Othman Lazraq
Collector, Patron, Pioneer
INTERVIEW
Was there a particular moment when you realised you loved art, and that you wanted to be a collector and patron?
OL: I have loved art for as long as I can remember. Being in a family where art was at the center of our living, it became natural. Artists regularly had dinner at our home; some even became close friends. Growing up surrounded by art instilled in me a true passion for art in general and developed my eye for it pretty early. Collecting came a bit later when I was able to purchase my first artwork with my first salary. Since then, I’ve become obsessed with Art.
I read that the first pieces you collected were two works by the late photographer Leila Alaoui, from her series The Moroccans. What was it about these pieces that spoke to you, and made you want to start collecting?
OL: Indeed, my first acquisition were two photographs by Leila Alaoui, from her series Les Marocains (The Moroccans). Leila was a dear friend of mine, I was literally with her the day she left for the Atlas Mountain to shoot this series and the day she came back. I experienced the before-and-after story of this series!
These are monumental portraits that represent the Moroccan people in a sober yet profound way. Humble people who are the face and guarantors of our culture and traditions. I was astonished by the beauty of the faces she captured; you could literally feel the emotion in the works. They were, and still remain, very special for me.
How do your tastes in art differ from those of your family?
OL: I think I'm the outsider in the family, haha! We have a similar vision but are interested in different generations and mediums. My parents have built up a collection mainly of modern Moroccan and African art. As for me, I am passionate about art of my generation, in all its range of expression. Painting and sculpture of course, but also photography, video, sound works, installations, evolving and/or ephemeral conceptual works.
What do you think the power of art is?
OL: I like works that have power (over people, thoughts, our world view); works that have an impact and make you think. These works are made for society, to be seen and shared. Hence the birth of MACAAL and the structuring of our collection. Our main goal is to democratise access to art, both in Morocco and more widely. We strive every day to reach a wider audience, to create a community and develop synergies. I truly believe that Art is a universal language that everyone can speak!
Is there a particular artist you would love to collect?
OL: Frida Orupabo, I’m a huge fan! I discovered her work at the last Venice Biennale. Etel Adnan would also be a dream catch.
What are you most excited about in the art world for 2021?
OL: The progressive return of exhibitions and cultural events in person. Although this period of crisis has allowed galleries, museums, and other artistic institutions to develop their own digital offerings and gain new audiences, nothing beats seeing the works in person! Getting back to the fairs and getting in touch with the art scene again is something I look forward to.
What non-Moroccan city do you most like to visit to look at art?
OL: Paris for its very precise eye and for the infinity of cultural offers and possibilities. It is probably the most beautiful city in the world, and the most exciting scene at the moment.
You have been involved in creating so many amazing art prizes and organisations; is there one in particular that you are especially proud of?
OL: Highlighting creativity has always been a priority for me even before leading the Foundation. Lcc Program is the only prize I actually founded. Thanks to the Lcc, dozens of young talents have emerged and become professional, which is a real source of pride for me. It is now proudly reaching its 8th edition, with a new format, and is more up-to-date and thoughtful in the light of current conditions (restricted accessibility and digitalisation in particular). But outside of the Foundation, I’ve been involved in so many other prizes.
What is your dream for Morocco in the global art world?
OL: Always more recognition of course, integration into the global art market, and strengthening cultural exchanges with other countries.
Morocco has already evolved a lot in this area in recent years and is gaining in importance. Since the end of the 20th century, but exponentially over the course of the last decade, the cultural offerings of Morocco have been greatly enriched, notably thanks to the opening of world-class cultural and artistic institutions. Today, the country has more than 25 museums and art foundations, as well as more than 30 galleries; it also hosts international cultural and artistic events. All of these large-scale events actively contribute to the revitalisation of cultural activities in Morocco, already considered one of the top cultural hubs in Africa.
What is your favourite Moroccan art fair? Favourite non-Moroccan art fair?
OL: Touria El Glaoui, the founder of the 1-54 Contemporary African Art Fair in London, New York, Marrakech, and Paris, is a long-time friend but above all a partner and a precious ally. We have worked together for several years on various projects. It was in partnership with her that we launched the first edition of Marrakech Art Week in 2018, which has become a must-see event of the international art season.
As for non-Moroccan art fairs, I would definitely choose Liste Art Fair Basel, Sunday Art Fair in London, NADA in Miami, and Material Art Fair in Mexico. All these fairs have been real incubators of young talent. They have played a determining role in the emergence of the young artistic scene, a springboard for artists, and a concentration of discoveries for the actors of the cultural sector.
