North Africa's first major trilingual festival celebrating contemporary visual arts, literature, and film, fostering cross-cultural dialogue at the crossroads of Western, Islamic, and African worlds.
The Marrakech Biennale was established as North Africa's first major trilingual (English, Arabic, and French) contemporary arts festival, taking place in the historic city of Marrakech, Morocco. Founded in 2005 by Vanessa Branson and Abel Damoussi, the event began as "Arts in Marrakech" (AiM) before evolving into the Marrakech Biennale by its third edition in 2009.
Set against the rich cultural backdrop of Morocco's "Red City," the Biennale harnessed Marrakech's unique position as a geographical and cultural crossroads between Europe, Africa, and the Middle East. This strategic location allowed the festival to serve as a bridge for artistic exchange between diverse cultures, languages, and traditions, creating a platform for dialogue through contemporary artistic expression.
The Biennale focused on three primary disciplines: visual art, literature, and film, offering a multidisciplinary approach that encompassed exhibitions, installations, performances, screenings, discussions, and educational programs. By activating historic venues across the city, from ancient palaces to contemporary galleries, the event created a unique cultural journey through Marrakech's architectural and artistic heritage.
The Marrakech Biennale emerged during a period of expanding global interest in contemporary art from the Middle East, Africa, and the Global South. The festival's founding coincided with a time of significant geopolitical tensions, particularly in the aftermath of 9/11 and during the Iraq War. Against this backdrop, the Biennale aimed to foster cultural understanding and dialogue between regions often portrayed in opposition to one another.
Initially launched as "Arts in Marrakech" (AiM) in 2005, the festival was established by British gallery owner Vanessa Branson (sister of entrepreneur Richard Branson) along with Moroccan entrepreneur Abel Damoussi, with curatorial support from Danny Moynihan and Pablo Ganguli. After two successful editions in 2005 and 2007, the event was rebranded as the Marrakech Biennale for its third edition in 2009, signaling its ambition to join the ranks of major international biennials.
Under the patronage of King Mohammed VI of Morocco, the Biennale grew in scope and international recognition with each edition. By 2014, leadership transitioned to Mohamed Amine Kabbaj, who served as Executive President for the fifth and sixth editions. Throughout its existence, the Biennale maintained a commitment to showcasing both Moroccan and international artists, emphasizing the creation of connections between local and global artistic communities.
Despite its artistic success and growing international profile, the Marrakech Biennale faced ongoing financial challenges. After six editions spanning more than a decade, the seventh edition planned for 2018 was canceled due to funding difficulties, marking a pause in the Biennale's evolution. Nevertheless, its legacy continues to influence the cultural landscape of Morocco and broader conversations about contemporary art in North Africa.
First edition launched as "Arts in Marrakech" (AiM), established by Vanessa Branson and Abel Damoussi
Second edition of AiM continued to develop the festival format and international connections
Rebranded as Marrakech Biennale for its third edition, curated by Abdellah Karroum
Fourth edition curated by Carson Chan and Nadim Samman, focusing on site-specific commissions and collaborations with local artisans
Fifth edition under new leadership of Mohamed Amine Kabbaj, with Hicham Khalidi as curator exploring the theme "Where Are We Now?"
Sixth and final edition titled "Not New Now," curated by Reem Fadda, examining concepts of newness, originality, and artistic traditions across Africa and the Arab world
The Marrakech Biennale distinguished itself through its exploration of themes that resonated with Morocco's position at the intersection of multiple cultural, historical, and artistic traditions. Each edition pursued specific curatorial directions that engaged with both local contexts and global contemporary art discourse.
Cultural Exchange and Dialogue - Throughout its history, the Biennale maintained a consistent focus on facilitating connections between different artistic traditions and communities. This emphasis reflected Morocco's historical role as a crossroads for trade, migration, and cultural exchange between Europe, Africa, and the Middle East.
Decolonization and Cultural Identity - Many editions engaged with questions of postcolonial identity, cultural heritage, and the legacy of historical power structures. This focus acknowledged Morocco's complex history under French and Spanish colonial rule and its subsequent process of cultural reclamation and redefinition.
Traditional Craftsmanship and Contemporary Art - The Biennale frequently explored the relationship between Morocco's rich artisanal traditions and contemporary artistic practices. This approach created opportunities for collaboration between international artists and local craftspeople, resulting in works that bridged historical techniques and contemporary concepts.
