Solo exhibition in the main wing.
A system of elevated wooden frameworks runs through the corridors. These structures operate simultaneously as supports and as passageways: they direct movement, frame sightlines, and produce partial concealments. Visitors move under, around, and alongside them, becoming aware of their own bodies in relation to architecture. The structures function less as display furniture than as spatial choreography, guiding circulation while also shadowing it. The exhibition unfolds across a sequence of extended rooms, bringing together ceramics, drawings, wooden structures, soil, and a video work still in process. Rather than forming a linear narrative, the works create a contained temporality in which identity, cruising parks, memory, and institutional space exist as parallel environments. Across the walls and ceramic vessels, human and non-human figures appear: animals, hybrid bodies, gestures recalled from parties, intimate encounters, and re-choreographed fragments of memory.
The vessels act as carriers of images and time, holding scenes rather than illustrating them. A vitrine containing soil introduces an exterior ground into the gallery. At the same time, a projected carousel of Moroccan streets from the artist’s childhood, archaeological objects, and natural forms appear in a curtained viewing space.
Positioned low and intimate, the projection resembles both cinema and shelter, less symbolic than atmospheric, a trace of lived presence entering the institutional interior. Rather than resolving into a story, the exhibition operates as a constellation: a suspension of bodies, spaces, and histories that coexist without hierarchy, where the gallery becomes at once architecture, landscape, and memory.