 | Mimouni, Untitled, 2002
Mixed media |
The World Bank Art Program is pleased to present The Visible Soul: Contemporary Art From Morocco, which features the work of four highly accomplished artists. Having shown extensively throughout Morocco, the Middle East and Europe, these artists' work is little known in the United States. While not comprehensive, given the extraordinary diversity of contemporary Moroccan art, this exhibition does provide a sense of the scope of this country's dynamic artistic community. A recurring theme in much of these artists' work is the tension between tradition and modernity, which reflects a critical global issue and a core concern of the World Bank. The artists range from well-established pillars of the Moroccan cultural community to rising stars within that community. In contrast to the cynicism and irony pervading much of contemporary Western art, the title of this exhibition, The Visible Soul, speaks to the openness and passion of the participating artists in addressing such profound subjects as virtue, memory, identity, spirituality and the tension between tradition and modernity Contrary to the more incremental development of modern art in most non-Western cultures, the advent of contemporary Moroccan art was abrupt and radical and began shortly after Moroccan independence. One of the most important catalysts in the birth of contemporary Moroccan art was an art movement started in Casablanca in the early 1960s and centered around L'Ecole des Beaux Arts. There, a handful of young male Moroccan artists, who had been observing trends in Western contemporary art, began to create art with a shared set of influences which came to be called the Casablanca School. A point of departure for their work was "hard-edge abstraction" by such Western artists as Frank Stella. More importantly, these artists drew deeply from Moroccan and Berber cultural traditions. The result for Morocco was a totally new and totally contemporary indigenous style of art. MALIKA AGUEZNAY
Master printmaker and painter, Malika Agueznay's journey as an artist is intertwined with the birth and development of contemporary Moroccan art. She enrolled as a student at L'Ecole des Beaux Arts in the mid 60s, where she was well accepted and encouraged by her teachers, some of whom were leading figures in the Casablanca School. Thus began her career as Morocco's first female contemporary artist.   | | Untitled, Malika Agueznay, Oil on canvas |
The early years of the Casablanca School were difficult ones, with its unprecedented work being met with criticism in Morocco. While strongly supported by her fellow artists and husband, Ms. Agueznay's path was even more difficult, as she was also playing a part in paving the way for women's rights in her country by her resolute dedication to her profession . Through the years Ms. Agueznay has refined a unique style distinguished by intricate interweaving and overlapping organic forms which she calls "algae." . With these forms she creates perfectly balanced and composed work which can be purely abstract or contain representational elements. Whether in her prints or paintings or with vibrant or muted color, these forms interact to create dazzling tableaus imbued with swirling, pulsing movement.
A recurring motif in the artist's work is "algae" forms of stylized Arabic script of her own shape and design. When she uses this script it is always with the same five words: Peace, Love, Compassion, Modesty and Generosity. Ms. Agueznay began using these words in her art as she felt the traditional Moroccan values these words represent are being eroded in of her country's contemporary culture . It is the rare artist who can convey such a profound message with beauty, sincerity and gentleness. TIBARI KANTOUR
A well-established and respected mid-career artist, Tibari Kantour is considered one of Morocco's finest artists working with paper,: Also a master printer, over the years Mr. Cantor has developed unique processes and equipment for making paper. The artist lives and works in the Moroccan countryside, and part of the reason for these unique processes and equipment has been that where standard materials and equipment have not always been readily at hand. |  
| Rim Laabi, Untitled, 2002
Mixed media |
Mr. Kantour uses several techniques in creating his paper. With wet pulp he shapes, models and builds up an individual piece of paper. Previously made pieces of paper may be added, in a collage-like fashion. As he works, the paper becomes heavily textured, and he may embed organic elements directly into the wet paper. There is an ancient, elemental look to this paper, as if made in collaboration between the artist and natural forces. The leaves of paper are works of art in themselves While making this paper, again using a variety of techniques, the artist adds his personal vocabulary of marks and images, to truly makes it speak. He may introduce paint, ink or natural pigment into the wet paper. This may be done in a controlled fashion to make distinct marks or by bleeding color into the paper to create chance shapes and images. While the paper is still wet the artist may incise lines and marks into it. When the paper dries he may then print onto it. By the late 1980s Mr. Kantour had developed a mastery of his techniques, allowing him to concentrate on manipulating his paper to realize his artistic vision. For him, this vision can only be achieved through a true union of material and content. This content, the artist's soul, is a direct reflection of the natural world in which he lives and works in, far removed from urban centers. His work seems a communion with sky, earth and tree. In pursuit of this sacred dialogue, bits of Arabic script may coexist with an elemental, natural script that flows through the artist onto the paper. Mr. Kantour's art appears as a beautiful visual record of ancient dialogues between humankind and a higher world, whether Nature or God. RIM LAABI
