Painter
Khadija Tnana
Slender, upright, never bowed: the women in Khadija Tnana’s paintings stand at human height, in a radical refusal of all submission.
The artist
Career
Born in Tetouan shortly after the Second World War, in a north marked by Spanish rule and the still raw memory of the Rif war, Khadija Tnana came early to political commitment, a path that shaped her art as much as her public life. She has exhibited since the early 1990s in Morocco, Spain, France, Belgium, Italy, Germany and Senegal, and created a foundation in her name in Tetouan.
The body as a battleground
Her painting is stripped back to essentials. Her women, slender as if carved, carry both the finitude of all existence and the violence of patriarchal norms, yet always stand tall, with a dignity that belongs to every human being. Her “Kamasutra”, a composition of 246 pieces set within a hand of Fatima, was withdrawn from an exhibition at the Tetouan Modern Art Centre in 2018 as “too daring”; the artist answered that the body was there not to arouse but to denounce violence and harassment.
Landmarks
- 1992 — Galerie Batha, Fez; Kods complex, Fez
- 1995-1999 — “Ras El Hanout”, from the European Parliament in Strasbourg and Brussels to the Tetouan Museum and Galerie Bab Rouah
- 1999 — “Temps du Maroc”, Paris; solo exhibition, Nablus
- 2001-2003 — “Lahrig”, Instituto Cervantes Tangier and CDG Rabat; “Le script de la mort”, Instituts français of Fez and Meknes
- 2006 — Residency, Cité internationale des arts, Paris
- 2014 and 2016 — Dak’Art, Dakar Biennale
- 2016 — “Femme et modernité”, Mohammed VI Museum, Rabat
- 2019 — 2nd Rabat International Biennale
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In the same spirit
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