| Easy Read Guide Berber programme.pdf |
| Berber Programme Audio File.mp3 |
ⴽⵓⵔⵛⵉ ⵓⵎⵍⴰⵏ ⴰⵙⴰⵢⵙ ⴹ ⵜⴰⵔⵉⴷⵉⵔⵜ ⵜⴰⵏⵉⵎⴰⵏⵜ ⵏ
Click here for the Programme Information and Bios in Berber
Click here for the Programme Information and Bios in Berber
Tuesday 11 August
ⵄⵉⵛⴰ ⴰⵍⴱⴰⵍⵡⵉ
ⵜⵃⵉⵙⵉⵅ ⴰⵅⵎⵉ ⵛⴰ ⵣⵕⵉⵅⴹⵉ ⵛⴰ ⵏⵓⵎⵛⴰⵏ
ⵥⵕⴰⵥⴰ ⴳⵉⴼ ⵉⵛⴰⵍⵓⵥⴰⵏ
ⵢⵓⵍⵢⵓⵣ 2020
ⵉⵙⴰⵅⴹⴰⵎ ⵍⵎⵓⵙⴰⵍⵙⴰⵍⴰⵝ ⵙⵡⴰⴷⴰⵢ ⵣⵉⵥ ⵔⴰⵥⴰ ⵉⵛⴰⵍⵓⵥⴰⵏ ⵉⵙⴽⴽⵉⵍⵏ ⵏ ⵜⵎⴰⵣⵉⵅⵜ (ⵜⵉⴼⵉⵏⴰⵖ) ⵎⴰⵛⴰ ⴰⴹⵉⵙⴱⵉⵢⴰⵏⴰⵎⵓⵟⵉ, ⵔⵅⴰⴹⵎⴰⵅ, ⴰⵙⵉⵖⵉ. ⵔⴰⵃⵡⴰⵢⴰⵊ/ⵔⵅⴰⴹⵎⴰⵥ ⵏⵉⵥⵏⵉ ⴱⴰⵢⵏⵉⵏ ⴽⵜⴰ ⵣⵉ ⵉⵙⴽⴽⵉⵍⵏ ⵉⵜⵚⴰⵇⴰ, ⵡⴰⵥⵏⵉⵙⵉⵏ ⵃⴰⴷ, ⵓ ⴹⵔⵓⵙⵜ ⵉⵥⵏⵉⵙⵏⴰⵏ ⵣⵉ ⵡⴰⵟⴰⵚ. ⵉⵜⵡⴰⴽⴰⵠ ⴰⵡⴰⵔ ⵏⵉ ⵉⵙⴰⵊⵍⴰⵏ ⵙⵡⴰⵡⴰⵔ ⵉⵖⴻⵢⵣⴰⵏ, ⴰⵙⵃⵉⵢⴰⴹ ⵄⴰⵡⴰⴹ ⵏ ⵉⵙⴳⴳⵉⵍⵏ. ⴹⵉⵊⴰⵏ ⵜⴰⵖⴰⵔⴰⵙⵜ ⵙ ⴰⴼⵓⴽⵙ ⴰⴹⵉⴱⴰⵏ ⵜⴰⵔⴱⵉⵃⵜ ⵏⵉ ⵡⴰⵢⴰⵜⴱⵉⵏⴰⵏⵛⴰ
ⴰⵡⴰⵕⵉ ⵔⵅⴰⴹⵎⴰⵥ.
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Aïcha El Beloui
I feel like I know you from somewhere
Three GIF animations 2020
The series of three minimal animations use Berber alphabet (Tifinagh) to illustrate motion, action, progress. The tools/actions are more obvious than the letters forming them, still unknown, and hardly identifiable to the majority. The soundtrack is made of the sound of effort, also excluding the letters. It is one way to subtly emphasize the invisibility of the communities behind the labour.
ⵄⵉⵛⴰ ⴰⵍⴱⴰⵍⵡⵉ
ⵜⵃⵉⵙⵉⵅ ⴰⵅⵎⵉ ⵛⴰ ⵣⵕⵉⵅⴹⵉ ⵛⴰ ⵏⵓⵎⵛⴰⵏ
ⵥⵕⴰⵥⴰ ⴳⵉⴼ ⵉⵛⴰⵍⵓⵥⴰⵏ
ⵢⵓⵍⵢⵓⵣ 2020
ⵉⵙⴰⵅⴹⴰⵎ ⵍⵎⵓⵙⴰⵍⵙⴰⵍⴰⵝ ⵙⵡⴰⴷⴰⵢ ⵣⵉⵥ ⵔⴰⵥⴰ ⵉⵛⴰⵍⵓⵥⴰⵏ ⵉⵙⴽⴽⵉⵍⵏ ⵏ ⵜⵎⴰⵣⵉⵅⵜ (ⵜⵉⴼⵉⵏⴰⵖ) ⵎⴰⵛⴰ ⴰⴹⵉⵙⴱⵉⵢⴰⵏⴰⵎⵓⵟⵉ, ⵔⵅⴰⴹⵎⴰⵅ, ⴰⵙⵉⵖⵉ. ⵔⴰⵃⵡⴰⵢⴰⵊ/ⵔⵅⴰⴹⵎⴰⵥ ⵏⵉⵥⵏⵉ ⴱⴰⵢⵏⵉⵏ ⴽⵜⴰ ⵣⵉ ⵉⵙⴽⴽⵉⵍⵏ ⵉⵜⵚⴰⵇⴰ, ⵡⴰⵥⵏⵉⵙⵉⵏ ⵃⴰⴷ, ⵓ ⴹⵔⵓⵙⵜ ⵉⵥⵏⵉⵙⵏⴰⵏ ⵣⵉ ⵡⴰⵟⴰⵚ. ⵉⵜⵡⴰⴽⴰⵠ ⴰⵡⴰⵔ ⵏⵉ ⵉⵙⴰⵊⵍⴰⵏ ⵙⵡⴰⵡⴰⵔ ⵉⵖⴻⵢⵣⴰⵏ, ⴰⵙⵃⵉⵢⴰⴹ ⵄⴰⵡⴰⴹ ⵏ ⵉⵙⴳⴳⵉⵍⵏ. ⴹⵉⵊⴰⵏ ⵜⴰⵖⴰⵔⴰⵙⵜ ⵙ ⴰⴼⵓⴽⵙ ⴰⴹⵉⴱⴰⵏ ⵜⴰⵔⴱⵉⵃⵜ ⵏⵉ ⵡⴰⵢⴰⵜⴱⵉⵏⴰⵏⵛⴰ
ⴰⵡⴰⵕⵉ ⵔⵅⴰⴹⵎⴰⵥ.
