مدي 1 تي في : الفنان التشكيلي أحمد بنيسف - 21/12/2024
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00:00When the human eye sees a place of beauty, he will be overwhelmed by the feeling of beauty.
00:24And when his visual culture is enhanced, he becomes more aware and aware of the beauty of existence.
00:31Even one of the writers and philosophers said that art is important because it is a chapter of the story that we tell about ourselves.
00:41The signs of true creativity may suddenly appear between the lines and make you deeper and more enjoyable.
00:50Welcome.
00:54Welcome.
01:24In the name of the Lord, the Most Gracious, the Most Merciful
01:29In the name of the Lord, the Most Gracious, the Most Merciful
01:49We always ask ourselves, from which angle do we look at the sculptural painting?
01:56And how can we taste and enjoy this art more?
02:01Especially that a painting or a sculpture in any form is a chapter of a story.
02:08Where each artist expresses in his own way his creativity and tries to translate the imagination into reality.
02:17From the reality of man to man himself.
02:21Let's dive into this field with one of the people who engraved their works through time and space.
02:29With that magical touch of beauty that makes you contemplate, travel and be amazed.
02:36I am happy today to welcome the international sculptural artist with charisma and a beautiful presence.
02:43Ahmed Ben Yussef.
02:44Mr. Ahmed, welcome.
02:46A dear guest in the Kingdom of Creativity.
02:49Thank you very much. Thank you for these noble words.
02:53I am also happy to have with us our consultant, Dr. Ahmed Addafri.
02:59Dr. Suada, it is a pleasure to have you with us.
03:02Thank you very much, Mr. Hussain.
03:04Welcome.
03:06I always hear you, Mr. Ahmed, say that you do not believe in false modesty.
03:17First of all, what is false modesty in your opinion?
03:20False modesty is a person who says things that he has not done and has not achieved.
03:29And he changes the truth by lying.
03:34Yes, by lying.
03:35In your opinion, a person who does not possess the skills and talent and claims to be modest, is this modesty?
03:45Modesty is a divine matter.
03:49No one can deny it.
03:52The first thing I felt in my life was modesty.
03:56Modesty is the queen of sculpting.
04:02When I felt in this field, when I felt my presence in life,
04:10I did not feel anything else in my life except the sculptural art.
04:14And you are convinced of this?
04:16I am convinced of it.
04:17During my elementary and high school studies,
04:22I always drew on the chalkboard and on the book.
04:27I was a funny teacher and student.
04:32Until I reached one year old, I graduated from the Faculty of Fine Arts in Titouan.
04:41After graduating from there, I moved to the Faculty of Fine Arts in Titouan.
04:48It is called the High School of Sculpting.
04:53It is one of the best schools in Europe.
04:57This was a dream come true.
05:01And this is your passion.
05:03I talked to you before this interview, Mr. Ahmed,
05:06and you told me that after all these years,
05:09and all these experiences,
05:12each time I draw a painting, I feel that I am drawing for the first time.
05:19How is that?
05:20I would like you to bring the viewer closer to this.
05:24Before I answer your question,
05:26my dream was always to live in this field and from it to it.
05:32When I entered the Faculty of Fine Arts,
05:38I wanted to graduate as a teacher of sculpting.
05:42Not as a teacher.
05:44So I went to the Faculty of Fine Arts to learn technology.
05:51Because technology is a tool
05:54to express work while painting or sculpting.
06:03Because technology alone is not enough.
06:06Yes.
06:08So I was aware from the very beginning
06:11that this field needs to be studied and cultured.
06:16That's why I didn't want to graduate from the Faculty of Fine Arts as a teacher.
06:25Because everyone who graduates is a teacher of sculpting.
06:29Not an artist.
06:31An artist is a human being.
06:33He solves some features that are different from the rest.
06:36And this is that you always feel as if you are drawing for the first time.
06:40What is this feeling?
06:43No, this is the reality.
06:45Every painting is a beginning.
06:47Until today?
06:51Until today.
06:53Because every painting is a world.
06:56And it is a beginning.
06:58Every painting is a world.
07:00And every painting you draw is the beginning of a new world.
07:04Dr. Ahmed, after so many years,
07:09and Dr. Ahmed Ibn Issaf,
07:11to feel as if he is drawing for the first time with every painting he draws,
07:16this is amazing.
07:18Dr. Ahmed Ibn Issaf, a world-renowned artist,
07:21spoke to you at the beginning about humility,
07:27but now he is speaking to you honestly about the fact
07:30that when an artist wants to immerse himself in a work of art,
07:36he respects it and has a talent for it.
