An integral part of the venture is a residency in Casablanca, Morocco that will take place from 2020–2022, during which time residents will conduct research, produce new work, and create a public program focused on the subject(s) addressed in their research.
The invited residents are:
Céline Condorelli is a London- and Lisbon-based artist, and one of the founding directors of Eastside Projects, Birmingham (GB). She is also the author and editor of Support Structures, published by Sternberg Press (2009). Condorelli combines a number of approaches, from developing structures for ‘supporting’ (the work of others, forms of political imaginary, existing and fictional realities) to broader enquiries into forms of commonality and discursive sites. Recent exhibitions include Céline Condorelli, Kunsthaus Pasquart (CH, 2019); Equipment, Significant Other, Vienna (2019); Host/Vært, Kunsthal Aarhus (DK, 2020); Ausstellungsliege, Albertinum Dresden (DE, 2019); Zanzibar, a permanent installation for the Kings Cross Project, London; and an exhibition at Vera Cortes, Lisbon (2018).
Fatima-Zahra Lakrissa is a researcher and curator. She has been in charge of cultural programming at the Musée Mohammed VI d’Art Moderne et Contemporain in Rabat since 2014. In 2016, she was the Associate Curator of the exhibition L’École des Beaux-Arts de Casablanca: Belkahia, Chabâa, Melehi, la fabrique de l’art et de l’histoire, in the framework of Marrakech’s 6th biennale. Her research focuses on the constitution modalities of art history in Morocco during the 1960s and 1970s. She is interested in tracing its different forms and initial emergence sites (pedagogy, collections, exhibitions, patrimonial and historiographical practices), and its connections with other disciplines (history, literature, archeology, sociology).
Marion von Osten
Marion von Osten is an exhibition maker, researcher, and artist who lives and works in Berlin. She is a founding member of the collectives Center for Postcolonial Knowledge and Culture (CPKC) and kleines postfordistisches Drama (kpD), Berlin, and the design collective Labor k3000, Zurich. She has curated and led exhibition and research projects such as bauhaus imaginista (2016–20) with Grant Watson; Viet Nam Discourse (2016–18) with Peter Spillmann; Aesthetics of Decolonization with Center for Postcolonial Knowledge and Culture (2014–16); and Model House—Mapping Transcultural Modernisms (2010–13), among others. She received her PHD in Fine Arts from the Malmö Art Academy/Lund University (Prof. Sarat Maharaj). Publications include: bauhaus imaginista, editor with Grant Watson, 2019; Transcultural Modernism, editor with Model House research group, Sternberg Press Berlin, 2013; Das Erziehungsbild. Zur visuellen Kultur des Pädagogischen, editor with Tom Holert, Schleebrügge, Vienna, 2010; The Colonial Modern. Aesthetics of the Past. Rebellions for the Future, editor with Tom Averemaete, Serhat Karakayli, Black Dog Publishing, London 2010; and Norm der Abweichung, Zurich, Vienna, 2004.
Studio Manuel Raeder is an interdisciplinary design studio based in Berlin since 2003. Its activities include a wide range of formats, from exploring the boundaries between exhibitions, ephemera, books, type design, editing, and publishing, to furniture design, as well as curatorial praxis. Studio Manuel Raeder is concerned with the construction of narratives, both in the form of books and exhibition and communication design. The studio is interested in the meaning of books within space, the archive, and the future of libraries. Studio Manuel Raeder has been engaged in designing, publishing, and editing over 200 artist’s books in close collaboration with artists and has been responsible for the communication strategies and graphic identities of several cultural institutions and galleries, including Kölnischer Kunstverein, Cologne (2007–11); Kunstverein München, Munich (2010–15); Para Site, Hong Kong (2012–14); Artists Space, New York (2009–18); Galerie Neu, Berlin (since 2005); Mendes Wood DM, São Paulo/Brussels/New York (since 2014); kurimanzutto, Mexico City (since 2016); as well as the fashion label BLESS (since 2004).
Bik Van der Pol
Since 1995, Liesbeth Bik and Jos van der Pol have worked as Bik Van der Pol. They live and work in Rotterdam. Through their practice, Bik Van der Pol aim to articulate and understand how art can produce a public sphere and space for speculation and imagination. Bik Van der Pol’s mode of working consists of setting up the conditions for encounters, where they develop a process of working that allows for continuous reconfigurations of places, histories, and publics. Their practice is site-specific and collaborative, with dialogue as a mode of transfer. Bik van der Pol’s work is exhibited internationally. Publishing, writing, and curatorial practice is part of their work. Bik Van der Pol directed the temporary Master program The School of Missing Studies at Sandberg Institute, Amsterdam (2013–15).
Abdeslam Ziou Ziou
Abdeslam Ziou Ziou, graduate in Social Anthropology from the École des Hautes Études en Sciences Sociales de Paris, is a Project and Research Coordinator at l’Atelier de l’Observatoire in Casablanca. Abdeslam is interested in how social sciences and artistic practice intersect. In this sense, he is developing an investigation—an installation around family archives of an anti-psychiatric experience at the Berrechid hospital in Morocco—entitled Madness Poetry Resistance(s). He was the laureate of the transdisciplinary research project Houdoud carried out by the Fatéma Mernissi Chair (Université Mohammed V et HEM)-Unesco and recently contributed to the Ultrasanity-programme carried out by the Berlin Centre for Contemporary Art SAVVY-Contemporary. Since January 2020, he has been a laureate of the CAORC/Mellon Fellowship in Modern Art History.