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Le CMG tient à remercier
ses principaux Partenaires
Marrakech, Paris, Mexico ou Dubaï, cette année artistique sera, une fois de plus, remplie de nouvelles rencontres artistiques, combinant expositions et foires d’art internationales, mais dans un format légèrement différent, améliorant et multipliant l’expérience artistique…
En septembre, Menart Fair, une édition consacrée aux femmes artistes du monde arabe, dans laquelle la galerie présentera Fatiha Zemmouri, Khadija Jayi et Katya Traboulsi. Début novembre, Dubaï accueillera la première édition des Editions Art & Design, fondée par Art Dubai Group, dans laquelle la galerie présentera un projet collectif réunissant Mohamed Melehi, Mohammed Kacimi et Farid Belkahia tandis que Majaz reviendra plus tard dans le mois avec 5 talents marocains, Amina Azreg, Safae El Kadi, Karim Barka, Aymane Errachidi et Ilias Elhaddaoui pour leur première exposition solo. En décembre, une grande rétrospective des dernières recherches de Mohammed Kacimi est à ne pas manquer. En janvier, 1-54 Marrakech reprend avec sa nocturne inaugurale, l’occasion de se rendre au 62 rue Yougoslavie, d’assister au vernissage des solos de Simohammed Fettaka et Mohamed Arejdal. De l’autre côté de l’Atlantique, Comptoir des Mines participera pour la première fois à Zonamaco, en présentant « Back to Mexico », un projet créant un dialogue entre Mohamed Melehi et ses héritiers contemporains. La galerie rencontrera ensuite le public à Art Dubai pour sa cinquième participation, en présentant un projet collectif avec Mohammed Kacimi, Mustapha Akrim, Khadija Jayi et Fatiha Zemmouri. La saison se terminera avec l’artiste libanaise Katya Traboulsi et son dernier grand projet personnel, ainsi qu’avec Khadija Jayi et sa deuxième plus grande exposition solo.
Ce programme peut être modifié pour des raisons indépendantes de notre volonté. Néanmoins, les publics seront toujours informés des changements éventuels par le biais de notre site web, de notre newsletter et de nos réseaux sociaux.
Comptoir des Mines Galerie is associated with the Menart Fair 2024 ‘Tribute to Women Artists’ edition because we are sensitive since the creation of our gallery in 2016 to give a fair representation of artistic sensibilities and points of view, never omitting the role of women artists in our modern and contemporary history.
In Morocco in particular, and in a number of countries in the Arab world, women artists have often been pioneers and have taken part in the same epics as their male counterparts when it comes to writing the stories of social and artistic modernity. Women artists have been present in virtually every period and artistic movement since the beginning of the twentieth century, and we should not be surprised that they exist in an orientalist reading of things, but rather wonder about the fair recognition of their artistic values. From the Maghreb to the Mashreq, we are sensitive to a certain poetry, which whispers both pain and hope, joy and uncertainty, the land and its exile, without ever abandoning the ornament and the sublime that anchor the art of our lands in narratives other than those that the West sometimes opposes to us.
Comptoir des Mines Galerie will take part in the inaugural edition presenting pioneering moroccan artists Mohamed Melehi, Mohammed Kacimi and Farid Belkahia. The collective exhibition will showcase a rare ensemble of prints, silkscreens, lithographies and monotypes. Art enthusiasts and collectors will have an opportunity to dive into a universe of bold and colourful compositions with strong and universal messages, witnessing both vision and modernity of the artists. A selection that lies in the influential legacy of the Moroccan ‘new wave’ known as The Casablanca Art School, rooted in a dense and rich heritage, as a voice for questioning on urban, social and cultural matters.
