Ahmed Cherkaoui

Abstract

Ahmed Cherkaoui was one of the leading Modernist painters of Moroccan Art in the post-independence period of 1956. Cherkaoui’s large-scale abstract and symbolic canvases negotiated an amalgam of references, including Amazighi art, calligraphy, talismanic symbols, and the influences of Roger Bissière, Paul Klee, and Surrealism. Cherkaoui painted his complex symbols on canvases covered with burlap. He used a system of geometric signs and cyphers, including triangles, circles, lozenges, dots and broken and curved lines. He was generally associated with a small group of painters in Casablanca, including Houssein Tallal and Andre Elbaz, although he was never part of the Casablanca School.

Biography

Ahmed Cherkaoui was one of the leading modernist painters of Moroccan art in the period following the country's independence in 1956. Born in a small town, Boujad, located in the Chaouia plain, Cherkaoui descended, from his father's side, from "a famous family of mystics" called the "Sufi brotherhood of the Cherkaoua." The brotherhood was founded in 1566 during the reign of the Saadian sultans. His mother was of Amazighi origin, belonging to the Zayanes tribe from the Middle Atlas. The tribe was known for women's traditionally made handicrafts and wool weaving.

Cherkaoui studied graphics at the École des Métiers d'Art de Paris from 1956 to 1959 and continued his studies at the Aujame Atelier at the École Nationale Supérieure des Beaux-Arts de Paris for one year. In 1961, during the political and cultural thaw that followed Stalin's death (1878–1953), Cherkaoui moved to Warsaw, where he studied at the Academy of Fine Arts. Later, Cherkaoui returned to Paris, where he won a research grant from UNESCO to study signs and symbols in Amazighi art and Arab-Islamic calligraphy. During the early 1960s, he held his first one-person show at the Atelier de Lucienne Thalheimer in Paris, where he lived and worked.

Cherkaoui created large-scale abstract and symbolic canvases that negotiated an amalgam of references, ranging from Amazighi art and talismanic symbols to those of Roger Bissière (1886–1964), Paul Klee (1879–1940), and Surrealism. The surface of these canvases is covered with burlap onto which Cherkaoui painted black-striped symbols crafted within an oval structure and laid at intervals with bright colours. The Maghreb, "the place of the setting sun," and more specifically the Amazighi tradition of the bare geometric sign are all intrinsic to the artist. Since his young age, his fascination with signs stemmed from his curiosity about the shapes and meaning of his mother's tattoos. Later on, he embraced the teachings and philosophy of Paul Klee (1879–1940), who wrote, "Man is not a completed product…We must…be open-minded…approach life like a child…of creation, of the creator's," and made them a guiding rule of his spirit.

The desire to paint for Ahmed Cherkaoui is partially attributed to his interest in calligraphy and the motifs of popular talismans, and partly to his exposure to 20th-century Western Modern art. Consequently, Cherkaoui's works reveal a concrete manifestation of a tangible interplay between tradition and modernity, negotiating both the aesthetic and abstract nature of signs and symbols that govern Islamic art, as well as innovative new techniques. However, Cherkaoui's resort to signs consists of far more than merely presenting their decorative function. He used a system of geometric signs and cyphers, including triangles, circles, lozenges, dots and broken and curved lines. These signs voice stories about a particular social system that are open to interpretation. As such, his creative artwork presented intriguing and visually complex forms which highlight his profound interest in national heritage.

In 1964, Cherkaoui held an exhibition at Jeanne Castel's Gallery in Paris, as well as other exhibitions in Rabat, Tangier, and Casablanca, Morocco, where he explored and developed a personal modern style, which he expressed through crude jute collages. After his collages, he went through a phase that he referred to as "tachiste" or formlessness, where he emphasised the value of colour.

During the early 1960s, his artwork depicted various forms drawn from outlines of tattoos, pottery, jewellery, weaving and motifs on handicraft ware, combining both bright and earth colours to highlight the cultural characteristics of his country of origin (al-Maghreb,"sunset in the sea"). While dark colours dominated his paintings before 1965, his colours afterwards became lighter and more lustrous, with a greater awareness of the use of space and the addition of media such as fibre, gouache, and watercolour.

Cherkaoui's (1934–1967) works received recognition early on, as he won the bronze medal at the 10th Salon Interministériel in 1962 and participated regularly in the Salon de Mai in Paris. He participated in numerous solo exhibitions, including his one-man show at Ursula Girardon's Gallery in Paris in 1962, as well as collective exhibitions, such as 20 Peintres étrangers at the Musée de l'Art Moderne in Paris in 1963.

