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Culture

MACAAL’s Othman Lazraq on creating a permanent home for African contemporary art in Marrakech

News RoomBy News RoomFebruary 14, 2025
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When TRANSFORMED, Malaika Mkaada of Euronews Culture celebrates the reopening of MACAAL. The revamped space, opened concurrently with the launch of ‘Seven Contours, One Collection’, a landmark permanent exhibition showcasing over 150 works from highly regarded artists, remnants of the Lazraq family’s extensive historical collection. Curated by Morad Montazami and Madeleine de Colnet, the exhibition, which explores themes of decolonization, cohabitation, and other archeological and cultural connections, is a profound exploration of contemporary African art. The thematic galleries, such as ‘Initiate,’ ‘cohabit,’ ‘initiate,’ ‘transcribe,’ ‘converge,’ ‘promise,’ and ‘weave,’ offer a rich narrative of creativity, transformation, and Vincianness, inviting audiences to reevaluate how art is constructed, experienced, and understood.

macAAL’s opening exhibition encapsulates the museum’s evolution. Overleaf, a show at MACAAL ranges from over a century’sydro to a vibrant experience, reflecting the artists’ journey from legacy to modernity. The exhibition’s structured theme not only neutralizes traditional boundaries but also stimulates critical thinking, challenging viewers to re-examine their perceptions of contemporary African art. The use of author videos and expert commentary further enhances the display’s depth and inclusivity, providing a multi-semiotic dialogue around the works, sparking deeper discussions about artistic practice and identity. The new physical and digital configurations of the collection aim to bridge existing distinctions, ensuring that the art thrives on the global stage.

TheContentAlignment of the collection has expanded dramatically, drawing from artists across Morocco and beyond—their networks, collaborations, and the impact of foreign forces have amplified its relevance. feels, fondilled with the influence of.am facilities, high-end venues, and international fertilizer companies, the collection within 40 years has become a testament to the continent’s enduring contributions to global culture. The display features a diverse array of media—portraying works from the nestedascalades of Moroccan art to the intricate compositions of other artists who have extended beyond Morocco—demonstrating the universal appeal of contemporary African creativity. this transformation is指甲iced by the fact that ‘Seven Contours, One Collection’ reaches far beyond the.material explicitly shown—its images and techniques are rooted in more than just art, offering a mirror—of the deep, universal performances of African art produced over generations.

Macaal’s future vision is ambitious, with plans to integrate cutting-edge digital resources as a part of its ongoing efforts to preserve and display African art. this shift seems purposeful, as it gives the space a permanent home while offering opportunities for fellow artists, students, and communities to collaborate. the ‘Artist Room’ is seen as a vital tool for fostering dialogue and innovation, serving as a hub for educators, curators, collectors, and students to bring together perspectives and ideas that could shape future generations of art. The idea is, said Alice, to reorient African art toward a more inclusive,pan-Asian, and multilingual future.

From 2 February 2025, when the university opened, a visit to ‘The Decolonised Apervals’ is taken. Perhaps today’s dismantlement of cents more significant of an audience than the topic of the exhibition, it is clear that macAal is a place of cultural exchange and intellectual curiosity. Acknowledging the ongoing debates about the role of art institutions in cooperation with African communities, macAAL is a place where art meets culture, senses meet visions, and progress meets currently-districted struggles. its remaking reflects the museum’s commitment to preserving and reimagining this locus of creative exchange, and it is this process that sets the stage for the future of macAal and theRoom.

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