●Edition 2: Learning From
Mar. 23–24 2018

Rabat, Maroc

  • Le Cube – independent art room
  • Goethe-Institut Rabat

Poster of bauhaus imaginista: Learning From, Rabat.
Graphic design by Nassim Azarzar.

L'exposition au Cube – independent art room est le premier événement du programme bauhaus imaginista en collaboration avec Kader Attia. L'artiste travaille sur un nouveau projet prochainement montré à Berlin en 2019 et intégré à sa série en cours Signs of Reappropriation as Repair. Kader Attia y présente ses recherches actuelles qui dialoguent avec les résultats du travail sur le terrain mené par Maud Houssais dans le cadre du projet bauhaus imaginista au Maroc.

Vernissage en présence de l'artiste et des commissaires du projet

Graphique réalisé par des élèves de l'École des Beaux-Arts, en : Art du Maghreb, N°3, publié par l'École des Beaux-Arts de Casablanca, 1969.

Graphique réalisé par des élèves de l'École des Beaux-Arts, en : Art du Maghreb, N°3, publié par l'École des Beaux-Arts de Casablanca, 1969.

Le programme international d’expositions et de recherche bauhaus imaginista est lancé au Maroc le 23 mars 2018 au Goethe-Institut Rabat et au Cube - independent art room. Ce cycle d’évènements est consacré à la réception du Bauhaus dans le monde et se déroule à l’occasion du centenaire de la fondation du Bauhaus, célèbre école allemande d’art, de design et d’architecture.
En présence de Kader Attia, une table ronde, une exposition et un atelier explorerent les connections et les transferts culturels opérant entre le mouvement allemand du Bauhaus et les formes d’art traditionnel et moderne d’Afrique du Nord.

Les événements du projet bauhaus imaginista à Rabat sont co-organisés par le Goethe-Institut, la Bauhaus Cooperation, le Haus der Kulturen der Welt, Le Cube – independent art room et ARAV Atelier de recherche en arts visuels.

Rencontre avec Kader Attia et les commissaires du projet

Vernissage le 23 mars à 17h au Goethe-Institut de Rabat

Avec: Kader Attia (artiste), Marion von Osten et Grant Watson (commissaires de "bauhaus imaginista), Maud Houssais et Fatima-Zahra Lakrissa (chercheuses en histoire de l'art).
En français et anglais

La rencontre au Goethe-Institut aborde les dimensions transculturelles et politiques des théories du Bauhaus sur l’art traditionnel. En prenant pour point de départ un dessin de Paul Klee de 1927 représentant l’étude d’un tapis oriental, la rencontre tente de proposer différentes grilles de lectures transculturelles de la modernité ainsi qu’une nouvelle cartographie des territoires des avant-gardes.

●Related Articles
Don’t Breathe Normal: Read Souffles! — On Decolonizing Culture

The need for a synthesis of the arts and, with this, a change of pedagogical principles, was not only present at the beginning of the twentieth century (forces that prompted the Bauhaus’s foundation), but after WWII as well, during the “Short Century” of decolonization. . This second modern movement and its relation to modernism and the vernacular, the hand made, and the everyday was vividly expressed through texts and art works published in the Moroccan quarterly magazine Souffles, published beginning in the mid-1960s by a group of writers and artists in Rabat, Casablanca and Paris. → more

Les Intégrations: Faraoui and Mazières. 1966–1982 — From the Time of Art to the Time of Life

Les Intégrations exemplified a specific conceptual motif, one that acted not within a single field but rather implied a relationship of interdependence between different media (visual arts and architecture) and techniques (those of graphic arts and architecture). They thus allowed for the emergence of disciplines that were not static in formation but evolving in relation to one another. The intermedial relationship they created between art and architecture raises the question of what lies "between" these disciplines: how do they communicate with each other? What are the elements of language common to this "spirit of the times," to the particular atmosphere of the late 1960s? → more

École des Beaux-Arts de Casablanca (1964–1970) — Fonctions de l’Image et Facteurs Temporels

Utopie culturelle vécue, posture éthique et préfiguration de la modernité artistique et culturelle marocaine, l’École des Beaux-arts de Casablanca est, de 1964 à 1970, le lieu de cristallisations d’aspirations sociales et artistiques portées par un groupe d’artistes et enseignants responsables d’une restructuration des bases pédagogiques. → more

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


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

Chabâa’s Concept of the “3 As”

“Architecture is one expression of the fine arts” (Mohamed Chabâa, in: Alam Attarbia, No. 1, p. 36, 2001.)


Mohamed Chabâa’s consciousness of his national heritage and his interest in architecture both emerged at a young age. His concept of the “3 A’s”—art, architecture and the arts and crafts—grew out of his discovery both of the Italian Renaissance and the Bauhaus School during a period of study in Rome in the early 1960s. From then on, bringing together the “3 A’s” would become a central interest, a concept Chabâa would apply in various ways and fiercely defend throughout his long and varied career. → 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

●Correspondent Report, Rabat
On Distance, Objects and the Body — Thoughts after the Workshop with Kader Attia and Marion von Osten

On the 24th and 25th of March 2018, we met in Rabat to participate in the first event of the bauhaus imaginista project. We were attending a workshop with the French-Algerian artist Kader Attia, surrounded by an exhibition of archival materials from artists and students from the École des Beaux Arts in Casablanca and including the Maghreb Art magazine on the walls of Le Cube — independent art space that hosted Attia's show in Rabat. → more

Common Threads — Approaches to Paul Klee’s Carpet of 1927

Paul Klee’s Carpet, 1927, creates a conundrum for scholars as it does not neatly fit the existing theoretical models concerning how European artists engage with non-Western art and culture, while at the same time opening up exciting new avenues for inquiry. → more