Discover the contemporary work of Affif CHERFAOUI

Born in 1948 in Oran, Algeria. Lives and works in La Meillerayé de Bretagne, France. Schools of Fine Arts - Oran, Tourcoing, Nantes. Member of the Association of Artists l'Atelier du Caire. PERSONAL EXHIBITIONS (extracts)2016 - The Man-Place at the APC - Oran2015 - On the Crest of the Harf at the Civ-OEil Gallery.- Oran 2011-12 - Dream Bearer at Bouguenais Media Library 2007 - Places Revealed under the aegis of the Zabana National Museum, the French Cultural Center of Oran and the Civ-OEil Plastic Arts Association.2003 - From one shore to the other as part of the Year of Algeria in France, retrospective exhibition Espace Diderot, Rezé, France.2002 - Invitation to travel, Clergeau Gallery, Ancenis, France.2002 - Invitation to travel, Abbey of Saint-Philibert de Grand-Lieu, France.2001- A summer invincible, Personal workshop, La Meilleraye de Bretagne. France.1998 - Mediterranean Cities, Galerie la Découverte, Nantes, France.1998 - Mediterranean Cities, Crédit Mutuel de Bretagne, Saint-Malo, France.1997 April Khan El Maghraby Gallery, Cairo, Egypt.1997 April Douroub Gallery, Cairo, Egypt. (Permanent artist).1995 April IBM Exhibition, Nantes, France.1994 July Chapelle des Pénitents Gris, Caromb, France.1994 Espace CROUS, Rennes, France.1994 - Les Andalousies Perdues, Tourist Information Center, under the aegis of the Zabana National Museum of Oran and the French Cultural Centers of Oran and Tlemcen, Oran, Algeria.1992 Algerian Cultural Center, Paris, France.1986 - Les Citrons Bleus, Traveling Exhibition: Oran, Tlemcen, Tizi-Ouzou, Algiers, French Cultural Center of Oran, Algeria.1965 Librairie Monaco, Oran, Algeria. GROUP EXHIBITIONS (extracts)2014- Winter Exhibition, Rotary Châteaubriant, France.1999 to 2010 Exhibition fair, Nantes La Beaujoire, France.2002 Briord Gallery, France.2001 Exhibition of Saint-Sébastien sur Loire, France.1998 Exhibition of Saint-Luce sur Loire, France.1998 Exhibition of the Heronniere, Saint-Aignan de Grand-Lieu, France.1998 Autumn Exhibition, La Fleurayé, Carquefou, France.1997 to 2001 Exhibition of Candé, France.1997 Arts Exhibition, Cholet, France.1997 to 2007 Painting Sculpture Exhibition, Les Sorinières, France.1995 to 2003 The Association of Painters and Sculptors Witnesses of their Region", Le Croisic, Guérande, France.1995 to 2007 Biennial of Friends of Art and International Exhibition of Paper-based Works, Nantes, France.1994 October, Galerie le Rayon Vert, Nantes, France.1990 to 1994 Autumn Exhibition, Rotary Châteaubriant, France.1991 to 1992 International Biennial of Auvergne, France.1987 First International Biennial, Algiers, Algeria.1986 Participation in the International Contemporary Art Prize, Monaco, Principality of Monaco.COLLECTIONSNational Museum of Zabana, Oran, Algeria.Private collections in France and Algeria. The man who draws cities Grandson of a wood sculptor, and himself a trained decorator, Affif Cherfaoui seems, in his passion as a painter, tempted by the dream of the chaser and topographer of colors. It is above all the city that captures him on the edge of this dream, it animates him with precise and meticulous gestures of a craftsman of geometry (which are his own) for an ideal resurrection. Whatever the country, the place or the age, the city reveals the magnificence of its naked body in rigid lines or under the agitated veil of colors. One city particularly fascinates Cherfaoui: Oran, his hometown. It fascinates him more than all the other cities he has visited, for which he fell in love at first sight and which he will also draw: Cairo, Granada, Lisbon etc. Yesterday, that is to say in the 80s and 90s from Algeria, and today from France where he resides, Cherfaoui will represent several sites of Oran: The town hall, the place 1er Novembre, the theater Abdelkader Alloula, the derb, the palace of the Dey... In Cherfaoui's paintings, urban places, public buildings or ancient sites certainly keep their essential architecture, but undergo in their surface the breath of magic and playfulness. All in light, in miniatures or in efflorescences, they are then from another time, neither old nor to come but as if come straight out not of the gesture but of the dream of those who were going to be their builders. Cherfaoui is haunted by the lost. Obsessively. Because, he who was fourteen years old at independence, will keep alive the memories of an Algeria of all hopes. Dreams were shattered in him, crumbled like buildings whose stone would have suddenly turned into sand. This is perhaps what explains this passionate taste that he has in his aesthetic for architectural reconstruction, as well as the use of a style close to illumination, arabesque and miniature that we find among traditional decorators from here. When it comes to the city, his works present themselves as paintings of sites restored according to patterns and color schemes that seem to be intended to welcome childhood. Rejuvenated sites; washed of their wrinkles, their erosive trials and