KOZ collective

M’hammed Kilito, Imane Djamil, Yasmine Hatimi, and Seif Kousmate discuss their practices in the context of a collective and what Moroccan photography means to them

M’hammed Kilito, Zakaria, from the series Destiny (2017) fine art print, 60 x 60 cm. Courtesy of Gowen Contemporary Gallery.

Imane Djamil, The Pool, from the series 80 Miles to Atlantis (2020) archival pigment print, 32 x 48 cm. Part of a larger installation. Courtesy of the Artist and CDA Gallery.

Seif Kousmate, The Boza Bags, from the series Away from the Dreamland (2017) fine art print, 1000 x 150 cm. Courtesy of the Artist.

Yasmine Hatimi, Portrait, from the series The New Romantics (2017) fine art, 50 x 60 cm. Courtesy of the Artist.

A conversation between Imane Djamil, M'hammed Kilito, Seif Kousmate, and Yasmine Hatimi.

“Now, whether we want it or not, Orientalist visual symbols, often hailing from an exotic interpretation of a female environment, have structured Moroccan photography; and artists from different generations reuse them in different ways, whether in a critical and burlesque way (as in against or to mock the Orientalist medium itself) or as a visual tool to tackle political issues, such as women's rights.”