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The art I love: MACAAL president Othman Lazraq's tour of his museum's formidable African art collection – CNN

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Written by Othman LazraqMarrakesh

Othman Lazraq is director of the Fondation Alliances and president of the Museum of Contemporary African Art Al Maaden (MACAAL) in Marrakech, Morocco.

My dad Alami Lazraq, founder of real estate firm Groupe Alliances, started collecting art from Morocco 40 years ago and then, gradually, began collecting pieces from the rest of Africa as well. He transmitted this passion to me, and now I am helping to evolve the collection as director of the Fondation Alliances and president of our Museum of Contemporary African Art Al Maaden (MACAAL) in Marrakech.

Each work tells its own story, and it’s important to give them all the opportunity to be heard. This is why MACAAL was born.

In a country like Morocco with a small art ecosystem, it’s crucial to support local artists, while inviting in the wider population. So through our exhibitions, residencies, workshops and community events, MACAAL provides crucial spaces where African artists can engage with the world.

Here are five works from our collection that truly embody the spirit of MACAAL.

‘Composition’ (1970) by Mohamed Melehi

‘Composition’ (1970) by Mohamed Melehi Credit: Mohamed Melehi

Mohamed Melehi is a pioneer of modern art in Morocco, known for his incredibly colorful abstract paintings featuring psychedelic waveforms. During the late 1950s and early 1960s he studied in Seville, Rome and then New York, where he exhibited at the Museum of Modern Art before moving back home in the late 1960s. He would go on to lead the Casablanca school — a group of Moroccan artists who famously exhibited their radical works for all to see in Marrakech’s Jemaa el-Fna Square in 1969.

“Composition” speaks to me as part of art history. The day I saw it, I knew that it had to be part of our collection so that we could continue to share Melehi’s legacy.

I’m very grateful to have witnessed the artist’s emotions as he walked into his retrospective at MACAAL last year, and saw many of his works together again. He told me he hadn’t seen our piece in several years and he was touched that it was back in good hands.

‘Untitled’ (2018) by Joy Labinjo

'Untitled' (2018) by Joy Labinjo

‘Untitled’ (2018) by Joy Labinjo Credit: Mark Pinder

Joy Labinjo is a young British-Nigerian artist who bases her paintings on old photographs from her family’s albums. I love intimate life scenes in figurative paintings, and hers are done on very large canvases with bright color palettes.

This painting is of her cousins posing for the camera in front of an orange-tiled wall and glass shelves filled with china. It reminds me of my grandmother’s home.

These days we all rely on our camera phones and have thousands of images in the cloud that we never look at. We don’t print them or hang them. But the photos we keep in old boxes at the back of our closets are the real gems. My family has those boxes that we open up together from time to time. I love Joy’s work because it highlights the heritage we all share.

‘Imdiazen #2’ (2018) by M’Barek Bouhchichi

'Imdiazen #2' (2018) by M'Barek Bouhchichi

‘Imdiazen #2’ (2018) by M’Barek Bouhchichi Credit: M’Barek Bouhchichi

Besides being a great friend, M’Barek Bouhchichi is one of the most talented Moroccan artists of my generation. His multidisciplinary works fight against the norms of society while also exploring his inner self. He believes all humans are the result of multiple cultures, and that we must go beyond geographical borders and interact with the rest of the world.

This work draws on his research into the Berber peasant poet M’barek Ben Zida, who believed he could connect with the forces of nature, either to calm them or use them against others, and speak to animals, plants and insects.

Each of the seven tall branches, made from wood and copper, has a poem chiseled into them. The installation is impressive in size from afar, but once you get up close, you realise its sensitivity and ability to communicate. It’s a very delicate and elegant piece that reminds us of the incredible diversity of Morocco’s population through its use of vernacular verse.

‘Composition in Blue’ (2016) by Abdoulaye Konaté

'Composition in Blue' (2016) by Abdoulaye Konaté

‘Composition in Blue’ (2016) by Abdoulaye Konaté Credit: Abdoulaye Konaté

Abdoulaye Konaté is one of the masters of our continent. The Malian artist creates impressive textile-based installations that explore social, political and environmental issues, as well as concerns over the formal language of signs and aesthetics.

“Composition in Blue” has a beautiful gradient of blues, crafted from a Malian fabric that has been cut into tiny pieces to give it movement. It reminds me of a large bird’s feathers, and when the work faces you on a wall, the yellow center looks like the sun. It is a commemoration of textiles and refers to flags of communication and propaganda.

The first time I saw it I felt intimidated because of the power it carries. I’ve gotten to know Abdoulaye, who is such a humble human being, and now keep this work close to my heart.

‘Young Woman with Fishes’ (1973) by Baya Mahieddine

'Young Woman with Fishes' (1973) by Baya Mahieddine

‘Young Woman with Fishes’ (1973) by Baya Mahieddine Credit: Baya Mahieddine

Baya Mahieddine was a self-taught Algerian artist who originally worked as a maid on a farm, immersed in the beauty of nature.

Mahieddine got her start modelling animals in clay, and in the late 1940s, she met a French gallerist who brought her to Paris to exhibit her works. Here, she met Matisse and Picasso and became interested in painting.

Soon after, she got married to an Algerian musician and had six children as his second wife. Living in a traditional household meant that she hid her paintings away for 10 years until he died, after which she was free to create again.

I have this painting at the entrance to my home so that it can be in my life every day. For me, the work is full of hope. The feminine palette of bright pink, turquoise and emerald acts as a symbol of the strong woman she wanted to be. It’s a message for future generations to believe in what they do and never give up on their dreams.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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