what suggests the seriousness of their function. Cherfaoui first visited the places he was going to paint. He walked around them, photographed them, studied their old and recent plans. From these visits, he retained above all images close to visions, expressions of his lost dream. Old neighborhoods, public buildings, ancient mosques of Oran, or the banks of the Nile, streets and religious sites of Al Hussein, all these places visited have come back to life in his painting: they have regained vigor, clear contours within which details, exhumed from another age or imagined, have taken their place. Curves, interlacing, patterns, everything is resurrected in an original, archetypal purity. On the wall surfaces or on those of the objects appear broken lines that give the paintings an impression of rapid rhythm. Luminous reflections, born of subtle chromatic variations, produce an illusion of porcelain or glass or even of diaphanous carpet. But beyond of light, the variations in hue, the delicate division of surfaces carry the eye in a broken movement. This often ends in dead ends where black and white receive it as in a halt and an eternal silence. Zoubida Haggani, who has best studied the artist's work, has so aptly described Affif Cherfaoui's technique by saying that he "empties space of its stereotypical depth, and the city, of rationality" geometric that Hippodamus' gesture consecrated in ancient Athens. He unearths a city from vegetal urbanism: volutes, interlacing, and the old city becomes the efflorescence of the landscape. The extreme rigor of the geometric compositions that cover the walls and the ground of the sites is attenuated by a sort of chromatic tumult around where a wall or a wood or even the sky surrounds the city. The color spreads over a large surface or is juxtaposed with others, without a line of separation; a way of purging the city of its torments, of opening it up, of erasing its rupture with nature. An opening, a hollowing out reinforced by the absence of the human in these paintings: the mosaic colors, colors of silence, are only the alphabet of a language by which the artist converses with visitors who are no longer there. The city that we see draws its light doubtless from the wonder of the artist before it, real or imagined. Broken down by time, distant, rejected or threatened, its image, first recovered by the gaze, was delivered into the hands of the artist, god of forms, who recomposed it in a nocturnal, solitary, Osirian gesture. Source: voix-oranie The artist Affif Cherfaoui stays true to his vision of Algeria Affif Cherfaoui retrospective, Musée National Zabana, OranARTICLE DE L'INTERNATIONAL HERALD TRIBUNEORAN, Algeria, November 12, 2007: The Algerian artist Affif Cherfaoui attended the opening of his retrospective at the Musée National Zabana in Oran on October 31. The following day, November 1, is a national holiday in Algeria, marking the 1954 declaration of armed resistance against the French colonial government and the beginning of the Algerian war. The timing was accidental but not unimportant - Cherfaoui's art and the violent history of his country have been brushing up against each other for almost 50 years.Cherfaoui, 59, started classes at the École des Beaux Arts in Oran in October 1962, just four months after Algeria declared its independence from France. "The art school didn't have a good reputation," said the artist. "It was seen as a place of debauchery - they drink wine, they drew nude women."At the time of independence, Oran was the most Europeanized city in Algeria; within the next year more than a million people fled the country, including most of the art school faculty. In 1966, a professor who had gone back to France arranged visas for his three most promising students. They included Cherfaoui. The artist settled in Nantes, where he met his French wife, Annick. They married in 1969. It was in Nantes that Cherfaoui developed his technical signature, a layering of Eastern and Western artistic traditions. The current exhibition is dominated by landscapes painted in watercolor, then covered with painstaking geometric patterns reminiscent of African textiles and Arabic calligraphy. But the couple always talked about going back to Algeria. The new government of the National Liberation Front was calling on educated professionals to do their part to rebuild the country. They returned in 1975 with their two daughters; Cherfaoui accepted a position as a professor at his old art school.The country he returned to was optimistic but almost bankrupt by the oil crises of 1971 and 1973. Nude models, as well as a healthy supply of paper, had disappeared from the École des Beaux Arts. "It was a question of social mores, but also of budget. We didn't have the money to pay professional models, so students posed fully dressed," he said. Although the National Liberation Front was socialist, it instituted Islam as the state religion. Students at the art school became more conservative. "They handicapped my teaching," Cherfaoui