Points de vue 2022 : A la Galerie Ababou, la photographie reprend son élan

At Galerie Ababou, photography regains momentum

Since the resumption of artistic events and demonstrations, special attention has been paid to Moroccan photographers. This sensibility is now reflected in the eclectic variety of photographic exhibitions.

In this vision of presenting the various sensibilities of this emerging generation, the Abla Ababou gallery is organizing from May 26 to July 31 a collective exhibition entitled Points of view 2022, displaying the work of contemporary Moroccan photographers alongside some young photographers elsewhere. The 13 photographers brought together “deliver their vision of the world without a specific theme”.

The absence of a precise theme illustrates the variety of questions explored by these works, and their approach to recurring motifs in the work of pioneering Moroccan photographers; a review of the sensitivities that become their own.

Through old yellowed portraits, Rafour Essafi juxtaposes memory and oblivion, in search of the limits of the image, the memory it preserves, and the ghosts that are inaccessible to him. For Karim Achalhi and Amine Houari, space conceals the memory of a bygone past. The imagery of abandoned places and urban ruins produces a temporal effect; a suspension between past and present, memory and oblivion.

At the same time, the works of other artists in the exhibition experience an affinity for symbolism and the compositions made possible by the incorporation of new techniques. In particular, the sculptures of Karim Alaoui, with a curious resemblance to real life, highlighting the notion of the human scale and the dichotomy between the gigantic and the meticulous, and the collages of entangled bodies, indistinguishable from the rest, revisiting the relationship between the individual and the collective, in the images of Nizar Lajaali.

Since its genesis in Morocco, photographic production has felt an affinity for public space and urban aesthetics, memory, the particularity of culture and the divisions resulting from a changing world. The documentation of a “Moroccan experience” or, according to a paper by Jaâfar Akil, the representation of the “multiple mutations that Moroccan society knows or has known”, largely shaped the antecedents of this practice, and gave rise to certain icons and motifs. quite recognizable and recurring.

The advent of emerging photographers has been characterized by a revision of codes and clichés, now identifiable in photographic work in Morocco. If certain tropes, such as portraiture and the charm of the cobbled streets of the medina are overrepresented, or as an article in The Art Newspaper indicates, “a tendency to testify rather than a reflection on the plasticity of the image”, the potential of this scene is already demonstrated by the induction of photography into multidisciplinary processes, a penchant for new concepts and the search for new forms.

For the local art scene, this revival of photography promises to be promising. The photographic work in Morocco is now enriched, and takes its momentum from a particular interest in the productions of the local artistic scene, which has grown in recent years. The changing dynamics of the art market attest to a favorable climate for new concepts and photographic creations, which are increasingly popular with exhibition curators.


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