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Aïcha El Beloui
I feel like I know you from somewhere
Three GIF animations 2020
The series of three minimal animations use Berber alphabet (Tifinagh) to illustrate motion, action, progress. The tools/actions are more obvious than the letters forming them, still unknown, and hardly identifiable to the majority. The soundtrack is made of the sound of effort, also excluding the letters. It is one way to subtly emphasize the invisibility of the communities behind the labour.
Thursday 13 August
2pm GMT + 1
ⴼⴰⵟⵉⵎⴰ ⵎⴰⵣⵎⵓⵣ
ⵠⵉⴷⵢⵓ
2020
ⵅⴰⵔⵇⴰⵅ ⵏⴰⵛ ⴹⵉ ⴽⴰⵣⴰⴱⵍⴰⵏⴽⴰ ⴹⵉ 1974, ⴹⴰ ⴳⵙⴰⴳⴰⵙ ⵏⵉ ⵙⴰⴼⴰⵅ ⵖⴰ ⴼⵕⴰⵏⵚⴰ. ⵣⵉ ⵄⵉⵛⵉⵏ ⵉⵙⴰⴳⵓⵙⴰ, ⵡⴰⵙⵉⵡⵔⴰⵅ ⵏⴰⵛ ⵄⴰⵎⴰⵚ ⵝⴰⵄⵔⴰⴼⵜ, ⵎⴰⵢⴰⵏⵣⵉ ⵜⵓⵜⵍⴰⵢⵜ ⵜⴰⵢⵎⵎⴰⵜ ⵉⵏⵓ ⵜⵎⴰⵣⵉⵅⵜ. ⴰⵥⵓⵕ ⵉⵏⵓ ⵣⵉ ⵙⵡⴰⴷⴰⵢ ⵏ ⵍⵎⴰⵖⵔⵉⴱ, ⵉⵊⴰⵏ ⵜⵎⵓⵥ ⵥⴰⵛⵏⴰ ⴰⴳ ⵜⴰⴼⵔⴰⵡⵜ ⴰⵎⵉⵊⵊⵏ ⵏⵜⴰⵏⴷⵉⵏⵜ ⵟⴰⵎⴰⵇⵕⴰⵏⵜ. ⵎⴰⵛⴰ ⵥⴰⵣⴰⴷⵉⵅⵜ ⵉⵏⵓ ⴰⵇⴰⵜ ⴹⵉ ⵜⵉⵍⵉⵍⴰⵏ, ⴹ ⵉⵖⵔⴰⵎ ⴹⴰⴳⵉⵊⴰⵏ ⵡⴰⴹⵔⴰ ⴹⴰⵎⴰⵇⵔⴰⵏ ⵢⴰⵙⴰⵃ ⵙⵡⴰⵟⴰⵙ ⴰⵖⴰⵙ ⵥⴰⵡⴹⴰⴹ. ⴷⵉ ⵜⴰⵖⴰⵔⴰⵙⵜⴰ, ⵜⴰⵎⵙⵙⵏⵜⵉⵜ ⵉⵏⵓ ⵉⵜⵙⴰⵇⵙⴰⵅ ⵜⴰⵡⵏⴳⵉⵎⵜ "ⵓⵙⵉⵖⴷ ⵣⵉ". ⵎⴰⵏⵉⵄⵏⴰ ⴰⵏⴰⵎⴽ ⵏ ⵜⴰⵎⴰⴳⵉⵜ ⵓ ⵍⵄⵉⵛⴽⴰⵍⵉⵢⴰⵏ ⵜⴰⵥⵖⵓⵕⵜ? ⵜⴰⵙⴱⵉⵢⴰⵏ ⵔⵅⴰⴹⵎⴰⵥ ⵉⵏⵓⵜⴰⴽⴰⵔⴹⴰ ⵏ ⵜⴰⵎⴰⴳⵉⵜ, ⵉⴼⵉⵕⴰⵏ ⵎⵅⴰⵡⴰⴹⴰⵏ ⵏⵜⵓⵙⵏⴰ ⴹ ⵎⴰⵏ ⵢⵓⴹⴼⴰⵏ ⴹⵉ ⵕⴰⵠⵏⵉ ⵏ ⵜⴰⵎⴰⴳⵉⵜ ⵉⵏⵓ.ⵜⴰⴽⴰⵔⴹⴰ ⵢⴰ ⵥⴰⴽⴰⵠ ⵙⴰⵜⵙⴰⵡⴰ, ⵓⵏⵓⵖ, ⴰⵡⴰⵔ, ⴰⵚⴹⵔⵓ, ⴹ ⵛⴰ ⵏⴰⵃⵡⴰⵢⴰⵊ ⵏⴰⵖⵏⵉ. ⵠⵉⴷⵢⵓⵢⴰⵉⵜⵎⴰⵏⴰⵢ ⴹⵉ ⵔⵅⴰⴹⵎⴰⵥ ⴰⵎⴰⵏⵉ ⵖⴰⵢⴰⵇⵉⵎ ⵉⵜⵎⴰⵏⴰⵢ
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Fatima Mazmouz Orkémns
Video 2020
From an autobiographical story, ORKEMN presents itself as a walk in the phantomatic Berber memory crystallized in the voice of the narrator. The evanescent images answer to a hesitant and sometimes emotional voice, which brings us back to the complexity of the question of the origin through the language between cultural attachment, territorial attachment, affective attachment... and a political attachment in exile which ends up being also fictional.