07:41And an adventure.
07:43And a new adventure.
07:45And maybe he forgets all his previous works
07:49and starts a new work.
07:53He tries to build his features for the first time.
07:56And in this context,
07:58I will move from the side of rituals in the practice of creativity
08:04to the side of the first steps.
08:07I know that the artist Dr. Ahmed Ibn Issaf
08:11has his own saturated school of so-called social reality.
08:19But this social reality, for me,
08:22I want to know,
08:24at the beginning, there was a school called Tetouan,
08:27which was founded by Bertolt Schiff in the 40s of the last century in Spain.
08:32After that, there were schools in Morocco,
08:36the School of Fine Arts in Dar Al-Bayda'a.
08:38The School of Fine Arts was founded by the students of the Fine Arts in Dar Al-Bayda'a.
08:43The School of Fine Arts in Dar Al-Bayda'a?
08:45Yes.
08:46One of them was the late Mohamed Shibaa,
08:49and the other was the late Mohamed Al-Malihi.
08:52But it deviated from the framework and the style of the school.
08:57But the source is the School of Fine Arts.
09:00The source of the School of Fine Arts is the human being.
09:04It is the figure.
09:06It is the figure.
09:08Yes, it is the figure.
09:10The human being is the pillar of the School of Fine Arts.
09:14So, you have a point of refinement.
09:17No, I don't have a point of refinement.
09:19I respect all directions.
09:21All directions.
09:22Because refinement is a school that is established
09:24Yes, it defines it.
09:26It defines it all over the world.
09:28Don't you want to say that you don't respect the language?
09:31No, no, no.
09:33Some of my works are characteristic, and there is refinement in them.
09:36Refinement is a school of lines, colors, shapes, and types.
09:44Yes.
09:45So, this is very beautiful.
09:47But Ahmad bin Yusuf is concerned with the human work.
09:50And the human work is nothing but the human being.
09:53I have an important question in this framework of personality and social reality.
09:58Some people may ask about the presence of a being who works a lot in your works.
10:04It is the pigeon.
10:06What is your relationship with this pigeon?
10:08Why this symbol?
10:09No, the pigeon has nothing to do with me.
10:11It has to do with the subject of the painting.
10:14Because not all paintings have a pigeon.
10:16Because the pigeon was used to alleviate the pain of touching the painting.
10:21Because some of my works are harsh on the recipient.
10:26In terms of the subject?
10:28In terms of the society.
10:31Yes.
10:32And the realities of the society.
10:35And this is why it is called social reality.
10:39Social reality.
10:41So, I put this reality in the hands of the worker or the person who is desperate.
10:48And after the work is done, I start to show the painting to the women.
10:52Yes.
10:53To show the beauty of the painting.
10:58Because not everyone has the power of perception to appreciate the beauty of the painting.
11:04Yes.
11:05From the lines, shapes and colors.
11:07So, it is about the subject.
11:10One day, my parents came to my house.
11:14My first son's name is Omar.
11:18They came to see their first grandson.
11:23I filled a square in Seville called the Plaza de America.
11:28And people used to take pictures there.
11:30And they used to take pictures of the pigeons.
11:32So, my parents came.
11:34I filled that square.
11:36And they took pictures of the pigeons.
11:38And one of them said,
11:40This pigeon that sings of love and peace,
11:44Is the cure for all the diseases.
11:47And this is what my father said.
11:49This is what Khaled Mishbal said.
11:51He used to say this about my work.
11:53He used to say this about my work.
11:55Because he used to follow my painting.
12:00So, at the same time, when I was cleaning the bathroom,
12:03He said this sentence.
12:06And it is true.
12:07In general, Mr. Ahmed,
12:10The subject you are working on is related to humans.
12:15From humans to humans, of course.
12:18We know that not everyone can understand the form of a painting.
12:24And if you don't understand the creative work,
12:27You can't enjoy it.
12:28Or it can't reach you.
12:30What are the lines that you can simplify for the viewer
12:35To reach your work more to the viewer?
12:38Because the subject of the recipient,
12:42There are many divisions.
12:44It is according to the background of the recipient.
12:46The recipient.
12:47Also according to his awareness, his culture.
12:50His culture.
12:51And the visual culture.
12:53Yes, right.
12:54And there is a saying,
12:56Ahmed Hassan Ziath says,
12:58Things may be ugly in their reality,
13:01But the beauty of photography and the accuracy of performance
13:06Raise it to the level of beauty.
13:08Right.
13:09Because here, even technology plays a role in the beauty of the painting.
13:12The beauty of the painting.
