Khalifa Al-Dari is considered one of the Moroccan visual artists who are haunted by the concerns of poetry. As this artist combines drawing with color and writing with words, he is one of the poets of the 1990s generation, or what is called the “new sensitivity,” this generation that is trying to search for mechanisms of renewal within the forms of writing and art. Here in our quiet dialogue with this writer and artist, we are trying to stand with him at His choices of poetry and color and his sober exploration of the problem of the relationship between art and philosophy. Khalifa Al-Darai is considered one of the poets of the 1990s generation. He wrote in multiple platforms, as we see a remarkable development in his poetic level since his first poems in the 1990s. When will Khalifa Al-Darai publish his poetic work? It is a collection that will be published in Sea of the coming cultural year, and this delay is not a cessation of publication in virtue of what I publish from time to time in some respectable Arab newspapers and magazines, and it is also in itself a position, on the basis that the authorities responsible for culture were exercising a kind of siege on young names in the nineties, especially the names Which had no party involvement or was tweeting outside the flock, that is, it was somewhat distant from the elitist and official cultural atmosphere. Then there are life needs that - perhaps - were more deserving of attention in a previous period, even though poetry was always an essential part of the daily life. Which I live.

What is the relationship that the poet Khalifa Al-Darai has with the poem? The poem is an expression of deep anxiety in being, and I have never considered myself to exist without it. It is embedded in the daily. Just as I drink coffee, go out to hang out, or do my daily work, I write. Therefore, the poem is a concern and an outlet at the same time, through which the poet expresses existential anxiety, through... The recurring question of death in my poems serves as a reminder of awareness of the moment, and therefore I always return to what was written by the German philosopher Martin Heidegger, because poetry and thought are two sides of the same coin, as Adonis confirms.

So can we say that the poet Khalifa Al-Darai is haunted by the question of death? This is the case with the poets of the South. You always find them obsessed with the question of death, perhaps due to the desert environment and the vastness of the outdoors and the isolation and many opportunities for deep contemplation that this affords. It is the desert in its abstractness and majesty, throwing the poet into the maze of existence in what resembles a mystical expanse that makes the whirlpool of things disappear. He finds in front of him only a thin isthmus, before which all questions collapse. Only the question of death is present with all possible force, giving the text and the moment their true depth.

Khalifa Al-Darai is known for his combination of what is plastic and what is poetic, that is, between words and colour. To what extent does one affect the other? In fact, there is a kind of identification that I could not determine its manifestations despite the passage of many years. When I applied for academic guidance in secondary school, I was confused between the literary orientation and the artistic artistic orientation. In the end, I left the matter to chance and went to study fine art at the Jaber Bin Hayyan School, then the institute specializing in printing arts. Therefore, I find myself at this stage of my life trying to sew and patch up what was torn by the days, nights, cups, and fatigue of this city through my direction to study philosophy at the College of Arts, Bin Imsik, in Dar. Al-Bayda and engaging in professional journalism within the same college.

I have been immersed in the search for a project that brings together all this beautiful diaspora for a while.

5. Far from the subject of composition and close to the subject of the history of beauty. In the book published by the German thinker Karl Rosenkranz, titled L’esthétique de la laideur, he talked about what was called ugliness in art, where he said that the concept of ugliness falls within contemporary aesthetic concepts. What is your response to this proposal?

A fact from the beautiful coincidences of life, and after I was tired of long loitering and excessive nighttime addiction, one of the beautiful things was my joining the Philosophy Department, especially my meeting with Dr. Muhammad Al-Sheikh, to whom I presented, as a research graduation from the Philosophy Department, the topic of beauty and the beautiful. He suggested to me the topic of the ugly on the basis that the topic of the beautiful had been exhausted. It is often mentioned in classical aesthetic theories that the question of the ugly is current and material, on the basis that we always try to hide the ugly and realistic things, behind the balanced, decent and good as standards imposed by the religious, moral and ideological, in addition to the fact that the ugly in art appears with some existential authenticity within the process of the process. Artistic.

If the writer's proposal is correct, what is faulted for him is the leakage of some of his ideological ideas into the field of aesthetics, which governs the artistic experience - only - within its aesthetic limits.

So, for you, where can we see the relationship between philosophy and art?

If Plato considered art an illusion and Descartes excluded feelings from his approach as an epistemological and rational choice, then I believe that philosophy and art are two sides of the same coin. Didn’t Gilles Deleuze say that philosophy is the art of creating concepts? Rather, the latter is rooted in art as an expression that opens the paths of perception and self-awareness. And the world.