2pm GMT + 1
ⴼⴰⵟⵉⵎⴰ ⵎⴰⵣⵎⵓⵣ
ⵠⵉⴷⵢⵓ
2020
ⵅⴰⵔⵇⴰⵅ ⵏⴰⵛ ⴹⵉ ⴽⴰⵣⴰⴱⵍⴰⵏⴽⴰ ⴹⵉ 1974, ⴹⴰ ⴳⵙⴰⴳⴰⵙ ⵏⵉ ⵙⴰⴼⴰⵅ ⵖⴰ ⴼⵕⴰⵏⵚⴰ. ⵣⵉ ⵄⵉⵛⵉⵏ ⵉⵙⴰⴳⵓⵙⴰ, ⵡⴰⵙⵉⵡⵔⴰⵅ ⵏⴰⵛ ⵄⴰⵎⴰⵚ ⵝⴰⵄⵔⴰⴼⵜ, ⵎⴰⵢⴰⵏⵣⵉ ⵜⵓⵜⵍⴰⵢⵜ ⵜⴰⵢⵎⵎⴰⵜ ⵉⵏⵓ ⵜⵎⴰⵣⵉⵅⵜ. ⴰⵥⵓⵕ ⵉⵏⵓ ⵣⵉ ⵙⵡⴰⴷⴰⵢ ⵏ ⵍⵎⴰⵖⵔⵉⴱ, ⵉⵊⴰⵏ ⵜⵎⵓⵥ ⵥⴰⵛⵏⴰ ⴰⴳ ⵜⴰⴼⵔⴰⵡⵜ ⴰⵎⵉⵊⵊⵏ ⵏⵜⴰⵏⴷⵉⵏⵜ ⵟⴰⵎⴰⵇⵕⴰⵏⵜ. ⵎⴰⵛⴰ ⵥⴰⵣⴰⴷⵉⵅⵜ ⵉⵏⵓ ⴰⵇⴰⵜ ⴹⵉ ⵜⵉⵍⵉⵍⴰⵏ, ⴹ ⵉⵖⵔⴰⵎ ⴹⴰⴳⵉⵊⴰⵏ ⵡⴰⴹⵔⴰ ⴹⴰⵎⴰⵇⵔⴰⵏ ⵢⴰⵙⴰⵃ ⵙⵡⴰⵟⴰⵙ ⴰⵖⴰⵙ ⵥⴰⵡⴹⴰⴹ. ⴷⵉ ⵜⴰⵖⴰⵔⴰⵙⵜⴰ, ⵜⴰⵎⵙⵙⵏⵜⵉⵜ ⵉⵏⵓ ⵉⵜⵙⴰⵇⵙⴰⵅ ⵜⴰⵡⵏⴳⵉⵎⵜ "ⵓⵙⵉⵖⴷ ⵣⵉ". ⵎⴰⵏⵉⵄⵏⴰ ⴰⵏⴰⵎⴽ ⵏ ⵜⴰⵎⴰⴳⵉⵜ ⵓ ⵍⵄⵉⵛⴽⴰⵍⵉⵢⴰⵏ ⵜⴰⵥⵖⵓⵕⵜ? ⵜⴰⵙⴱⵉⵢⴰⵏ ⵔⵅⴰⴹⵎⴰⵥ ⵉⵏⵓⵜⴰⴽⴰⵔⴹⴰ ⵏ ⵜⴰⵎⴰⴳⵉⵜ, ⵉⴼⵉⵕⴰⵏ ⵎⵅⴰⵡⴰⴹⴰⵏ ⵏⵜⵓⵙⵏⴰ ⴹ ⵎⴰⵏ ⵢⵓⴹⴼⴰⵏ ⴹⵉ ⵕⴰⵠⵏⵉ ⵏ ⵜⴰⵎⴰⴳⵉⵜ ⵉⵏⵓ.ⵜⴰⴽⴰⵔⴹⴰ ⵢⴰ ⵥⴰⴽⴰⵠ ⵙⴰⵜⵙⴰⵡⴰ, ⵓⵏⵓⵖ, ⴰⵡⴰⵔ, ⴰⵚⴹⵔⵓ, ⴹ ⵛⴰ ⵏⴰⵃⵡⴰⵢⴰⵊ ⵏⴰⵖⵏⵉ. ⵠⵉⴷⵢⵓⵢⴰⵉⵜⵎⴰⵏⴰⵢ ⴹⵉ ⵔⵅⴰⴹⵎⴰⵥ ⴰⵎⴰⵏⵉ ⵖⴰⵢⴰⵇⵉⵎ ⵉⵜⵎⴰⵏⴰⵢ
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Fatima Mazmouz Orkémns
Video 2020
From an autobiographical story, ORKEMN presents itself as a walk in the phantomatic Berber memory crystallized in the voice of the narrator. The evanescent images answer to a hesitant and sometimes emotional voice, which brings us back to the complexity of the question of the origin through the language between cultural attachment, territorial attachment, affective attachment... and a political attachment in exile which ends up being also fictional.