13:13Yes, the beauty of the painting.
13:14So, the painting has two readings.
13:16Literary reading and technical reading.
13:19So, literary reading is always according to the background of the recipient.
13:24Yes.
13:25According to the background of the recipient or the viewer.
13:29The level of his awareness, his knowledge.
13:32The painting is only 50%.
13:34Yes.
13:3550% is the recipient.
13:37And the other 50%?
13:38The other 50% is the technical one.
13:40The technical one.
13:41Yes, the technical one.
13:42And what the painter did.
13:43Because some people pass by the painting.
13:47And there is a painting that stays in it for 24 hours.
13:50You go to a museum and you see people
13:52Who have been sitting in front of a painting for 24-25 hours.
13:55They contemplate.
13:56They contemplate and discuss.
13:58And they discuss with it.
14:00Because the painting has a message.
14:03Yes.
14:04A message.
14:05And that's why the difference between…
14:07The recipient and the recipient.
14:09The recipient and the painting.
14:11And the other one.
14:12According to the artistic principles.
14:14So, for example, the discourse of the artistic discourse
14:17Is only a plastic discourse.
14:19Yes, a plastic discourse.
14:20It's only a plastic discourse.
14:22The discourse is the beauty of colors and shapes and lines.
14:25And the varieties.
14:26Yes, right.
14:27The discourse of the realistic discourse
14:31Is a multidisciplinary discourse.
14:33Yes.
14:34In this context, I want to move from the technical side
14:40To the promotional side.
14:42And the side of the relationship between the painting
14:47And the commercial market.
14:50I know that you sometimes say, according to what I've seen in your performance
14:55and sometimes I take from you some beautiful, important statements
15:00in which you say that art, in your opinion,
15:03you want it to become popular
15:06in the people's consumption
15:09so that it doesn't remain elite
15:11but unfortunately, and I don't know if this is unfortunate or not
15:14that your paintings are overpriced
15:18but I wish they were more expensive
15:21more expensive?
15:23more expensive
15:25and how?
15:27this is my right
15:29because we haven't reached up to 0.1% of what Europe has
15:35and we still haven't reached this level of production
15:41and secondly, we don't give anything for free
15:44the market gives it to us
15:46in the beginning, Mr. Ahmed
15:49did you expect all this fame and success
15:52and what you've achieved today
15:54whether in terms of money or fame
15:57and your knowledge of people
15:58did you expect this in the beginning?
16:00to be honest, no, I didn't expect it
16:02my only hope was to get out of this field
16:06because my goal was to draw
16:09but to be honest
16:11I never imagined
16:13that I would be on the financial papers
16:16and that I would have international fame
16:18and if I wanted to get out of here
16:20I would be stopped by 4 or 5 people
16:22to take a picture with me
16:24I seek refuge in God from my words
16:26that I got out of the film industry
16:28and became popular
16:30because the film industry is not about popularity
16:32it's about fame
16:34whether it's in Tunisia
16:36or in Titouan
16:38or in Rabat
16:40I don't want to be stopped by people
16:42to take a picture with me
16:44did you choose to be on the Moroccan financial papers?
16:51no, I didn't have any intention
16:56this was from the Moroccan bank
17:00he chose it
17:02he suggested it
17:04and secondly
17:06Europe gave it to us
17:09neither Spain nor France
17:11were on the financial papers
17:13in Spain
17:15it was Julio Romero de Torres
17:17he was the one who suggested it
17:19no, they were on the financial papers
17:21and in Spain
17:23in France
17:25it was Delacroix
17:29this is not new
17:31but
17:34the situation of culture in Morocco
17:39me, Moulay Alhassan Ben Mehdi
17:41and Elshahmed Ben Nani
17:43they are the ones who made this happen
17:47but the papers that Alhassan gave me
17:49the second Alhassan
17:51that had 400 pages
17:53Alhassan the second
17:55he said literally
17:57that Alhassan the second
17:59wrote books and movies
18:01and the third Alhassan
18:03he said that Moulay Alhassan Ben Mehdi
18:05and Moulay Alhassan
18:07were the ones who told him
18:09but I told him to be happy
18:11but he said no
18:13this was a long time ago
18:15and at that time
18:17I could not do it
18:19I had a lot of problems
18:21I spent two and a half years
18:23in this paper
18:25and secondly
18:27this paper
18:29had to be done by a professional
18:31a doctor
18:33an engineer
18:35and a worker
18:37so I had to
18:39employ these people
18:41in this paper
18:43and indeed
18:45Alhassan the second
18:47did it
18:49your ambitions
18:51and dreams
18:53broke all the limits
18:55until now
18:57but to reach
18:59in the beginning
