Yasmine Berrada

The Moroccan gallerist and co-founder of Casablanca-based Loft Art Gallery discusses with Rebecca Anne Proctor her encounter and work with the late Mohamed Melehi

Rebecca Anne Proctor (RAP): You had a strong relationship with the late Moroccan modernist Mohamed Melehi and were one of his primary gallerists. How did you discover him?

Yasmine Berrada (YB): The story is a beautiful one. For the opening of the gallery in 2009 we opened with a solo show of Chaïbia Talal—one of the most famous Moroccan artists from the twentieth century with work that resembled very much the trends of the western Cobra group, with brilliant colours and violent abstract brushstrokes. It was a few years after her death and it was complicated to organise the show but my sister and I went ahead and it was very successful. We had around 600 people on the first day. Mohamed Melehi was at the opening and he was introduced to me. He kept looking at me and we immediately had this connection and we began working together.

Mohamed Melehi, exhibition view. Courtesy of Loft Art Gallery
Mohamed Melehi, exhibition view. Courtesy of Loft Art Gallery

RAP: So you had this immediate feeling, recognition and affinity for each other—you knew that you wanted to work together?

YB: Yes. I believe greatly in have this “feeling”—whether it is for a work of art or for working with someone. At the time Melehi didn’t have the success he has today, he wasn’t as famous, yet when I saw his work I was immediately transfixed. I knew he was a great artist. I told myself and my sister did too: “This is an artist we must work with.” And we did. My sister and I became very close to him and his wife, Khadija. For about 10 years he worked exclusively with us but our relationship wasn’t just about his work at the gallery and staging shows. We ate together, traveled together to Paris and toured the Centre Pompidou together and also the Mathaf in Doha. We spent much time conversing about many things and I learned so much from Melehi. He became a dear friend.

In the beginning not many people knew of his work but after staging many exhibitions people came to understand his work more, the way he used colour and form to depict the world around him.

Moroccan Artist Mohamed Melehi. Courtesy of Loft Art Gallery
Moroccan Artist Mohamed Melehi. Courtesy of Loft Art Gallery

RAP: Melehi’s last solo exhibition Melehi et Le Déluge was held at Loft Art Gallery at the end of 2019. What did the show capture?

YB: The exhibition was groundbreaking in that it showcased the artist’s reflections through art on climate change. Melehi had been concerned with subject since the 2016 International Climate Conference (Cop 22) in Marrakech. During that time Loft Art Gallery had shown his work under the title Hymne au climat (Climate Hymn). These works are filled with the artist’s vibrant colours and forms. Undulating lines that he once referred to as “flames” become symbolic of rising water, and shapes that look like threatening storm clouds, ready to burst with rain now become thunder bolts and ready to light up the night sky. Like all of the artist’s works, the viewer really gains a sense of the natural world, its sensations, changes, and emotions.

RAP: Melehi is part of numerous Moroccan artists that make up the gallery’s roster. Why?

YB: Art history in Morocco as quite recent and it was really important for us at Loft Art Gallery to showcase the art history of Morocco to the world. I began the gallery in 2009 with my sister. I studied finance and was initially working as an asset manager at a bank but then I desired to work in a more creative field. All my life I had watched my father collect art. I couldn’t understand why he was buying so much art and just storing it without hanging it. He kept buying and buying as if to satisfy and unconscious need. While I didn’t study art history, I grew up surrounded by the art that my father collected and I loved it. His collection gave me an intuitive sensibility towards art. Once again, for us the most important aspect of the gallery was to place Moroccan art history at the forefront of the gallery’s mission.

Mohamed Melehi, exhibition view. Courtesy of Loft Art Gallery
Mohamed Melehi, exhibition view. Courtesy of Loft Art Gallery

RAP: Melehi was part of the Casablanca School. What exactly did the school focus on and importantly, what are the elements that make up Moroccan art?

YB: Again, Moroccan art and its history is very recent. It was only during the sixties that a group of artists in Morocco, known as the Casablanca School, came together to reflect upon the modern and contemporary world through their art. Moroccan art is not just folkloric art or naïf art or work that reflects just on Morocco’s French influences. Moroccan art has a universal language. It comprises many different influences, just like the work of Melehi, but always while keeping a Moroccan identity through abstract forms and colors that reflect upon the country’s natural and urban landscape as well as its heritage and culture.