Friday 14 August
2pm GMT + 1
ⴳⵓⵕⵉ ⵎⵓⵏⵉⵔ
ⵥⴰⵎⴰⵥⵉⵏⵓ
ⵠⵉⴷⵢⵓ ⵡⴰⵢⴰⵜⴱⴰⴷⵉ, 2 ⵎⵉⵏⵓⵜ
2016
ⵎⵓⵏⵉⵔ ⴳⵓⵕⵉ ⴹⴰⵎⵉⵙ ⵏ ⴷⵓⵛⴰⵎⵒ. ⴷⵓⵛⴰⵎⵒ ⵏ ⵜⴰⵏⴰⵣⵔⵓⴼⵜ, ⴰⵙⴱⴱⴰⴱ ⵏⴰⵔⵎⴰⵍ. ⵠⵉⴷⵢⵓⵢⴰⴹⴰⵠⵕⵉⴹ, ⵣⵉ ⵢⴰⵔⵎⴰⵍ ⵖⴰ ⴰⵎⴰⴷⴰⵏ, ⵏⴰⵜⴰⵥ ⵜⴰⵊⴰⵔⴰⵜ ⵏⴰⵔⵡⴰⵇⵜ ⵉⵜⴰⴽⴰⴱⴰⵏ ⴰⵏⵀⴰⵣⵉ
ⵉⴼⴰⵙⴰⵏ ⴰⴹⵉⵃⴼⴰ ⵜⴰⵎⴰⴳⵉⵜ, ⵜⴰⵎⴰⴳⵉⵜ ⵏⴰ ⴷⵣⴰⵢⴰ. ⵜⴰⵎⴰⴳⵉⵜ ⵡⴰⵣⴰⵎⴰ ⴰⵜⵉⵕⵉ ⵠⵔⴰⵜⴰⵏⴰⵣⵕⵓⴼⵟⵜ. ⵡⴰⵅⴰⵎⴰⵏⵉ ⵜⴰⵏⴰⵣⵔⵓⴼⵜ ⵏⴰⵜⴰⵥ ⴹⵉⵊⴰⵏ ⵡⴰⴼⵔⴰⵢ. ⵏⴰⵜⴰⵥ ⴹⴰⵎⴰⵏ ⵉⵜⴰⵣⵔⴰⵏ ⴹⴰ ⴳⴼⴰⵙⴰⵏ ⵏⴰⵅ ⵉⴹⴰⵅ ⵉⵊⴰⵎⵄⴰⵏⵡⵉ ⴹⴰⵅ ⵉⵜⴰⴱⵄⴰⵏ ⴹⵉ ⵔⴰⵥⴰ ⵏⴰⵅ ⴹ ⴰⴹⵓ ⵏⴰⵅ, ⴹⴰ ⴳⴰⵔⴰⵡ ⵉⵢⴰⵠⴹⴰⵏ ⴰⵍⵎⴰⵖⵕⵉⵠ ⴰⵎⴰⵇⵔⴰⵏ ⵣⵉ ⵎⴰⵏⵉ ⵉⵇⵉⵎⴰⵏ ⵣⵉ ⴰⵎⴰⵏⵥⴰⵡ ⵉⴼⵔⵉⵇⵢⴰ. ⵀⴰⵎⴰⵛ ⵊⴰ ⵜⵡⴰⵔⴰⵏ ⵜⴰⵏⴰⵣⵔⵓⴼⵜ ⵣⵉ ⵔⴰⵠⴷⴰ. ⵄⴰⴹ ⵔⵓⵅⴰ ⵄⴰⴷⵓⵏⴷ ⵅⴰⵙ ⴰⵟⴰⵚ ⵢⴰⵠⵔⵉⴹⴰⵏⵙⴽⵓⵔⵛⵉ, ⵣⵉ ⵉⵣⵣⵍⵎⴹⵏ ⵖⴰ ⵉⴼⴼⵓⵙ, ⵣⵉ ⴰⴳⵎⵎⵓⴹ ⵖⴰ ⵜⴰⴳⵓⵜ. ⴹⴰⵢⴰⵙ ⵉⵎⵓⵛⴰⵏⵣⴰⴳⴰⵏⵉ ⵡⴰⵟⴰⵃⵉⴱⴰⵏ ⵛⴰ ⴰⵟⴰⵚ ⵣⵉ ⵥⵎⴰⵥ ⵏⴰⵅ, ⵎⴰⵛⴰ ⵏⴰⵜⴰⵥ ⵄⴰⵡⴰⴹ ⵟⴰⵃⵠⵓⵜ ⵉⵜⴰⵏⵀⴰⵣⴰⵏ ⵙⴰⴷⵓⵏⴰⵛⵜ.