Majaz returns for its fourth edition to present 5 moroccan artists. Amina Azreg, Safae El Kadi, Karim Barka, Ayman Errachidi and Ilias Elhaddaoui have been selected to present their first solo exhibitions at Comptoir des Mines Galerie. Each one will invite the public to discover their own artistic universe. Amina Azreg proposes surrealism as a metaphorical quest to immerse us in a world depicting colourful yet intriguing reality dissolved at the crossroads of dream and reflections. Safae El Kadi offers to reveal hidden depths of objects, questioning relationship and meaning, engaging in a playful exploration of the surface, immersing in the materials’ elements and contradictory properties. Karim Barka presents a work revolving around the essence of human existence, questioning the boundaries between the Self and the Other, tackling both poetic and political issues. Ayman Errachidi shares his fascination of the austere and the mineral, a work deeply rooted in the reminiscence of the landscapes of his childhood, fed by a pride of desert culture. Ilias Elhaddaoui focuses on visual demonstrations of the anti-speciesist, reflecting on the place of human as living beings while questioning about animal ethics far removed from individualistic self-centredness.
As the year draws to a close, an extraordinary exhibition will be unveiled, Mohammed Kacimi's ‘African Period’ (1993-2003), the culmination of his life's work, a departure from both Western art and the currents that have influenced his art.
For the artist, this was a very different chapter from his previous periods, much more personal, characterised by a liberated, disruptive and trans-disciplinary expression. By highlighting this major moment, this exhibition invites visitors in observing once again, and deeper, how Mohammed Kacimi's work contributed to the development of a new Mediterranean imaginary. During this exhibition on the artist's most prolific period, Mohammed Kacimi, initially influenced by the Ecole de Paris, turned to Africa in search of truth and authenticity, in line with his growing awareness of his ‘African-ness’ . Mohammed Kacimi became convinced that his art should be based on inter-cultural dialogue between the Maghreb and sub-Saharan Africa, refusing to distinguish between a ‘white Africa’ and a ‘black Africa’ separated by the Sahara.
The international Contemporary African Art Fair returns in Marrakech for its sixth edition from 30 January to 2 February 2025. On the occasion of the major inaugural event of the fair, "La Nuit des Galeries" offers the public to discover among the most important artistic and cultural addresses of the city by night.
Comptoir des Mines Galerie will surprise visitors with astonishing and intriguing exhibitions on the evening of 30 January. A chance to immerse oneself in the essence of the gallery, through its artistic singularity, the artists, the works and its iconic art-deco building - freshly refurbished during summer! Certainly, some will definitely want to visit the vernissage of Mohamed Arejdal and Simohammed Fettaka solo exhibitions.
The famous artist who decided to create the permanent artwork “Who holds Africa holds the Sky” out of the gallery’s roof is back.
Mohamed Arejdal has laid the foundations for a multidisciplinary practice in which he explores the links between social groups that he questions during his encounters and travels. His artistic performances play a key role in his work, and he never hesitates to question the public about his status as an artist, or the meaning of powerful symbols. The interest of his art lies in what links human beings together, their origins, memories, territories, tropisms, movements, existential conditions, beliefs and religious practices. He tracks them down and explores them, convinced that what links each being to others and to the world in a more general and universal way is to be found in what is most circumscribed and most specific. His works find their material and their nourishing source first and foremost in the artist's own story and personal memory, linked to the territories in which his life unfolded and to which he remains viscerally attached. The individual is not cut off from the collective, and the collective from the individual, and this weaving is a permanent feature of his work as a whole.
Heavily influenced by the ideas of the late Mohamed Melehi and the artists of the Casablanca movement, Comptoir des Mines Galerie presents “Back to Mexico”, a range of research by artists from different artistic backgrounds, with Mohamed Melehi as its reference, followed by Mohamed Arejdal, Mustapha Akrim, Hassan Darsi, Fatiha Zemmouri and Khadija Jayi.
A dialogue where converge singular opinions on territories, conditions and perspectives “from the south”. From the impact of climate change, to the death of certain cultural particularities, to issues of territory and women condition, they express the tensions of so-called southern societies. Morocco and Mexico, both on the doorstep of the West, are often in the ungrateful position of erecting walls or controlling migratory flows to preserve the stability of rich countries. Two countries facing the same problems of drought, pushing rural populations towards large urban centres, abandoning traditions, lifestyles and cultural characteristics that go back thousands of years. Two countries, constantly described as emerging, often associated with the tourist industry and folklore to entertain and welcome the same people who fear mass immigration and replacement.
