‘Across Nadja Makhlouf’s gaze, we touch, a kind of History’s eye, a transcendent image of Time. It reminds us that the time of Algerian decolonization is firstly a part of a transitional moment; an Anchor, to another world and more than all this particular place must be seen as a piece of the puzzle of interconnected world History.
This choral cast of female characters increases the narrative of emancipation with a transnational and critical gender approach, and finally reminds us that it must be conjugated in the continuous future (futur antérieur).
Face to face, the two images of the same anonymous actors of History in different times open up a third space: one print from the past, one mark from the present of the artistic process, the both engaged in an activist and indexical present, as a work to be continually put back on the job, beyond the frames of a silenced past.’
Émilie Goudal is art historian and author of the book Des Damné(e)s de l’histoire : les arts visuels face à la guerre d’Algérie (Presses du réel, 2019). Her research focuses on the interpenetrations between art, history, politics and memorial issues in the context of decolonisation.