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bauhaus imaginista: learning from

Avec Kader Attia, Marion von Osten et Grant Watson, Maud Houssais et Fatima-Zahra Lakrissa

23.03.2018 - 20.00.0

Friday, March 23 mars at 5pm : Encounter at the Goethe-Institut Rabat
with Kader Attia (artists, Berlin), Marion von Osten et Grant Watson (bauhaus imaginista curators, Berlin/London), Maud Houssais and Fatima-Zahra Lakrissa (art hisorian, Rabat)
Friday, March 23 at 7pm: Opening at Le Cube - independent art room
Exhibition utill April 20

Saturdy, March 24 : workshop with Marion von Osten and Kader Attia at Le Cube - independent art room

These events inaugurate the program of exhibiion and meetings "bauhaus imaginista". 
The exhibition at Le Cube - independent art room is the first event of the "bauhaus imaginista" program, in collaboration with the artist Kader Attia from Berlin. Attia works on a new commission, related to his ongoing series “Signs of Reappropriation as Repair”.
For Le Cube – independent art room, Kader Attia presents his current research in the field of re-appropriation of vernacular expressions in Morocco’s post-colonial context, wich dialogues with the results of the field of work led by Maud Houssais investigations for the "bauhaus imaginista" project.
The encounter at the Goethe-Institut with Marion von Osten, Grant Watson Maud Houssais, Fatima-Zahra Lakrissa and Kader Attia address the transcultural and political dimensions of Bauhaus crafts studies. Departing from a 1927 drawing of an oriental carpet by Paul Klee, they will focus the transcultural readings of modernist art practice and the re-mapping of avant-gardes' territories.
In 1910 the exhibition Masterpieces of Mohammedan Art in Munich, which presenting carpets displayed on the wall like paintings, made a tremendous impression on artists such as Wassily Kandinsky, Franz Marc or Henri Matisse. It also caused a wave of travels by European artists to the Maghreb to study local crafts. The canonical Tunis travel of 1914 by Paul Klee, August Macke and Louis Moilliet is only one of the many voyages of this kind. 13 years later, Bauhaus teacher Paul Klee, also engaged in the weaving workshop at the Bauhaus, created drawings and paintings that clearly reference carpets. In his 1927 drawing, specifically the monochrome kilims made by Tunisian Berbers are taken as a point of departure to develop a language of abstraction. The impact of exposure to Maghrebi crafts and African patterns can be traced as well in other works of the Bauhaus weaving, metal and pottery workshops, including African crafts and South-American pottery and textiles synthesized into modernist designs, at the Bauhaus in Weimar and Dessau and also by Bauhauslers in exile and subsequently by their students. 
Learning From focusses in Morocco on how these transcultural translations and syntheses took place and raises the questions: with what aim and under which cultural and political conditions did they evolve? What was the use and the context of craft practices in their original setting? How did they become important for processes of the decolonization of culture in the second half of the 20st century?
In Morocco a lessor known history is how Bauhaus ideas of synthesizing different cultural influences impacted on art and design practice and education in the post-colonial period. The synthesis of the craft production and modern means of production is considered by post-colonial artists as one possible pathway beyond the legacy of colonial art education. The Beaux Arts tradition in the French colonies was still based on orientalism, figuration and the strict division between the applied (low) and non-applied (high) arts. The “Casablanca School” (1962–1975) played a significant role as a catalyst of an anti-academic position, developed by the urgent need to decolonize culture in Morocco. The “revolutionary painters” such as Farid Belkahia, Mohamed Melehi or Mohamed Chabâa, but also the anthropologist Bert Flint (Holland) and the art historian Toni Maraini (Italy), experimented with forms of art by introducing a new paradigm: the popular. Their experimentations and theories concerning the patterns of Berber rugs and jewellery, the collective arts of the mosque and the Zaouia, gave a specificity to the Moroccan “avant-garde” that would inaugurate a new temporality distinguished from its European counterpart, demonstrating how one can be of one’s time, yet look back to the past. Translating ideas of modernism synthesized into the local culture and into new school concepts and curricula, these art movements and art schools were in some ways more advanced in their educational programs than the art academies of Europe during the 1960s.
The international exhibition and research program bauhaus imaginista will be launched in Morocco on March 23, on the occasion of the centenary of the foundation of the Bauhaus –famous German school of art, design and architecture. With Kader Attia (Franco-Algerian artist living in Berlin), a roundtable, an exhibition and a workshop will explore the connections and cultural transfers between the German Bauhaus movement and the traditional and modern artists and artisans of art in North Africa. This event inaugurates the bauhaus imaginista cycle, an international research program, of exhibitions and events dedicated to the reception of the Bauhaus in the world, during the 20th century.
bauhaus imaginista is made possible by funds from the Federal Government Commissioner for Culture and the Media. The German Federal Cultural Foundation is supporting the exhibition in Berlin and the German Foreign Office the stations abroad. Media partners are 3sat and Deutschlandfunk Kultur.
Partners abroad are the Goethe-Instituts in China, New Delhi, Lagos, Moscow, New York, Rabat, São Paulo, and Tokyo. bauhaus imaginista is realized in collaboration with the China Design Museum / China Academy of Arts (Hangzhou), the Independent Administrative Institution of National Museum of Art / The National Museum of Modern Art Kyoto, Garage Museum of Contemporary Art (Moscow), SESC São Paulo and Le Cube – independent art room.