Simohammed Fettaka invites the public for its second solo exhibitions at Comptoir des Mines Galerie.
The artist veers between sagacity and torment, verve and radicalism, fluidity and trial and error. Through his creations, he seeks an outlet for his pessimism, always with a smile on his face, because life seems to be one big comedy for him. Play and childhood hold a special place in his art, as much as inspiration as discipline. By "playing" with the world, Fettaka aims to raise questions about the "society of the spectacle" in which we live. Fettaka's gentle gaze castigates contemporary society caught between the sacralisation of power figures and the sterility of security oriented migration policies For several years now, Simohammed Fettaka has been ingeniously practicing an art form that aims to ‘change knowledge as it is established, by assuming the subjectivity of perception’ . Convinced that art objects, like established images, are neither closed nor finished, he plays with them, turning them upside down, diverting them, re-reading them, in a constant desire to exhaust their possible meanings. He doesn't stop at the image itself, but also at its off-screen, breaking the frame and offering a counterpoint and sometimes reversals.
For its fifth participation in Art Dubai, Comptoir des Mines Galerie comes with a project where four artists from different generations respond and engage with their artistic practices on issues that seem never to be resolved.
Building on the historical legacy of Mohammed Kacimi - first activist artist of his time, witness of the tragedies in Iraq, Palestine and West Africa, the three artists, brought together, each in their own way, speak about destruction and resilience, constantly traveling between the intimate and universal scale, where humans confront their fears and anger to create and transmit.
Characterized by the emotional intensity with which she confronts the effects of the Lebanese civil war, both her painting and sculptural works are a bold use of color, which disrupts the viewer’s expectations of the dark subject matter they are confronted with. Her solo exhibition Perpetual Identities (2018) held at the Saleh Barakat Gallery saw presented 46 hand-crafted replicas of Lebanese war bomb shells adorned with colorful patterns, beads and sculpted forms, thus transforming these destructive military objects into beautiful, ornate vessels.
In 2013, Katya Traboulsi published Generation War, a body of work that traces the story of photojournalists who witnessed the civil war during the 80s – an homage to their efforts and a political project that seeks to record the country’s complex histories. Katya Traboulsi lived and worked in Dubai from 1989 till 2016 before returning to her native Beirut. Her work has been exhibited internationally since 1986 in Paris, London, Dubai, Kuwait, North America, the Algerian museum of Modern Art, the International Armory show in NYC, Venice, Washington MEI and U.N in New York in December 2019.
After a memorable first solo exhibition at Comptoir des Mines Galerie in 2022 and numerous appearances in international fairs, Khadija Jayi reveals her latest research in her second major solo.
In a heavy conservative social environment stuck with values of the past, Khadija Jayi developed a singular resistance for herself, setting out to pursue an ideal to give meaning to her life, faraway from a destiny that would be dictated and forced. By rebelling against the oppression that harassed her, Khadija Jayi took charge at her own risk, recklessly defying the prejudices of a society frozen in the strait jacket of a spirituality assimilated to the history of her native town. Having knowingly put herself in a situation of no return, she was determined to face without fail all the setbacks that could destroy her and hinder her path. Through her research, Khadija Jayi has appropriated the language of fire: its light, its heat, but also fire as a form of suffering, to invite us to reflect on the conflicts between tradition and modernity. Her vibrant works are the result of an emblematic approach to forms and traces of burning. To approach the artistic universe that this young artist explores with passion and endurance with full knowledge of the facts, it is essential to refer to the events of her life. An experience which she deeply bears the stigma of and which her art, in an impulse of extreme sublimation, transforms into enigmatic signs full of questions and allusions.
Le CMG tient à remercier
ses principaux Partenaires
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Le CMG tient à remercier
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