said. "A rejection of drawing, of portraiture; it was flowers, flowers and more flowers. Some even wanted to put head scarves on the plaster busts." This restraint has carried over into the current exhibition. Although Cherfaoui chose to exhibit several portraits, there are no nudes. "Maybe in a few years," he said. "I am still capable of provocation."In December 1991, the Islamic Salvation Front, an Islamist political party, swept the parliamentary elections. This was followed by a military coup, purges of journalists, artists and intellectuals, and 10 years of civil war. Cherfaoui's darkest paintings date from this period - blue/black skies and tortured trees. "It was a problem of roots," he said. "We were trying to decide whether to go back to France." He and his wife sent their daughters there first and then themselves followed in 1992. Cherfaoui ventured back to Oran in February 1994 for an exhibition that was jointly sponsored by the National Museum and the French Cultural Center. The combination was seen as a provocation: "I stayed only six days after the opening. My father called me, he had heard rumors. I found out later that my name was on a list posted at the mosque," he said. On March 5 of the same year, the director of the Ecole de Beaux Arts in Algiers was assassinated. Back in France, Cherfaoui continued to paint Algeria, working largely from photographs. "To work on Algeria after I left was a form of therapy. It was always in my mind," he said.The works executed over the next 15 years of forced exile are a combination of willfully idealized views of both North Africa and France. "I sublimate the countryside I see," said the artist. "These places exist, but not as I show them." His reconstructed views remove cars, concrete skyscrappers, and more often than not, people. "I cheated," he said. "It's the principal of creation." It is a world swept clean of modernity, of violence and of human degradation. During this period, Algeria began to invade his paintings of the French countryside; his depictions of the Loire Valley or the port of Saint-Malo share the same color and luminosity as his paintings of the Oran hills. "I always put the light of Algeria in the darkest and most sinister places in France," he said. Instead of an "imaginary East" - the fantasy harems of Ingres or Delacroix, Cherfaoui has created an "imaginary West" of cotton-candy skies and pale water.Oran today bears little resemblance to the city depicted in Cherafoui's paintings. What was once a miniature Paris-by-the-sea is now a mixture of crumbling colonial facades and modern urban sprawl. Magnificent beaches and forests are littered with debris. The only truly recognizable elements are the geometric rise of the buildings, the glowing sunlight and the deep blue of the Mediterranean. Cherfaoui continues to take pictures, carefully framing the shots to hide the half-finished apartment blocks and the omnipresent piles of garbage. "For me, first is color, first is beauty," said the artist. "There is too much ugliness. Even trauma, we can represent with beauty."His idealized portrait of his native city is equal parts nostalgia for the past and hope for the future. Algeria is a young country - at the end of the civil war in 2002, a little more than 50 percent of the population was under the age of 20. During the exhibition, which runs until November 22, Cherfaoui will be hosting workshops for students. "I want to show them what Algeria could be." he said, opening his arms as if he were already talking to a group. "It's for you to do." Affif Cherfaoui: from one shore to the other Written on November 30, 2005: A very beautiful exhibition took place at the Claude Monet school in Châteaubriant. Close your eyes Imagine for a moment that you are in Oran And gently breathe in the scents of Brittany. A flash will suddenly hurt your pupils: You will be at the heart of the tear (Hamid Skif)Tear? Or convergence? The works presented by Affif Cherfaoui were created in 2003, at the time of the year of Algeria in France. Ink, gouache, oil, watercolor, red chalk: the artist multiplies the techniques according to his fantasy and his supports (canvas, cardboard), according to his inspiration He paints Oran and thinks of Brittany, he paints Châteaubriant and thinks of Algeria. "From one shore to the other": the theme of the exhibition shows the link between France and Algeria, a link of history, a link of culture. Affif Cherfaoui is not stingy with comments. His painting is warm, lively, colorful, figurative and at the same time symbolic. He knows how to construct a landscape in all its complexity. and highlight its elements with the finesse of triangles, circles and dots that characterize Arab art. In all his paintings we feel the love of the country, Algeria of course (Oran, Tlemcen), but also France, his adopted homeland (Ile de Ré, Ile de Bréhat, St Malo). The artist is also fond of graphic constructions that express his imagination and his humor. On the one hand, he explains that