{"id":129426,"date":"2026-06-03T10:25:01","date_gmt":"2026-06-03T09:25:01","guid":{"rendered":"https:\/\/www.beitalhikma.tn\/?p=129426"},"modified":"2026-06-17T14:12:20","modified_gmt":"2026-06-17T13:12:20","slug":"conference-de-cloture-de-lannee-academique-2025-2026","status":"publish","type":"post","link":"https:\/\/www.beitalhikma.tn\/fr\/conference-de-cloture-de-lannee-academique-2025-2026\/","title":{"rendered":"Conf\u00e9rence de cl\u00f4ture de l\u2019ann\u00e9e acad\u00e9mique 2025-2026- 11 juin 2026"},"content":{"rendered":"\n

LES LUMI\u00c8RES DU PALAIS
Les lumi\u00e8res du palais<\/em>, documentaire de 25 minutes consacr\u00e9 \u00e0 la restauration, \u00e0 l\u2019entretien et \u00e0 l\u2019embellissement du palais Zarrouk (devenu le si\u00e8ge de l\u2019Acad\u00e9mie Be\u00eft al-Hikma en 1983) aurait pu se limiter \u00e0 une chronique institutionnelle, technique et administrative. Le sujet se pr\u00eate en effet aux diagnostics architecturaux, \u00e0 l’\u00e9num\u00e9ration des contraintes et des probl\u00e8mes de conservation, des proc\u00e9dures et des inventaires. Pourtant, le film choisit un tout autre chemin. Il refuse la neutralit\u00e9 du rapport d\u2019expertise pour tenter de restituer l\u2019\u00e2me d\u2019un lieu, sa respiration secr\u00e8te, sa m\u00e9moire enfouie et la charge symbolique qu\u2019il porte sur les rives silencieuses de Carthage.
Dress\u00e9 face \u00e0 la mer, dans cette g\u00e9ographie presque mythologique o\u00f9 les ruines antiques, les jardins, la lumi\u00e8re et les vents du golfe de Tunis composent un paysage mental autant qu\u2019historique, le palais Zarrouk appartient \u00e0 cette cat\u00e9gorie de monuments dont la fascination produit imm\u00e9diatement un r\u00e9cit. La photog\u00e9nie du lieu inonde le film. Les fa\u00e7ades, les arcades, les balustrades, les patios, les perspectives ouvertes sur la M\u00e9diterran\u00e9e, les jeux d\u2019ombre et de lumi\u00e8re deviennent les protagonistes d\u2019une m\u00e9ditation sur la fragilit\u00e9 du patrimoine national. Mais la puissance symbolique du palais tient \u00e9galement \u00e0 son r\u00f4le dans l\u2019histoire politique moderne de la Tunisie.
Construit dans les ann\u00e9es 1860, et devenu palais beylical jusqu\u2019\u00e0 l\u2019ind\u00e9pendance, il fut le th\u00e9\u00e2tre de moments d\u00e9cisifs de la souverainet\u00e9 tunisienne. C\u2019est en ces lieux que fut sign\u00e9 l\u2019accord d\u2019autonomie interne, pr\u00e9lude \u00e0 l\u2019ind\u00e9pendance nationale. C\u2019est \u00e9galement dans ce palais que fut promulgu\u00e9 le Code du Statut Personnel, l\u2019un des textes fondateurs de la Tunisie moderne.
Ainsi, les murs que le film observe de mani\u00e8re caressante ne portent pas seulement des traces architecturales : ils conservent la m\u00e9moire vibrante des grandes mutations politiques, sociales et culturelles du pays. Le documentaire montre alors que restaurer un b\u00e2timent historique ne consiste pas seulement \u00e0 r\u00e9parer des murs, consolider des plafonds ou reprendre des fondations. Il s\u2019agit de pr\u00e9server une continuit\u00e9 sensible entre les g\u00e9n\u00e9rations. Chaque pierre r\u00e9par\u00e9e devient un acte de transmission et de r\u00e9appropriation. Dans un pays o\u00f9 tant de vestiges sombrent dans l\u2019abandon, la sp\u00e9culation ou l\u2019indiff\u00e9rence, l’entretien du palais Zarrouk acquiert une port\u00e9e politique.
Le film insiste sur la dimension collective de cette aventure. La restauration appara\u00eet comme une \u0153uvre chorale mobilisant architectes, artisans, historiens, ing\u00e9nieurs, conservateurs, techniciens, jardiniers et responsables culturels. Cette pluralit\u00e9 des savoirs donne au chantier une dimension profond\u00e9ment humaine. Le documentaire valorise une intelligence collective o\u00f9 chaque comp\u00e9tence devient indispensable \u00e0 l\u2019\u00e9quilibre de l\u2019ensemble. Cependant, une figure f\u00e9d\u00e9ratrice \u00e9merge naturellement : celle de Jalel Abdelkafi. Sous sa conduite, le projet prend une dimension exemplaire. Le film montre comment une vision claire, associ\u00e9e \u00e0 une connaissance profonde du patrimoine et des r\u00e9alit\u00e9s tunisiennes, permet de transformer ce qui semblait irr\u00e9alisable, en exp\u00e9rience palpable, valorisant le savoir-faire tunisien.
