The Osmoses exhibition by artist Hiba Baddou presented to the public from October 22 to November 04

The Osmoses exhibition by artist Hiba Baddou will be presented to the public from October 22 to November 4, 2021 at the Bab El Kébir – Kasbah des Oudayas gallery in Rabat, with the support of the French Institute in Rabat and the Ministry of Youth, culture and communication.

Hiba Baddou, born March 1, 1997 in Rabat, is a Moroccan multidisciplinary artist. After obtaining her author-director diploma from the International School of Cinema in Paris (EICAR) in 2018, Hiba continued her studies at the prestigious Penninghen School of Artistic Direction in Paris, formerly Académie Julian, where she technically developed his pictorial universe. A meeting point between East and West, Hiba Baddou’s universe is punctuated by poetry, rhythms, light and movements.


Reciprocal influences, interweaving of abstract things. Osmosis represents the exchange of parallel feelings, unconscious communication… Osmoses is a reflection on society, the crowd, individuals and their habits. It is also a representation of detail, in the mass, of towns and rites. I have always felt the need to bathe in the crowd, in harmony with the world around me. Through this exhibition, I want to immerse the viewer in a fast-moving world, where a lot of things happen; a life opposed to autarky, a life never alone, never without others. A life at
through others.

Osmoses is an ode to life, to the organic, to color, light and accumulation. A response to the accident …

Hiba Baddou’s snapshots

Designer, director and photographer, Hiba Baddou covers the environments she crosses with her eyes. Osmoses is the testimony of this. His dense and colorful universe restores his fascination for social and spatial interactions as well as his moving presence in the world. The allegorical evidence of the red car covered with characters letting itself be carried away by the wanderings of its driver, in no way attenuates the inscription of the paintings in the same dynamic, underlines Salima S. El Mandjra Architect and Teacher at the National School of Architecture.

Passenger of everyday life, the artist is the first to apply herself to it. Painting by investing the entire surface, forces him over the course of his successive brushstrokes, to furrow the future space of his creatures … Later, it is the spectator’s turn to retreat or advance to find the distance necessary to observation of the work. In the process and if he has not been caught by the performance, his gaze will be led to reassemble the details that will have fragmented, during his exploration, the general composition.

For Salima S. El Mandjra, also a writer, this ocular shifting alternating cut-out and plenary perception will re-engage in the same way, facing the diptychs, triptychs and sixtychs. Quest for the right position… Multiplication of views… Split representations… Couldn’t there be some incentives to shake the apparent Osmosis of this urban effervescence? On closer inspection, the atmosphere that emerges from these urban gatherings helps not to dismiss the possibility.

The particular tonality of the shades, despite the choice of bright colors, would it not dull the intensity of the apparent energy that irrigates the canvases? By mutually truncating each other, does not the entanglement of the elements call into question the consideration today accorded to beings and their bodily integrity? Eyes often closed, figures with disenchanted faces, the excess of hands and arms often extended towards elsewhere, would they not illustrate the faults of a community, more cemented by an emptiness of exchanges than real sharing? ? The rise of smoke in the sky would it not alert on the precariousness of an overflowing existence devoid of any state of mind on its sustainability?

Inseparable, the lightness and melancholy permeating the work of this young artist, would invite, through a game of contrast, to question the meaning in the 21st century of being together … Osmoses would then appear as a call to touch, to proper meaning in these times of contamination, and figurative to reach each other without being consumed and further compromising the future of humanity. The gallery housing the event, would then match the spirit of his creations, because Bab El Kébir overlooks on one side the Souk Leghzel of yesteryear which was a place of meetings and exchanges and on the other the Laalou cemetery… The ephemeral there expires its inspirations on eternity… For the time being, Hiba Baddou freezes the whirlwind of life in its snapshots…



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