Hamid Tibouchi

Hamid Tibouchi , born in 1951 with Tibane, is a painter and poet Algérie N.

Biography

Born the February 12th 1951 with Tibane close to Béjaïa (in the past Candle) in Kabylie, area Berber of the north of Algeria, Hamid Tibouchi starts to paint towards the ten years age and to write in 1966. After having continued its studies at the National university of Algiers, where it binds with Tahar Djaout, he is French assistant in England in 1974 and 1975 and teaches a time English close to Algiers.

Engaging initially in the poetic writing Hamid Tibouchi her first texts in 1971 in Algeria, France and Tunisia publishes, then several plates and collections which place it among the major representatives of the “Young poetry of French C-W communication” whose Jean Sénac, until his assassination in 1973, supports the aspirations protestors. The anthologies carried out at the time present its poems, which are translated into Spanish, in Italian. " It is one of the most demanding poets and most adventurous of its génération" , in 1984 Tahar Djaout notes. Today several of its poems appear thus in the Algerian schoolbooks.

Tibouchi simultaneously draws and, on the end of the Années 1970, the painter in him joined the poet. “For Hamid Tibouchi, in fact, there are not junction or change of route. It invites painting and the writing - these two unmemorable sisters - to the same interrogation and same unrestrained frolicking of before the standardization and the assignment of the functions - the figuration for one, the significance for the other”, still analyzes Tahar Djaout. From 1980 Tibouchi exposes its work, in Algeria and with Tunis.

Installed in the Paris region in 1981, graduate in Visual arts of the University Paris VIII, Hamid Tibouchi carries out a score of personal exposures to Paris, in province, Spain and in New York, and takes part, among a great number of collective demonstrations in France, Europe and in the Arab World, to the principal manifestations of contemporary Algerian art. It illustrates many books (Rabah Belamri, Arezki Metref) and re-examined and carries out the decorations of “Wire of the Bitterness” of Slimane Benaïssa, in 1996, for the Festival of Avignon and “1962” of Mohamed Kacimi, in 1998, for the Festival of the Francophonies of Limoges.

Work

If the first works of Tibouchi question penmanship, it is not to take refuge with the shelter of the identity rampart that it can constitute. Dismantling to their graphic framework, it rather diverts the inscriptions to which it has recourse. Broken, désarticulée, dispersed, reflected in echoes or overloaded in palimpsests, Tibouchi the Letter surprises, in-on this side any legibility, in its original pulsation.

It is the opposite experiment which the “before-signs propose complementarily”, similarly infra-meaning that its hand discovers spontaneously in its rates/rhythms. Tibouchi “désécrit”, invites to test what in them is yet only about to mean.

Reactualizing the step developed in the western world through the routes of Andre Masson or Mark Tobey, Henri Michaux, Jean Degottex, Christian Dotremont or Pierre Alechinsky, in the Arab world by Mohammed Khadda, Hamid Tibouchi overflow on the gestures parents of the Far East. The signs which it traces in-on this side crossroads of the cultures say themselves, do not belong to a writing passed, whose comprehension would be at the end of the millenia mislaid, but make emerge a new and forever innocent writing.

Tibouchi quickly engages this exploration in the technique of the monotype. Thinner from the familiar objects, it detaches the prints out of mirror whose fine silhouettes in their turn are made signs. In the matters, coatings and adhesives which it agglomerates, it writes around 1986 as one plows or builds and later, on corrugated cardboards of packing, as one tears, laces or ties, by making sourdre the screen whose wire or strings leave has open book to appear the Pages of cursive writing or the Portées .

Rather than with the traditional colors, Tibouchi has from now on recourse to the most elementary matters, with the nut husks, ink, the pigments and dyeings, the pastel and wax, sands and the particles of the charcoal, the straw, fibers and strings. Its pallet finds in its essential ranges the climate of the potteries and the walls Berbères, the land economy of arts first.

It gives up simultaneously the fabrics tended on frame, assembles, adhesive and staples of papers of any nature, heavy or diaphanous, tissue papers, of rice, papers of grocer and wallpapers, recovers in Tapa S of the worn postal bags, of the fragments of parachute. " I work with found materials. The poorer they are, the more they are riches" , Tibouchi writing.

Its work, continuing to open thereafter with the most varied supports, seems to deliver the invisibly quantified messages, to make of them show through the wild graphèmes which compose of any share the immense text of the visible one. For Hamid Tibouchi all is sign in the world and it is all these signs, on which at every moment the glance passes, that it is a question of learning how to see.