ⴰⵕⵎⴰⵍ ⵏⵉ ⵉⵜⵉⴹⵕⵉⵏ ⵙⵡⴰⵟⴰⵙ, ⵥⵙⴰⵇⴰⴷ ⴰⴼⵔⴰⵢ, ⴹⴰⵎⴰⵏ ⵉⵜⴰⵣⵔⴰⵏ ⴹⴰ ⴳⴼⴰⵙⵙⴰⵏ ⵏⴰⵅ ⵉⴹⴰⵅ ⵉⵊⴰⵎⵄⴰⵏ. ⵜⴰⵏⴰⵣⵔⵓⴼⵜ, ⵜⴰⵏⴰⵣⵔⵓⴼⵜⴰ ⴹⴰⵔⵠⴰⵏⵢⵓ ⵏ ⴰⴹⵓ, ⴰⵎ ⵉⴼⴰⵙⵙⴰⵏ ⵏⴰⵅ ⵉⴳⵉⵜⴱⴰⵍⴰⵄⴰⵏ ⵉ ⵄⴰⵡⴰⴹ ⵉⵢⴰⵣⵎⴰⵏ ⴹⴰ ⴳⵏⵓⴼⴼⴰⵔ ⴹ ⴰⵎⴽⵓⵏ ⵢⴰⵠⵔⵉⴹⴰⵏ ⵏⴰ ⴷⵓⵏⴰⵛⵜ. ⵏⴰⵜⴰⵥ ⴹⵉⵊⴰⵏ ⵡⴰⵎⵛⴰⵏ ⵓⵡⴰⵏⵏⴰⴹ, ⵉⵢⴰⵠⵔⵉⴹⴰⵏ ⵏⴰⴱⴷⴰ. ⵏⴰⵜⴰⵥ ⴹⴰ ⵎⴰⵙⵙ ⵏ ⴰⴹⵓ ⵏⴰⵙ ⵡⴰⵃⴰ, ⵖⴰⵙ ⵉⵠⵔⵉⴹⴰⵏ ⵡⴰⴷⵊⵉⵏ ⵖⴰ ⵀⴰⴷ ⵉⵡⴰⵢⵜⴰⵎⵛⵉⴱⵉⵀⴰⵏ ⴱⵓ ⴰⴳⵉⴼⴰⵙⵙⴰⵏ ⵏⴰⵖⵏⵉ
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Mounir Gouri My Land
2016
Video Loop, 2min
Mounir Gouri is a child of Duchamp. A Duchamp of the Desert, a sand dealer. This video is a passage, from sand to the nation, it is the wheel of time that composes the movements of the hands to sculpt an identity, the Algerian identity. An identity that can not do without this desert.
The Sahara on the contrary, is an obstacle. It is the fluid flowing in our hands that unite us and trace our paths and our destiny, an ocean that separates the Maghreb from the rest of the African continent. This is how the Sahara was perceived from all time. Yet many roads traverse it through and through, from north to south, from east to west. It contains regions that are among the most inhospitable of our land, but also the center of intense life. The sand that vastly covers it, constituting an obstacle, is a fluid flowing in our hands to unite us. The desert, this Sahara receptacle of destinies, is like our hands that close and also open on secret and mysterious lines of life. It is a space of circulation, of eternal paths. It is the only master of its destiny, possessing unique lines that do not resemble any other hands.
2pm GMT + 1
ⴳⵓⵕⵉ ⵎⵓⵏⵉⵔ
ⵥⴰⵎⴰⵥⵉⵏⵓ
ⵠⵉⴷⵢⵓ ⵡⴰⵢⴰⵜⴱⴰⴷⵉ, 2 ⵎⵉⵏⵓⵜ
2016
ⵎⵓⵏⵉⵔ ⴳⵓⵕⵉ ⴹⴰⵎⵉⵙ ⵏ ⴷⵓⵛⴰⵎⵒ. ⴷⵓⵛⴰⵎⵒ ⵏ ⵜⴰⵏⴰⵣⵔⵓⴼⵜ, ⴰⵙⴱⴱⴰⴱ ⵏⴰⵔⵎⴰⵍ. ⵠⵉⴷⵢⵓⵢⴰⴹⴰⵠⵕⵉⴹ, ⵣⵉ ⵢⴰⵔⵎⴰⵍ ⵖⴰ ⴰⵎⴰⴷⴰⵏ, ⵏⴰⵜⴰⵥ ⵜⴰⵊⴰⵔⴰⵜ ⵏⴰⵔⵡⴰⵇⵜ ⵉⵜⴰⴽⴰⴱⴰⵏ ⴰⵏⵀⴰⵣⵉ
