مدي 1 تي في : مع كاميليا الزرقاني - 05/12/2024
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00:00Hello and welcome to a new episode of your daily and artistic patchwork show.
00:20I'm happy to be here with you every day and every night to share with you the latest news and the latest news about the art scene.
00:28So, let's get started.
00:35Welcome again to the guest of today's episode, Camelia Zerqani. Hello and welcome.
00:42Hello. It's a pleasure to meet you.
00:45Welcome.
00:47How are you Camelia?
00:48I'm fine, thank you.
00:49How are you?
00:50I'm fine.
00:51Today is Thursday and you are in Marrakech.
00:56We wanted to talk to you about your world, your universe, your colors and what we can find in your exhibition.
01:04But before that, let's start from the beginning.
01:08Camelia, tell us about your beginnings in the art scene.
01:12My beginnings in the art scene were inspired by handicrafts.
01:20I'm from the city of Wazza.
01:23During our vacations, we used to make handicrafts during the holidays.
01:28We used to make anything.
01:30We used to draw on wood, we used to crochet, we used to make beads, we used to make...
01:38Since you were a child.
01:39During the holidays, we used to make handicrafts.
01:41Since it's a small city, you don't have a place to go.
01:44You don't have a place to travel to.
01:46But you have a place to travel to.
01:48Handicrafts.
01:49Yes, you have a place to travel to.
01:51Great.
01:52Even if you go to the sea, you still have time to do this.
01:55We didn't have a phone.
01:56Wow, that's a great question.
01:58You see?
01:59We didn't have a phone.
02:00We didn't have a phone.
02:01At a certain age, you don't have time to do this.
02:05After that, I used to make handicrafts on wood.
02:08After that, I started drawing on a painting.
02:13I studied for a few days, but I didn't go to art school.
02:18I met one of the teachers in Gaza, who is Swiss.
02:22He was the reason for me to go to art school.
02:25I thank him for this opportunity.
02:27What did he say to you?
02:29He encouraged me.
02:31He said, you don't have to keep this art to yourself.
02:35You can go to art school.
02:37Why?
02:38Because he was Swiss, and I was working in Morocco.
02:44I love it.
02:45I grew up in an old city.
02:48It has monuments.
02:51We used to wear traditional clothes.
02:54We used to see families wearing traditional clothes in the morning.
03:02I love it.
03:03I don't lie to you.
03:04Until now, for me, when I wake up in the morning,
03:08and I wear traditional clothes, and I see my husband or my neighbor,
03:12I want to see how they work.
03:14You see?
03:15It's a pleasure.
03:16Because we have a Turk, who doesn't get tired.
03:21He's rich.
03:22He works in it, and it's very deep.
03:25So, that was my beginning.
03:28I used to like it.
03:29I like the taste of the country in this painting.
03:31I used to work in Quftan.
03:33I used to work in the old city,
03:36which is in the center of Tanja.
03:39The color of it is Sahara.
03:42I worked in Sabila.
03:45I worked in Nila.
03:46I like it.
03:48I like it.
03:49But, for example, when you go to Malacca,
03:51you don't see the traditional clothes.
03:54Now, it's a tradition.
03:56Here, in the big foreign concerts,
03:59not everyone wears traditional clothes.
04:02We always have our own traditional clothes.
04:05It's a Moroccan culture.
04:07Yes.
04:08Yes.
04:09Can you tell us, Mrs. Kamilia,
04:11that your origins and the city of Wazan
04:14played a big role in your career?
04:17Yes.
04:18Even in Morocco,
04:19when you travel from one city to another,
04:21or you meet someone
04:23and he tells you about his origins,
04:26or you go to the Sahara,
04:28you look at the north,
04:30or you go to the south,
04:32you look at the Arabian Peninsula,
04:34and so on.
04:35When you go and see
04:38every city and its heritage,
04:40every city and its traditions,
04:42there you see the strength of the Moroccan people
04:44and the Moroccan culture
04:46is a big thing.
04:48This Moroccan culture
04:50is a big and strong thing.
04:52These are traditions,
04:54and we know that our strength
04:56is our heritage.
04:58Would you prefer to be a painter
05:01in Yemen or in Israel?
05:03In Yemen.
05:04In Yemen?
05:05Yes.
05:06Is it difficult for your husband?
05:08Because you have been involved
05:10in the handicrafts since you were a child.
05:12Yes.
05:13I used to work in Israel,
05:15but in Yemen...
05:17Fluid.
05:19Fluid, and also practical.
05:23It's easy to move.
05:25Yes.
05:26It's easy to move.
05:28I don't move my feet,
05:29but they move.
05:30That's right.
05:31You go with the flow,
05:32as we say.
05:33Yes.
