Lire visuellement Mohammed Dib
Lire visuellement Mohammed Dib

Summary/Abstract: In the 90s of last century, medias rushed to describe the daily’s horrors of Algerians life for whom the massacre watching every home and every person, regardless of age, gender or nationality. So it was natural, in this existential “era of suspicion” to view an album of daily atrocities in the name of Allah and the purification of souls. However, Dib, thwarting all speculation, and against what he started writing since the 90s published a book-album sweet and romantic. There is an apology for his hometown, as if „The desire that drives all creative photographic pictures is to replace life as it is an image of life as we desire. (Tisseron, 2000: 126) We’ll see how photographs of Dib and Bordas were freed of events that shook his country. They come from elsewhere Then we discuss the manner in which the two sets of photographs will make the foreign concept of “maniac fixity “(Bal, 1997: 41) about the image into a fixed illusion leading to a kinetic photography. We end by querying the intertext in Tlemcen or place of writing in an approach closer to the already read a kind of already seen as if it were a photograph or image.

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