19:01I did not expect you to do this
19:03and to reach your goals
19:05to be on the
19:07paper
19:09this is an honor
19:11and pride for you
19:13I thank God for this
19:15and I know
19:17Mr. Ahmed
19:19I spoke with Mr. Ahmed
19:21he told me that his father
19:23was not happy at all
19:25not at all
19:27he wanted to be a doctor
19:29a doctor
19:31he told me that
19:33his neighborhood
19:35is full of doctors
19:37in Tetouan and Tanzan
19:39he told me
19:41I want this and that
19:43I want this and that
19:45I want this and that
19:47I want this and that
19:49in this regard
19:51I know that
19:53in Africa and the Arab world
19:55there is a formative movement
19:57not bad
19:59in international
20:01and international exhibitions
20:03so that we may wonder
20:05in Morocco
20:07on a dynamic level
20:09whether we have a formative movement
20:11or not
20:13we may find ourselves
20:15late compared to other countries
20:17or things are going
20:19in the right direction
20:21I think that Morocco
20:23has taken a huge step
20:25in this field
20:27in the Arab-Islamic world
20:29I think
20:31one of the best artists
20:33in the Arab world
20:35are the Iraqis and the Moroccans
20:37currently
20:39and they have presence
20:41and they have presence
20:43and they have presence
20:45internationally
20:47but the Iraqis
20:49and the Moroccans
20:51are mostly present in England
20:53and all these events
20:55are present
20:57with the knowledge that
20:59there are important figures
21:01in Egypt or in Syria
21:03there are figures
21:05but the problem
21:07with the formative art
21:09in the Arab-Islamic world
21:11is the lack of media attention
21:13the lack of media attention
21:15in this art
21:17the lack of media attention
21:19in this art
21:21but
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23:09How to translate from imagination to reality in this way.
23:16I can tell you how it is translated.
23:19All these subjects are separated from the street, from humans, from manifestations.
23:26Because the painting, in addition to being artistic, is a document of the life we live.
23:31At the level of time, do you find yourself in a state of art that is unable to continue?
23:41Do you go back and forth until you come up with new ideas and follow them?
23:45Or do you start a project and continue until you finish it?
23:51One of the characteristics of dialogue between space and painting
23:59is that it is daily in discussions and in stages and in situations.
24:07Sometimes, when we see a painting and we say,
24:11I don't want to see it, I allow myself to see the painting.
24:13You have a dialogue with it.
24:14I have a dialogue with it and I allow myself to see it.
24:16I allow myself to see the painting for 15 days and I allow myself to see it in English.
24:19And I say, I am tired.
24:22And I say, let's not try to do anything.
24:24Sometimes, you do something in a matter of minutes.
24:28And sometimes, in a matter of days, you don't do anything at all.
24:33These issues of creation and innovation are difficult to talk about.
24:38Because you have to live it, but you don't know it.
24:41How is it related?
24:42Sometimes, it is as if you are a different person.
24:46And sometimes, you are an easy person in the head.
24:51Are you nervous or calm?
24:54Do you feel that you don't need anyone to talk to you?
24:57I am calm, nervous, and happy in everything.
25:01In all situations.
25:03This is one of the issues of the soul.
25:06And the issue of feeling.
25:10Yes.
25:11Our time is running out.
25:16We don't want to waste your time.
25:18We don't want to waste it.
25:19Of course, there will be other meetings, God willing.
25:21God willing.
25:22Whether here on the set or at your place.
25:24God willing.
25:25Hello.
25:26Sidi Ahmed.
25:27We hope that you will teach us more about creative works to enhance the visual culture of humans.
25:33And what brought us today to everything beautiful in this existence.
25:37The international artist, Sidi Ahmed Ben Yusuf.
25:39It is an honor to have you.
25:40We are proud of you.
25:41And all the best, God willing, for the rest of your life.
25:44This is my hope.
25:45And I thank you for this invitation.
25:47And for this friendly and brotherly dialogue.
25:50Thank you to the consultant of the program, Dr. Ahmed Dadafri.
25:54Doctor, thank you very much.
25:57Our viewers said that the most beautiful things in existence are those that you may not see.
26:04But you feel them in your depth.
26:06When the work is done, Picasso says,
26:08perfect the basics as a professional so that you can break them as an artist.
26:14Art is a message of love and a sincere expression from man to man.
26:20And to talk about the art of creativity.
26:23Greetings and goodbye.
26:36Art is a message of love and a sincere expression from man to man.