Biography

Mohammed NOUJMI, born in 1991, lives and works in Rabat. He is a laureate of the National Institute of Fine Arts of Tetouan (2015) and holds a Master's degree in Cultural Animation and artistic creativity (Faculty of Educational Sciences/Mohammed V University/Rabat, 2018).

He participates in several group exhibitions (MASTER MIND, Galerie Venise Cadre / RUPTURE, Galerie Comptoir des Mines) and in artistic residencies (Cité Internationale des Arts de Paris/ IFITRY, Center D’art Contemporain Essaouira).

Mohammed's work has integrated certain important institutional collections (Caisse de Dépôt et de Gestion/Essaouira Contemporary Art Center/Ministry of Youth, Culture and Communication in Morocco), Mohammed is interested in conceptual art and he uses installation as the main medium of his artistic practice.

He develops influences drawn from his childhood games into a thoughtful and contemporary creative practice.

In his visual research, he particularly questions the world of games as a metaphor for various political, religious and social power relations, such as the role of games as a constructor of personality and gender, consumer society, arms race, the relentless global struggle for wealth, patriarchy and many other themes and concepts.

Artistic approach

I didn't choose to be an artist, but I fight every morning to remain one.
When I was younger, like most children, I was passionate about drawing and creative and manual activities, especially since I grew up in an environment of artisans where my father's carpentry workshop and that of sewing coexisted. kindergarten.
Due to lack of means and the availability of various materials collected at my parents' workplace, I created my own toys. Little by little through confrontation with the outside world, I also used in addition and during my games with the neighborhood children, different packaging materials including tin cans that I recycled or reassigned to new fun functions. It is from this memory and technical foundation that my plastic work will later be built.
From now on, my childhood games have taken the form of artistic installations taking on different shapes and formats. It is always a question of reading simulations of war, of human transport whether vacation or forced (migration, travel, etc.), but in a globalized world of adults where the innocence of the first times seems to have disappeared.

Testimonials

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The work of Mohammed NOUJMI extracts us from the infernal abyss through a creation where playfulness flourishes through paintings and installations for recycling empty tin cans. Different geometric figures are stacked on a woody support that alternates black and white. Collage that preserves its bossage and its uniqueness to the metal used. The chromatic tones are limited to copper and silver and sometimes seem more like small change than anything else. Then, the parallel alignments are articulated according to an architectural arrangement specific to translating a world captured in its relentless struggle for wealth. Elsewhere, there are cold metal installations of countless squadrons of fighter planes, armored regiments and tanks: improvised toys of recycling which transport us into a tumultuous imagination of the infernal violence in which our world is plunged. So many transpositions about the passage from the harmless to the extremely serious in order to perpetuate oneself, to survive in the fierce struggle for power and power which continues to intensify through a metaphor full of irony stripper. Thus, Mohammed NOUJMI appears as a master in the art of reincarnating repulsive materials into chiseled objects of great finesse, which demonstrate his empire over metals and their work. “Al-Arab” newspaper, London, 12/19/2019 Excerpt from the text “Questioning, openings and artistic aspirations” by Charafdine MAJDOULINE academic, literary critic and art critic. Translated from Arabic by Ahmed MJIDOU Academic and translator