{"id":78529,"date":"2023-06-18T10:00:57","date_gmt":"2023-06-18T09:00:57","guid":{"rendered":"https:\/\/jazairhope.org\/?p=78529"},"modified":"2023-06-18T10:00:57","modified_gmt":"2023-06-18T09:00:57","slug":"baya-au-prisme-de-lhistoire","status":"publish","type":"post","link":"https:\/\/jazairhope.org\/fr\/baya-au-prisme-de-lhistoire\/","title":{"rendered":"Baya au prisme de l\u2019histoire"},"content":{"rendered":"<div class=\"td-author-by\"><strong>Par\u00a0Myriam Kendsi<\/strong><\/div>\n<p>&nbsp;<\/p>\n<p>Apr\u00e9s l\u2019Institut du monde arabe \u00e0 Paris,\u00a0 le Centre de la Vieille Charit\u00e9 \u00e0 Marseille, montre pour la premi\u00e8re fois pour ce qui concerne\u00a0<a href=\"https:\/\/www.24hdz.com\/baya-paris\/\">Baya<\/a>, une quarantaine de ses \u00ab premiers dessins \u00bb de 1944-45, toutes les gouaches des\u00a0<em>Contes de Baya<\/em>, des documents in\u00e9dits, une vaste s\u00e9lection de ses peintures et sculptures de 1946 \u00e0 1998 .<\/p>\n<p>La femme et l\u2019enfant, le jardin (m\u00e9taphore du paradis dans l\u2019islam), la huppe-paon (quelquefois noire), les oiseaux dans le ciel , des robes aux couleurs vives avec des\u00a0 signes berb\u00e8res tels que le cercle, triangle, croix et des feuilles de palmier \u00e0 foison sous l\u2019oeil stylis\u00e9 cern\u00e9 de noir, apr\u00e8s 1947 , rappelle l\u2019oeil des fresques \u00e9gyptiennes ou les miniatures persanes . Baya a le sentiment de peindre sa m\u00e8re \u00e0 travers toutes ces femmes aux longs cheveux noirs qui peuplent ses oeuvres, cette m\u00e8re dont elle a adopt\u00e9 le pr\u00e9nom \u00e0 sa mort pour signer ses tableaux .<\/p>\n<p>L\u2019ensemble est peint chez Marguerite Carminat et plus tard dans un atelier qui jouxte sa cuisine \u00e0 Blida\u00a0 et un jardin remplis de roses, d\u2019hortensias, de citronnier, de cognassier et d\u2019oranger . Les formats sont petits pendant des ann\u00e9es, puis plus grand sur la pression des galeries probablement . La p\u00e9riode de 1947 est une p\u00e9riode importante\u00a0 de cr\u00e9ativit\u00e9 pour Baya , puis celle de 1963o\u00f9 Jean de Maisonseul prend la direction du mus\u00e9e des Beaux arts et organise la premi\u00e8re expositions avec des artistes alg\u00e9riens .<\/p>\n<p>Baya Mahedinne est n\u00e9e Fatma Haddad en 1931\u00a0 \u00e0 Borj El Kiffan, dans une soci\u00e9t\u00e9 en pleine colonisation\u00a0 . Elle commen\u00e7a \u00e0 sculpter en argile comme les femmes kabyles, les oiseaux, les fleurs qu\u2019elle voit dans la maison de sa tutrice Marguerite Caminat \u00e0 Alger\u00a0 et croisent\u00a0 Breton, Braque, Picasso \u00e0 Vallauris, se lit d\u2019amiti\u00e9s avec Rachid Kora\u00efchi , Jean de Maisonseul et Jean S\u00e9nac .<\/p>\n<p>En effet pour fuir la seconde guerre mondiale, des artistes fran\u00e7ais se sont install\u00e9s \u00e0 Alger o\u00f9 certains vont c\u00f4toyer Baya chez sa tutrice Marguerite Caminat documentaliste, peintre mari\u00e9e \u00e0 un artiste peintre, tous deux passionn\u00e9s par les dessins d\u2019enfants et \u00ab\u00a0non issus de l\u2019Alg\u00e9rie coloniale\u00a0\u00bb pr\u00e9cise l\u2019historienne Anissa Bouayed et c\u2019est important . Le sculpteur Peyrissac incitera Baya \u00e0\u00a0 transcrire ses dessins sur papier, \u00e0 la gouache, gouaches qu\u2019il va montrer \u00e0 Aim\u00e9 Maeght de passage \u00e0 Alger en 1943.