Embracing 'Asǝṭṭa': Morocco's Artistic Narrative at the Venice Biennale

The Genesis of "Asǝṭṭa": A Tapestry of Heritage and Innovation

For its inaugural national pavilion at the Arsenale, the Kingdom of Morocco proudly presents "Asǝṭṭa" at the International Art Exhibition of La Biennale di Venezia. This monumental installation, meticulously designed by the multidisciplinary artist Amina Agueznay specifically for the Artiglierie, delves into the intricate process of transmitting traditional craftsmanship and collective memory. Agueznay describes it as a "fully immersive installation that unfolds as a membrane, or second skin," highlighting its enveloping and intimate nature. Curator Meriem Berrada elaborates on the pavilion's essence, characterizing it as "a porous, liminal space that enables the circulation of ancestral narratives while posing a broader question: how might we compose together across a plurality of languages and techniques?" Aligning with the Biennale's overarching theme, "In Minor Keys," curated by Koyo Kouoh, the project intentionally spotlights what Berrada terms "discreet, humble, yet rich and structuring practices" that intrinsically shape collective life, moving beyond dominant artistic narratives.

Exploring the 'âatba': Thresholds of Space and Symbolism

The "Asǝṭṭa" installation meticulously guides visitors through a series of spatial transitions, deeply rooted in the concept of the âatba, which signifies a threshold as both an architectural and a symbolic entity. Amina Agueznay, a Moroccan visual artist, emphasizes that the threshold, or âatba, represents an "in-between" state. She further explains that beyond being a cosmological idea, the threshold dictates how people structure their lives and sustain their traditions. Agueznay, trained as an architect in the United States, returned to Morocco to immerse herself in vernacular practices, leading her to work at the intersection of spatial theory and material expertise, often through enduring collaborations with skilled artisans. Within the Moroccan context, this space acts as an intermediary, bridging the interior and exterior, the sacred and the profane, and the private and public spheres. Berrada expands on this spatial condition, noting that it is "far more than just a doorway: it is a distinct environment, an area of transition rather than division, an independent architectural and symbolic entity, animated by ancestral rites." Housed within the Arsenale’s Artiglierie, this philosophical concept becomes tangible, as the installation functions as a "transformative threshold (âatba)," inviting visitors to navigate a fluid landscape of transitions rather than static zones. This intermediate space also possesses a temporal and perceptual dimension, allowing for moments of introspection and fresh perspectives, drawing parallels to "the rhythmic suspensions found in Arabic poetry or the silences that reveal the depth of music."

Craftsmanship: A Dynamic Process of Knowledge Creation

Through its thoughtful presentation, "Asǝṭṭa" seeks to recontextualize craftsmanship, moving beyond its conventional understanding as merely heritage to be preserved. Instead, it posits craft as a potent form of knowledge production. Agueznay articulates this shift, stating, "Knowledge production transcends preservation to become innovation," and adding that "innovation involves a deep understanding of matter, the experience of matter and gesture." Berrada further situates this within a broader cultural framework, asserting that "Craftsmanship is, intrinsically, a living matter… yet this 'intelligence of the hands' is not always recognized," highlighting the persistent hierarchical distinction between fine art and craft. For the pavilion, this distinction becomes a crucial starting point. She explains that when the theme "In Minor Keys" was announced, they recognized it as an ideal opportunity to bring these "discreet, humble, yet rich practices to the forefront." The project fosters collaboration between 166 Moroccan artisans and two Venetian counterparts, each contributing as a co-creator rather than a mere executor. Berrada underscores that "Each artisan has chosen to give a new, deconstructed impetus to their work," emphasizing that the contemporary dimension of "Asǝṭṭa" organically emerges from within these practices themselves. This approach reflects Berrada's ongoing curatorial interest in how art and craftsmanship intersect as powerful forms of contemporary storytelling across diverse African contexts.

A Collective Symphony of Voices and Hands

Amina Agueznay likens her role in this collaborative process to that of a musical conductor, "guiding distinct, authentic voices into chorus," resulting in a truly "polyphonic" outcome. For Meriem Berrada, whose work at MACAAL (Museum of African Contemporary Art Al Maaden) has focused on expanding platforms for African artists, this collective dimension extends beyond the immediate exhibition to contribute to long-term cultural infrastructure. She emphasizes the importance of presenting a collective dimension that "highlights the diversity of voices and gestures composing Morocco." The project is the culmination of years of fieldwork and established collaborations, with Agueznay having cultivated relationships with these artisans long before the Biennale. Berrada describes the installation as "a living archaeology of gestures… a collective means to preserve, highlight, and reactivate exceptional savoir-faire." Within this framework, artisans are positioned as central figures in the artwork's creation, their contributions fundamentally shaping both its material and conceptual aspects. A striking, yet organic, feature of the project is the prominent involvement of women. Berrada notes that "The vast majority of the artisans involved are women," reflecting the reality of many traditional craft practices, which are often transmitted "from mother to daughter," thereby embedding the installation within rich networks of care and shared knowledge.

The Poetic Language of Material and Movement

Throughout the pavilion, actions such as weaving, braiding, and stitching are presented as profound carriers of meaning. Agueznay explains that "All forms of needlework carry a visual language — pictograms that tell stories." However, she stresses that these gestures transcend the purely visual, encompassing "the rituals that accompany the life of an object are multisensory… like moving through thresholds, feeling the texture and silence of wool." Berrada similarly frames material as a linguistic system, describing how Agueznay "treats her materials as a living alphabet," where "manual techniques act as the phrases of a narrative… forming a poetic language that transcends cultural boundaries." Within "Asǝṭṭa," these gestures intricately weave together histories, geographies, and individual experiences, creating a rich and evolving narrative landscape. The installation intentionally resists linear storytelling, instead operating through accumulation and association, inviting visitors to engage with its diverse textures, rhythms, and fragments. Meaning emerges dynamically through proximity, movement, and a keen attention to detail.

"In Minor Keys": An Understated Harmony

In direct response to the Biennale's theme, "In Minor Keys," "Asǝṭṭa" adopts a deliberately understated and nuanced approach. Agueznay reflects that "'In Minor Keys' is… a manifestation of love and respect for all voices equally," connecting the theme to ideas of passage, sound, and shared human experience. For her, it evokes "the music of the workshop, the echo of community, shared meals and song." Berrada expands on this interpretation, noting that "the 'minor' mode gives a voice to that which rejects exuberance and evades grandiosity." Rather than seeking overt prominence, the pavilion participates in what she frames as "a humble joining of voices where each contribution is essential to the harmony of the whole." "Asǝṭṭa" functions as an open, fluid structure, which Berrada aptly describes as "a vessel for numerous intersecting stories." It encompasses personal narratives, collective histories, and broader reflections on materiality and artistic authorship. Instead of imposing a fixed interpretation, the installation actively encourages visitors to engage, to question, and to navigate its many complex layers. In this manner, Morocco's inaugural pavilion at the Arsenale proposes an alternative paradigm for exhibition-making, one firmly rooted in genuine human connection, cultural transmission, and the enduring power of gestures carried across the vast expanse of time.