Monographie - Tracing Morocco - Hendrik Beikirch

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TR ACING MOROCCO Copyright Š 2015 Hendrik Beikirch & Montresso Ar t Foundation Design et montage : Alexander Sturm Tex tes : JLH, Rut tkowski;68, Fondation Car tier Traduc tion : bizz communications Postproduc tion images : Timo Stammberger, Rober t Winter Première publication en 2015 par : Montresso Ar t Foundation Route des Jeunes 4 1227 Genève les Acacias Suisse TÊl. : 212 (0)6 15 64 01 35 info@montresso.com www.montresso.com ISBN : 978-9954-36-392-8 DÊpôt lÊgal : 2015MO3660 dÊcembre 2015 ISSN : 2458-696X Litho Ar t New à Turin, en novembre 2015. Tous droits rÊser vÊs. Cet te publication ne peut être reproduite ImprimÊ en Italie.

RenĂŠ Char Feuillets Hypnos (1946)

Our inheritance was lef t to us by no testament. RenĂŠ Char Feuillets Hypnos (1946)

(1946)

JLH :

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6

HERITAGE

HÉRITAGE

Tex t: JLH

Tex te : JLH

At a time when galloping globalization is making the slightest gestures

in our daily lives become uniform, paying homage to these Moroccans,

gestes de vie, rendre hommage Ă ces Marocains, travailleurs manuels

craf tsmen whose gestures and knowledge will soon be lost to us too,

could not leave us unmoved.

nous laisser indif fĂŠrents.

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Il existe rarement de confiance Êtablie dès la première rencontre

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avons oubliÊ notre première rencontre, nous ne nous connaissions

more, this encounter was ultimately the result of chance, which as we

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During this first visit to Jardin Rouge, Hendrik fascinated ever yone

Lors de cet te première visite à Jardin Rouge, Hendrik fascina tout le

with a posed por trait, perhaps lacking some convic tion, on a canvas

monde avec un por trait posĂŠ sans convic tion peut-ĂŞtre, sur une toile

provided for him; then he lef t us as he had come, without our having

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agreed what might develop out of this visit. Only later did he get

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back in touch to come and see us, and this was when the adventure

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really began.

His fame and talent mean that ever yone knows the ar tist af ter all, but

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Hendrik obser ves and stores images in his memor y; with us here

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at Jardin Rouge he met these first unforget table faces that would

croisÊ, chez nous à Jardin Rouge, ces premières gueules inoubliables

become the connec ting theme for the idea that is now presented in

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this book, with no pretensions other than to share them. They were

what he came back for, curious to follow up on this first encounter that

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was so nearly a non-event.

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links to Morocco, as if presaging our choice of Morocco for creating

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the “Jardin Rouge�. Ver y early on, they passed on to me their curiosit y

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time already meant that everything linked me and was going to attach

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me to Morocco. My first visit to Agadir in the early 1970s enabled me

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to discover what it was that made my friends talk the way they did

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faisait ainsi parler mes amis de leur fascination pour le Maroc. Sur

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roads that were still barely tarmacked tracks, I discovered almost on

les routes encore des pistes Ă peine asphaltĂŠes avec la 4L de Paul,

my own Taroudant, Essaouira, Marrakech, and much later Ouarzazate

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and Zagora.

après Ouar zazate et Zagora.

The architec ture and the landscapes were most fascinating to me,

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yet more fascinating still are the traditional craf tsmen whom I was

almost immediately drawn to. I remember the workshops, the souks,

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the shops deep in the medinas, the fields where we met these tireless

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workers seemingly come from an earlier centur y to pass on their

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knowledge to the apprentices surrounding them in silent respect for

their maâlem [master]. This was a dif ferent epoch, the atmosphere

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was captivating. To me, Morocco is first and foremost these women

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and men who pass on these traditional handicraf ts from generation

perpĂŠtuaient de gĂŠnĂŠrations en gĂŠnĂŠrations, les traditions manuelles.

to generation. E

# I want to thank all my friends through whom, at the age of 20, I was

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able to discover this world that had already almost been forgot ten,

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and today almost disappeared. All my thoughts go out to passionate

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Pierre, who introduced me to these friends who have influenced my

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life, and without whom the interpreted image I received of these