the three balls and the crescent that adorn the top of the mosques evoke the « Peoples of the Book”, Islam that recognizes other religions On the other hand, he presents “The heirs on a spree” with the Jewish candlestick, the crescent of Islam and the cross of Christianity. But what does the fourth character, on the right of the painting, represent? “Whatever you want, the child or the dog. A laugh”. Humor. History For him, the Châteaubriant kiosk recalls the kiosks of his native country, places of meeting and celebration. One of his paintings has three names: “the children of October” evokes this tragic episode of 1988 when the army crushed in blood the first revolt of the students of Algiers. "The diverted river" refers to the writer Rachid Mimouni and also evokes the first public demonstration of the Islamists in Algeria. Finally "The tragic blue of Algeria" refers to the Algerian blue which, this time, marked one of the tragedies of the history of Algeria. " "These are not little flowers in vases" says Affif Cherfaoui himself, who knows how to welcome young students so well, telling them stories and anecdotes around each of his paintings. And if he shows mosques, he the atheist, it is because religions have lastingly shaped civilizations and art. Femme Cherfaoui is also a painter of the Woman with a capital letter and it is no coincidence that the exhibition presents extracts from the poems of his friend Hamid Skif. The melancholy of "Chaouia", the nudes of " Love and gall”, the enigma of “Nedjma”, “City-woman, Forest-woman, Landscape-woman, Earth-woman, multiple images of an Algeria, image of Algerias in hearts” writes Nicole Auffret in the exhibition catalogue. See Affif Cherfaoui, at La Meilleraye de Bretagne - or click on the “contact email” form opposite TRIBUTEWomen sitting in the folds of time, the tender corners of age Women subjected to the corrosion of the acidic glances of whispered and shouted threats Women of earth and water throbbing at the first whistle of Adam The apple trees have diverted their promises and the carts no longer take the paths leading to the meadows Read the rest of this very beautiful poem by Hamid Skif Algerian painter, based in La Meilleraye, Affif Cherfaoui exhibited at the Collège de la Ville aux Roses, in Châteaubriant, on the theme "From one bank to the other". Next November he will exhibit in his hometown, Oran, landscapes that speak to people there as well as to people here. For example, by showing the bandstand in Chateaubriant and the one in Oran. Affif Cherfaoui hopes to establish relationships between colleges in France and Algeria ... from one bank to the other. The Bridge of Mostar The Bridge of Mostar: in this painting Cherfaoui wants to evoke "the metaphor of human stupidity". The History of the Mostar Bridge Before 1945, Mostar's population was 33% Croat, 35% Bosniak and 19% Serb. During the Balkan Wars (1945-2001), the siege of Mostar was largely ignored by the international media, which focused on Sarajevo. However, the fighting in and around the city was fierce. After jointly repelling Serbian attacks in 1992, Croat and Muslim forces fought each other for eleven months in 1993. The front line cut the city in two, along the steep banks of the Neretva River. In the eastern part, the Muslim population will suffer terribly from the siege: lack of food, shortage of medicines, absence of electricity and gas, daily life is much worse than in the capital. In the western part, where the Croats are, supplies are provided from the Dalmatian coast. The rare UN humanitarian convoys intended for the Muslims are systematically stripped of 50% of their contents at Croatian checkpoints, in the name of a "balance between the parties". The fighting will gradually calm down, and the two armies will end up cooperating against the Serbs in 1995 under international pressure. But the violence of the fighting and the suffering endured have left their mark. Twelve years later, people have not forgotten or forgiven, and the city remains divided along the old front line. A de facto ethnic cleansing has taken place: Bosniaks in the east and Croats in the west. And the two communities live in ignorance of each other: Muslims and Croats send their children to different schools, watch their own television channels and have their own football teams. Tensions remain high, and the rare daredevils who venture to the "other bank" are still too often the target of attacks provoked by groups of young nationalists. The mixing of Serbs, Croats and Muslims is now only a memory, a past that the new generation has not known. The old bridge that linked the two parts of the city and which dated from 1566 was destroyed on November 9, 1993. A new bridge was built by the international community and inaugurated on July 23, 2004. Will it put an end to the ethnic division? The old bridge of Mostar had been built in 1566 by Mimar Hajrudin, a student of the famous architect Sinan (father of classical Ottoman architecture). The bridge was a