Lack of Curatorial Direction at the National Museum of Modern and Contemporary Art
The current exhibition at the National Museum of Modern and Contemporary Art (Macam) in Tunis, titled "Illuminations contemporaines," suffers from a glaring lack of curatorial direction. No curator is mentioned, and the exhibition resembles a showcase rather than a thoughtful and meaningful project. A temporary exhibition should be built around a strong concept, capable of transforming the presentation into an event or even a cultural phenomenon.
Poor Signage and Navigation at the Cité de la Culture
The Cité de la Culture, where the museum is located, lacks clear signage and a plan, making it difficult for visitors to navigate the premises. The few existing plans are relegated to remote corridors, rendering them almost useless. This is particularly problematic for the Macam, as visitors, whether Tunisian or foreign, would struggle to find the museum's location.
The Permanent Exhibition: "Mémoire de générations 1894-2004"
The permanent exhibition, situated on the ground floor, is titled "Mémoire de générations 1894-2004" and showcases different artistic approaches through three main ensembles: the pioneers, the Tunis School and its contemporaries, and a selection of more recent works reflecting the emergence of new generations and the advent of contemporary Tunisian art. Unfortunately, all the works lack temporal precision, with no signature dates provided.
The Temporary Exhibition: "Illuminations contemporaines"
The temporary exhibition, which should attract a wide audience, create a significant event, and promote culture, requires rigorous planning, in-depth research, and a well-studied scenography. However, this exhibition risks going unnoticed, not only by the general public but also by art enthusiasts, due to insufficient communication. The promotional poster, barely visible outside of the museum's Facebook page, only mentions the title and date of the exhibition, without any additional enticing content.
Homage to Abdelhamid El Hajem
The exhibition is situated on the third floor of the museum and begins with a text introduction in Arabic (without translation into French or English, excluding non-Arabic speaking visitors), intended to present new trends in Tunisian art. However, no information is provided about the artists, generations represented, or aesthetic orientations. Upon entering, visitors are greeted by the sound of a qanun accompanying a short video montage in tribute to the artist Abdelhamid El Hajem, who passed away in March 2025. While the gesture is commendable, it would have been more suitable to dedicate a separate space to this tribute, rather than incorporating it into the collective exhibition.
The Artist Abdelhamid El Hajem
Born in 1940, Abdelhamid El Hajem is one of the great figures of Tunisian plastic art. A graduate of the National School of Fine Arts in Tunis in the early 1960s, he marked the national art scene by infusing new dynamics into painting and plastic creation. As a passionate professor and accomplished artist, he explored drawing, engraving, sculpture, and plastic research with remarkable curiosity and mastery. His works, created from various materials (wood, metal, fabric), are inhabited by a profound and intimate quest for meaning. He is also credited with symbolic collective frescoes, testifying to an open and collaborative spirit. Through his work, he has durably enriched Tunisian cultural heritage and paved the way for an authentically anchored aesthetic.
The Exhibition
In addition to the tribute to Abdelhamid El Hajem, the exhibition features 54 other works from the National Fund for Plastic Arts of the Ministry of Cultural Affairs. These works bear the signature of artists with diverse universes, including Houda Rjab, Nizar Megdich, Faten Chouba, Zakaria Chaïbi, Najet Ghrissi, Chahrazed Fkih, Mohamed Amine Inoubli, Lynda Abdellatif, Kaouther Jellazi, Mouna Jmal Siala, Mourad Ben Brika, Khaled Abida, Basma H'lel, Imed Jmail, Nadia Jlassi, Aïcha Filali, Mohamed Ben Soltan, Samir Makhlouf, Wissem El Abed, Amira Mtimet, Thameur Mejri, Adnen Hadj Sassi, Rachida Amara, Ahmed Zelfani, Mohamed Ghassen, Majed Zalila, and Rym Karoui. While this presentation provides a glimpse into the richness of the National Fund, it suffers from a glaring lack of curatorial direction. No curator is mentioned, and the ensemble resembles a showcase rather than a thoughtful and meaningful project.
Conclusion
Showing the works of our artists is essential, but it is equally important to showcase them effectively: citing them in communication, presenting their approaches through short biographies, and providing visitors with a genuine curatorial text accompanied by explanatory brochures. Cultural mediation must also be strengthened to make the collection accessible to the widest audience. For, ultimately, is this not one of the primary missions of a museum?