curators zone avec Julie Crenn et Pascal Lièvre

21.02. - 16.03.2018

    Residency from Fevruary 21 ti March 5
    Opening on February 23 at 6:30 pm
    Exhibition from February 24 to March 16. 2018
    Round Table at the Institut Français on Monday, February 26 at 7pm
    Second opening with new projects made in Morocco on Friday, March the 2nd at 7pm

HERstory is an exhibition of archives that promotes feminist voices, of men and women from all over the world.
During their residency, Julie Crenn and Pascal Lièvre are planning to receive and interview engaged artists and activists in Morocco, on their projects, but also on their position in relation to feminisms. The exhibition organized at Le Cube will include the diffusion of exclusive interviews conducted in Morocco, thusly enriching the portraits previously filmed in Paris, and a series of videos that include excerpts of conferences, songs or activist clips, collected in the internet. Moreover, a feminist library will be available to visitors during the whole exhibition period. These books written by authors who express themselves from different continents, attest to a dynamic and global critical commitment.
HERstory is an invitation to see, listen, read , inform, discover, exchange, meet, propose, debate, question and open up to the post-feminist thought.
Day by day, these extremely enriching thoughts spread out, contradict, and become more precise and refined. Therefore, they need to be circulated to generate a pluralistic view of our societies.

This project has been executed in cooperation with the Fondation Heinrich Böll Stiftung North Africa Morocco, the Institut Français of Rabat, the Maison des Arts of Malakoff and the pubislher houses tahin party, Nouvelles Questions Féministes, Mamelis, Amsterdam, La découverte, En Toutes Lettres, Tarik and Le Fennec.


Live Radio Happening

curated by Anna Raimondo and presented with Chloe Despax

30.01. - 30.01.2018


     Tueday January 30 from 5.30pm 
     The live radio will start at 6pm

Join us at Le Cube- independent art room, to take part, collectively, to the live radio broadcast, from Brussels, curated by Anna Raimondo.
In this occasion, everyone is invited to interact with Anna Raimondo via Whatsapp, or vocal messages, and to be an active member of this live radio- the interactions will be broadcasted live. 
A radio happening initiated by Anna Raimondo, live with the audience from Recyclart  (Brussels) and live streaming on Radio Panik and in physical spaces in Barcelona, Buenos Aires, Dakar, Florence, La Paz, Madrid, Marseille, Milan, Naples, Rabat, Ramat Hasharon, Tenerife and Valparaiso... 
Live performances, eclectic selection of international radio art works, and the interaction of the audiences will resonate to celebrate the radio and its community of listeners.
Because radio is uncontrollable, is everywhere, is fluid, is gathering, is plural…

With artistic interventions by Daniel Bargach Mitre (VE/BO), Thierry Madiot(FR) , Myriam Pruvot (FR/BE), Franziska Windisch (DE/BE), and more to come...



Attokoussy - rituels et croyances au Maroc

Leila Sadel, Mohammed Laouli, Abdessamad El Montassir, Zainab Andalibe

17.01. - 16.02.2018

     Opening on Wednesday, January 17, at 6:30 pm
     Exhibition from January 18 to February 16 2018

« Attokoussy » is an art and research project that provides a sace for reflecion and expression, on the topic of rituals and beliefs in Morocco.
For this project, Le Cube - independent art room invites four Moroccan artists, Zainab Andalibe, Mohammed Laouli, Abdessamad El Montassir and Leila Sadel, to reflect together on themes related to myths and rituals, in order to develop endogenous and contemporary thoughts on the aforementioned subjects. This project was motivated by the need to propose new perspectives in regard to these themes, which have long been discussed and folklorized, but also to analyze their impacts and challenges in our current globalized societies.
This exhibition presents projects which are exclusively made by the artists for « Attokoussy », shortly after their residency in Marrakesh, two exhibitions in Austria, and a series of meetings, screenings and conferences. These political and poetic explorations of rituals evoke countless symbolic and political associations, which the public is invited to observe in a kaleidoscopic manner, in light of the present and the future.

During this opening, we will have the occasion to share with you the booklet publication produced as part of this project.

This project is support by the Ministère de la Culture of Marocco.