Arab, African and Indian modernities share a common dynamic: the reinvention of artistic languages at a time of independence and profound social transformations in the twentieth century. From Casablanca to Dakar, from Tunis to Mumbai, artists are exploring their heritages while transcending them, asserting powerful and singular visual identities.
This sale brings together emblematic figures of these modernities. In Morocco, Hassan El Glaoui, Chaïbia Tallal and Ahmed Louardiri embody three complementary sensibilities in the same quest for plastic renewal. Farid Belkahia, a central figure in the Casablanca School, has taken a singular approach to this dynamic: abandoning canvas in favour of skin, henna and natural pigments, he has developed a modernity deeply rooted in Moroccan craft skills and visual heritage, combining Amazigh motifs, contemporary abstraction and cultural memory.
Algeria is represented by the founding trio of Baya, Issiakhem and Khadda, who are joined by Mahjoub Ben Bella and Ali Khodja, as well as Mohammed Racim, a master of renovated miniatures. Baya occupies a special place in this group. The two gouaches on display, produced around 1945, predate her Paris exhibition at Maeght in 1947. Kept from the outset in the families of their first collectors Frank Turner and Rosita Wertheimer, figures in the intellectual and artistic network that surrounded the artist before her public recognition, they bear witness to a plastic language that was already fully constituted, observed and sustained well before her inclusion in the narrative of modern art.
Tunisia expresses itself through the meditative and luminous paintings of Hédi Turki and the dreamlike universe of Jallel Ben Abdallah. The African scene brings together Philippe Sène, Amadou Seck and Marcel Gotène, as well as Samuel Fosso, whose subversive portraiture has established him as a major international photographic voice.
Finally, Sakti Burman, Laxman Pai and Satish Gujral embody a cosmopolitan Indian modernity, nourished by ancestral traditions and international experimentation. Born in Calcutta in 1935 and now settled in Paris, Burman's painting is at the crossroads of Indian narrative heritage and European experience, where memory, mythology and modernity meet without clashing.
Together, these trajectories - from Casablanca to Algiers, from Tunis to Calcutta, via Paris - make up a dense cartography of the modern writing that has redrawn the artistic scenes of the Maghreb, Africa and India in the twentieth century and beyond.
See original version (French)