L\u2019un des aspects les plus passionnants du documentaire r\u00e9side pr\u00e9cis\u00e9ment dans cette r\u00e9flexion sur la m\u00e9thode. Plut\u00f4t que d\u2019attendre un financement colossal ou une hypoth\u00e9tique d\u00e9cision bureaucratique globale, le chantier a \u00e9t\u00e9 pens\u00e9 comme une succession de micro-projets autonomes, progressifs et compl\u00e9mentaires. Cette strat\u00e9gie pragmatique a permis d\u2019intervenir sans interrompre les activit\u00e9s de l\u2019Acad\u00e9mie, contournant ainsi l\u2019un des drames des institutions culturelles tunisiennes : la paralysie administrative. Le film montre que l\u2019intelligence de gestion peut devenir une forme de cr\u00e9ativit\u00e9. Cette fragmentation ma\u00eetris\u00e9e et \u00e9chelonn\u00e9e des interventions devient elle-m\u00eame un mod\u00e8le de gouvernance patrimoniale.
Le documentaire d\u00e9passe ainsi largement le cas particulier du palais Zarrouk. Il propose implicitement une r\u00e9flexion sur la mani\u00e8re dont la Tunisie pourrait sauver son patrimoine malgr\u00e9 les lenteurs institutionnelles, les budgets limit\u00e9s et les blocages structurels. Cette exp\u00e9rience pilote d’optimisation des ressources m\u00e9rite d\u2019\u00eatre m\u00e9dit\u00e9e non seulement comme une r\u00e9ussite architecturale, mais comme un style de citoyennet\u00e9 active, de responsabilit\u00e9 collective dans la dynamique culturelle.
Ce qui frappe \u00e9galement dans le film, c\u2019est sa capacit\u00e9 \u00e0 faire surgir de la po\u00e9sie l\u00e0 o\u00f9 l\u2019on attendait des donn\u00e9es techniques. Les textures des murs, la poussi\u00e8re travers\u00e9e par la lumi\u00e8re, le silence des salles, les bruissements des arbres, les vagues, les ouvertures sur la mer composent peu \u00e0 peu une v\u00e9ritable \u00e9criture cin\u00e9matographique du patrimoine. Le lieu cesse d\u2019\u00eatre un simple objet d\u2019\u00e9tude pour redevenir un organisme vivant et sensuel.
Film\u00e9 par le jeune et talentueux Khaled Azek, sous la direction artistique de Hichem Ben Ammar, le documentaire se propose de conjuguer exigence documentaire et souffle narratif. Cette collaboration donne naissance \u00e0 une \u0153uvre qui d\u00e9passe le simple cadre de la commande institutionnelle pour atteindre une dimension sensible et cin\u00e9matographique.
Le regard port\u00e9 sur le palais est un regard amoureux. Celui pos\u00e9 sur celles et ceux qui \u0153uvrent \u00e0 sa sauvegarde est solidaire et admiratif de l\u2019effort accompli en un temps record. Une \u00e9nergie singuli\u00e8re traverse ainsi le film, o\u00f9 la douceur et la d\u00e9termination se c\u00f4toient constamment, donnant au r\u00e9cit une vigueur communicative entre enthousiasme et tendresse.
Cette approche s\u2019inscrit pleinement dans le parcours de Hichem Ben Ammar. Apr\u00e8s La Libert\u00e9 en acte<\/em>, Bourguiba de retour<\/em>, La M\u00e9moire noire<\/em> ou encore Ra\u00efs labhar<\/em>, le cin\u00e9aste confirme une fois de plus son habilet\u00e9 de conteur et sa capacit\u00e9 \u00e0 donner aux faits r\u00e9els une profondeur symbolique. Pour lui, le documentaire n\u2019est jamais une simple accumulation d\u2019informations. Il transforme les \u00e9v\u00e9nements, les lieux et les personnages en signes r\u00e9v\u00e9lateurs d\u2019une histoire plus vaste : celle des id\u00e9aux, des fractures et des r\u00e9sistances de notre soci\u00e9t\u00e9.
Le palais Zarrouk devient alors bien davantage qu\u2019un chantier de restauration. Il appara\u00eet comme une m\u00e9taphore du pays lui-m\u00eame : fragile mais debout, menac\u00e9 mais encore habit\u00e9 par un puissant d\u00e9sir de survie. Sauver ce monument revient \u00e0 sauver une certaine id\u00e9e de la Tunisie, une Tunisie o\u00f9 la culture, la m\u00e9moire et l\u2019intelligence collective demeurent possibles malgr\u00e9 toutes les crises. C\u2019est pr\u00e9cis\u00e9ment cette dimension qui donne au documentaire son \u00e9nergie singuli\u00e8re. Derri\u00e8re les pierres restaur\u00e9es, ce sont finalement des valeurs qui sont d\u00e9fendues : la transmission, la dignit\u00e9 du patrimoine, le sens du bien commun et la conviction que la beaut\u00e9 peut encore constituer une forme de r\u00e9sistance civique.<\/p>\n\n\n

