et déchire­ments iden­ti­taires chez Taos Amrouche (2019).
She also wrote a chapter in a col­lec­tive book Under the skin: Feminist art from the middle east and north Africa today on Indigenous Algerian Women Artists in the French Landscape: Baya Mahieddine and Taos Amrouche, pub­lished by British Academy in 2020.

Saturday, March 18, from 5 to 8 pm
La Nouba des femmes du mont Chenoua by Assia Djebar (1977)
Screening fol­lowed by a dis­cus­sion with Katia Kameli and Ahmed Bedjaoui, pro­ducer of the film

Ahmed Bedjaoui is a jour­nalist, pro­ducer and pro­fessor of com­mu­ni­ca­tion at the University of Algiers 3. He holds a PhD in lit­er­a­ture.
Laureate of the "Institut des Hautes Etudes Cinématographiques" (IDHEC - Paris), he is the artistic director of the Algiers Festival of Engaged Film, and also President of the Algerian Film Fund.
He pro­duced and pre­sented the pro­gram "Télécinéclub", broad­cast for 20 years on the Algerian national channel and pro­duced for it about 76 films, among which the two films of Assia Djebar, Nahla by Farouk Beloufa, or How much I love you by Azeddine Meddour.
Ahmed Bedjaoui has pub­lished dozens of arti­cles in inter­na­tional jour­nals and Algerian news­pa­pers.
He is the author of five books including: Cinema and Arab Literature, Cinema in its Golden Age, pub­lished in November 2018 and most recently Cinema and Algerian War of Independence.In 2015, UNESCO awarded him the Federico Fellini Medal for his con­tri­bu­tion to world film cul­ture. In 2019, he pre­sides the fic­tion jury at the fiftieth anniver­sary of FESPACO.