ⵉⴼⴰⵙⴰⵏ ⴰⴹⵉⵃⴼⴰ ⵜⴰⵎⴰⴳⵉⵜ, ⵜⴰⵎⴰⴳⵉⵜ ⵏⴰ ⴷⵣⴰⵢⴰ. ⵜⴰⵎⴰⴳⵉⵜ ⵡⴰⵣⴰⵎⴰ ⴰⵜⵉⵕⵉ ⵠⵔⴰⵜⴰⵏⴰⵣⵕⵓⴼⵟⵜ. ⵡⴰⵅⴰⵎⴰⵏⵉ ⵜⴰⵏⴰⵣⵔⵓⴼⵜ ⵏⴰⵜⴰⵥ ⴹⵉⵊⴰⵏ ⵡⴰⴼⵔⴰⵢ. ⵏⴰⵜⴰⵥ ⴹⴰⵎⴰⵏ ⵉⵜⴰⵣⵔⴰⵏ ⴹⴰ ⴳⴼⴰⵙⴰⵏ ⵏⴰⵅ ⵉⴹⴰⵅ ⵉⵊⴰⵎⵄⴰⵏⵡⵉ ⴹⴰⵅ ⵉⵜⴰⴱⵄⴰⵏ ⴹⵉ ⵔⴰⵥⴰ ⵏⴰⵅ ⴹ ⴰⴹⵓ ⵏⴰⵅ, ⴹⴰ ⴳⴰⵔⴰⵡ ⵉⵢⴰⵠⴹⴰⵏ ⴰⵍⵎⴰⵖⵕⵉⵠ ⴰⵎⴰⵇⵔⴰⵏ ⵣⵉ ⵎⴰⵏⵉ ⵉⵇⵉⵎⴰⵏ ⵣⵉ ⴰⵎⴰⵏⵥⴰⵡ ⵉⴼⵔⵉⵇⵢⴰ. ⵀⴰⵎⴰⵛ ⵊⴰ ⵜⵡⴰⵔⴰⵏ ⵜⴰⵏⴰⵣⵔⵓⴼⵜ ⵣⵉ ⵔⴰⵠⴷⴰ. ⵄⴰⴹ ⵔⵓⵅⴰ ⵄⴰⴷⵓⵏⴷ ⵅⴰⵙ ⴰⵟⴰⵚ ⵢⴰⵠⵔⵉⴹⴰⵏⵙⴽⵓⵔⵛⵉ, ⵣⵉ ⵉⵣⵣⵍⵎⴹⵏ ⵖⴰ ⵉⴼⴼⵓⵙ, ⵣⵉ ⴰⴳⵎⵎⵓⴹ ⵖⴰ ⵜⴰⴳⵓⵜ. ⴹⴰⵢⴰⵙ ⵉⵎⵓⵛⴰⵏⵣⴰⴳⴰⵏⵉ ⵡⴰⵟⴰⵃⵉⴱⴰⵏ ⵛⴰ ⴰⵟⴰⵚ ⵣⵉ ⵥⵎⴰⵥ ⵏⴰⵅ, ⵎⴰⵛⴰ ⵏⴰⵜⴰⵥ ⵄⴰⵡⴰⴹ ⵟⴰⵃⵠⵓⵜ ⵉⵜⴰⵏⵀⴰⵣⴰⵏ ⵙⴰⴷⵓⵏⴰⵛⵜ.
ⴰⵕⵎⴰⵍ ⵏⵉ ⵉⵜⵉⴹⵕⵉⵏ ⵙⵡⴰⵟⴰⵙ, ⵥⵙⴰⵇⴰⴷ ⴰⴼⵔⴰⵢ, ⴹⴰⵎⴰⵏ ⵉⵜⴰⵣⵔⴰⵏ ⴹⴰ ⴳⴼⴰⵙⵙⴰⵏ ⵏⴰⵅ ⵉⴹⴰⵅ ⵉⵊⴰⵎⵄⴰⵏ. ⵜⴰⵏⴰⵣⵔⵓⴼⵜ, ⵜⴰⵏⴰⵣⵔⵓⴼⵜⴰ ⴹⴰⵔⵠⴰⵏⵢⵓ ⵏ ⴰⴹⵓ, ⴰⵎ ⵉⴼⴰⵙⵙⴰⵏ ⵏⴰⵅ ⵉⴳⵉⵜⴱⴰⵍⴰⵄⴰⵏ ⵉ ⵄⴰⵡⴰⴹ ⵉⵢⴰⵣⵎⴰⵏ ⴹⴰ ⴳⵏⵓⴼⴼⴰⵔ ⴹ ⴰⵎⴽⵓⵏ ⵢⴰⵠⵔⵉⴹⴰⵏ ⵏⴰ ⴷⵓⵏⴰⵛⵜ. ⵏⴰⵜⴰⵥ ⴹⵉⵊⴰⵏ ⵡⴰⵎⵛⴰⵏ ⵓⵡⴰⵏⵏⴰⴹ, ⵉⵢⴰⵠⵔⵉⴹⴰⵏ ⵏⴰⴱⴷⴰ. ⵏⴰⵜⴰⵥ ⴹⴰ ⵎⴰⵙⵙ ⵏ ⴰⴹⵓ ⵏⴰⵙ ⵡⴰⵃⴰ, ⵖⴰⵙ ⵉⵠⵔⵉⴹⴰⵏ ⵡⴰⴷⵊⵉⵏ ⵖⴰ ⵀⴰⴷ ⵉⵡⴰⵢⵜⴰⵎⵛⵉⴱⵉⵀⴰⵏ ⴱⵓ ⴰⴳⵉⴼⴰⵙⵙⴰⵏ ⵏⴰⵖⵏⵉ
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Mounir Gouri My Land
2016
Video Loop, 2min
Mounir Gouri is a child of Duchamp. A Duchamp of the Desert, a sand dealer. This video is a passage, from sand to the nation, it is the wheel of time that composes the movements of the hands to sculpt an identity, the Algerian identity. An identity that can not do without this desert.
The Sahara on the contrary, is an obstacle. It is the fluid flowing in our hands that unite us and trace our paths and our destiny, an ocean that separates the Maghreb from the rest of the African continent. This is how the Sahara was perceived from all time. Yet many roads traverse it through and through, from north to south, from east to west. It contains regions that are among the most inhospitable of our land, but also the center of intense life. The sand that vastly covers it, constituting an obstacle, is a fluid flowing in our hands to unite us. The desert, this Sahara receptacle of destinies, is like our hands that close and also open on secret and mysterious lines of life. It is a space of circulation, of eternal paths. It is the only master of its destiny, possessing unique lines that do not resemble any other hands.