While born and raised in Morocco, Ms Rim Laabi, the youngest artist in the exhibition, has also spent significant time in France and Greece. Having recently received her doctorate degree in the arts from the Sorbonne in Paris, she has returned to Morocco to live. Even as the look of the artist's work strongly reflects her Moroccan heritage, it also reflects the influence of an increasingly global society on younger generations of artists. While first and foremost a Moroccan, she recognizes that who she is has also been shaped by her time abroad.   | Tibari Kantour, Revelation, 2002
Mixed media on canvas |
Ms. Laabi's work is an exploration of self-identity: How a person comes to defines oneself, or is defined by environment. Thus, for example, at one level her art is about weaving together strands of her experiences in Morocco, France and Greece. And, iIn fact, a major component of the artist's creative process is weaving and braiding a variety of materials, coated with paint and paste, into thick multi-layered objects of art. The material which she uses can include yarn, string, fabric, plastics and metals, as well as personal mementos from Morocco, France and Greece. Mesmerizing in its intricacy, Ms. Laabi's art is strongly influenced by the ornamentation and calligraphy which grace traditional Moroccan architecture and handicrafts. Yet, Ms. Laabi gives this influence both a personal and universal stamp. The surface patterns on her work are of her own design and, in part, amalgams of Arabic, Greek and Latin letters forming no words. This symbolizes her view of herself as a composite of cultures, and, by extension, globalization. At a deeper, level, Ms. Laabi's work is a metaphor for her interior life. In a more obvious sense, the artist's woven networks can be seen as a representation of the body's circulatory and nervous systems. But it is Memory, and its relationship to self-identity, which is of critical importance to the artist: Hhow a person weaves strands of memories together and, in so doing, creates a sense of self. Her obsessive layering is a metaphor for one's accumulation of memories. As she builds up her heavily textured work, the appearance of the piece subtly changes, alluding to how one's memories are ultimately not stable and can be deceptive. Memories evolve through the years;. C colliding with new experiences, memories may be transformed or submerged. In exploring her self-identity through art, in a sense Ms. Laabi is creating a diary of her journey of discovery. While we may not grasp the exact details of this journey, we are nonetheless taken by the poignancy, sincerity and elegance of the mysterious objects which are its product. MIMOUNI
Mimouni is a dynamic painter and printmaker who has lived in France for the past several years and exhibited extensively there. Yet his work is a passionate evocation of his homeland and, especially, his Berber heritage. The artist compares his work to archaeology, and it is at one level a very personal visual interpretation of ancient and traditional signs and symbols of Morocco found on ancient pottery, jewelry, talismans and weavings. Of particular interest to the artist is Berber architecture and the friezes which decorate it are of particular interest to the artist. 
| Artists, Embassy of the Kingdom of Morocco staff,
Maghreb Department staff, Guest Curartor,
Richard Dana &Â Art Program staff. |
As much as Mimouni's art draws from his study of traditional Moroccan iconography, it is ultimately memories of his childhood which he strives to capture in visual form. Many of the marks and symbols in his work are spontaneous recollections of ones he grew up with. Memory of the very texture of his homeland is equally important to the artist, and it is through use of color that he evokes these memories. The predominant browns, reds, yellows, and ochres of his work are the colors of his childhood, the colors of the countryside and Berber architecture he grew up withof his youth. As Mimouni himself says, these colors are not aesthetic choices, but, rather, reflect his desire to remain close to the land of his origin.   In making visible his memories and personal symbology on paper or canvas, Mimouni works in a spontaneous and intuitive fashion. The marks and symbols in his work are not premeditated, but rather the product of what he calls "rapid writing". He is expressing that combination of emotion, intuition and memory which he feels at that very moment of creation. It is through this process that the immediacy, passion and evocative power of his art is achieved. Mimouni's art is a visual quest to rediscover "the lost object", as he calls it. There is an archeological sense to this quest, but, more profoundly, the lost object to which he refers are those memories which he and all of us have buried within. It is, as well, the immediacy and spontaneity of childhood with which we lose touch as we grow older. While Mimouni's visual quest is ultimately very personal and rooted deeply in his Moroccan heritage, the work he creates as a result of this quest is so lyrical , evocative and imbued with such force of feeling that we all may be moved by it. Richard Dana, Visiting Curator  |
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