bauhaus
imaginista
●Edition 2: Learning From
Mar. 23–24 2018
Panel discussion and Workshop

bauhaus imaginista: Learning From, Rabat

  • Le Cube – independent art room
  • Goethe-Institut Rabat, Morocco
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Poster of bauhaus imaginista: Learning From, Rabat.
Graphic design by Nassim Azarzar.

Photo: Abdessamad el Montassir und Stephanos Mangriotis
© Goethe-Institut Marokko.

Photo: Abdessamad el Montassir und Stephanos Mangriotis
© Goethe-Institut Marokko.

Photo: Abdessamad el Montassir und Stephanos Mangriotis
© Goethe-Institut Marokko.

Photo: Abdessamad el Montassir und Stephanos Mangriotis
© Goethe-Institut Marokko.

Kader Attia at the bauhaus imaginista event in Rabat, 23rd March 2018.

Goethe-Institut Rabat, Morocco
Photo: Abdessamad el Montassir und Stephanos Mangriotis.

Goethe-Institut Rabat, Morocco
​Photo: Abdessamad el Montassir und Stephanos Mangriotis.

Goethe-Institut Rabat, Morocco
​Photo: Abdessamad el Montassir und Stephanos Mangriotis.

Goethe-Institut Rabat, Morocco
​Photo: Abdessamad el Montassir und Stephanos Mangriotis.

Goethe-Institut Rabat, Morocco
​Photo: Abdessamad el Montassir und Stephanos Mangriotis.

Goethe-Institut Rabat, Morocco
​Photo: Abdessamad el Montassir und Stephanos Mangriotis.

Goethe-Institut Rabat, Morocco
​Photo: Abdessamad el Montassir und Stephanos Mangriotis.

Goethe-Institut Rabat, Morocco
​Photo: Abdessamad el Montassir und Stephanos Mangriotis.

Goethe-Institut Rabat, Morocco
​Photo: Abdessamad el Montassir und Stephanos Mangriotis.

Goethe-Institut Rabat, Morocco
​Photo: Abdessamad el Montassir und Stephanos Mangriotis.

A program of encounters and research at the Goethe-Institut & Le Cube – independent art room (Rabat, Morocco)

The event that took place in Rabat on the 23rd and 24th March 2018 inaugurated the bauhaus imaginista series of exhibitions and discursive programmes. The encounter at the Goethe-Institut Rabat on the 23rd with Marion von Osten, Grant Watson and Kader Attia addressed the transcultural and political dimensions of Bauhaus crafts studies. Departing from a 1927 drawing of an oriental carpet by Paul Klee, they focussed on the transcultural readings of modernist art practice and the re-mapping of avant-gardes' territories.

The workshop New Methodologies, co-organized by Le Cube – independent art room and the research group ARAV (atelier de recherches en arts visuels) situated as a first event in the larger frame of the project bauhaus imaginista, took place the 24th of March 2018, following a presentation and panel discussion on the 23rd at the Goethe Institute Rabat with the curators Marion von Osten and Grant Watson, the artist Kader Attia, the anthropologist Abdelmajid Arrif, the art historian Fatima-Zahra Lakrissa and Maud Houssais, curatorial researcher for bauahus imaginista: Learning From.

At Le Cube – independent art room, the artist Kader Attia presented insight into research materials that guided the workshop members into his arguments as well on a material and visual level. Together with Attia, the bauhaus imaginista curators Marion von Osten and Grant Watson as well as the researchers Maud Houssais and Fatima-Zahra Lakrissa questioned and debated recent ideas on postcolonial modernities. The aim is to return to the theories of the western modernity and their ties to extra-European contexts. The ramifications and the bankruptcies of the models advocated by the modernism will be approached such as the question of the temporality, the cultural transfers and the translation.

Kader Attia explored the artistic and curatorial approaches as a way to question the reception of the theories of the modernity in the field of the contemporary practices. His specific methodology of his recent works lays on the re-appropriation of objects, forms or speeches stemming from a colonial context, or still the notion of transposition, translation and cultural transfers. The work of Marion von Osten handles with the critical reception theories of the modernity in the contemporary, in particular around the notions of vernacular modernism and the possibility of a co-presence of heterogeneous temporality. She introduced the concept of industrious revolution instead of industrial revolutions, concepts that could shift the perception on craft production as tradition to modus of critique.

Questions raised with a first round of encounters and research initiated in Rabat will be taken further in a public workshop in New York City in June 2018 and an exhibition starting in October 2018 at SESC Pompéia in São Paulo.

www.lecube-art.com

www.goethe.de/marokko

●Related Articles
●Article
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

●Article
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

●Article
Memories

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

●Report
On distance, objects and the body

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

●Editorial
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

●Re-publication
Le Gâchis / The Waste

in: 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

●Interviews
Fiches et questionnaires

Fiches et questionnaire avec Farid Belkahia, Mohamed Chabaa, Mohamed Melehi

 

dans: Souffles, No. 7–8, 1967

 

Courtoisie de Abdellatif Laâbi. → more

●Re-publication
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

●Re-publication
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