Judgment

“Works of Hamid Tibouchi, paintings, monotypes and drawings, speak to us by plus signs than by images - signs of a diverted writing which leaves the sheet to live the talismans, to run themselves in the flexures of an animated geology, to follow the course of the wrinkles and unmemorable rivers. They are signs of world in train to make of world original and placental which was not yet solidified, which does not speak yet by its mountains, its deserts and its rivers, but stammers by bacterial phasmes and messages. (...) Hamid Tibouchi seeks the inaugural cry, the free gestures first, gestures like Berber woman tracing on her potteries these signs of a deep familiarity, but from which the direction escapes to him. He seeks the pollinic and abyssal world, Eden of mucus and algae, green paradise of those for which the adulthood (that of the man and that of the world) is an irremediable defeat. ”

Tahar Djaout, 1987

Selective bibliography

Collections of Hamid Tibouchi

open Sea , Paris, Editions Characters, 1973.
Sun of grass , Paris, Chambelland Editions, 1974.
It misses the love , Sour El-Ghozlane (Algeria), Éditions of Orycte, 1977.
Besides, that cannot last any more , Sour-El-Ghozlane, Éditions of Orycte, 1978.
Paresis , Paris, Editions of Orycte, 1982 in particular '' It misses the love '' and '' D'ailleurs, that cannot last '' any more.
the sea , in collaboration with Louis-Marie Catta, Adonis and Hassan Massoudy, Paris, 1991.
Thought, snow and mimosas , Paris, Tarente, 1994.
Giclures (five inks of the author), Paris, Tarente, 1995.
russet-red Grasses , delivers of artist, Paris, 1999.
Marks , Paris, Tarente,] '' open Mer '', '' Soleil of grass '', '' Parésie '' and '' Pensées, snow and mimosas ''.
a tree alone , Paris, Tarente, 2001.
Kémia , cover of Slimane Ould Mohand, Niort, the Prickly peartree, 2002.
Veins, prints and washing , La Rochelle, Rumors of the Ages, 2003.
Veins , inks of the author, Three-Rivers (Quebec), Writings of the Forging mills/Marseilles, Other Times, 2004.

On Hamid Tibouchi

Poetry:

Jean Déjeux, methodical and critical Bibliography of the Algerian literature of French language 1945-1977 , SNED, Algiers, 1979.
Young Algerian poets , choice of Jean Déjeux, Paris, Editions Saint-Germain-of-Meadows, 1981.
Tahar Djaout, migrating words, an Algerian poetic anthology , Algiers, university Publications Office, 1984.
Jean Déjeux, Dictionary of the Maghrebian authors of French language , Paris, Karthala Editions, 1984.
Christiane Achour, Anthology of the Algerian literature of French language , Paris, Bordered, 1990.
Five Algerian poets for today, Jean Sénac, Tahar Djaout, Abdelmadjid Kaouah, Habib Tengour, Hamid Tibouchi , Poetry/first, n° 26, Editinter Editions, Soisy-on the Seine, July-October 2003.

Painting:

Southern Wind LED, Llum, matéria I signs (texts as a Catalan and French), Sabadell (Barcelona), 1992.
effects of the voyage , 25 artists Algerian, Palate of the Congresses and the Culture, Mans, 1995.
Painters of the Sign - Mesli, Martinez, Baya, Khadda, Koraïchi, Samta Ben Yahia, Silem, Sergoua, Mohand, Yahiaoui, Tibouchi , (texts of Pierre Gaudibert, Nourredine Saadi, Michel-Georges Bernard and Nicole de Pontcharra), Festival of Humanity, Courneuve, September 1998 (road show).
Tibouchi , introduction of Lucette Albaret, foreword of Michel-Georges Bernard, Books of the ADEIAO, n° 17, Paris, House of the Social sciences, 2000.
Mansour Abrous, Algerian artists, biographical Dictionary, 1917-1999 , Algiers, Kasbah Editions, 2002.
Northern Arte contemporanea LED Africa (French and Italian texts), in Africa E Mediterraneo, n° 43-44, Bologna, 2003.
Tibouchi , in Maghrebian Horizons, n° 49 and 50, Toulouse, University Presses of Mirail, 2003 and 2005 and.

External bonds

detailed Bibliography and poems (Spring of the poets).
Testimony in “Mag Arts”, re-examined on line of the CNDP.
Together of articles in the Algerian press.
Work exposed to the National library of France.

Random links: