Following a scrawled address in my notebook, a reference from a couchsurfer for a small art space with an exhibition–that we just missed–of photographs from the revolution, we begin the labyrinthine task of searching El Medina. Our little crew of three American men and a Palestinian woman elicit a few odd glances and sotto voce remarks from lingering packs of teenage boys and a few old men as we navigate our way echoing our shared language, English. As we trace the lines of directions extending from the outstretched pointed fingers of several reclining Tunisian men and passing pedestrians we slowly narrow in on the Centre Cultural Bir Lahjar.
We wander through unfamiliar streets, Rue Jemaa Zaytuna, El Blagdjia souk, El Attarine souk, El Djeloud souk, and Rue des Tamis. From one side ventricle at the heart of El Medina, a sign points toward the Auberge de Jeunesse, Tunis Youth Hostel. The weathered sign, stained an impressive range of colors from exposure and neglect, points down Saida Ajoula street. We take a turn, following a hunch. We pass the impressive edifice of this former sultan’s palace turned youth hostel and continue through the black and white painted archways that connect the chalky walls of plaster that house Tunisia’s characteristic azure, cyan doors and window frames.
We stop a moment to examine a large wall painting:
In March and April the Paris based Algerian artist ZOO Project visited Tunis to leave his now iconic life size images of martyrs and revolutionaries across the city in a series of murals (For a great spread see The Guardian; A New Hype; and Share Design). The images represent courage of ordinary people who risk their lives for freedom. Many are modeled directly on some of the 236 people who were killed during the revolution.
Here we see Mohammed Hanchi, a 19 year old shot to death on 25 February during clashes between ongoing protests and the police. Although Ben Ali had been ousted a month earlier many Tunisians remained enraged that so many faces familiar with the corruption and abuse of the former regime still remained. Interim Prime Minister Mohamed Ghannouchi and former Minister of Interior, now Home Office Secretary, Farhat Rajhi were targeted with criticism over the continued use of force by security forces and their apparent lack of concern over such deaths, according to twitter posts at the time.
After a short conversation with a few men sitting nearby we continue around the corner. Not long afterward we stumbled upon another piece, a totem pole of youths, hoisting a Tunisian flag above their heads. The base of the painting is somewhat obscured at the ground by a small, red flatbed, strewn with some waste and a large cardboard with Chinese characters for the food distribution company that had sent it written all over.
Upon closer inspection the rest of the symbol reveals itself. The tower of children, eager for freedom, democracy, and human rights are in the middle of a hop-scotch course. The end spells out “Democratie.” However, that the path to Democracy is obscured by garbage and the flotsam of Chinese global trade is highly symbolic if we treat this scene in its totality. It goes beyond the somewhat cliché “The road to Democracy is littered with…” but draws the viewer into an examination of global trade, political and economic interest and the inter-connectivity of international structures of power.
China’s principle foreign policy mantra of nonintervention in the domestic matters of other countries is the kind of rhetoric that allows state-sponsored violence to continue. Most recently China and Russia vetoed UN sanctions designed to pressure Syria to end ongoing violence by the Assad regime which has lead to over 2,700 deaths. But the double standards of political and economic actions, based primarily on the logic of what is expedient to the powerful, is an international issue that runs among the global elite. It draws attention to the role of the entire international community in both domination and democracy. The trash is a simple metaphor. It needs no discussion. We linger for a while and move off in search of 40, Rue du Pasha.
Centre Cultural Bir Lahjar is a metaphor of translated space. Once a Madrasa, the space was converted in the 18th century to a dormitory for Zaytuna University, part of the 8th century Zaytuna Mosque. As a dormitory of Zaytuna university the space housed the children of Tunis’ poorest families. The wards, otherwise unprovided for, were watched over by the communitarianism inherent in the teachings of Islam. At the entrance to the courtyard remains 25 ground level cubbyholes whose purpose was to house the secret gifts of food and other items left there by anonymous donation from the neighborhood.
In the 14th century Zaytuna university was attended by Ibn Khaldun, the renowned Muslim historian, philosopher, and-some argue-father of sociology. His statue, between the French Embassy and Tunis’ cathedral, on Rue Habib Bourguiba is currently surrounded by razor wire and armored personal carriers. During Tunisia’s struggle for independence with France in the 1950s, Zaytuna university, as a center of flourishing nationalist thought and activism, was the target of French assaults. In in its most recent manifestation the space has become an arts and culture center.
Here we are greeted by Jemal Abdennacer, who smiles when we note the shared name with anti-imperialist Egyptian president Gamal Abdel Nasser Hussein. Our Abdennacer likes to style himself as the Jackson Pollack of Tunisia.
Educated at l’École du Louvre and l’École des Beaux-Arts, Abdennacer went on to study calligraphy and serve as an art therapist in Canada before returning to his native Tunisia. His art is a full experience. He places a canvas on a small easel, covers the floor with large multicolored, geometrically rich Berber rugs, and launches himself into a shamans trance of liberated color and movement. Wildly flinging his paint on the canvas, the floor, the spectator, as, his art is as much a spectator sport as a personal exploration and expression. I am curious how the power of such unfettered free expression must have felt during the Ben Ali years. After his explosive construction of colors concludes, and the canvas dries, he fillets the material into strips to give away. He always keeps one piece of canvas for himself. One could interpret this as a symbolic thesis that freedom of expression must be shared, to be considered a true freedom.
I am reminded of Paul Klee’s sentiment of his time in Tunisia. In 1914 Klee wrote,“Colour has taken possession of me; no longer do I have to chase after it, I know that it has hold of me for ever.”
As Abdenaccer enthusiastically explains his art and shows us around the space, the melody of a violin lesson resounds, refracting on the arches and columns of this centuries old structure to provide a most alluring soundtrack to our stay.
After some time, Abdenaccer leaves us with parting words of philosophy. In regard to the sensitive transition and difficult task of rebuilding a state ravaged by corruption and political abuse, he simply offers, “Do not politicize the educated. Educate the politicians.” We wander back into the alleyway outside the art space with these thoughts, and of course a small fabric of colorful canvas.