The Gebs, or the art of plaster sculpture
This ancestral sculpting technique allows the plaster to be magnified, mainly for ornamental and architectural purposes. Gebs usually covers the upper part of walls, but also decorates arcades, ceilings and domes. It consists of the composition in relief of calligraphic texts or geometrical motifs: friezes, interlacing or rosettes, for example. Itcan be admired in the most beautiful buildings of the country, such as the royal palace of Rabat or the kasbah of Télouet. Its white or pinkish colour is sometimes dyed, painted or gilded, giving rise to charged and powerful motifs, as in the royal palace of Fez. To achieve such results, the manufacturing process is long and meticulous. First, the plaster is spread in a thick and homogeneous layer on the wall surface, spiked with nails for a better hold. The relatively long drying time of the plaster then allows the masters to sculpt the material conscientiously. But before the plaster is cut and sculpted with scissors, chisels and gouges, the patterns are traced with a dry point, ruler, compass, templates and stencils. The smooth mass is gradually transformed into a refined lace, to the delight of visitors.Tattooing, a festive practice
Once an identification sign or magic badge, tattoos have now lost their original meaning and have become mainly decorative. It remains nevertheless very popular and is mostly practiced during religious celebrations or family ceremonies, by infiltration of needles or more frequently by simple superficial drawing. The most common tattoos are drawn on the hands, feet or face and represent zelliges or black fishnets that underline the clarity of the skin. Ephemeral tattoos are most often done using harkous, a stick impregnated with charcoal ashes and spices, and only last for the duration of a party.
Moroccan visual arts, a back and forth between figuration and abstraction
Two events have profoundly marked the country's pictorial memory: the Islamisation of Morocco in the 9th century and colonisation from 1912 onwards. Pre-Islamic art, which gave an important place to representations of scenes of life and which deeply marked the pictorial memory of the country, is seen, with the Islamization, dominated by the Arab-Muslim art which prohibits any form of representation of animals and human beings. The latter, of immeasurable richness, finds its expression in complex geometric shapes and patterns, representations of the plant world and calligraphy. Calligraphers write with a calamus, a reed pen whose size determines the style of writing. As for the ink, it is traditionally made from the soot deposited by the smoke of candles in openings made in the top of the walls of mosques. The scribe corrects mistakes with the tip of his tongue and dries his work with fine sand that he keeps in his writing case
Easel painting was born later, when the protectorate was established. It is in a way a return to the roots in that it manifests itself through the representation, once again, of scenes of daily life. The 20th century thus saw the emergence of talented artists who circumvented religious prohibitions. Naïve art developed throughout the 20th century, reaching its peak in the 1960s and 1970s. Mohammed Ben Ali R'Bati (1861-1939) can be cited in this trend. The latter was able to represent with a touching naivety all aspects of Tangier life, from daily life to festivities, not hesitating to penetrate the intimacy of homes, which at the time was difficult to access, especially for a man. Mohamed Hamri (1932-2000), a Tangier figure, also played a key role in Moroccan painting, and shows a form of naivety more stylized than that of the paintings of R'Bati. Other painters moved away from figuration and linked themselves to the international modern movements that favoured abstraction. Ahmed Cherkaoui (1934-1967), whose fame goes beyond the borders of Morocco, is one of the precursors of Moroccan modernism. His work, which was prematurely interrupted at the height of his career, had a profound impact on the country's artistic history. At the intersection of his Arab and Berber heritage and the major international modern trends, this artist developed a personal language of great symbolic richness. His work can be admired at the Mohammed VI Museum in Rabat, where a major retrospective was held in 2018.
Morocco, a muse for Western artists
Whether they are writers, poets or painters, many foreign artists have been bewitched by the charm of Moroccan cities. The Red City has fascinated many Western painters of the 19th and 20th centuries who were fascinated by the orientalist adventure. A heritage that has certainly made Morocco shine throughout the world, but, as Farid Belkaia, director of Casablanca's Fine Arts Department, points out, it has also had the effect of replacing Moroccan culture and eclipsing local artists.
The term "Orientalist painting" is used to describe paintings made by Europeans in Africa, the Middle East or Asia. This genre originated at the end of the 19th century, with romantic painters such as Eugène Delacroix who came to seek in Moroccan culture reminiscences of the ancient way of life. Their idealized vision of Europeans on everyday scenes is expressed in images with an enchanting atmosphere. Historical point of contact between North African and European cultures, Casablanca is considered by many historians as a flagship city of orientalism.
Sent on a mission by King Louis-Philippe to Sultan Moulay Abderrahmane, Eugène Delacroix found a new source of inspiration in the kingdom. Among his works produced in Morocco, The Jewish Wedding in Morocco (1841) exhibited at the Palais du Luxembourg is as impressive as his watercolour Fantasia
, which can be admired in the Louvre (1832). Similarly, his series of hunting scenes with the Sultan of Morocco (1845) have remained famous. Delacroix thus contributed to the spread of the fashion for oriental exoticism among romantic painters.Later, it was Henri Matisse who developed a passion for the country, and in particular for Tangier, which he discovered in 1912. Subjugated by the "oriental splendours" mentioned by Baudelaire in L'Invitation au voyage, the artist produced more than sixty works, which gave his painting a new dimension in the harmony of colours. He paints clearly identifiable characters as in Le Rifain debout (1912), or simply suggests them in an ocean of blue as in Le Café marocain
(1912-1913). Other famous French orientalist painters include Jacques Majorelle, whose two monumental paintings can be seen at the Wilaya headquarters, Henri Pontoy and Edmond Vallès.Moroccan photography, a slow affirmation
In the nineteenth century, the country remained relatively closed compared to its North African neighbours, so photography settled in rather late, while many Europeans, eager to document the world, were engaged in this practice accompanied by scientists, historians and writers. At a pivotal time, they captured the first images of a Kingdom still little known to Westerners and immortalized its fortified villages, kasbahs, mountains and Saharan provinces. In the 1880s, the country opened up further, and several photographers moved there to open their studios. Initially used mainly for administrative and heritage purposes, photography was mainly limited to landscapes and monuments. Henri de Lamartinière, a French diplomat, archaeologist and photographer sent on a mission to the area, documented the Roman ruins of Volubilis, thus contributing to their influence.
