Morocco’s Loft Art Gallery to make its debut at Art Basel Paris

Loft Art Gallery, Marrakech. (Courtesy of Loft Art Gallery and Omar Tajmouati)
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Updated 11 October 2024
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Morocco’s Loft Art Gallery to make its debut at Art Basel Paris

DUBAI: Morocco’s Loft Art Gallery will make its debut at Art Basel Paris from Oct. 18-20, becoming the first Moroccan gallery to take part in the prominent fair.

Yasmine Berrada, co-founder of the gallery, spoke to Arab News ahead of the fair, calling the opportunity a “real milestone.”




Yasmine Berrada is co-founder of the gallery. (Supplied)

She said: “We have been working towards this for years. Since we started, we wanted to exhibit internationally.

“We want to travel with our artists, to collaborate with museums, with institutions, and so on.




Mohamed Melehi, Burri B, 1958, Mixed media on burlap, 80 x 64 cm. (Courtesy of Loft Art Gallery)

“The gallery now has a certain standing and is exhibiting alongside galleries considered to the biggest worldwide,” she added.

The gallery will showcase seven works by renowned Moroccan modernist and Casablanca Art School founder Mohamed Melehi (1936–2020), including three pieces that have never been exhibited before.




Mohamed Melehi, Untitled, 1996, Cellulosique sur bois, 110 x 95 cm. (Courtesy of Loft Art Gallery)

“We are participating with works from the famous artist Melehi, with whom we worked for 12 or 13 years until he passed. For us, it is a celebration of this great collaboration, all the success we achieved with him, and everything we accomplished together as an artist and gallery,” the gallerist said.

Melehi’s radical geometric experiments and his iconic wave motif were pivotal in shaping the aesthetic of post-independence Morocco.




Mohamed Melehi, Untitled, 2012, Mixed media on canvas, 120 x 115 cm. (Courtesy of Loft Art Gallery)

The artist, who was born in the port town of Asilah before he studied at the Ecole des Beaux-Arts in Tetouan, spread his wings in New York before returning to Morocco in the 1960s.

The gallery’s presentation of Melehi’s works taps into a growing global fascination with Moroccan art, with notable figures like pop artist Hassan Hajjaj being commissioned by the likes of Vogue US and The Royal Commission for AlUla in Saudi Arabia.




Mohamed Melehi, Untitled, 1960, Mixed media on canvas, 90 x 180 cm. (Courtesy of Loft Art Gallery)

Berrada also highlighted the increasing interest in Moroccan art, saying: “I can see it when we exhibit outside Morocco, like in France or London. People also often say, ‘Oh, we’re coming to Marrakesh next year or next month, and we want to visit your gallery’.”


Lebanese filmmaker turns archival footage into a love letter to Beirut

Updated 28 February 2026
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Lebanese filmmaker turns archival footage into a love letter to Beirut

LONDON: Lebanese filmmaker Lana Daher’s debut feature “Do You Love Me” is a love letter of sorts to Beirut, composed entirely of archival material spanning seven decades across film, television, home videos and photography.

The film premiered at the 82nd Venice International Film Festival in September and has since traveled to several regional and international festivals.

Pink Smoke (2020) by Ben Hubbard. (Supplied)

With minimal dialogue, the film relies heavily on image and sound to reconstruct Lebanon’s fragmented history.

“By resisting voiceover and autobiography, I feel like I had to trust the image and the shared emotional landscape of these archives to carry the meaning,” Daher said.

A Suspended Life (Ghazal el-Banat) (1985) by Jocelyne Saab. (Supplied)

She explained that in a city like Beirut “where trauma is rarely private,” the socio-political context becomes the atmosphere of the film, with personal memory expanding into a collective experience — “a shared terrain of emotional history.”

Daher said: “By using the accumulated visual representations of Beirut, I was, in a way, rewriting my own representation of home through images that already existed."

Whispers (1980) by Maroun Bagdadi. (Supplied)

Daher, with editor Qutaiba Barhamji, steered clear of long sequences, preferring individual shots that allowed them to “reassemble meaning” while maintaining the integrity of their own work and respecting the original material, she explained.

The film does not feature a voice-over, an intentional decision that influenced the use of sound, music, and silence.

The Boombox (1995) by Fouad Elkoury. (Supplied)

“By resisting the urge to fill every space with dialogue or score, we created room for discomfort,” Daher said, adding that silence allows the audience to sit with the image and enter its emotional space rather than being guided too explicitly.

 The film was a labor of love, challenging Daher personally and professionally.

“When you draw from personal memory, you’re not just directing scenes, you’re revisiting parts of yourself and your childhood,” she said. “There’s vulnerability in that.”