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maâlems would not still be as alive for me today. It was they who

obser ver, à comprendre, à mÊmoriser, comme autant de leçons de

pushed me, still too young, to obser ve, understand, memorize like

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lessons in life, these gestures and talents that sadly are slowly no

plus se transmet tre et seront bientĂ´t oubliĂŠs. Merci FrĂŠdĂŠric, merci

longer being handed down and will soon be forgot ten. Thank you

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FrĂŠdĂŠric, thank you Marcel-Yves and Toni, thank you Jean-Pierre and

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thank you Farid Belkahia, for being the first person to open my eyes to

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Moroccan modern ar t. And many more too, whom I have not forgot ten

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and who are thanked by this homage to these personages who have crossed all our lives.

Une des par ticularitĂŠs communes de ces Malems se lit sur leurs

One of the common features of these maâlems can be read on their

faces, forged and marked by life. Faces that seem almost car ved with

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lines and folds, marked by the suf fering inflic ted by a life of labour

that is of ten hard yet still optimistic and noble, eyes that tell of their

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pride and faith and that, regardless of the fatigue, always remain deep and alive.

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When Hendrik came back for a proper residency at Jardin Rouge, he

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wanted to sketch, as he was in the habit of doing, the few faces that

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had fascinated him on his first visit. We discovered each other. Hendrik

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drives him. For a long time, I had had the unfulfilled idea of recording

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devrions y appor ter. Hendrik Beikirch a adhĂŠrĂŠ immĂŠdiatement Ă

to bring to it. Hendrik took to the idea right away: photographing the

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surroundings, capturing the gesture while it was still possible, and

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immortalizing the man or woman. To pay homage to these unforgettable

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taking refuge in it, making it his own. It became the sole purpose of two

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years of his life as an ar tist and as a man.

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“casting� if we may call it that, the first por traits, the idea for the book

and lastly, persuading those responsible for buildings around the

world to let us display the por traits of these women and men, to paint

our homage to their knowledge and skill onto these walls in the four

coins du monde, les por traits de ces femmes et de ces hommes,

corners of the world as our way of honouring and immortalizing them.

peindre notre hommage à leur savoir-faire, comme notre façon de les honorer et de les immor taliser.

In this respec t, we must thank all of these people for trusting us and entrusting us with their faces. None of the images were “snatched�.

Alors, il convient de tous les remercier de nous avoir fait confiance

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but instead, have sought to immor talize in this testament.

mais immor talisĂŠ dans ce tĂŠmoignage.

At a ver y young age, I was of ten lucky enough to meet RenĂŠ Char. From time to time, I was allowed to come and pay him a silent visit

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at his home. I par ticipated in set ting up the

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book and which sums it up bet ter than any long tex t: “our inheritance

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THE POWER OF THE PORTRAIT

LE POUVOIR DU PORTRAIT

Tex t: Nils MĂźller, Rut tkowski;68

Tex te : Nils MĂźller, Rut tkowski;68

Hendrik Beikirch creates black-and-white por traits of people whose

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personalities or facial expressions have captured his interest. The

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Beikirch has an uncanny ability to capture their soul. His art transcends

Beikirch possède une aptitude singulière à saisir leur moi intime.

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expec tations and demands self-ref lec tion. It gives pleasure and

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generates debate. This is what makes his work fascinating, engrossing

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and uncomfor table at once.

dĂŠrangeante.

We live in times when ageing must be fended of f at any cost. That

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cult of narcissism has now reached another level through the Selfie

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generation — young people who use smartphones to take self-portraits

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(selfies) then share them on social media. They assess themselves

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critically to create photos that show them at their best.

sociaux dans des poses avantageuses.

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youth and per fec tion. For one thing, they t ypically show the elderly,

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a demographic we of ten neglec t. Secondly, unlike the digital selfies,

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his works are created on canvas — an established medium that has

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been used by ar tists for centuries. An image on canvas cannot be

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altered by the swipe of a finger; it is permanent and can be viewed

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more than once.