Saturday 15 August
7pm GMT + 1
ⴳⵓⵕⵉ ⵎⵓⵏⵉⵔ
ⵃⴰⴹⴰ ⵜⵓⵜⵍⴰⵢⵜⵉⵏⵓ
2020
ⴰⵚⴹⵔⵓ ⵠⵉⴷⵉⵓ
ⴹⵉ ⴷⵓⵏⴰⵛⵜ, ⵖⴰ ⵉⵎⴰⴷⴰⵏⵏ, ⵖⴰ ⴰⵎⵓⵏ ⵏ ⵜⴰⵜⵔⴰⵔⵜ, ⵜⵖⴰⵍⴰⴱ ⵜⵓⵜⵍⴰⵢⵜⵜⴰⵥⵓⵕⴰⵏⵜ, ⵡⴰⵥⵃⵎⴰⵔ, ⵓ ⵜⵎⵉⵢⴰⴽⴰⵏ ⵅ ⵜⵓⵜⵍⴰⵢⵜ ⵉⵡⴰⵢⵓⵙⵉⵄⴰⵏ. ⴰⵚⴹⵔⵓ ⵠⵉⴷⵉⵓ ⵉⵏⵓ ⵙ ⵔⵉⵔⴰⵥ ⴰⵙⵉⵍⴰⴼ ⵉⵙⴱⵢⴰⵏ ⵜⵉⵍⵍⴰⵡⵜ ⵏ ⵜⵓⵜⵍⴰⵢⵜ ⵙⵓ ⵙⴰⵏⴰⵄ ⴹⵓ ⵄⴰⵡⴰⴹ ⵓⵙⴰⵏⴰ ⵏ ⵜⴰⵙⵓⵔⴰⵔⵜ ⵜⴰⵙⴰⴽⴼⴰⵍⵜ ⵉ ⴼⴰⵙⵢⴰⵏ ⴰⵎ ⵓⵎⴰⵏⵖⵉ.
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Mounir Gouri
Touch my language
2020
video performance
In the world, in nations, in contemporary societies, major languages dominate, despise, and even ignore minor languages. My video performance through gestural manipulation redefines the existence of languages by doing and remaking a hierarchical game that dissolves like resistance.
7pm GMT + 1
ⴳⵓⵕⵉ ⵎⵓⵏⵉⵔ
ⵃⴰⴹⴰ ⵜⵓⵜⵍⴰⵢⵜⵉⵏⵓ
2020
ⴰⵚⴹⵔⵓ ⵠⵉⴷⵉⵓ
ⴹⵉ ⴷⵓⵏⴰⵛⵜ, ⵖⴰ ⵉⵎⴰⴷⴰⵏⵏ, ⵖⴰ ⴰⵎⵓⵏ ⵏ ⵜⴰⵜⵔⴰⵔⵜ, ⵜⵖⴰⵍⴰⴱ ⵜⵓⵜⵍⴰⵢⵜⵜⴰⵥⵓⵕⴰⵏⵜ, ⵡⴰⵥⵃⵎⴰⵔ, ⵓ ⵜⵎⵉⵢⴰⴽⴰⵏ ⵅ ⵜⵓⵜⵍⴰⵢⵜ ⵉⵡⴰⵢⵓⵙⵉⵄⴰⵏ. ⴰⵚⴹⵔⵓ ⵠⵉⴷⵉⵓ ⵉⵏⵓ ⵙ ⵔⵉⵔⴰⵥ ⴰⵙⵉⵍⴰⴼ ⵉⵙⴱⵢⴰⵏ ⵜⵉⵍⵍⴰⵡⵜ ⵏ ⵜⵓⵜⵍⴰⵢⵜ ⵙⵓ ⵙⴰⵏⴰⵄ ⴹⵓ ⵄⴰⵡⴰⴹ ⵓⵙⴰⵏⴰ ⵏ ⵜⴰⵙⵓⵔⴰⵔⵜ ⵜⴰⵙⴰⴽⴼⴰⵍⵜ ⵉ ⴼⴰⵙⵢⴰⵏ ⴰⵎ ⵓⵎⴰⵏⵖⵉ.
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Mounir Gouri
Touch my language
2020
video performance
In the world, in nations, in contemporary societies, major languages dominate, despise, and even ignore minor languages. My video performance through gestural manipulation redefines the existence of languages by doing and remaking a hierarchical game that dissolves like resistance.
Sunday 16 August
2pm GMT + 1
ⵔⵃⴰⴷ 09 ⵖⵓⵛⵜ
2ⵓⵄⴰⵛⵉ ⴳⵔⵉⵏⵉⵜⵛ +1
ⵟⴰⵊⵉⵏ ⴰⵣⴰⵢⵣ
ⴰⵙⵓⵔⵙⴰⴷ ⴰⴱⵀⵔⵉ ⵉⴳⴰⵏ ⴰⴱⵍⴷⵉ ⵉⵜⵓⵙⴰⵏ ⴱⴰⵃⵔⴰ ⴴ ⵜⴰⴷⵍⵙⴰ ⵉⵎⴰⵣⵉⴴⴰⵏ ⵙⵜⴰⵎⵉⵎⵜⵏⵙ ⴷⵍⵊⴰⵡⴷⴰⵏⵙ . ⵜⵉⵔⴰⵎⵜⴰⴷ ⵜⵀⴰⴷⵔ ⴳ ⵜⵓⴳⵟ ⵏⵜⵎⵉⵣⴰⵔ ⵏⵙⵓⵙⵙ ⵍⵉⵍⴰⵏⵉⵏ ⴴⵜⴰⵎⴰ ⴰⴳⴰⵔⴰⵡ ⵏⵍⴰⵜⵍⴰⵙⵙ ⴴⵍⵎⴰⴴⵔⵉⴱ.
