Tandis que la chaleur familiale emplit nos foyers, d'autres s'activent à un acte noble qui confère à ce Ramadan une magie particulière. 🌙🇩🇿🥰
Dès les premières lueurs du matin, à #Ghardaïa et dans tout le pays algérien, les bénévoles s'affairent à dresser des tables de rupture du jeûne généreuses, débordant de bonté et de partage.
This Rainbow-Colored Rock formation is located on the left edge of the Trans-Saharan Road in the Sidi Makhlouf area towards the state of Ghardaia, It is located precisely in the matlili Valley, the course of which turns from the north-west to the South-East .
Geological formation: Mineral oxidation, It is a mixture of a group of brilliant colors that resulted from the mineral oxidation in limestone composed largely of the minerals calcite and aragonite, which are different crystal forms of calcium carbonate (CaCO3). The solubility of limestone in water and weak acid solutions leads to karst landscapes, in which water erodes the limestone over thousands to millions of years.
Clay Palace of Ghardaïa, also known as the Palais du M’zab in Algeria, Africa! Ghardaia Palace was established in the year 1048 AD, and it is distinguished by its wonderful and eye-catching engineering design, and also contains squares and palaces branching from it, in addition to the old popular markets and ancient mosques. It has been recognized as a UNESCO World Heritage Site since 1982
Admission to many museums in the UK are free, so once and a while we drop in to get to see local art. Here are some photos of art with themes of colonization, injustice, and issues of our time at Tate Liverpool.
This photo is of a Palestinian woman in what’s left of her home during the Sabra Camp massacre in 1982. It is by Don McCullin, a British photographer who covered the Lebanese Civil War during his visits in 1976 and 1982. Palestinian refugees fled to Lebanon after the establishment of Israel in 1948 in what was once a part of Palestine. The war in Lebanon led to massacres of Muslim neighborhoods including Palestinians in the Sabra refugee camp.
The late Zarina Hashmi was an Indian-American artist born in India, whose family was displaced by the 1947 partition of India after British colonial rule. While her sister Rani moved to Pakistan, Zarina eventually traveled the world, staying in touch with her sister everywhere she went. “Letters from Home” use these letters from Rani as a basis for the art, as they are written in Urdu and printed along with depictions of blue prints and maps of the places Zarina had lived through the years.
Kader Attia was born in France to Algerian parents, and later grew up in Algeria. Believe it or not, this artwork is made out of food. Specifically, couscous, a staple in Algeria as well as the rest of North Africa. Near the exhibit is a photo of Swiss-French architect Le Corbusier, who applied modernist architecture during the French colonial period in Algeria near the mid 1900s. In this artwork Attia seems to shape buildings in the modernist style, depicting the ancient hilltop city of Ghardaia in Algeria. The buildings are molded in couscous, and cracks and crumbling areas in the buildings could be seen as weathering from both the city’s old age and French colonization.
Torkwase Dyson handcrafted these huge, black structures and placed them in a large dark space on the first floor of Tate Liverpool. Dyson’s abstract works “grapple with the ways in which space is perceived, imagined and negotiated particularly by black and brown bodies.” This installation, “Liquid a Place,” definitely displays this, with these huge statues of what seam like heavy slabs of the darkest marble. They definitely convey the weight of colonization for me, and the artist description of them echoing “the curve of a ship’s hull” got me the most. Tate Liverpool sits in what was once one of Europe’s busiest ports serving the Transatlantic Slave Trade.
Lubaina Himid was one of the pioneers of the UK’s Black Art movement in the 1980s. “Carrot Piece” shows a white figure hovering a carrot over a Black woman carrying her own plentiful batch of food and items. The white figure is on a unicycle and wears light make up, conveying ridiculousness or crude entertainment, as if a clown. These are cut-out wooden paintings that are life-sized and was made for, as Himid wrote in her description, “…the moment when you slowly realise that you have learned something quite useful about yourself which proves to be a whole lot better than anything ever offered to you for free.”
Kerry James Marshall is known for his colorful paintings depicting Black people in dark shades. He counters “Western pictorial tradition” and brings forward Black figures in it. This work shows a Black figure wearing a British royal guard uniform, holding a sandwich board advertising a fish and chips restaurant named after a freedman, prominent writer, and British slavery abolitionist Olaudah Equiano. The irony of this art, is that it does not show a place in England. It is a scene in Arizona, where a “London Bridge” was made to attract American tourism.