Present in Morocco since 2009, Montresso* Art Foundation is a hybrid space with a mission to support the creation and diffusion of contemporary art through its artist residencies, exhibition spaces and partnerships.

Transcription(s) reveals how to read the contemporary without giving in to the presentism of our times. Cédrix Crespel, Hasnae El Ouarga, Mouna Saboni and Barbara Wildenboer, in a dialogue of multiple temporalities, speak of the porosity of the creative process and the contemplative nature of the artwork.

Presented artists: Cédrix Crespel (1974)
Cédrix Crespel's painting is inextricably linked with his life, his love life, and his quest for an elusive presence. Far from any fixed representation, he seeks to capture what connects, what escapes, what remains between two beings. His approach is not to capture appearance, but what surrounds it, what extends and transforms it. Through assertive gestures and a contrasting palette, he attempts to give form to the invisible, to that force that unites him to his wife and yet exists without ever allowing itself to be fully fixed.

Hasnae El Ouarga (1993)
Hasnae El Ouarga is intrigued by the image as a faithful, artificial representation of reality, and immerses herself in an experimental practice that gives pride of place to the unconscious. The retinal trace of the photograph becomes a space for interpretation, an imprint of our invisible memories. Like a storyteller of forgotten histories, stone as an element becomes the vector of an inaccessible yet ever-present past, while mineral matter is transformed and revealed in his work, to whisper to us that nothing is nothing.

Mouna Saboni (1987)
Mouna Saboni's artistic quest is driven by notions of territory, memory and identity. Through her long-term projects, the artist reveals a fragmented photographic poetry that bears witness to our times and conveys a universal heritage. The Mediterranean resonates in her work as an allegory of home and what comes to define it/us.

Barbara Wildenboer (1973)
Sidestepping the cacophony of learned treatises, Barbara Wildenboer explores the heritage of oral traditions and the earliest traces of human thought. By using porcelain and wood to craft primordial symbols found in early proto-writing systems, the artist invites us to reflect on humankind’s ancestral links with nature. By doing this she hopes to reveal a different reading of the earliest writings and questions the meaning of our founding narratives.