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Although Beikirch is only 41 years old, he is fascinated by older

Ă€ 41 ans seulement, Beikirch est fascinĂŠ par le visage des personnes

faces and personalities because of the lives they reflec t: the ups and

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downs, hope and disappointment s. Some of the people por trayed

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appear to look direc tly at the viewer; others look toward unknown

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places out side the frame. No mat ter which por trait you look at, the

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eyes are always the most striking feature — they are the window to

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individual expression. “ There is cer tainly something to the saying

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that the eyes are the window to the soul,� says Beikirch.

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He does not depic t smiling faces but moments of self-forget fulness,

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not bit ter; they radiate satisfac tion without being ef fusive. And they

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have wrinkles which they show proudly, let ting the lines speak for

discrète. Leurs rides, ils les montrent avec fier tÊ, laissant ces petites

themselves.

Beikirch uses Indian ink, acr ylics, and spray paint — a crude tool that

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does not allow for pinpoint accuracy but reflec ts his background

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Comparing the aes thetic s to traditional photography, Beikirch

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explains that spray paint is “perfect for simulating grain on the canvas,

as we are familiar with in old black-and-white photography.�

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Comparison with photography is inevitable, especially if we were to compare Beikirch to August Sander, a representative of the first

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school of por trait photography. Back then, there were no tools to

compare Beikirch à August Sander, un reprÊsentant de la première

edit a photograph once it had been shot. The photographer and

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influence over the final outcome. The photograph is taken without

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never see the results in print. The photograph is taken for the pleasure

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tout à satisfaire le photographe et non le modèle.

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scène de guerre ni du rÊgime fasciste. Sander a recours au por trait

totalitarian leadership. Instead, Sander uses por traiture to illustrate

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a countr y torn apar t by the politics of the time. Men, women and

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mouvement, isolĂŠs ou en groupe, seuls lui impor tait leur authenticitĂŠ

mat ter who they were as long as long as they were authentic and had

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la Seconde Guerre mondiale, mais aussi la guerre elle-mĂŞme et les

period up to, during, and af ter World War II. They reflec t the mentalit y

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of an era in histor y that no longer exists but remains relevant.

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The similarities between Beikirch and Sander are numerous: both

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des ar tistes allemands spĂŠcialisĂŠs dans les por traits de personnes en

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paint, the intention and the impac t are the same. And while the ar tists

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are separated by several decades, the works of both depic t their era

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past bursts into the present.

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' context and setting. Indeed, they are typically viewed as a sociological

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or historical testimony of the past instead of belonging to any ar t

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movement. Men and women, in their ordinar y clothes, carr ying about

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their daily business, make impressive photographs on their own. But

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combined, they take on a whole other meaning. They offer insight into

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the human condition.

 Â† / ]

condition humaine.

Morocco series, he captures ar tisans without needing to include the tools of their trade as props. Only their faces and their striking

‹

eyes are needed to convey a lifetime of experience. While Sander

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photographed the workers of the Weimar Republic — farm workers,

military cooks, construction workers — Beikirch portrays the particularities

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of 21st century Morocco with portraits of craftsmen such as traditional

une vie.

barbers and carpet weavers. Some of these are dying professions, but they live on through ar t.

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Beikirch, lui, dÊpeint les singularitÊs du Maroc du 21e siècle par des

universalized. They are not glimpsed fleetingly — on a Berlin street

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in 1942 or in a Moroccan studio in 2014 — but viewed over and over.

] ' | / | /

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Beikirch multiplies the impact by covering the external walls of public | = Â

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invade the streets of the Netherlands, Germany, the USA. They are

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larger than adver tising hoardings, and stay up longer as well. They

en 1942 ou dans un atelier marocain en 2014, ils ne sont plus une

force us to stare at the kind of people we no longer notice. For once,

\ ' –

the elderly and the forgot ten occupy a place of honour.

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des visages et parcours de vie, de ses modèles. Ses peintures murales

at tention in a societ y in which they are normally invisible. This is a

€ $ ?†  ?¥

return to the roots of por traiture. No need for a selfie that shows our

DĂŠpassant le format des affiches publicitaires, ils restent aussi en place

best side, no need for filters to improve the colour, no need for props

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realit y of the human condition so well that it changes the landscape

and the mood of our cities. ‚ š Nous assistons à un retour aux origines même du por trait. Ici, pas besoin de selfies pour nous rendre plus glamour, de filtres pour Y # $ \ de nos villes.