<\/p>\n<p>A son insu Baya traverse l\u2019histoire de l\u2019Alg\u00e9rie et de la France\u00a0 . En effet \u00e0 Paris c\u2019est l\u2019\u00e9blouissement \/mythification\u00a0 avec les surr\u00e9alistes qui soutiennent la lib\u00e9ration alg\u00e9rienne . Andr\u00e9 Breton\u00a0 \u00e9crit \u00a0\u00ab Baya dont la mission est de recharger de sens ces beaux mots nostalgiques : l\u2019Arabie heureuse. Baya, qui tient et ranime le rameau d\u2019or . Mauriac la tutoie \u2026 et Camus, pr\u00e9sent lui aussi au vernissage \u00e0 Paris, note dans ses correspondances : la princesse au milieu des barbares\u00a0 . \u00ab\u00a0Baya un pansement de tout ce qui n\u2019allait pas entre la France et l\u2019Alg\u00e9rie\u00a0\u00bb apr\u00e9s la trag\u00e9die du 8 mai 1945 \u00e0 S\u00e9tif\u00a0 analyse Alice Kaplan, historienne , sp\u00e9cialiste de Camus dans l\u2019\u00e9mission de Tewfik Hakem sur France Culture .<\/p>\n<p>Rappelons ici que l\u2019\u00e9cole des Beaux arts ainsi que son mus\u00e9e interdits aux Indig\u00e8nes .<\/p>\n<p>Pour m\u00e9moire 300 oeuvres alg\u00e9riennes vol\u00e9es, d\u00e9pos\u00e9es au Louvre la veille de l\u2019ind\u00e9pendance, r\u00e9clam\u00e9es \u00e0 Malraux\u00a0 puis restitu\u00e9es \u00e0 Jean de Maisonseul nomm\u00e9 directeur du mus\u00e9e des Beaux Arts \u00e0 Alger .<\/p>\n<p>Instrumentalis\u00e9e par la France pour masquer l\u2019horreur du 8 mai 45 \u00e0 S\u00e9tif\u00a0 et pr\u00e9sent\u00e9e une image du bonheur des colonis\u00e9s, mod\u00e8le de la\u00a0 jeune musulmane, orpheline, analphab\u00eate ou innocente, mais aussi contest\u00e9e par l\u2019UNAP (union nationale des arts plastiques )\u00a0 demandeuse d\u2019iconographie pour c\u00e9l\u00e9brer la lutte pour l\u2019ind\u00e9pendance, elle est fustig\u00e9e par Khadda.<\/p>\n<figure class=\"wp-block-image size-large\"><a class=\"td-modal-image\" href=\"https:\/\/i0.wp.com\/www.24hdz.com\/wp-content\/uploads\/2023\/06\/344991732_735128808391793_9009123214498065766_n.jpg?resize=696%2C933&amp;ssl=1\"><img fetchpriority=\"high\" decoding=\"async\" class=\"wp-image-38138 td-animation-stack-type0-2\" src=\"https:\/\/i0.wp.com\/www.24hdz.com\/wp-content\/uploads\/2023\/06\/344991732_735128808391793_9009123214498065766_n.jpg?resize=696%2C933&amp;ssl=1\" alt=\"\" width=\"696\" height=\"933\" \/><\/a><\/figure>\n<p>Cantonn\u00e9e dans la biblioth\u00e8que du Mus\u00e9e, Baya n\u2019est jamais \u00e9voqu\u00e9e dans le cursus p\u00e9dagogique des Beaux arts d\u2019Alger, contrairement \u00e0 Issiakhem et Khadda, parce que trop c\u00e9l\u00e9br\u00e9e par les galeries fran\u00e7aises, elle est souvent mise \u00e0 l\u2019\u00e9cart voire m\u00e9pris\u00e9e par ses coll\u00e8gues artistes , elle qui a arr\u00eat\u00e9 de peindre durant la guerre d\u2019Alg\u00e9rie \u00e0 cause de ses maternit\u00e9s mais pas seulement .