05:34Do you prefer painting or painting?
05:36Do you prefer your technique
05:38or your style?
05:40My style is both,
05:42almost.
05:44I used to paint
05:46in a realistic way.
05:50If I saw something I wanted to paint,
05:52I would erase the colors
05:54and take the raw colors.
05:56But painting was a challenge
06:01between me and my husband.
06:03Two years ago,
06:05I gave an exhibition
06:07at the Mohamed V Theater in Rabat.
06:09I put 30 paintings in it,
06:12from Tangier to Gouira.
06:14All of Morocco.
06:16All of Morocco,
06:17in its traditional cities,
06:19in its traditional events.
06:21Including the march, for example.
06:23Including the season of death.
06:27Including the fiancé
06:29who was in Emelchil.
06:31There were a lot of things
06:33that we didn't hear about,
06:35and I wanted to revive them.
06:37But,
06:39I said,
06:41if I stopped to look at a painting,
06:43or if I saw something,
06:45I still didn't like it.
06:47In this whole experience,
06:49in this whole exhibition,
06:51you say you still didn't like it?
06:53No, that painting,
06:55we painted it,
06:57but we didn't see it fully.
06:59But maybe because you are a perfectionist,
07:01you turn to imitation,
07:03and your painting
07:05is a reflection of your situation,
07:07but then you imitate the audience,
07:09and the audience's reading.
07:11There are these elements
07:13that play a role.
07:15But, maybe,
07:17I can tell you one thing,
07:19sometimes I fight with my head.
07:21Sometimes I feel
07:23there is a routine
07:25in that thing
07:27that doesn't have my fingerprint.
07:29We can see it from another artist.
07:31Another artist,
07:33or maybe
07:35that scene that I liked,
07:37what did I add? Colors?
07:39It's not enough.
07:41Shapes? Shapes are not enough.
07:43Message?
07:45It's not enough.
07:47What is enough for the audience?
07:49It has to be a whole painting,
07:51from the beginning.
07:53It can be a simple idea,
07:55but from the beginning to the end,
07:57it has to be mine.
07:59I feel it, and she feels it.
08:01It's a message between us.
08:03She says it, and I say it.
08:05Let me ask you another question.
08:07Yes.
08:09What is your work,
08:11Camelia,
08:13that you are 100% satisfied with?
08:15It's this collection.
08:17This is a good sign
08:19for the new collection.
08:21This collection
08:23was in May
08:25in the Mamounia Hotel.
08:27Where did you buy it?
08:29This is the first release
08:31of this collection,
08:33because it's new.
08:35It's not what was in the Mamounia.
08:37It's not what was in the prison.
08:39It's new.
08:41It's not what was in the prison.
08:43It's not what was in the prison.
08:45It's the first release.
08:47It's my fingerprint.
08:49What did you find in this exhibition
08:51that was called your Khalid's Tour?
08:53Yes, Khalid's Tour.
08:55This Khalid's Tour
08:57is a way
08:59that I found in my fingerprint
09:01that is simple and complex.
09:03This simplicity and complexity
09:05was inspired by the Moroccan style.
09:07In the old days,
09:09it was a normal style.
09:11But with the modernity,
09:13the contemporary,
09:15with the renewal,
09:17it's the Moroccan style
09:19that was inspired.
09:21I said, why don't we take
09:23from this idea
09:25of our great tradition,
09:27which is known to the world,
09:29to take from it
09:31the idea that I want to do.
09:33Here, in this corner
09:35in the engraving,
09:37I took this corner, the simple idea,
09:39and the complexity
09:41is in the way.
09:43So, I could have
09:45told you, for example,
09:47this idea that
09:49I did three seasons.
09:51We know, the Moroccans,
09:53it's the summer season.
09:55But I took it
09:57to do it in my own way,
09:59in my own style.
10:01So, the first idea
10:03is simple,
10:05but it adds a sophistication.
10:07It's in the work.
10:09It's a difficult thing,
10:11but you called it simplicity.
10:13This is what we find on the table.
10:15What do you have on the table?
10:17This collection
10:19has 30 paintings,
10:21and one of them is
10:23a vase portrait,
10:25which is made of clay,
10:27but it's an artistic work.
10:29It's a work of art.
10:31We find in this exhibition
10:33of Khaled's paintings
10:35Moroccan prints,
10:37a lot of Moroccans,
10:39which you are famous for.
10:41For example, this painting
10:43is made of sand and clay.
10:45Sand?
10:47The painting is made of sand.
10:49It's not easy.
10:51It's not easy.
10:53So, you need materials.
10:55You need clay
10:57to make the color of the sand,
10:59the blue color.
11:01What is the size?
11:03It's 1.40 meters
11:05by 2 meters.
