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Exhibition Review exhibition review Le Maroc Médiéval: Un Empire de l’Afrique à l’Espagne [Medieval Morocco: An Empire from Africa to Spain] Musée Mohammad vI d’Art Moderne et Contemporain Rabat, Morocco March 5–June 3, 2015 reviewed by Ashley Miller When an exhibition travels from one venue to another, which elements should remain the can context. Beyond this nod to Morocco’s 1 Upon entering the exhibition space, visi- same—to impart a sense of consistency and national language politics, however, little else tors encountered a large panel announcing the exhibition’s title in Arabic and Tamazight. continuity—and which should change—to in the show outwardly addressed its new audi- The introductory text and all the wall text that acknowledge the audiences, spaces, and sig- ence. Certainly, for those who had seen the followed in the exhibition employed Arabic, nifications that vary with each exhibitionary exhibition in the Louvre, the Rabat show felt French, and English. context? like an abridged—and in some ways lesser— 2 As at the Louvre, the exhibition presented When “Medieval Morocco: An Empire from version of the Paris iteration. Despite adjust- a chronological narrative with galleries divided Africa to Spain” left its initial home at the Lou- ments to the exhibition’s color palette, from according to major dynasties, from the Idris- vre in Paris to arrive in Rabat’s new Musée the Louvre’s indigo and cream to a deep red sids to the Merinids. The gallery dedicated to Mohammad VI d’Art Moderne et Contempo- ochre and gray taupe, and the relocation of the Almohads, pictured here, occupied the rain (MMVI) in March of 2015, expectations certain objects to accommodate the museum’s central and largest space in the exhibition. Two thirteenth-century glazed ceramic wellheads for the impact of the show on Morocco’s rap- physical space, the aesthetics of the exhibition from Al-Andalus stand in the foreground. idly changing museum landscape were high. changed little. The Rabat show also maintained Developed by a binational team of museum the general thematic and organizational struc- All photos courtesy of the Fondation experts and scholars led by commissioners ture developed by curators Claire Delery and Nationale des Musées Marocains Yannick Lintz of the Louvre and Bahija Simou Bulle Tuil-Leonetti for the Louvre, although of the Royal Library in Rabat, the exhibi- the connection between these themes and the tion was the first product and poster child of a cooperation agreement between the Louvre and Morocco’s National Foundation for Muse- ums. An emblem of diplomacy and reform, “Medieval Morocco” was poised to realize the Foundation’s mission of raising the practices of Morocco’s museums to “international stan- dards” and making those museums “accessible to all Moroccans, so that they can take pos- session of their own culture.”1 The exhibition offered many Moroccans the first chance to see a significant assemblage of objects that had until now been dispersed in private collections or foreign institutions, thereby presenting the local population with an unprecedented opportunity to engage with important material artifacts of its own cultural heritage. But what did the exhibition actually do to engage this local audience? How did the exhibition change in the move from one institution, one conti- nent, one cultural context to another? Written in Arabic, Tamazight, and French, the introductory wall text for the show in Rabat announced the exhibition’s Moroc- VOL. 48, NO. 4 WINTER 2015 african arts | 89 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_r_00257 by guest on 01 October 2021 back_of_book.indd 89 19/08/2015 9:59 AM 3 Visitors entered the exhibition from the museum’s central atrium through two pair of bronze and cedar monumental doors from the ‘Attarin madrasa (ca. 1323–1325) (left) and the Qarawiyyan mosque in Fez (ca. 1136) (right). Instead of the massive Almohad chandelier that had dominated the exhibition’s entrance at the Louvre, a smaller chandelier from the Qarawiyyan constructed from a medieval church bell (ca. 1333–1337) greeted visitors of the Rabat show. exhibited objects was sometimes unclear due new museums, and the exhibitions they orga- objects in situ and, at the same time, challenge to the reduction of informational text panels nize, are truly for them. Indeed, when I asked the way they perceive such objects both inside in the Rabat show. Where the two exhibitions one Moroccan colleague what he felt had and outside of the museum. differed most noticeably was in their material changed between the Paris and Rabat itera- Second, and even more fundamentally, content. Less than 50% of the objects exhib- tions of the exhibition, he answered, “Nothing, the choice of venue for the Rabat show chal- ited in Paris appeared in Rabat. Among those nothing has changed at all.” lenged norms in Morocco’s museum culture absent were several key pieces, including the But even if little changed between Paris and and, as a result, offered new ways for Moroc- minbar from the Kutubiyya mosque in