MACAAL Bridges Continental and International Dialogues

Earlier this week, the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech re-opened following major redevelopment. Artistic director, Meriem Berrada, introduces the institution’s new exhibition spaces, media library and expansive permanent collection, reaffirming the museum’s dedication to the promotion of African arts. A key figure within MACAAL since its inception in 2016, Berrada speaks about its role within the wider artistic landscape of Morrocco and highlights the importance of paving the way for young creatives.

Ivana Cholakova Could you talk about the latest developments in the museum’s projects and programming?

Meriem Berrada We are introducing two annual site-specific installations, one in the atrium, which will be taken over by Moroccan architect Salima Naji, and another one in what I call the transition stairwell, where the Tunisian artist, Aïcha Snoussi, is at this very moment drawing on our walls. In addition to this, we are also launching the Artist Room, which is conceived as an intimate and more focused exploration of artistic practices, and we’ll be inaugurating this small space with work by Sara Ouhaddou.

We are also thrilled to announce an open library located in the MACAAL Café. This space will also soon host a new media library featuring an extensive archive of video art and short films by African artists from the 1990s to the present day, curated by Anna Karima Wane.

IC You recently collaborated with Zamân Books & Curating, led by Morad Montazami and Madeleine de Colnet, to organize the inaugural permanent exhibition ‘Seven Contours, One Collection’. Could you elaborate on the show’s premise?

MB MB: We previously worked with Zamân Books & Curating on Mohamed Melehi’s exhibition, ‘New Waves’ in 2019. What I value most about them is their deeply rooted documentary approach. Many shows risk remaining purely aesthetic without acknowledging the historical context that shapes a creative practice. For ‘Seven Contours, One Collection’, Zamân chose to introduce seven thematic sections through action verbs such as ‘Decolonize’, ‘Cohabit’, ‘Weave’ or ‘Initiate’. I call these vehicles for responsibility. We wanted to use active language to convey a sense of agency regarding African arts, countering the Western canon’s tendency to depict them as passive.

IC Could you tell us about one work that you're particularly excited about?

MB For the reopening, Salima Naji’s installation ‘Dans les bras de la Terre’ stood out as the most relevant among the many remarkable projects we received. Through vernacular architecture, her work explores decolonization by revealing how colonial materials like concrete and cement disrupted traditional building methods. These ancestral techniques present enduring and ecological solutions, making her practice equally relevant to themes of sustainability and coexistence, bridging the exhibition transition from ‘Decolonize’ to ‘Cohabit’.

IC You have been a part of MACAAL since its inception in 2016, becoming artistic director in 2018. How has the institution changed and grown during your tenure?

MB I had the privilege of contributing to the creation of a museum dedicated to contemporary art in a context where there were few, if any, comparable institutions. From the beginning, it was crucial for me to respect the personal and familial history behind the collection while also positioning the museum within the city’s broader artistic ecosystem. Marrakech is undeniably rich in heritage, yet its strong tourist appeal also means it can easily tip into folklore.

I also believe that beyond conservation, MACAAL’s role is to act as an amplifier for artists, providing them with the means to bring their projects to life. This led us to produce increasingly ambitious and complex installations and commission works such as Noise [2018] by Amina Agueznay or Lluvia [2020] by Daniel Otero Torres, which was shown at the Venice Biennale in 2024.

IC In 2020, you established the MACAAL Bootcamp. Could you talk about the project?

MB The Bootcamp was a response to a very pressing need in the African context to support young professionals in the artistic sector. The idea behind this programme was to provide participants with the practical skills often absent from their art management studies. The bootcamp aimed to deepen their knowledge through workshops and masterclasses led by renowned figures from across the continent such as Koyo Kouoh, Touria El Glaoui and Marie-Cécile Zinsou. We wanted these young creatives to not only participate in our programming but to find long-term collaborators and build a sustainable ecosystem outside of MACAAL.

IC Does the programme focus on curation?

MB Not at all, there are already so many remarkable curatorial initiatives such as Àsìkò Art School by Bisi Silva. But for me what was lacking were the practical skills, we need to strengthen the training of key figures in artistic production such as project managers, gallery educators and exhibition coordinators. We tackle question such as how do you work on a budget? How do you follow a printing process or write a press release? It’s all these small aspects of our daily work in the creative sector that are often overlooked.

IC What are, in your opinion, the biggest obstacles faced by young professionals today?

MB I believe the biggest challenge for a young professional is having to navigate the field without the necessary tools or training, while also dealing with the social codes that come with the art world without the resources to access proper education. Another major issue is mobility: when we consider the visa requirements needed to travel even to neighbouring countries, not to mention the financial burden of travel, there are already significant barriers to their career development.

Of course, access to employment is also a key concern. While the sector is experiencing unprecedented growth, opportunities remain limited compared to the strong interest from a new generation eager to pursue careers in the creative industries. On the other hand, salaries are often low, and job structures tend to be more freelance-based, but I guess Africa is not an isolated case when it comes to this issue.

IC What is your relationship with other contemporary spaces in Marrakech?

MB MACAAL has this visibility as an art institution, and the museum status lends it credibility. However, smaller spaces can also have a profound impact. We actively collaborate with other spaces within the city who are maybe playing an even more important role for the community. For instance, we have organized listening sessions with LE 18 and Dar Bellarj and maintain close ties with cultural centres such as Les Étoiles de Jamaa El Fna. In Marrakech, the spirit of collaboration prevails, regardless of whether a space is commercial or considered a competitor. If a collector visits the museum, I want to ensure they also explore the smaller gallery spaces, as I believe it’s vital for them to grasp the broader artistic landscape of the city.

_{Main image: MACAAL exterior, 2025. Courtesy: © Omar Tajmouati}