humpback arch that had an opening of 27 meters, 4 meters wide and 30 meters long. The height of the bridge was 20 meters, compared to the level of the river in summer (maximum level). The bridge was flanked by two fortified towers, the Halebija Tower (right bank) and the Tara Tower (left bank), both dating from the 17th century. The solidity of this work was such that it resisted when, during the Second World War, Nazi tanks crossed it. Before the destruction of November 1993, the main danger that threatened the bridge was erosion due to humidity, but the process of degradation was nevertheless well controlled. Condorcet Media Library of Bouguenais Dream carrier For many years, I have been close to the painting of Affif Cherfaoui. Over time, it has taught me to "see" From painting to painting, from year to year, I have built up an idea of the painter's approach. One of the characteristics of his work is the use of very different techniques: gouaches, oils, warm red chalks and astonishing surprising graphics. Another characteristic is the themes deployed: cities, landscapes, trees, cork oaks, kiosks, some portraits and mysterious abstractions. Tirelessly, the painter seems to take them, to take them again as a support for what works on him, for what he puts to work on the material (gouache, ink, oil, red chalk). For those who discover Algeria, Affif Cherfaoui's painting becomes a guide to see its beauty, its soul, its quality of "invincible summer" according to the words of Albert Camus. For those who discover the ramparts of Saint-Malo, the painter's palette will open their eyes to the pink softness of the gray-granite. The color can be violent to express the "sunny despair" of "Children of October (1988) The incandescence of La criée d'Oran surprises us. The light of the arid mountain crushes the luxuriance of the city in the valley, it worries, but it softens when it gives form to the dream revealed to Sidi El Lahouari. The color and the treatment of light seem, whatever the technique, the ways of transmission of the painter and his "knowledge". And, what is this "knowledge" that we can suppose to the artist? It seems to me that "Sidi El Lahouari" brings a key: the "knowledge" is on the side of the painter's capacity to dream, it makes him "bearer of dreams", of this dream that opens to thought. To those who lock themselves in derision, to those who transform into destiny, the mystery of life, its dramas, its joys and the need to "think" them, to those who transform them into fascinating darkness, the painter responds with color, beauty, light, search for forms, research. Like poetry, this work breaks in, breaks in a word that does not enjoy misfortune. "Do not be afraid" she seems to say, life emerges, can take shape. The brush, the pen of Affif Cherfaoui place themselves on the side of the dream, the one that carries the possibility of " to see", to imagine, to invent possibilities. The painter's research seems to me to be that of a creator of passageways. Affif Cherfaoui tells a story. The story accompanies thought. August 2011 Nicole Auffret Speech by Mrs. Armelle Sadir, Deputy Mayor in charge of Culture on the occasion of the exhibition "Porteur de rêves" Opening of December 9, 2011 Ladies, Gentlemen, Madam Mayor, My dear colleagues, "But what do the poets say?" This was André MALRAUX's question to the members of his cabinet as Minister of Culture. The enarques had prepared solid documentation for him in view of his visit to a foreign country in the midst of a crisis; economy, energy sources, gross domestic product ... nothing was missing. However, none had thought to inquire about the state of mind of the poets. Now, when the horizon of a country, of an era darkens, when we are inundated with scholarly but uncertain analyses, should we not listen to the creators, the artists, capable of making the invisible appear, of making the unspeakable heard. You speak to us, Mr. CHERFAOUI, and we tend to listen to you, eager to discover all the messages. You leave room for our imagination and we seize it. We find ourselves, shy, wandering through the alleys, under the sun of the Mediterranean shores or the sea spray of the Breton coast, when suddenly vibratos emanate from a bandstand. We become your characters, constantly searching for an unexpected perception. We have the honor of discovering several of your paintings until January 14. This year, the exhibition has a particular echo, since for the first time, have been organized, at your invitation, workshops for school children; this proposal received immediate enthusiasm and thus, 21 workshops will be organized, until mid-January; the preliminary meetings with teachers to build them alongside you were so rich! The city of BOUGUENAIS aims to make art and culture accessible to as many people as possible, and particularly to those who are furthest removed from it; know that you will have largely contributed to this thanks to this exhibition and these actions with our youth; There is no doubt that you will