<\/p>\n<p>Baya a trac\u00e9 son chemin, r\u00e9sistante aux pressions , indiff\u00e9rente aux flatteries du monde de l\u2019art .<\/p>\n<p>Elle reprendra son activit\u00e9 artistique gr\u00e2ce au soutien du milieu artistique d\u2019Alger et en particulier de celui de Jean Maisonseul qui lui ach\u00e8te le materiel pour poursuivre son art .<\/p>\n<p>La f\u00e9ministe Assia Djebar \u00e9crit un article qu\u2019elle intitule \u00ab le combat de Baya \u00bb. Elle y fait allusion \u00e0 l\u2019incompr\u00e9hension rencontr\u00e9e par l\u2019\u0153uvre de Baya dans les milieux officiels de la peinture alg\u00e9rienne apr\u00e8s 1962.<\/p>\n<p>A cette \u00e9poque et gr\u00e2ce \u00e0 l\u2019action de Jean Dubuffet, la cr\u00e9ation de Baya, \u00e0 tort ou \u00e0 raison, est souvent rattach\u00e9e \u00e0 l\u2019art brut mais int\u00e8gre le mus\u00e9e de Gen\u00e8ve . De mani\u00e8re pr\u00e9visible on cherche \u00e0 l\u2019identifier, maistoujours par rapport aux cat\u00e9gories de l\u2019art europ\u00e9en.<\/p>\n<p>Les pesanteurs historiques et sociales ont \u00e9t\u00e9 d\u00e9pass\u00e9es gr\u00e2ce \u00e0 l\u2019\u00e9tayage du milieu de l\u2019art \u00e0 Alger avec Jean S\u00e9nac, Edmond Charlot, Rachid Kora\u00efchi,\u00a0 Jean de Maisonseul .<\/p>\n<p>Baya adul\u00e9e et isol\u00e9e,\u00a0 le prix de la qu\u00eate de la distinction dirait Bourdieu , prise entre deux histoires qui se superposent, se percutent la sienne et celle de son pays en guerre contre le colonialisme .<\/p>\n<p>*Myriam KENDSI, critique d\u2019art<\/p>\n<p><em>L<\/em><em>\u2019<\/em><em>art au f<\/em><em>\u00e9<\/em><em>minin, de l<\/em><em>\u2019<\/em><em>Alg<\/em><em>\u00e9<\/em><em>rie au Liban et\u00a0<\/em><em>\u00e0<\/em><em>\u00a0<\/em><em>la Palestine \/ TheBookEdition.com<\/em><\/p>\n<p><em>Protest painters alg<\/em><em>\u00e9<\/em><em>riens \/Editions Marsa<\/em><\/p>\n<p>24hdz.com<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Par\u00a0Myriam Kendsi &nbsp; Apr\u00e9s l\u2019Institut du monde arabe \u00e0 Paris,\u00a0 le Centre de la Vieille Charit\u00e9 \u00e0 Marseille, montre pour la premi\u00e8re&hellip;<\/p>\n","protected":false},"author":61,"featured_media":78534,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[15,32,10,34,42,14,31,44,33],"tags":[],"class_list":["post-78529","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-algeria","category-algerie","category-art","category-art-fr","category-histoire-et-patrimoine","category-historyheritage","category-31","category-44","category-33"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Baya au prisme de l\u2019histoire - AAH.JZR<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jazairhope.org\/fr\/baya-au-prisme-de-lhistoire\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Baya au prisme de l\u2019histoire - AAH.JZR\" \/>\n<meta property=\"og:description\" content=\"Par\u00a0Myriam Kendsi &nbsp; 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