La Caravane, a Celebration of Moroccan Contemporary Street Culture

Over the past few months Morocco has appeared extensivly in magazines and on social media for it's luxury country clubs, gorgeous rustic riads and exquisite cuisine. Despite the North African country becoming a more popular refined travel destination, the heritage surrounding African fashion is likewise attracting the attention of the Western world. As previously discussed in Luxe97's write up of the RA's Summer exhibition, Hassan Hajjaj is making another dynamic appearance in London. The Moroccan born photographer has been making his mark within the art world with his elaborate vibrant images of local women wearing designer outfits perched upon motorbikes, and his video installations of local musician friends and rising stars.

Sommerset House hosts La Caravane, a contemporary exhibition displaying the works by Hajjaj entertaining a fun energetic presence within the traditional gallery. Hajjaj creates a refreshing blend of Moroccan tradition and street culture.

Although a small exhibition space composed of three rooms, the layout works beautifully transporting us to the small intimate streets of Marrakech. The poignant colours on display are irresistible within the conventional institution, making the exhibition all the more alluring. Using an innovative approach, Hajjaj marries the development of Moroccan culture with urban attitudes empowering Moroccan's rich heritage and ever evolving city.

The first room introduces us to Hajjaj's most known series, Kesh Angels. The white walls are embellished with brilliant colours we could only ever imagine coming from Africa. In the centre of the room sits one of the Kesh angels' bikes, adorned with multi-coloured coloured Louis Vuitton transporting and steamers falling from each handle bar. The bike is unique and encapsulates the series as it's a common mode of transport within the Moroccan city. It takes on a luxurious branding with a unusual twist as graphic patterns are incorporated within the Moroccan everyday.

Hajjaj's aim of the series is to challenge the perceptions made by the West on the relationship between women and the hijab. Hajjaj confronts these perceptions depicting women dressed in designer hijabs, looking flawless and fearless. Although we can only see the women's eyes, their gaze is alluring and captivates the viewer as the subject's stare doesn't fail to break. Women's eyes can often be associated with Islamic clothing, images of women in hijabs often focus on the beautiful dark eyes of the woman depicted due to their bold beauty and mystery. This is all too often sexualised.

Hajjaj has used the women's eyes as a focal point within his photograph 'Rider', in order to consume his audience presenting to us the modern day Moroccan woman. She chooses to dress as she does in lavish designer gear, yet doesn't abandon her nation's past. The powerful feminine gaze is a refreshing change from the gripping male gaze the West often perceive these women to be subject to. Their gaze is strong, unbreakable and empowering as they look without fear directly at their audience. Whilst depicting the portraits of the women Hajjaj has purposely placed himself below the subject. Not only does this further emphasis the power of the women it also reinforces the series titles 'Kesh Angels', suggesting these women are the angels of Marrakech and they're certainly not to be messed with.

The motorcycle girl gang who according to an interview with Hassan Hajjaj himself conducted by Vice speak up to five languages, are full time mums and work ten hour days are indicative of Moroccan city culture. These women prove themselves to be strong, more than capable and independent. Although motorcycle gangs are a made up concept for this shoot, the mode of transport is used by all within Marrakech. The motorcycle gives the women a sense of liberation demonstrating their independence, they do of course work pretty long days.

My Rock Stars: Volume 2, a new edition of work was on display in the following room. The combination of installation and portrait photographs celebrated native musicians and African fashion. The room displaying the installation consisted of 9 screens on the left side wall designed to look like portraits. Each screen displayed a musician facing the end wall of the room, sat beside their instrument wearing traditional African garments. Consecutively, each musician took it in turns to perform their piece whilst the others sat being videoed. Behind each musician lay a brightly coloured backdrop which complimented the musician's garments and the room the installation was displayed in. The wall opposite the screens has individual portraits of each performer framed by local Arab objects such as tinned goods.

A large sofa constructed from crates a brightly coloured cushions had been purposely built for the audience to sit and enjoy each musician's performance. Other objects such as tables and discarded cans made up additional props within the space curating a Moroccan street culture vibe. Everyday items had been applied to the details within the space producing a fantastic African street scene. The brightly coloured pallet bought the room to life suggesting the mundane nature of Somerset house in comparison to Morocco's vibrant streets.

The audience is never completely confident of the performer's identity as Hajjaj keeps his performance strictly local. The captions of the images would display "Afrikan Boy Sittin'" with no real name or further identification. The use of extremely simple yet flamboyant looking objects framing the musicians and constructing the furniture makes reference to the global attitude introduced within his country. Although these goods are globalised they're extremely localised and indicate their local nature through their brightly coloured appearance and use of the Arabic language. The goods have not succumbed to English. Throughout the exhibition Hajjaj plays upon the West's perception of his country however overrides the prejudice opinions expelled upon his culture by reviving and honouring tradition.

"Its almost like a dance between the camera, the person and the music..." Hassan Hajjaj for Somerset House

Hajjaj's vibrant exhibition fused the contemporary with the conventional indicating the importance of one's heritage. The photographer transported visitors to the lively streets of Morocco through the combination of photography, installation and music appealing to the senses. As a celebration of artistic culture the exhibition illuminated the significant beauty of Moroccan culture and it's unique properties. Hajjaj highlights the pride held surrounding his culture and the misconceptions the West through his elaborate use of textiles and local people he calls his 'rockstars'. He doesn't use celebrities, rather those who are meaningful to him and the local people.

Altering perceptions and stigmas attached, Kesh Angels has challenged sexualisation of the harem and the idea women are oppressed. These women are incredibly capable and talented as expressed through their contemporary presentation. Morocco is not a country clinging onto past traditions but has incorporated the modern world into their uniquely beautiful culture whilst preserving their heritage. Hajjaj continues to make waves in the artistic world with his bold brilliant thinking, appreciation of his roots and brave articulation of colour.

La Caravane is on display from 05 October 2017 - 07 January 2018 at Somerset House with free entry