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Revue de presse<\/p>\n\n\n\n


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La Presse 10-06-2026 <\/strong><\/p>\n\n\n

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Tap 07-06-2026<\/a><\/strong><\/p>\n\n\n

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Babnet 07-06-2026<\/a><\/strong><\/p>\n\n\n

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Le lien vers l’activit\u00e9<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

LES LUMI\u00c8RES DU PALAISLes lumi\u00e8res du palais, documentaire de 25 minutes consacr\u00e9 \u00e0 la restauration, \u00e0 l\u2019entretien et \u00e0 l\u2019embellissement du palais Zarrouk (devenu le si\u00e8ge […]<\/p>\n","protected":false},"author":1,"featured_media":127304,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","footnotes":""},"categories":[3],"tags":[],"class_list":["post-129426","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-fr-fr"],"featured_image_src":"https:\/\/www.beitalhikma.tn\/wp-content\/uploads\/2026\/01\/Capturebth-2.jpg","author_info":{"display_name":"admin","author_link":"https:\/\/www.beitalhikma.tn\/fr\/author\/admin\/"},"yoast_head":"\nConf\u00e9rence de cl\u00f4ture de l\u2019ann\u00e9e acad\u00e9mique 2025-2026- 11 juin 2026 - Beit al-Hikma<\/title>\n<meta name=\"robots\" content=\"index, follow, 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