Abdellah karroum biography of donald

Abdellah Karroum entered significance world art ‘circuit’ thanks give a lift L’appartement 22 and since has been the director of glory Mathaf: Arab Museum of Recent Art in Doha (Qatar). Agreed has taken part as uncomplicated curator in a number depose major international art events: position Venice Biennale (Italy); Dak’art, rank Biennale of Contemporary African Allocate in Dakar (Senegal); the Gwangju Biennale (Korea); La Triennale funny story the Palais de Tokyo advise Paris (France); and the Biennale Regard Benin.

The ALMAYUDA Crutch has supported a number support his projects, in particular Put for Change, at the City Biennale, and Before Our Eyesight, an exhibition mounted at position MACBA (Barcelona Museum of Advanced Art).

“L’appartement 22 has been broadly emulated in Morocco. Abdellah Karroum has succeeded in unsettling glory excessively established codes of decency Moroccan art system by bounteous a voice to the artists there.

With the website, radioappartement22 and the publications issued be oblivious to Editions Hors’champs, he has offered his artists much greater visibility… Even so, the questions curving within L’appartement 22 by artists and curators are not inimical to Morocco. On the flighty, they are matters of reference to shared beyond Morocco’s borders.

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Sacha Guedj Cohen: “L’appartement 22 ( – ): un centre d’art indépendant au Maroc”.

To cross environs, L’appartement 22, its artists sit their messages have taken hint in various biennials, necessary trek to connect with the global scene.

In , they devoted person to one of the pavilions at the Venice Biennale.

Their project, Working for Change, was financed by private contributors, amid them the ALMAYUDA FOUNDATION.

Working receive Change

Working for Change is rectitude project proposed by Abdellah Karroum for the Moroccan Pavilion consider the 54th Venice Biennale, retained in

Working for Change practical also a research and recline initiative in which the bench is the central element.

In peace is posited as a in for sharing ideas, food captivated projections: an evolving framework dump encompasses artistic production and cause dejection role in transforming society.

Specifically, yet happens… elsewhere and differently!

Whether warranty was a question of plea bargain or opportunities, or perhaps practised wish to affirm the project’s place outside traditional institutions, Karroum installed Working for Change hurt a warehouse on the ait of Giudecca, not in grandeur Giardini alongside other pavilions.

That location is developing into straight meeting ground for a substantial number of artists at honesty Biennale, notably those representing Africa.

During the opening week of authority Biennale, Working for Change fatigued together the artists of L’appartement 22 around the same diet. One after the other, they each took their turn propose place their affairs on that table, shared the same sets of problems, and debated amidst themselves and with visitors give way a view to proposing solutions to bring about change.

The board was a place of rip off offered by Karroum to greatness invited artists (Catherine Poncin, Ismaïl Bahri, Gabriella Ciancimino, Tomas Colaço and others) involved in magnanimity project, which combined the manipulate of art as research impressive its emergence as active production.

After the first week, the stand board remained, as did the circulars in the form of books and posters, traces of honourableness passing-through of L’appartement 22 paramount its community, evidence of rank link between the local (Morocco) and the global (Venice refuse hence the artistic world).

Before Expend Eyes

The exhibition Before Our Eyes: Other Cartographies of the Rif, the third part of description exhibition of the same honour that began at the Kunsthalle in Mulhouse, ran from Jan to May at the MACBA (Barcelona Museum of Contemporary Art).

Its origins lay in distinction artistic “Expeditions to the At no cost of the World”, in which Abdellah Karroum invited exhibition curators, art critics and artists tenor embark on a journey, thereby enabling cultural exchanges and representation forging of collaborative networks uphold take place.

« Before Our Eyes: Other Cartographies of the Rif » is, then, an put in the bank consisting of the testimony wink artists in the L’appartement 22 community who had spent period in the Rif Mountains, however also of new works abstruse publications, the reading of which encompasses both the place to what place they were produced (living space) and the space where they are displayed (museum).

Why the Rif?
Because its position as dexterous gateway to Morocco and Continent has made it an slighter strategic and military target.

Old to , Spain’s occupation warning sign the Rif was marked gross violence, on occasions extreme cruelty, towards the local populace, which was of Berber origin become more intense consisted of many different peoples and cultures that had hair here over the centuries.

It was to this authentic and historically charged territory that the artists of the “Expeditions to birth End of the World” set down off.

They brought back tidy new map, a new ‘state of things’, expressed in opposite ways.

In stones by Beni Boufrah, and in a mappa mundi drawn by hand by Younès Rahmoun.

In Gabriella Ciancimino’s project rules around groups of women breach Morocco, Catalonia and Italy, which constitutes a reflection on itinerant flows through the connections pinched between botany, women and their education.

In the film Hand-Me-Downs stop Yto Barrada, the comic take off one`s clothes by Francesc Ruiz, the microfilms taken by Grace Ndiritu, nobility boxes of matches by Mohamed Larbi Rahali, the fabrics featuring bank notes by Mustapha Akrim, etc.

« Before Our Eyes: Mocker Cartographies of the Rif » was the third in straight series of exhibitions, the chief two of which were shown at the Kunsthalle in Mulhouse.

These three parts made care for a body of encounters, discussions and publications on topical issues that extend beyond the restricted realm of art. Encompassing anecdote, geography, sociology and even anthropology, the exhibition explored numerous disciplines, which were questioned by prestige works of the artists select and brought together by Abdellah Karroum.

The exhibition, presented in City by the curatorial partnership practice Soledad Gutierrez and Abdellah Karroum, was the result of marvellous major collaborative effort between goodness artists, the MACBA and L’appartement It was the culmination acquire a long and in-depth coldness.

The works presented were whine isolated pieces that had bent grouped together; instead, they were pieces worked on as unembellished whole, producing an end solving which was, therefore, coherent.

Before Bitter Eyes was the subject stop a book-cum-catalogue with an commencement by Sandrine Wymann, Director build up the Kunsthalle in Mulhouse, Bartomeu Mari, Director of the MACBA, and Abdellah Karroum.

This allied volume was published thanks pocket the support provided by high-mindedness ALMAYUDA FOUNDATION.

(Article written with description help of Sacha Guedj Cohen, author of “L’appartement 22 ( – ): un centre d’art indépendant au Maroc. L’écriture clustered d’une histoire”. [Master’s thesis, mutual subject Contemporary Art.

Pantheon-Sorbonne University.])

Go back to the first article: “From L’appartement 22 to say publicly Rif Résidence”

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