yasmine laraqui

Yasmine Laraqui is a curator and a visual artist born in 1989 in Casablanca. She holds a BFA from ENSA Paris-Cergy (2012), an MFA from School of Visual Arts, NYC (2014),

Currently lives.

Yasmine has developed an interest in curating shows when she was an art student. Her personal work has been shown between 2009 and 2015 in France, Morocco, the U.S, Netherlands, Canada, Spain, Sweden, Italy and China for exhibitions, fairs, and biennales including the Marrakech Biennale, Photo L.A, 1;54 Contemporary African Art Fair, and PhotoMed Festival amongst others. 
Yasmine also co-founded Youth's Talking and Awiiily (2010-2014), two independent curatorial structures promoting non-conformist international artists, with an emphasis on emerging Moroccan artists. 

In 2016, she's mostly dedicated her time to researching, art curating and corporate creative directions.  

Yasmine Laraqui has opened Dasthe Art Space and Agency in Casablanca in September 2017. The institution aims at promoting local and international emerging artists through a monthly curated exhibition. Starting 201 9 DASTHE will work as a nomadcuratorial structure.  


August 10, 2016 · by Studio Das Weisse Haus, Vienna
Today, we are pleased to introduce Yasmine Laraqui from Casablanca, who is going to tell us more about her upcoming project, she is working on during her stay at studio das weisse haus. Furthermore she will give us an insight about Youth’s Talking and Awiiily (2010-2014), two independent curatorial structures aiming to promote non-conformist international young artists and the great impact these projects made worldwide.

YL: I am currently working on the transcript of cross cultural patterns of institutionalized sexism and femininity concepts in pre-colonial – colonial and post colonial Moroccan and French History. My researches include European feminist and queer theorists, as well as psychoanalysts that I’m trying to link with Pre-colonial Morocco historians discourses on sexual practices and gender notions (they were extremely liberal and queer back then!)

dwh: You have shown a great interest in the cultural and historical scene of the city. What are your impressions of Vienna so far, also compared to your hometown, Casablanca?
YL: I love it here. I’m trying to improve my Deutsch but I still have important grammatical issues so far, although I’m not giving up until my departure (sorry for my Viennese interlocutors ears). Well, I’m fascinated by the huge impact the Austrian scene had and still has on visual arts, from the classic modernists like Schiele / Klimt to the Viennese activism in performing arts – the democratization of the opera scene and obviously the tremendous international heritage of psychoanalysis! Well, I just regret that my hometown doesn’t have a cultural dynamic comparable to yours. Unfortunately with the ever-growing obscurantist secularism of the region (even if there’s a recrudescence of cultural events since Mohamed VI enthronement) we won’t be able to hold festivals such as the Impulstanz happening now in Vienna for instance – that would be considered too subversive and half of it would probably be censored – which is a cultural tragedy to me and other Moroccan artists or intellectuals who are forced to work outside of their home-country because of stupid obscurantists.

dwh: You co-founded Youth’s Talking and Awiiily (2010-2014), two independent curatorial structures aiming to promote non-conformist international young artists. Could you explain us more about these projects?
YL: I have created Youth’s Talking in 2010, I didn’t realize at the time that it was the first « underground » visual artists association there, I was living in Paris at the time anyway and was going back and forth to Morocco. We hold two events in Casablanca, both knew an unexpected success. I was too young at the time to realize what we were making was political, and even the regular visits of undercover policemen was somehow fun to me.

Then I moved to New York in 2012, there we’ve created Awiiily. Well, this time the manifesto was clearly subversive and has annoyed Republicans and puritans even in the U.S. We were considered political activists and anarchists. I didn’t except (call me naive) that an underground artists collective could have caused me so much troubles. We made an itinerary group show called Alien-nation, a medium size exhibition shown in independent venues in Paris and Brooklyn and finally at the Marrakech Biennale in 2014 before we were forced to dissolve.