leave an indelible mark on these children. And I insist here on the importance that cultural expression has for our city among our youth, this expression which contributes to the development of the critical spirit and the distancing that our era needs so much. Allow me to retrace your career for a few moments. You were born in ORAN where you began your studies at the School of Fine Arts, and you continued them in TOURCOING then in NANTES. You then taught at this School of Fine Arts in ORAN, from 1975 to 1992 then, you join our department in your adopted town, MEILLERAYE de BRETAGNE. You devote yourself to your art and will exhibit in ORAN, CAIRO, MILAN. In FRANCE, you will participate in numerous personal and collective exhibitions while building school projects. We can notably cite the exhibition entitled "From one shore to another" in 2003 in REZE where you had illuminated the movement, the permanent exchange from one shore of the Mediterranean to the other. You play with techniques, materials, genres, themes and this, concomitantly and you move from painting to painting in incessant waves. You flood us with colors and lights. Your friend, the poet Hamid SKIF, who passed away this year, saw in you, I quote, a " crazy about this light of ALGERIA frank and dense, which falls in cascade on the denouement of a land thirsty for love ". "Close your eyes ... he said, a flash will suddenly hurt your pupils: you will be at the heart of the tear. There is perspective, there is this gift of colors which, in the inks marked with a watchmaker's meticulousness, and behind this know-how of a meticulous craftsman, of an anxious ferryman, stands a cry, an immense solitude. "But what does Affif CHERFAOUI tell us? It is up to each of us to detect our own dream, our dreams, guided by this bearer who lets us discover the extraordinary within each of our ordinary ... Thank you Mr. CHERFAOUI, we are richer for having approached your works, richer for having spent a moment with you. We hope to welcome you again and be sure, in this wait, we will not resist finding you in your workshop in MEILLERAYE. Before closing, allow me to greet your wife Annick whose constant and active presence at your side will have contributed to the success of our meeting. I would like to emphasize the importance of the human connection that we felt from the first meeting, sharing with you both the tea and cakes that you had prepared for us. This human warmth is remarkable enough for me to allow myself to emphasize it as it characterizes both the man and the artist. I would like to thank the media library team and especially Magali LE MONNIER for the care taken in showcasing the works in this place that we want to be the seat of the intersection of cultural forms and unexpected discovery. I would also like to thank François BAUNEZ from the culture department for his involvement in this project. Many thanks also to Mrs. Nelly JALLERAT, professor at the Municipal Music School and to Mr. Daniel BARIBAUD for having joined our event by offering us a musical space, composed and performed by them; this duo is entitled "Laika, improvised music duo, clarinet and electric violin" and whose particularity is to be inspired by the atmosphere and the paintings exhibited. I thank you all for your presence, thus testifying to the real sympathy and interest that you have for the artist. Finally, allow me to mention Mr. Hamid SKIF again through his own words about your work: "It is not a question of surprising or demonstrating a virtuosity whose sterile justification is left to others, but of traveling the path on which each stone is a landmark. Like a cry in the silence of our familiar and yet strange lives." Before giving you the floor, Affif CHERFAOUI, I will let René TARGET, honorary deputy mayor and valuable player in our cultural exhibitions, present to you on behalf of the elected officials of the municipality and the municipal agents who collaborated on this event, a souvenir of our meeting. Good evening to all. Armelle SADIR, Deputy Mayor in charge of Culture Exhibition of paintings by the painter AFFIF Cherfaoui Submitted by apc on Tue, 01/03/2016 - 10:27 Exhibition of paintings and animation of workshops for children The painter Affif Cherfaoui is back in Oran to exhibit paintings on the theme of "The Man-Place" bringing together fifty works and whose opening is scheduled for Thursday, March 3 at 4 p.m. in the cultural space open to the Mayor's Office, located on Boulevard de la Soummam. This is a special event, organized under the auspices of the APC of Oran, which will be expanded by the programming of workshops for schoolchildren. The workshops will begin on Sunday, March 20 and will continue until Monday, March 28 in the cultural centers and libraries of the neighborhoods of the city of Oran. This project will be devoted to an artistic approach through the attendance of works and the discovery of techniques. In other words, the child must learn to look at everything, promoting artistic creation.