Mar- Rabat within the gallery walls, the exhibition’s cans to encounter familiar objects and images. rakech, too tall to fit in the MMVI’s inner meaning and impact underwent dramatic In the context of the Louvre, the presentation galleries; most of the textiles that evidenced transformations simply through its reloca- of “Medieval Morocco” corresponded with artistic exchange between Morocco’s medieval tion to a different cultural, political, and insti- institutional practices for displaying cultural artisans and Christian churches in Europe, tutional context. In fact, it was this change in objects as works of art to be enjoyed and stud- such as the twelfth-century Shroud of St. Exu- context that made the Rabat show interesting ied at an aesthetic level. If anything, the exhi- péry chasuble; and the Almohad chandelier and maybe even successful. bition’s approach was unusually ethnographic from the Qarawiyyin mosque in Fez that had First, “Medieval Morocco” moved from the and historical in comparison to the intellectual so dramatically marked the entrance to the context of one type of museum to another, and content of the Louvre’s permanent galleries. exhibition at the Louvre. While photographs this had unintended consequences. The Lou- In the context of Morocco’s museum land- of some of these missing objects were dis- vre’s encyclopedic collection reaches only up to scape, however, “Medieval Morocco” repre- played in Rabat, their physical absence from the mid-nineteenth century, while the MMVI sented a radical shift in exhibition practices: the show, in combination with certain techni- focuses on modern and contemporary art by the choice to display fragments of architecture cal defects in installation (such as occasional Moroccan artists. So while the exhibition’s his- and “craft” in the space of a museum dedi- lighting malfunctions, transposed dates on torical scope fit well within the grand narrative cated to the “fine arts” was itself an innova- object labels, and uneven wall panels), reduced of Islamic art presented at the Louvre, an exhi- tion. Recent state-led cultural development the dramatic visual impact of the exhibition bition of medieval art was an unexpected choice projects in Morocco have heavily emphasized and at times disrupted its complex historical for Morocco’s new museum of modern and contemporary visual arts, as evidenced by the narrative. Ultimately, however, a critique of contemporary art. Nevertheless, one could go National Museum Foundation’s first major the first major exhibition in a first-of-its-kind so far as to say that the resulting contrast mean- project, the construction of the MMVI itself. museum in Morocco on the basis of its fail- ingfully reflected upon the reality of Morocco’s Yet the public exhibition of “traditional craft” ure to meet the technical standards of one of physical and cultural landscape today. In this in Morocco is still the domain of colonial-era Europe’s greatest cultural institutions is neither way the juxtaposition of historical and contem- art and ethnography museums, where visitors fair nor interesting. porary was productive. To live in Rabat means encounter historical objects arranged accord- Instead, what deserves critique are the cura- rushing in a taxi past twelfth-century city walls ing to outdated systems of categorization or torial decisions, or lack thereof, that left visi- on your way to work in the city’s new high- assembled in picturesque vignettes against the tors with the impression that the exhibition rise business district; or watching satellite TV backdrop of the ancient palaces that constitute was simply a piece of the Louvre exported in the home you built in the ruins of an eigh- the museums’ buildings. “Medieval Morocco” to Morocco. While presenting the MMVI as teenth-century oceanfront battlement. Moroc- extricated such objects from their usual sur- an extension of the Louvre may support the cans already engage with the material remains roundings to reinsert them within a rich his- underlying political and diplomatic motiva- of their culture’s history every day. By bringing torical narrative and visually isolate them tions behind the collaboration agreement, these remains into the space of a museum gal- against the monochromatic walls of a contem- it does not help to convince members of the lery, the exhibition had the potential to draw porary art gallery. In this way, the exhibition larger Moroccan community that the nation’s upon its local visitors’ experiences of historical invited visitors to approach Morocco’s medi- 90 | african arts WINTER 2015 VOL. 48, NO. 4 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_r_00257 by guest on 01 October 2021 back_of_book.indd 90 19/08/2015 9:59 AM 4 The second gallery, focusing on the Almoravid dynasty, displayed a photographic reproduction of the Shroud of Saint Exupéry chasuble (far right); the Saint-Sernin basilica in Toulouse supposedly used the original twelfth-century silk textile as a shroud to cover the relics of Saint Exupéry beginning in the mid-thirteenth century.
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