Contrarily to what I could have imagined the hardest persecutions didn’t come from Morocco but from the U.S. Obviously not from France because they’re used to leftist activism and are pretty much open to all kind of hot debates. But yes anyway, I got harassed and slandered intensely in the U.S for two years and although that was a harsh experience – probably the ugliest thing I’ve been through. I have learned a lot – especially to never shut up.


PLAYS - theatrical performances 2015

2015 Written and Directed by Yasmine Laraqui Shot by Chloe Yintzu Actors Alexandra Krieger Gil Gilead


Sparkling Molotovs and Autonomous geographies - 2013-14

set of multimedia installations (School of Visual Arts - MFA Thesis, Photo Video and related media, 2014)


Urban Weastern screening curated by Tiger Cai, 25th Bowery nyc 2015, Marrakech Biennale - Off 2016, 1:54 AAF London 2017

In the wake of the Moroccan Arab Spring uprising, Yasmine Laraqui reflects on the global allure of mass demonstrations, from protests to rave parties. She questions the extent to which the easthetics of mass gatherings - as experienced in real time and online - have overwhelmed their ostensible aim of social commentary or political revolution.

Bonnie Yochelson, art curator



Photos installation 16 mini polaroids in plexiglass boxes,
4’x3’x2’ each
This piece is composed by a series of 16 mini polaroids , displayed in plexiglass boxes.
These have their front sides designed as a moucharabieh. The moucharabieh has preserved the intimacy of urban householders in Arabic architectures since the Middle Age. As old medina houses were packed and particularly close one to the other, this structure allowed people to see what was happening in the street without being seen. By adding the changing color led lights and the peepholes in the middle of the moucharabieh as to recall peep shows, the viewer is invited to experience a paradoxical definition of the structure as he’s led to take a voyeur position to see the photographs through the holes.
The present series deals with Arab women body representations in the cyberspace. The polaroids have been taken from amateur videos of women -whom are most of the time dancing- that have been stollen and diffused on different websites created to criticize and diminish them.

Spectrum Art Fair, Basel Week - Miami 2014




The last one is a collaborative piece I'm elaborating with Gaetan Henrioux. The work is a multimedia installation piece, composed by text-videos and digital paintings integrated into geometrical plastic elements. We're building a dystopian city based on the architecture of the panopticon, in which plastic elements shape colorful skyscrapers. We're exploring Foucault's idea as reshaped by the digital era by people such as William Bogard ; that we are somehow heading to a surveillance that would be its own simulation. "Increasingly the technological enlargement of the field of perceptual control, the erasure of distance in the speed of electronic information has pushed surveillance beyond the very limits of speed toward the purest form of anticipation"

Inspired by this, we thought of this transparent and visually attractive city, where people as contributors of their own shared data-bases would see personalized ads catch-phrases (taken from real suggested websites through Facebook etc) and surrealist cityscapes as representing their supposed geolocalizations. The very idea of panopticon is annihilated as a result to new social structures (physical and virtual) where each individual is self-conditioned to share and expose personal informations. In this way, the order imagined to "discipline and punish" becomes ironically the ideal of human interactions.


yasmine laraqui hd .jpg

Of great metaphorical scope, her photographic work results from a reflective dynamic that finds its limits between normality and marginality. Yasmine Laraqui reveals a troubled, imaginary world populated by figures and bodies that are visual supports for the expression of malaise, a tension of urgency. Dominated by ambivalent feelings - hope/despair, melancholy/lightness - these images, falsely banal, compose in a way the fictional pages of a diary. They reflect the inner struggle of a disillusioned youth who seeks in vain to redefine the role and existence of identity games in society.

Mouna Mekouar, art curator





2009 -2011



deconstruction neo orientalism - 2010 - ongoing

dolce casa yasmine laraqui.jpg
dance performance 104 Museum, Paris 2010 Sound: Chahine Icone (electronic lapidation)