Meriem Berrada

Conference Report. November 2023.

This edition has been particularly enriching for me, both in terms of the topics covered and the choice of speakers, as well as the quality of the interactions and the opportunity to (re)connect with colleagues. The format of the presentations as well as the diversity of their perspectives have added layers to my ongoing reflection on the foundations of my curatorial and managerial practice. The presentations and debates revolved around three major forms of action: challenging, rethinking, and “re-membering”.

From the inaugural moments of the conference, Elvira Espejo Ayca sets the tone by questioning language and common classifications. Simon Njami, quoting Hegel, further underscores this by emphasizing that "we think through the words we are using." Espejo, while highlighting how linguistic terminologies give rise to epistemological and philosophical though, demonstrates her deconstruction of (colonial) classifications to gain a deeper understanding of the subjects under study. This categorization is also recognized as a peril, as Marian Pastor Roces points out. Besides confining, categorizations simplify objects into a vertically reductive study instead of placing the work within a collective history, thereby hindering mutual nurturing.

While recalling the context of the creation of Western museums as instruments of colonial power, Simon Njami underscores the imperative of self-critique for building something beyond established confines. This call guides us toward fostering a holistic reconsideration. Daina Leyton challenges the dominant ableism across all institutional levels going beyond the physicality and advocating for a "transversal accessibility”. Luis Camnitzer, in highlighting that the assessment of museum impact often relies on numerical metrics, exposes the extent to which the museum can become an additional site for consumerism. From the museum’s orientation to operation, what has to be re-thought in order to adapt and stay socially and culturally relevant?

In her exploration of the intricacies of memory, Marie-Hélène Pereira delves into the collective imperative, purposefully deconstructing the verb "re-member." Maria Belén Correa's poignant intervention in trans archives unveils the inherent violence embedded in the archiving process, serving as a powerful resistance against erasure. Extending beyond less visible artistic scenes and marginalized communities (in terms of geography, gender, and age), the critical significance of presenting, conserving, and activating creative processes takes center stage in the pursuit of social justice and collective healing.

As Chus Martinez initiated the first conversation by acknowledging the erosion of trust in institutions, except for museums, it prompts her question: “how can we build a better society from these cultural institutions?” Many answers are to find from teresa cisneros’ Social Justice curriculum to Yto Barrada’s invitation to cultivate friendships through work.

While I regret the absence of a workshop session, I truly appreciated the structure and rhythm crafted from day one's deconstruction keynotes and stimulating panel to the profoundly moving interventions on day three. I was also delighted to see that both the speakers and the group of grantees had been enriched by the diversity of origins. I would be thrilled to contribute to CIMAM to further develop the network in the Arab world and the African continent, particularly through profiles of independent curators/operators.

The local scene and the resources of the Museo Moderno have been incredibly rich. While gallery circuits, foundations, and third spaces did not particularly captivate me, it was wonderful to have the opportunity to navigate the local scene in such a short time. I want to express my gratitude to the Moderno and CIMAM teams for the incredible organization and to Mercedes Villardell for making my participation in the conference possible.

Bio

After completing my studies in art management and gaining some experience in Paris, I made the decision to return to my home country, Morocco. wanted to be part of the incredible energy I felt in the art field there. I joined the Fondation as a production assistant and took advantage of numerous work and volunteering opportunities to learn firsthand and start developing structured art programs for our young foundation. These initiatives included a photo award that brought together African photographers and workshops designed to raise awareness of contemporary creation in peripheral urban areas.
2017, I had the opportunity to work on a museum project that aimed to showcase African contemporary art through a private collection: the MACAAL. While initially starting as a project manager/developer at the foundation, my insatiable curiosity led me to conduct research and consult with peers to navigate the field more effectively. At the request of my institution, I was entrusted with curating exhibitions focused on the African contemporary art scene, with themes such as material as a medium ("Material Insanity") and exploring cultural scenes from the continent through signs and symbols ("Esoteric Writings"). Over the past four years, I have actively sought to challenge the prevailing dichotomy between fine arts and applied arts. Moving beyond the history of Western art to establish a relationship with local cultural heritage and, more specifically, its popular expressions, in the lineage of the thinking pursued by the Casablanca Art School in the 1960’s.
Notably, I have collaborated with one of Morocco's most prolific textile artists, Amina Agueznay, in the production of her recent projects. This includes the large-scale installation "Curriculum Vitae," which involved 17 weavers from across Morocco and was exhibited Paris in 2020. Additionally, "A Garden Inside" was showcased at the Biennale de Lyon in 2022. Apart from directing several exhibition publications such as "Have You Seen a Horizon Lately" in 2020 and "Outsiders / Insiders" about the Essaouira school, I also worked on Agueznay's monograph, published by Rizzoli and supported by Misk Art Institute 2021.
While I still maintain an interest in organizing collective exhibitions that showcase artistic expressions from across the continent, I have decided to focus on individual projects that challenge the fragile boundary between art and craftsmanship. In my most recent exhibition, I invited a Malagasy artist,Joël Andrianomearisoa to take over the entire museum space while engaging in dialogue with various craft communities to produce the entire show in Marrakech. This exhibition not only explores how traditional savoir-faire can influence a contemporary artist's practice but also aims to strengthen the relationship we have fostered with the local craftsman community over the years. As artistic director, I made the deliberate choice to transition from merely displaying collections to organizing site-specific exhibitions that prioritize local production. This shift is particularly important as it is not commonly found within our ecosystem. By doing so, we actively involve local craftsmen in shaping the narrative and challenge the traditional functioning of the museum.
Currently, I am working on the next exhibition with Sara Ouhaddou, whose practice is deeply rooted in craft. This time, we are delving even deeper by questioning the relationship between the artist and the artisan, going as far as pushing the artist to become a servant to the artisan's craft.
Apart from my role as a curator, I have been actively involved in placing the audience at the heart of the museum project from the very beginning. Through ongoing testing, collective experiments, audience input, and a great deal of imagination, the museum has shaped its identity through diverse perspectives, inviting its communities to contribute to its narrative.