11:072 meters by 1.40 meters.
11:09How much time did it take?
11:13It was
11:15as much as you can.
11:17It's a work of art.
11:19This is a work of art.
11:21You have to give it a value
11:23and represent it as an art.
11:25It will be
11:27one month.
11:29One month of work.
11:31It's not easy.
11:33In this new exhibition,
11:35Camelia Zarkani,
11:37what are the new colors
11:39you have tried?
11:41What are the new techniques?
11:43Of course.
11:45The first thing I tried
11:47was calligraphy.
11:49It's the first time
11:51I challenged myself.
11:53It was hard for you.
11:55Yes, it was hard.
11:57You could have done
11:59simple things.
12:01But you didn't.
12:03You did complicated things
12:05that were hard for you.
12:07So, Camelia,
12:09I know you
12:11by heart.
12:13You went all the way to calligraphy.
12:15Well done.
12:17Mission...
12:19A puzzle.
12:21Don't worry.
12:23Look,
12:25you work in the Moroccan Torah.
12:27It's not new.
12:29It's a responsibility.
12:31Look, we have to put
12:33the old things
12:35because their Torah
12:37has a beauty.
12:39They have to remember it
12:41unless we take
12:43an experiment
12:45and put it forward.
12:47Do you want to start?
12:49I don't want to start.
12:51I can't do
12:53something that doesn't belong to Morocco.
12:55I can't write on my head.
12:57You did many exhibitions abroad.
12:59You traveled a lot.
13:01You have friends abroad
13:03and artists you know well.
13:05You can communicate with them.
13:07But you have to show
13:09your Moroccan identity.
13:11I can't.
13:13My teacher,
13:15my Swiss friends,
13:17my Jewish friends,
13:19my friends...
13:21Most of my friends
13:23are Jews and Christians.
13:25What do they do?
13:27Do they dress like women?
13:29How can I,
13:31a Moroccan,
13:33not work in Morocco?
13:35We have to open up
13:37where we live.
13:39Moroccans are idiots.
13:41They left their country
13:43and came here.
13:45Morocco is the future.
13:47So,
13:49what can we do?
13:51I have an old city
13:53and I don't work there.
13:55Well done for defending your Moroccan identity.
13:57When you look
13:59from your surroundings,
14:01people are very smart
14:03and left this place
14:05and came back.
14:07When you look at foreigners,
14:09they go to the old city.
14:11Why?
14:13They wear jilabas,
14:15kiftans, and shirts.
14:17Why?
14:19They don't understand.
14:21They don't have a job.
14:23We have a good handicraft.
14:25We have a heritage.
14:27We have a market.
14:29Look at EW,
14:31you can find everything there.
14:33eBay, jilabas, kiftans,
14:35Taborida, ganawa,
14:37melhoun.
14:39This is smart.
14:41You chose to
14:43have this exhibition
14:45in Marrakesh,
14:47starting with a hotel
14:49in the famous city of Marrakesh.
14:51And it will be in conjunction
14:53with an international event
14:55for the film in Marrakesh.
14:57I am sure
14:59this is not a coincidence.
15:03It wasn't a coincidence, but we were trying to do it in this period
15:09We were trying to make the majority of the foreign audience
15:15get to know Moroccan art, the formative art
15:19Especially because, thank God, we had a scenario before
15:26But we wanted to give it a signal
15:30that Moroccan artists have a strong presence in the Moroccan culture
15:36I would like to invite you and your team
15:39to show us some of the stars at the festival
15:43For example, Monica Bellucci, Tim Burton, Sean Payne
15:48We will try
15:50If they hear us, they will be with us
15:54We hope they see Morocco in a formative art way
16:01that is between the past and the present
16:04In a contemporary way
16:07I have a deep question for you
16:09Can a formative painting change things?
16:13Can it change something in society?
16:18A lot
16:20Artists have a history
16:25If an artist didn't contribute to that history
16:30or to his own experience
16:35If I was going to work on the Moroccan heritage
16:39I have a message for the older generations
16:43I want to tell them that their heritage should be kept
16:47I don't want them to wear shoes
16:50I don't want them to paint
16:52I don't want them to do this
16:54I want to give them a platform
16:56A mixed platform
16:58But this is how it should be
17:01This is its essence
17:04This is its value
17:07In the case of the grape, it doesn't have its value
17:11But what you are going to give it
17:13The grape is right
17:15It has a mouth
17:17And the skin is yellow
17:19But to give them a mouth
17:21and to put them on it
17:23You have to think about it
17:25Of course
17:27Some generations may not like the grape
17:30But the Moroccan grape is beautiful
17:33And it is good for the painting
17:35The painting, the girl
17:37The girls who come here
17:39They don't say no to the grape
17:41And what you are going to see in this painting
17:43They say it is beautiful
17:45So what do you like about it?