21

, 2015 Crayon Ă copier sur papier 65 x 50 cm

, 2015 Indelible pencil on paper 25,6 x 19,7 inch

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24

A DIFFERENT HYPERREALISM

UN AUTRE HYPERRÉALISME

Tex t: Grazia Quaroni, Senior Curator, Fondation Car tier

Tex te : Grazia Quaroni, Conser vateur, Fondation Car tier

It is par ticularly dif ficult to know if a 50 -m-high human face can be

On ne sait pas si on peut dĂŠfinir hyperrĂŠaliste un visage humain de

$ + / † / | /

£U + / † /

there is a “different� notion of representing human beings that breathes

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fresh life into a very conventional genre. At the outset, there is the

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always on the lookout. It star ts with a photo, such as anyone might take

commence avec une photo comme tout le monde en fait, mais lĂ la

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and women who have not been spared by the passage of time or by the

—

fatigue of a whole lifetime. These are workers, craftsmen, fishermen, they

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possess knowledge and they pursue crafts and trades that are destined

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to disappear. It is neither written nor explained, but it is obvious: these

% Œ

| $

‚ la peinture, du noir et blanc plus propre à la photographie, au fond,

Then comes the painting, in black and white, seeming really more

sur des toiles de dimensions tout Ă fait raisonnables.

appropriate to photography, on canvasses with per fec tly reasonable  ÂŒ $ =

\ Π= \ = #

that por trait to ridiculous dimensions — impossible from now on to

ignore these faces, from a great distance they call out to us and pose

dĂŠsormais, depuis une grande distance ils nous interpellent et nous

$ / | | ] ! + $ !

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$ $ $ ! $ $ $

> =# ! >? # ! Â… ?

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!

In changing the dimensions and the status from the classic por trait

‚

in a conventional format to an urban mural, these faces do not lose

format bourgeois Ă la peinture murale urbaine, ces visages ne perdent

their realistic charac ter — on the contrar y, it comes across all the more

pas leur carac tère rÊaliste, au contraire il en ressor t accentuÊ. Le

strongly. The por trait does not change, but the genre is re-invented,

por trait ne change pas, mais le genre est rĂŠinventĂŠ, reformulĂŠ : le

re-formulated: urban graf fiti, street ar t has got ten us used to st ylized

$ $

lines, synthetic and rapid, and to content that is of ten provocative.

et rapide, et au contenu souvent provocatoire. Rien de tout cela dans

„ † / = Œ

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immediacy and the rapidity of line, every detail is retained, maintained,

and fit ted into a complex plan so nothing is lost. His wall painting is

'

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that has involved many people. All of these have had to listen, realize

aux moult interlocuteurs. Tous ont dĂť ĂŠcouter, prendre conscience du

the message, suppor t it, so as to finally accept that the work can be

–

 | / / /

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awareness: first of all those who commission them, and then all those

who pass by. It is work that demands dialogue, understanding, union

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in order to be able to exist. It is also a work that is the union of every

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clear, the scale is spec tacular. The universal and the individual live

side by side until they merge together.

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MOHAMED AGRICULTEUR

MOHAMED FARMER

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4' ` 0/

.>A' Y % &

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' n 0 & q < & A. % < \ < mais le prĂŠsent est Ă toi.

What is past has fled; what you hope for is absent; but the present is yours.

31

, 2015 $ % 145.5 × 113.5 cm

, 2015 Acrylic, Indian ink, and spray paint on canvas 57 × 45 inch

2015 ، * +0% Z 0 & TA. DW_ & = 9 b+ 6 & % & >A e 9 113,5 × 145,5

32

Goes, Pays-Bas | Goes, the Netherlands

&+ ،3 X

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37

MOHAMED BARBIER

MOHAMED BARBER

+0%

vW,

38

39

, 2015 $ % 145.5 × 113.5 cm

, 2015 Acrylic, Indian ink, and spray paint on canvas 57 × 45 inch

III 2015 ،III + 3 * JC Z 0 & TA. DW_ & = 9 b+ 6 & % & >A e 9 113,5 × 145,5

40

42

43

New York, États-Unis | New York City, USA

P& U+%/0 & C & ،‫ כ‬

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