Belgian-Moroccan photographer, she exhibits her photographs in this place while she reconnected with Morocco 5 years ago. It is also the moment
She explores the gap, the one between her cultures, but also the one between the modernity of Morocco and its traditions. Working on film, she chooses to print her photos on tarpaulins, industrial equipment far from her technique, to illustrate this distance.
“Never feeling completely legitimate as a photographer or with my origins, I translate this feeling of gap in my images” – Mélanie Ibtissem
These artists who travel from one shore of the Mediterranean
to the other also move from the past to the present in their projects. Thus, Linda Zineb reminds us of a not so distant past by recreating the cybercafé that allowed the maintenance of family relations between France and Morocco. With her installation, she recreates dialogues between immigrants from the 1980s, those from the 2000s and Moroccans sweden phone number library who have never left their country. All thanks to an installation, where each person interviewed talks about their relationship with Morocco and immigration. Seeking to put unexpressed feelings back on the table, she rehabilitates this common place on both sides of the Mediterranean.
“I wanted to create a dialogue between Moroccans on immigration, because it is a common subject for every family, each having someone who has left” – Linda Zineb in her internet cafe, Marrakech, 2025
The in-between is also between the inside
and the outside, as Aliocha Tazi explores. The artist who grew up between Belgium and Morocco seeks to bring playfulness through his works. He creates objects that we need from recycled materials. At the let users customize their email preferences same time, he documents the lives of these people. When in 2016, in parallel with the COP22 organized in Morocco, the State decided to ban plastic bags, they were then replaced by polypropylene bags, more resistant, but still made of plastic. Aliocha germany cell number decided to make kites out of them, which he exhibited above the swimming pool of the El Hamra Residence.
“My work is a coming and going. I like what I produce to be outdoors (in the street), and indoors, in exhibition spaces, to desacralize the fact that they are works” – Aliocha Tazi under his kites, Marrakech, 2025
Thus, the visual and sound works all explore otherness in their own way. “Nostalgia for the Present” will end on February 8, leaving time for everyone, beyond the Art Fair, to take an interest in these works and those of other European-Moroccan artists.
