Karroum: The relationship to the establishments or more exactly the rupture with the “official institution,” with its programmatic function that serves more the machine of established power than the spaces of expression, is a way for creating a different speed for the appearance of cultural production. I am not sure that the birth of a project like L’appartement 22, followed, in Morocco, by the Cinémathèque de Tanger and the Espace 150 x 295 cm, is something which can be encouraged by the establishment. But I believe that these small institutions have more impact on the active cultural scene and create an alternative to the structural deficit of establishments in the country. The productions that come out of these new spaces are born in the context of a tension between the “national identities” as postcolonial constructions and the “transnational expressions” as deconstructions of those ideologies orienting culture into a system of oppositions and combination of the old and the new. In many African countries, one can see museums and mosques which are built in a “confusing” architecture mixing ornament and design. The Museum of Contemporary Arts which is still under construction in Rabat is a “good example” that says a lot about the response of local officials to the birth of new independent spaces… In fact, rather than encouraging our initiatives, I find that the establishment, whether it is the Makhzen (central government) or the foundations, festivals, etc. under its control, makes greater attempts to submerge the “nouveaux souffles (new breaths)” of our new spaces.

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