RAP: I love the sense of visual poetry in much of the Moroccan modern and contemporary art that I see, particularly pertaining to Melehi’s art. How would you describe the visual poetry that he incorporates?

YB: Melehi is very poetic in his work. His art is a poem—a visual one. There’s the sense of the unknown and of emotions that are rendered in Melehi’s work through colours and forms that come together always with much movement. There are coloirs that reflect skin, greenery, animals and people—but always abstract so that we use our imagination to decipher what he might be saying. You also find visual poetry in the works of Amina Agueznay and Malika Agueznay—we are currently showing the latter’s works in a solo show at the gallery entitled Malika Agueznay Comme en 68. Abstraction in form, colour and movement and even in the use of materials in these artists’ works offers visual poetry. Ultimately, that is what Melehi left us: Beautiful works of art that forever connect us to Morocco and his undying and passionate spirit for exploration, his homeland and the world around him.

Malika Agueznay Comme en 68, exhibition view. Courtesy of Loft Art Gallery
Malika Agueznay Comme en 68, exhibition view. Courtesy of Loft Art Gallery

SUBSCRIBE TO OUR NEWSLETTER

selections-arts-logo

SELECTIONS is a platform for the arts, focusing on the Arab World.

Selections editorial presents a quarterly print magazine and weekly online publication with high quality content on all subjects related to Art and Culture. Full of world-leading artworks, exquisite brand imagery, original creative illustrations and insightful written articles.
Selections Viewing Rooms presents carefully curated online art shows aiming not only to shed light on contemporary art executed by living artists, but also for viewers to buy contemporary fine art, prints & multiples, photography, street art and collectibles.
Discover the previous and current shows here.
Cultural Narratives foundation is an extensive collection that is travelling the world by leading established and emerging talents aiming to reflect the culture of the region in their works.

RANDOM READS
Guirlande by Sam Baron @ Fondazione Berengo Art Space (Murano) © Leonardo Duggento

GLASS TO GLASS BY BERENGO STUDIO AND WONDERGLASS

On the occasion of the Venice Biennale of Architecture, this…

Roads of Arabia: Archaeological Treasures from Saudi Arabia. The exhibition’s 16th stop that signifies the first event in the southeast Mediterranean was curated by Mina Moraitou Benaki Museum at Pireos 138, 21/03/2019 - 26/05/2019

MINA MORAITOU ON MUSEUM ACQUISITIONS

Mina Moraitou Curator of the Benaki Museum of Islamic Art…

Exhibition view, "The Architecture of Confinement" (June 19th-October 17th, 21st), BNKR Munich. Photography: Dominik Gigler.

THE ARCHITECTURE OF CONFINEMENT CURATED BY SAM BARDAOUIL AND TILL FELLRATH

The Architecture of Confinement is the second chapter of the…

Manal AlDowayan, O Sister (2021), Image Courtesy of Abu Dhabi Art

BEYOND: EMERGING ARTISTS AT CROMWELL PLACE, LONDON

In its first ever exhibition abroad, Abu Dhabi Art presented…

Rula Halawani, Untitled XX, 2002. Archival print, 90 x 124 cm each. Courtesy of Ayyam Gallery. IVAM, Generalitat Valenciana

MUSEUM ACQUISITIONS | INSTITUT VALENCIÀ D’ART MODERN, VALENCIA

SELECTIONS delves into the world of acquisitions, exploring what museums…

Yvonne Michiels, NY by night, 2019. Photography on dibond with plexiglass editing, 100 x 100 cm

ART MADRID 2021

The 16th edition of Art Madrid hosts 32 national and…

july 2021

09marAll Day09octPLASTIC, THE LAST HERO OF THE GREAT STEPPE - THE ART OF SAULE SULEIMENOVA

15aprAll Day14augMARWAN RECHMAOUI | BUT THE TREES KEPT VOTING FOR THE AXE

17mayAll Day15augREFLECTIONS CONTEMPORARY ART OF THE MIDDLE EAST AND NORTH AFRICA