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Latest #marrakech Posts

  • Donkeys in the medina is still a daily sight. The medina is now a World Heritage site, the narrow streets cannot be widened to make room for cars.
As they have for centuries, donkeys will continue to be an integral part of the medina — although now they carry flatscreen TVs.
•
#Donkeysofthemedina #medina #donkeys #marrakech #morocco
  • Donkeys in the medina is still a daily sight. The medina is now a World Heritage site, the narrow streets cannot be widened to make room for cars.
    As they have for centuries, donkeys will continue to be an integral part of the medina — although now they carry flatscreen TVs.

    #Donkeysofthemedina #medina #donkeys #marrakech #morocco

  •  0  0  17 minutes ago
  • ❤Zaouia Moulay Brahim 
#Marrakech 
زاوية مولاي ابراهيم ب مراكش❤
  • ❤Zaouia Moulay Brahim
    #Marrakech
    زاوية مولاي ابراهيم ب مراكش❤

  •  1  0  34 minutes ago
  • The serious countenances of Hassan II (King’s father and previous King) and Mohammed VI (current King) watch over craftsmen ebbing and flowing through an arched entrance to their workshop. The men are boiling a pot of mint tea as they start their day. 
The government and monarchy are intertwined in a pluralistic political system in Morocco, with the King acting as a constitutional monarch. The Moroccan government was rated as Hybrid Regime two years ago, meaning that by definition, it is a nation guilty of corruption, applying pressure on political adversaries and a lack of free speech.
I only visited the country for a matter of days, but the visibility of financial desperation was ubiquitous; in addition to beggars and pleading children, people were selling pens, individual cigarettes and even packs of tissues on the street just to earn their keep.
It was very interesting to observe the older generation who seem to revere the King and monarchy and proudly display his portrait, often garishly framed, in their shops and houses. 
Even the McDonalds in Rabat had a framed picture of him above the selection of wraps and greasy burgers on display boards. One of these pictures is of an image of the King kneeling in front of dead ducks by the dozen. It was framed and for sale in a shop that literally just sold framed pictures of the King.
But it was even more interesting to talk to members of the younger generation, hungry for change and uninspired by current leadership.
Morocco, 2020
  • The serious countenances of Hassan II (King’s father and previous King) and Mohammed VI (current King) watch over craftsmen ebbing and flowing through an arched entrance to their workshop. The men are boiling a pot of mint tea as they start their day.
    The government and monarchy are intertwined in a pluralistic political system in Morocco, with the King acting as a constitutional monarch. The Moroccan government was rated as Hybrid Regime two years ago, meaning that by definition, it is a nation guilty of corruption, applying pressure on political adversaries and a lack of free speech.
    I only visited the country for a matter of days, but the visibility of financial desperation was ubiquitous; in addition to beggars and pleading children, people were selling pens, individual cigarettes and even packs of tissues on the street just to earn their keep.
    It was very interesting to observe the older generation who seem to revere the King and monarchy and proudly display his portrait, often garishly framed, in their shops and houses.
    Even the McDonalds in Rabat had a framed picture of him above the selection of wraps and greasy burgers on display boards. One of these pictures is of an image of the King kneeling in front of dead ducks by the dozen. It was framed and for sale in a shop that literally just sold framed pictures of the King.
    But it was even more interesting to talk to members of the younger generation, hungry for change and uninspired by current leadership.
    Morocco, 2020

  •  6  1  1 hour ago
  • I paint nature.
—Brice Marden
Gagosian is pleased to present Morocco, an exhibition by Brice Marden, traveling from the Musée Yves Saint Laurent in Marrakech, Morocco.
Nearly forty years ago, Marden visited Morocco for the first time, setting into motion a new line of artistic inquiry inspired by the intricate architecture and late afternoon light of the “Rose City.” This exhibition includes more than sixty works on paper, forty-eight of which were once contained in a workbook that accompanied the artist over the past decade. In the majority of the works, a square or rectangle is set within the white of the page, with winding lines and loose blots rendered in colored ink or gouache forming tangled grids of varying densities. Infinitely fluid, Marden’s gestures in yellow, red, and blue oscillate between foreground and background, light and darkness.
The cornerstone of the exhibition is Helen’s Moroccan Painting (1980), a large-scale canvas titled for Marden’s wife, also a painter. The canvas is divided horizontally into two rectangles—green on top (evoking Morocco’s valleys) and burnt sienna below (recalling the red earth)—both applied in thick oil paint with beeswax and inspired by Marden’s memory of the landscape during a drive from Ouarzazate in 1978. An untitled work from 2018 swaps these colors, so that a narrower band of green appears at the bottom of the composition and the rest is deep red. What sets the two works apart most, however, is the vibrating veil of multicolored lines that seems to float at the surface of the picture plane in the latter painting.
  • I paint nature.
    —Brice Marden
    Gagosian is pleased to present Morocco, an exhibition by Brice Marden, traveling from the Musée Yves Saint Laurent in Marrakech, Morocco.
    Nearly forty years ago, Marden visited Morocco for the first time, setting into motion a new line of artistic inquiry inspired by the intricate architecture and late afternoon light of the “Rose City.” This exhibition includes more than sixty works on paper, forty-eight of which were once contained in a workbook that accompanied the artist over the past decade. In the majority of the works, a square or rectangle is set within the white of the page, with winding lines and loose blots rendered in colored ink or gouache forming tangled grids of varying densities. Infinitely fluid, Marden’s gestures in yellow, red, and blue oscillate between foreground and background, light and darkness.
    The cornerstone of the exhibition is Helen’s Moroccan Painting (1980), a large-scale canvas titled for Marden’s wife, also a painter. The canvas is divided horizontally into two rectangles—green on top (evoking Morocco’s valleys) and burnt sienna below (recalling the red earth)—both applied in thick oil paint with beeswax and inspired by Marden’s memory of the landscape during a drive from Ouarzazate in 1978. An untitled work from 2018 swaps these colors, so that a narrower band of green appears at the bottom of the composition and the rest is deep red. What sets the two works apart most, however, is the vibrating veil of multicolored lines that seems to float at the surface of the picture plane in the latter painting.

  •  17  1  2 hours ago
  • 다양한 문양과 색감으로 눈을 사로잡는 모로칸 러그들, 그 자체만으로도 훌륭한 예술품이죠. 이번 시즌 마라케시 컬렉션에서는 아름다운 모로칸 러그들에서 영감을 받아 태어난 양말들도 만나보실 수 있습니다. 손으로 직접 니팅한듯한 삐뚤삐뚤한 드로잉들이 매력적이죠? 💚
#socksappeal #marrakech
  • 다양한 문양과 색감으로 눈을 사로잡는 모로칸 러그들, 그 자체만으로도 훌륭한 예술품이죠. 이번 시즌 마라케시 컬렉션에서는 아름다운 모로칸 러그들에서 영감을 받아 태어난 양말들도 만나보실 수 있습니다. 손으로 직접 니팅한듯한 삐뚤삐뚤한 드로잉들이 매력적이죠? 💚
    #socksappeal #marrakech

  •  11  0  2 hours ago
  •  8  1  2 hours ago

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