Fiches et questionnaires

Interviews of Farid Belkahia, Mohamed Chabaa, Mohamed Melehi

Cover of Souffles 7–8, 1967
Courtesy of Abdellatif Laâbi.


1 Quelles sont les étapes par lesquelles sont passés les préocuations qui s'expriment dans vos œuvres?

2 Au stade actuel de vos recherches, comment vous situez-vous par rapport à la tradition plastique marocaine?

3 Quelle est d'après vous la contribution de la peinture à l'élaboration d'une culture nationale?

4 Quelles sont les conditions qui peuvent favoriser le dévelopement des arts plastiques au Maroc?


Nous avons adressé ce questionnaire aux peintres figurant dans ce numéro ainsi qu'à d'autress (Ahmed Cherkaoui, André Elbaz) dont les résponses ne nous sont pas parvenues.

Please, click on the PDF below in the Resources section.

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●Latest Articles
The Bauhaus and Morocco

In the years when Western nations were committed in new projects of partnership, with what was then called the “Third World”, young artists and students from the Maghreb had grown up in the passionate climate of the struggle for independence, were talented, open to modernity, and eager to connect with twentieth-century international art movements, which were different in production and spirit from colonial ideology and culture. → more

Mohamed Melehi

Mohamed Melehi has, through his various personal and creative journeys, played a key role in redefining the conversation on art in Morocco since the 1960s, and in doing so has forged new paths for a nomadic and transnational modern art movement that has as yet been poorly studied. → more


I was sixteen years old when I undertook my first journey into finding a professional vocation, first in Asilah, then in Fez followed by Tétouan. 1952. Tangiers was, to me, an open book, a window on the world. The freedom of seeing, of discovering and of feeling, of weaving the narratives of my dreams. → more

●Artist Text
Research Project by Kader Attia

Looking into the history of objects, into their original practical and social function as well as into the circumstances of their transition to European and other countries of Western civilization, the artist Kader Attia aims at conveying the full identity of the objects and to follow the traces of their disappearance that still can be discovered today and call for repair. → more

Learning From, Rabat

In Morocco, a lessor known history is how Bauhaus ideas of synthesizing different cultural influences impacted on art and design practice and esucation 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. → more

Le Gâchis / The Waste

Abdellatif Laâbi, "Le Gâchis", from: Souffles, No. 7–8, 1967, pp. 1–14
"The Waste", translated by Kate Hugh McStevenson in the context of the SNF project “Ästhetik der Dekolonisierung. Das Magazin Souffles (1966–1972)“ (2014–16)
Courtesy of Abdellatif Laâbi. → more

Témoignage sur un artiste occidental — Herbert Bayer

‘j’ai voyagé au maroc et j’ai beaucoup apprécié ses différentes traditions artisitiques; je suis impressionnable, et je peux dire que le maroc a signifié beaucoup pour moi.’

Publié dans: Integral, No. 12–13, 1978. → more

Essai d'Inventaire des Styles dans les Arts Populaires du Maroc

Dans notre première publication nous avions distingué quatre traditions ou influences artistiques qui se font sentir au Maroc.
La tradition berbère,
La tradition Islamique,
L’art populaire marocain,
Les influences Sahariennes et Africaines


Publié dans: Maghreb Art, 1966 → more

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