Cherkaoui taught drawing classes at the Technical College in Beaumont-sur-Oise. He was generally associated with a small group of painters in Casablanca, including Houssein Tallal (born 1942) and Andre Elbaz (born 1934), although he was never part of the Casablanca School. Cherkaoui travelled frequently between Europe and North Africa and died suddenly due to complications from an appendectomy in 1967 after coming back to Casablanca, Morocco.

After his death, his work was represented in a series of retrospective shows entitled Hommage à Cherkaoui, organised at the Biennale de Paris and also at the Salon of Sacred Art in Paris, followed by the Biennale Exhibition in New Delhi, India, in 1968. His works were also featured at the Interférences Poètes-Peintres group show at the Daniel Templon Gallery, where one of Cherkaoui's watercolour works accompanied the poem Talisman written by Jean Guichard Meili (1927–2016) in Paris in 1969

Bibliography

Alaoui, Brahim. Ahmed Cherkaoui: The Passion of Signs. Paris: Institut du Monde Arab, 1996.

Alaoui, Brahim. "Decode his Memory." In Forever Now: Five Anecdotes from the Permanent Collection. Edited by Nada Shabout. (Doha: Bloomsbury Qatar Foundation Publishing, 2012),​ 14-16.

Eigner, Saeb. Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran. London: Merrell Publishers, 2010.

House of World Cultures. "Ahmed Cherkaoui: Mysterious Tales." Culturebase.net – The International Artist Database." Culturebase.net. Culture 2000 Programme of the European Union, August 4, 2003. Accessed October 3, 2012. http://www.culturebase.net/result.phpq=ahmed+cherkaoui&x=35&y=10.

Khatibi, Abdelkebir, Edmond Amran El Maleh and Toni maraini. La Painture de Ahmed Cherkaoui. Collective work, Ed. Shoof publications, Casablanca. Printed in Spain by Emograph, S.A. Barcelona, 1976.

Lambert, Jean Clarence. Ahmed Cherkaoui, The Passion of Signs. Collective work, Ed. Revue Noire, Paris, 1996.

El Maleh, Edmond Amrane. "Les Pierres Blanches – White Stones." In Ahmed Cherkaoui: La Passion du Signe – The Passion of Signs. (Paris: Editions Revue Noire et Institut du Monde Arab, 1996), 31-64.Meem Gallery. "Ahmed Cherkaoui." 2014 Meem Gallery. Accessed January 16, 2014. http://www.meemartgallery.com/art_exhibiting.php?id=31.

Shabout, Nada, Wassan al-Khudairi and Deena Chalabi. Sajjil: A Century of Modern Art. Exhibition Catalogue. Doha and Milano: Skira Editore S. P. A and Qatar Museums Authority, 2010.

Sijelmassi, Mohamed. L'Art Contemporain au Maroc. In collaboration with Abdelkebir Khatibi et Brahim Alaoui, Paris: ACR Edition, 1989.

Further Reading

"Ahmed Cherkaoui" Bladi.net. 10 January 2012. Accessed September 11, 2013. http://www.bladi.net/ahmed-cherkaoui.html.

Becker, Cynthia. Amazigh Arts in Morocco: Women Shaping Berber Identity. Texas: University of Texas Press, 2006.

Bennouna, Mohamed, Brahim Alaoui, Abdelkebir Khatibi, Edmond Amrane El Maleh and Jea-Clarence Lambert. The Passions of Signs. Maroc: Fondation Wafabank, Paris: Institut du Monde Arabe. Paris: Editions Revue Noire. 1996.

Daïf, Maria. "Arts plastiques. Cherkaoui, Gharbaoui, destins tragiques." TelQuel Magazine 2004. Accessed September 11, 2013. http://www.telquel-online.com/archives/156/sujet6.shtml.

Pocock, Charles. Meem Projects 2012 Exhibition. Curated by Charles Pocock, edited by Samar Fruqi, art designed by Noura Haggag. Abu Dhabi, Dubai: Publications Department of Meem Gallery and with Art Advisory Associates Ltd, 2012.

Shabout, Nada et al. Forever Now: Five Anecdotes from the Permanent Collection. Exhibition Catalogue. Doha: Bloomsbury Qatar Foundation Publishing, 2012.

.عفيف البهنسي. رواد الفن الحديث في البلاد العربية. دار الرائد العربي. بيروت، لبنان، ​​​1985​​​​

.مبارك حسني. "الشرقاوي والغرباوي: غياب الجسد وحضور الفن". بيان اليوم، العدد 3186، 10 شباط / فبراير 2010​

Accessed September 11, 2013. http://www.bayanealyaoume.press.ma/index.php?option=com_content&view=article&id=​13867:2011-03-18-12-11-02&catid=99:2010-06-10-10-24-35&Itemid=170.