ⵉⵙⴰⴳⵓⵎⵏ
ⴽⵉⵍⵓ ⴷ 600 ⵏ ⴳⵕⴰⵎ ⵏ ⵓⵣⴰⵢⵣ ⵜⴰⵎⵉⵟⴰⵛⵜ ⴰⵣⴳⵏ ⵏ ⵜⴰⵍⵀⴰⵎⵟⵉⵙⵢⵔⵏ ⵉⴼⵉⴼⵍ ⴰⵣⴳⴳⵯⴰⵖ ⵙⵏⴱⴰⵜ ⵜⵔⴽⵎⵉⵏ ⵍⵇⵣⴱⵓⵔ ⴷ ⵍⵎⵄⴷⵏⵓⵙ ⵜⵉⵙⴽⴰⵔⵜ ⵢⴰⵜ ⵜⴰⵥⴰⵍⵉⵎⵜ ⵢⴰⵜ ⵟⵍⵀⴰⵎⵟ ⵍⴰⵃⵔⵉⵙⴰ ⵣⴰⵢⵜⵓ
ⵉⵙⵓⴼⴰⵔ
ⵣⵉⵜ ⴰⵍⵄⵓⴷ ⵍⴱⵣⴰⵔ ⵜⵀⵎⵉⵔⴰ ⴰⵍⵅⴰⵔⵇⵓⵎ ⴰⴱⵍⴹⵉ ⵜⵉⵙⴰⵏⵜ ⵜⵉⵡⵔⵇⵉⵏⵍ ⵎⵓⵙⴰ
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Cooking Session: A Berber Tajine of Octopus
This traditional seafood dish is very known in The Amazigh culture for both its healthiness and its deliciousness. It is originally found in the Atlantic suburbs of souss-massa regions in the Kingdom of Morocco.
Ingredients: A Kilo and 600g of octopus; Two tomatoes; One half lemon; Sweet pepper; Two turnips; Parsley and coriander; Garlic; One onion; One green lemon; Harissa Olives . Spices:Olive oil, black pepper, paprika, turmeric, salt and bay leaves
2pm GMT + 1
ⵔⵃⴰⴷ 09 ⵖⵓⵛⵜ
2ⵓⵄⴰⵛⵉ ⴳⵔⵉⵏⵉⵜⵛ +1
ⵟⴰⵊⵉⵏ ⴰⵣⴰⵢⵣ
ⴰⵙⵓⵔⵙⴰⴷ ⴰⴱⵀⵔⵉ ⵉⴳⴰⵏ ⴰⴱⵍⴷⵉ ⵉⵜⵓⵙⴰⵏ ⴱⴰⵃⵔⴰ ⴴ ⵜⴰⴷⵍⵙⴰ ⵉⵎⴰⵣⵉⴴⴰⵏ ⵙⵜⴰⵎⵉⵎⵜⵏⵙ ⴷⵍⵊⴰⵡⴷⴰⵏⵙ . ⵜⵉⵔⴰⵎⵜⴰⴷ ⵜⵀⴰⴷⵔ ⴳ ⵜⵓⴳⵟ ⵏⵜⵎⵉⵣⴰⵔ ⵏⵙⵓⵙⵙ ⵍⵉⵍⴰⵏⵉⵏ ⴴⵜⴰⵎⴰ ⴰⴳⴰⵔⴰⵡ ⵏⵍⴰⵜⵍⴰⵙⵙ ⴴⵍⵎⴰⴴⵔⵉⴱ.
ⵉⵙⴰⴳⵓⵎⵏ
ⴽⵉⵍⵓ ⴷ 600 ⵏ ⴳⵕⴰⵎ ⵏ ⵓⵣⴰⵢⵣ ⵜⴰⵎⵉⵟⴰⵛⵜ ⴰⵣⴳⵏ ⵏ ⵜⴰⵍⵀⴰⵎⵟⵉⵙⵢⵔⵏ ⵉⴼⵉⴼⵍ ⴰⵣⴳⴳⵯⴰⵖ ⵙⵏⴱⴰⵜ ⵜⵔⴽⵎⵉⵏ ⵍⵇⵣⴱⵓⵔ ⴷ ⵍⵎⵄⴷⵏⵓⵙ ⵜⵉⵙⴽⴰⵔⵜ ⵢⴰⵜ ⵜⴰⵥⴰⵍⵉⵎⵜ ⵢⴰⵜ ⵟⵍⵀⴰⵎⵟ ⵍⴰⵃⵔⵉⵙⴰ ⵣⴰⵢⵜⵓ
ⵉⵙⵓⴼⴰⵔ
ⵣⵉⵜ ⴰⵍⵄⵓⴷ ⵍⴱⵣⴰⵔ ⵜⵀⵎⵉⵔⴰ ⴰⵍⵅⴰⵔⵇⵓⵎ ⴰⴱⵍⴹⵉ ⵜⵉⵙⴰⵏⵜ ⵜⵉⵡⵔⵇⵉⵏⵍ ⵎⵓⵙⴰ
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Cooking Session: A Berber Tajine of Octopus
This traditional seafood dish is very known in The Amazigh culture for both its healthiness and its deliciousness. It is originally found in the Atlantic suburbs of souss-massa regions in the Kingdom of Morocco.
Ingredients: A Kilo and 600g of octopus; Two tomatoes; One half lemon; Sweet pepper; Two turnips; Parsley and coriander; Garlic; One onion; One green lemon; Harissa Olives . Spices:Olive oil, black pepper, paprika, turmeric, salt and bay leaves