"Where Are We Now?" (2014) - The fifth edition, curated by Hicham Khalidi, examined Morocco's contemporary position and identity through the lens of five concepts derived from philosopher Peter Osborne's essay on "The Fiction of the Contemporary." This framework allowed for critical reflection on how contemporary art engages with and constructs notions of the present moment.
"Not New Now" (2016) - The sixth edition, curated by Reem Fadda, questioned concepts of newness, originality, and advancement, focusing instead on the continuity and relevance of historically grounded artistic and cultural practices. This theme encouraged exploration of Pan-African and Pan-Arab artistic exchanges that transcended colonial and post-colonial narratives.
Across these varied thematic explorations, the Marrakech Biennale consistently sought to create conceptual frameworks that were both internationally relevant and deeply responsive to local contexts. This approach allowed the Biennale to contribute distinctively to global art discourse while remaining grounded in the specific historical, cultural, and social realities of Morocco and North Africa.
One of the most distinctive aspects of the Marrakech Biennale was its use of the city's extraordinary historical architecture as exhibition spaces. By activating these venues – many dating back hundreds of years – the Biennale created a unique dialogue between contemporary artistic expressions and Morocco's rich architectural heritage.
A 16th-century Saadian palace whose vast courtyards and expansive ruins provided a dramatic setting for large-scale installations and performances in multiple editions of the Biennale.
A 19th-century palace featuring stunning examples of Moroccan craftsmanship, which served as a primary exhibition venue where contemporary art entered into dialogue with traditional architecture and decorative arts.
A former bank building located in the iconic Jemaa el-Fna square, this venue placed contemporary art at the heart of Marrakech's bustling medina and popular tourist center.
Housing the Museum of Moroccan Arts, this 19th-century palace created interesting juxtapositions between contemporary artistic interventions and the traditional crafts preserved in the museum's collection.
Beyond these primary venues, the Biennale extended into various public and semi-public spaces throughout Marrakech, including:
This distributed approach to venue selection created a cultural itinerary throughout the city, encouraging visitors to explore Marrakech beyond tourist centers and to experience the layered historical and contemporary urban fabric of the city. The contrast between ancient architectural contexts and cutting-edge contemporary art created meaningful tensions and resonances that enhanced both the artistic works and visitors' experience of Marrakech's cultural heritage.
Throughout its six editions, the Marrakech Biennale showcased significant works by artists from Morocco, the broader Maghreb region, and around the world. These projects often engaged with the specific contexts of Marrakech and responded to the thematic frameworks established by each edition's curatorial team.
Yto Barrada's installation at the Bahia Palace for the 6th edition, which transformed a gallery into a military vessel with appliquéd flags inspired by the poetry of Majdoub, highlighting the legacy of Moroccan filmmaker and writer Ahmed Bouanani.
A monumental installation by the renowned Ghanaian artist, whose signature bottle-cap tapestries resonated with both the architectural space of the El Badi Palace and the thematic focus on artistic traditions and material transformation.
A sound art project for the 5th edition by artists Younes Baba-Ali and Anna Raimondo, exploring the experience of listening in urban space and the question of delocalization, activating public spaces throughout Marrakech.
A documentation project highlighting ongoing collaboration between the architect and a collective of artists and craftsmen in Ghouta and other areas of Syria, addressing themes of resilience and creative practice amid conflict.
Several distinctive artistic approaches characterized projects at the Marrakech Biennale:
These varied approaches collectively embodied the Biennale's commitment to creating meaningful connections between contemporary artistic practices and Morocco's rich cultural heritage, while also addressing pressing social, political, and aesthetic questions relevant to both local and global contexts.
Explore the atmosphere and impact of the Marrakech Biennale through this video showcase of exhibitions, installations, and the vibrant cultural context of Marrakech.
Explore critical perspectives and insights on the Marrakech Biennale through these selected articles from leading art publications and critics.
An examination of how the Biennale created dialogue between Morocco's rich cultural heritage and contemporary artistic practices, reshaping perceptions of North African art.
Analysis of how the Biennale's use of historic venues created unique contexts for artistic intervention and visitor experience, transforming perception of both the spaces and the artworks.
Exploration of how the Biennale's commitment to trilingual programming (Arabic, French, and English) created inclusive platforms for cross-cultural exchange and accessibility.
The Marrakech Biennale took place across multiple venues throughout Marrakech, Morocco, with the historic El Badi Palace and Bahia Palace serving as primary exhibition sites for several editions.