{"id":21526,"date":"2026-07-02T16:07:29","date_gmt":"2026-07-02T16:07:29","guid":{"rendered":"https:\/\/www.diptykmag.com\/what-has-the-ecole-de-casa-come-to-be-known-as\/"},"modified":"2026-10-12T16:34:02","modified_gmt":"2026-10-12T16:34:02","slug":"what-has-the-ecole-de-casa-come-to-be-known-as","status":"publish","type":"post","link":"https:\/\/www.diptykmag.com\/en\/what-has-the-ecole-de-casa-come-to-be-known-as\/","title":{"rendered":"What Has the \u00c9cole de Casa Come to Stand For?"},"content":{"rendered":"\t\t
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To accompany the publication of the book <\/b>C.A.S.A. Casablanca Art School Archives<\/i><\/b>, co-edited by Morad Montazami and Madeleine de Colnet, the exhibition \u201cPerspectives on the Casablanca School (1962\u20131987)\u201d brings together a collection of works\u2014many of which have never been shown before\u2014at the risk of obscuring our understanding of a major movement in Moroccan modern art.<\/b><\/p>

By Olivier Rachet<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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View of the exhibition \u201cPerspectives on the Casablanca School\u201d at the African Arty Gallery in Casablanca.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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While it has now become impossible to reduce the \u00c9cole de Casa to the trio consisting of Belkahia, Melehi, and Chab\u00e2a\u2014who exhibited in 1966 at the Mohammed V Theater in Rabat\u2014as well as to the twelve years, from 1962 to 1974, during which Belkahia headed the School of Fine Arts, we are justified in asking what this term\u2014which sometimes serves as a talisman\u2014actually signifies today. The group exhibition \u201cPerspectives on the Casablanca School, 1962\u20131987,\u201d currently on view at the AA Gallery, despite featuring major works often drawn from private collections, does not always help to shed light on the matter. <\/p>

The key figures in this movement are indeed well represented, though in an almost anecdotal manner, notably through a 1970 cellulose-based painting on panel by Melehi and a striking 1974 work on panel by Chab\u00e2a, featuring a victorious fist at its center. The artist had just spent two years in prison, and the spirit of resistance still seemed deeply ingrained in him. The exhibition also focuses on Ahmed Cherkaoui, a pioneer of the Casablanca School and of abstraction in Morocco, featuring four remarkable works by him in ink and mixed media on cardboard. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Hassan Slaoui, Parallelepiped<\/i>, 1980. Terracotta, carved earthenware, 40 \u00d7 40 \u00d7 15 cm <\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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Rehabilitating Overlooked Artists<\/b><\/p>

Following a series of recent exhibitions\u2014both institutional and commercial\u2014dedicated to Abdellah El Hariri, Mustapha Hafid, and Mohamed Azouzi, this exhibition has the merit of bringing back into the spotlight key figures who, in one way or another, were part of the vibrant art scene of the post-independence years. Starting with Maurice Arama, director of the School of Fine Arts from 1960 to 1962, who moved the school from the medina to Boulevard Rachidi, where it remains today, as recalled by the monumental chronological frieze with its psychedelic design that opens the exhibition. His painting The Conductor<\/i>, dated 1965, is\u2014along with The Bullfighter in Love<\/i> by Andr\u00e9 Elbaz (1962), one of the curiosities of this exhibition. <\/p>

After bringing former students who have become artists\u2014such as Abderrahmane Rahoule and Karim Bennani\u2014back into the spotlight, the gallery directed by Jacques-Antoine Gannat is now turning its attention to artists sometimes overlooked by official histories, such as Hamid Alaoui, who headed the school in 1974. His silkscreen prints are every bit as masterful as the graphic artistry of Melehi or Chab\u00e2a. From Baghdad Benas, who studied at the School of Fine Arts in the 1970s, a 1977 ink-on-paper work astonishes with its surrealist inspiration, halfway between the painting imbued with folk legends of Moulay Ahmed Drissi and the magically strange universe of Saladi. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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View of the exhibition \u201cPerspectives on the Casablanca School\u201d at the African Arty Gallery.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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Nevertheless, despite their visual beauty, the inclusion of works by Miloud Labied, Bellamine, and Hassan Slaoui raises questions about the appropriateness of linking them to a movement with which they may share nothing more than the language of abstraction. Bellamine\u2019s superb panel painting owes far more to the \u00c9cole de Paris and to Nicolas de Sta\u00ebl than to the \u00c9cole de Casa. Hassan Slaoui\u2019s wood sculptures engage in a more fruitful dialogue with artisanal traditions than with the movement\u2019s modernizing imperatives. Such associations, which are undoubtedly not coincidental, could serve to boost these artists\u2019 market value, in accordance with well-established market logic. <\/p>

Exhibition \u201cPerspectives on the Casablanca School, 1962\u20131987,\u201d AA Gallery, Casablanca, through September 15, 2026<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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View of the exhibition \u201cPerspectives on the Casablanca School\u201d at the African Arty Gallery.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t
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Karim Bennani, Untitled<\/i>, 1975. Acrylic on canvas, 60x60 cm. <\/h2>\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

To accompany the publication of the book C.A.S.A. Casablanca Art School Archives, co-edited by Morad Montazami and Madeleine de Colnet, the exhibition \u201cPerspectives on the Casablanca School (1962\u20131987)\u201d brings together a collection of works\u2014many of which have never been shown before\u2014at the risk of obscuring our understanding of a major movement in Moroccan modern art. […]<\/p>\n","protected":false},"author":2,"featured_media":21530,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1598],"tags":[],"class_list":["post-21526","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition"],"yoast_head":"\nWhat Has the \u00c9cole de Casa Come to Stand For? — Diptykmag<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.diptykmag.com\/en\/what-has-the-ecole-de-casa-come-to-be-known-as\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What Has the \u00c9cole de Casa Come to Stand For? — Diptykmag\" \/>\n<meta property=\"og:description\" content=\"To accompany the publication of the book C.A.S.A. 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Casablanca Art School Archives, co-edited by Morad Montazami and Madeleine de Colnet, the exhibition \u201cPerspectives on the Casablanca School (1962\u20131987)\u201d brings together a collection of works\u2014many of which have never been shown before\u2014at the risk of obscuring our understanding of a major movement in Moroccan modern art. 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