, which highlights the diversity of the country through the eyes of famous or anonymous photographers, from the beginnings of photography to the modern era (1879-1960). In the second half of the 20th century, photography became more democratic and was no longer reserved for a Western elite. Today thecountry has many international figures and different exhibition venues (don't miss gallery 127 in Marrakech!). It is now considered as an art in its own right and not as a simple means of documentation, and has many practitioners. Hassan Hajjaj, born in 1961 in Larache and now based between the United Kingdom and his native country, is one of the representatives of contemporary Moroccan photography. His two cultures express themselves in a work made of hybridizations. His colourful style shows a particular interest in fashion and critically explores its contradictions, between expressions of identity and consumerism.A contemporary art in full bloom
Most tourist itineraries unfortunately do not include contemporary art museums and other places dedicated to current culture. However, Moroccan art has evolved a lot and reveals a lot about the country and the changes it is going through. Figurative art is no longer a taboo and the younger generations are particularly daring, ready to tackle the social and political problems facing the country. Inequalities, sexism, immigration, climate change: these artists pose as analysts of contemporary Moroccan issues, which they do not hesitate to put on the table, sometimes in a provocative way.
Despite the challenges it faces, the art sector is slowly but surely strengthening. Many Moroccan curators working in international museums are promoting the work of their compatriots internationally, and at the same time the country is gradually asserting itself as a regional art hub, increasingly connected to its North African and sub-Saharan neighbors. The Arab Spring of 2011 has greatly contributed to this development, not only rekindling the interest of foreigners, but also allowing artists to realize the role they could play in expressing their views through art.
To name just one, Lalla Essaydi, born in 1956 in Marrakech, is a leading Moroccan artist and photographer. She grew up in Morocco and Saudi Arabia, and now lives between New York, Boston and Marrakech. A graduate of the School of the Museum of Fine Arts in Boston, she is one of the most highly regarded Moroccan artists. Her paintings can be found in the Louvre and the British Museum in London. Her work focuses on the figure of the Arab woman, and deconstructs the female stereotypes represented in Orientalist painting.
Today, artistic activity is largely concentrated in Tangier. A few years ago, however, one could regret the absence of galleries and spaces dedicated to art. A lot has been done since then, thanks to several motivated actors who are determined to make things happen. We can mention for example the Uzine, the Dar d'art gallery and the Conil Volubilis gallery, opened in the premises of the former Volubilis gallery, place de la Kasbah. These spaces aim to promote Moroccan artists and give them visibility. Thus, if Morocco can boast of giving birth to renowned artists, Tangier can be proud to have people capable of spotting artists and highlighting their work. The other essential places for contemporary art in Morocco are located in the major cities, such as the Mohammed VI Museum and the Villa des Arts in Rabat, the Museum of the Palm grove and the recent and already unavoidable Museum of Contemporary African Art Al Maaden in Marrakech.Street art, a new means of expression for the younger generation
In recent years, street art has become increasingly popular in the Kingdom. Disrupting the established codes, young people have found a means of expression that gives them the freedom and freedom of expression they lack in their daily lives. The country now has many young talents such as Kalamour, the duo Placebostudio (composed of Brick top and Abid), Rebel Spirit or Mevok. Initially frowned upon by the authorities and older generations, this rebellious art has gradually been tamed, to the point of becoming a real instrument of urban revitalization. Huge frescoes subsidized by institutions or municipalities now decorate the streets of major cities, but not only. Indeed, if Casablanca is undoubtedly the queen of street art, other cities such as Essaouira, Marrakech and Rabat are not left behind, and even small towns such as Azemour, Asilah, Youssoufia, Safi and Benguerrir display the joyful colors of this street art.
To admire these moving and often impressive works, it is difficult to give you a precise itinerary, since it is an ephemeral art by nature. The white city is nevertheless a must, and especially the district of Mâarif, which is considered as the HQ of the graffiti artists. There is a beautiful fresco of the legendary singer Oum Kalthoum, signed by Placebostudio, which holds a record of longevity.
In addition, for several years now, Casamouja, a street art festival, has been held and has become an essential event in the cultural calendar of Casablanca. Artists from all over the world are invited for this occasion, invited to color the metropolis alongside their Moroccan colleagues. The Oulmes traffic circle is one of the hotspots of this event. In parallel to this consecration, the Moroccan street art has now its place on the art market. Many galleries host street art exhibitions, and even the Mohammed VI Museum has offered its walls. This new legitimacy allows a practice that was originally deviant to be considered as an art in its own right!