17:47Its heritage
17:49The heritage that comes from someone
17:51Who says it is a regenerative
17:55I wear the kiftan
17:57It has a taste
17:59They say no, it is regenerative
18:01And what you are going to give it
18:03You see it in a beautiful painting
18:05Because it is the first thing that serves the beauty
18:07And you are going to give it a message
18:09It has a message in its heritage
18:11Since you mentioned the message
18:13What do you have against the interpretation of your paintings?
18:19I have an interpretation
18:21And it should have an interpretation
18:23Why?
18:25Because I don't serve the experimental
18:27Sometimes
18:29The experimental
18:31Makes the beginner see it in its own way
18:33But in every painting
18:35The idea is simple
18:37I think you know it
18:39But the interpretation
18:41Is that he can interpret it or interpret it
18:43But is it a problem if the beginner reads it?
18:45No
18:47You don't have a problem
18:49You go and interpret it
18:51With pleasure
18:53Bravo
18:55With pleasure
18:57Because when I served
18:59And went to the artistic field
19:01If the beginner interprets it
19:03You reach
19:05The idea
19:07It is beautiful
19:09He can interpret it in his own way
19:11But you as an artist
19:13You reach the idea
19:15You cooperate to reach the message
19:17Or it is with you in those moments
19:19When you are serving
19:21Stay with us
19:23Camelia Zarkani
19:25We will stop for a moment
19:27At the part of the eye on the cinema
19:29We can go and discover some of the movies
19:31That are currently in theaters
19:35Satan
19:39I appreciate it
19:47How has this been kept a secret for so long?
19:49You should be careful Thomas
19:51You
20:03I feel like I exist
20:07I keep looking at myself
20:11A person called RM or Kim Namjoon
20:13These are some of the movies
20:15That are currently in theaters
20:17At the part of the eye on the cinema
20:19We have a new program with Cine Atlas
20:21We are in Rabat
20:23And we have Cine Atlas
20:25And new cities
20:27We have here with us
20:29Camelia Zarkani
20:31How are you Camelia?
20:33I am fine
20:35Are you excited?
20:37Yes
20:39Tell me about your preparations
20:41For the exhibition
20:43It is not always difficult
20:45It is like you are going
20:47For the first time
20:49It is not easy
20:51It is not easy
20:53Everything has to be
20:55Not ordinary
20:57I did not want it to be ordinary
20:59Everything has to be good
21:01Even for the people
21:03Who will come to the exhibition
21:05You give them the value
21:07That the exhibition
21:09Is in the best light
21:11In the best conditions
21:13What are the future projects
21:15For the exhibition?
21:17Will it stay in Morocco?
21:19How long will it be?
21:21Will the varnishing be done on Thursday?
21:23Will it be famous?
21:25It will be two or three months
21:27Great
21:29What do you think
21:31About the new collection
21:33And the upcoming exhibition?
21:35From now on?
21:37I already have connections
21:39In the summer, God willing
21:41In Morocco?
21:43I don't know
21:45I don't want you to tell me
21:47I still don't know
21:49God willing
21:51I hope it will continue
21:53Because it is a challenge
21:55I hope it will succeed
21:57Do you want to put it in Switzerland?
21:59No
22:01Or Dubai?
22:03Dubai is not now
22:05Not in the summer
22:07Let it be a surprise
22:09I want to give this country
22:11God willing
22:13It will be a collaboration
22:15Between my work
22:17And the work of this civilization
22:19God willing
22:21I hope it will be
22:23Out of Morocco
22:25In Morocco
22:27Camilla Zarkhany
22:29Usually, we say that the art
22:31Is an elite thing
22:33Do you agree?
22:35Or will it change?
22:37It will change
22:39As the artist
22:41Says
22:43What does he have?
22:45He has
22:47Principles
22:49In his things
22:51He has
22:53Principles in his things
22:55He has principles
22:57In his way
22:59In his art
23:01How he wants to reach
23:03He wants to reach
23:05I am very excited
23:07I wish you success
23:09In the exhibition
23:11Camilla Zarkhany
23:13I hope your new album
23:15Will be one of our sections
23:17In the next episodes
23:19Of the program
23:21Let's give you the last word
23:23Thank you very much
23:25I am very happy
23:27To be with you today
23:29It is a great pleasure
23:31To be in Morocco
23:33With journalists
23:35Thank you very much
23:37Thank you
23:39Good luck
23:41Thank you
23:43We have reached the end of today's episode
23:45Thank you to the technical team and the artists
23:47Thank you for joining us
23:49See you later
24:05Thank you