Mehdi Annassi: Crafting Identity, Building Networks, and Embracing Multidisciplinarity in Moroccan Comics

On August 8th, artist Mehdi Annassi took center stage in a live stream interview, delving into his artistic journey, notably his experiences with the Skefkef magazine. In this insightful conversation, Annassi generously shared his perspectives and recounted key episodes from his artistic endeavors in Morocco. Here’s a concise summary of the five major insights that captured my attention.

– YOU CAN WATCH THE WHOLE EPISODE ON ALKHARIQUN’S YOUTUBE CHANNEL OR INSTAGRAM PROFILE –

1. Separation between the Whole Self and the Artist’s Identity

Mehdi highlighted the intricate connection between an artist’s identity and their personal self. In the eyes of others, an artist is often perceived through their art, intertwining professional and personal identity. Annassi’s murals carry the signature “Mashima,” a concise yet powerful choice. This symbolic bridge, influenced by Japanese and Arabic aesthetics, strategically separates his holistic self from the specific identity assumed in the artistic realm.  This word that means placenta in Moroccan darija is also composed of “mashi” (that stands for “not”) and “ma” (that is a shortening of the name “Mehdi”). For the artist, Mashima is also a way to sign “not Mehdi”. “Mashima” becomes a strategy, allowing the artist to navigate potential mural intimidation, offering a canvas where imperfections can be discarded—a profound exploration of identity malleability within the artistic process.

2. Importance of Networking and Visibility

The year 2008 marked a pivotal moment in Annassi’s career when Ubisoft sought his pixel art expertise. Posting his creations on Deviantart played a crucial role in catching Ubisoft’s attention. Beyond artistic prowess, this instance exemplifies the potency of networking. Annassi urged fellow artists to go beyond the strokes of a brush; articulating vision, defending work, and actively engaging with the audience are crucial. Networking, he emphasized, transcends being a mere visibility tool—it’s a dynamic platform for encouragement and collective learning.

3. Importance of Teamwork and Collective Learning

For the ‘self-taught’ artist, the Brain Oil Factory was a central starting point, fostering collective learning and productions. Originating as a small group translating visual concepts in a café, it evolved into a dynamic collective of eight artists. Exhibitions and workshops followed, and from this dynamic environment, the Skefkef magazine was born. The collective’s identity and resilience were molded by both successes and challenges, including the infamous Boulevard incident.

4. Importance of Multidisciplinarity

Annassi’s artistic pursuits defy the boundaries of a traditional book. His multidisciplinary approach is evident in projects such as the music barcode at the magazine’s back, mural contributions to national festivals like Sbagha Bagha, and collaborations with theatrical troupes to stage environments mirroring Skefkef Magazine themes. This commitment signifies an exploration of diverse artistic expressions beyond traditional comics.

5. Challenges in Establishing a Comics Market in Morocco

Annassi highlighted the absence of a dedicated comics market in Morocco and the significant distribution challenge. The team adopted unconventional selling methods, strategically avoiding traditional libraries to maintain affordability and accessibility. Annassi envisions not just overcoming challenges but actively participating in building a comic art market in Morocco. He emphasizes that proliferation will spark interest and eventually establish a thriving creative ecosystem.

In conclusion, Mehdi Annassi’s artistic odyssey unfolds as a rich tapestry, interwoven with threads of identity, collaboration, and an unwavering commitment to expanding the horizons of comic art in Morocco. For a deeper dive, catch the entire interview.
Artboard 1-100 (1)
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Picture of Zineb Sbai El Idrissi

Zineb Sbai El Idrissi

Zineb Sbai El Idrissi is a doctoral student at Ibn Tofail University and a cultural operator. She is currently director of Alkhariqun, a collective of young Moroccan cartoonists she co-founded in 2020. Born in 1994, she works between Rabat and Moulay Bousselham. After graduating with a master's degree specializing in art and media, Zineb Sbai El Idrissi began her career as a cultural operator, in 2017, at Cube - independent art room in Rabat. There, she held the positions of translator and art mediator for three years. Since 2020, she has been working with comics artists and taking charge of the direction of the Alkhariqun collective. Working closely with other institutions and cultural activists, her activity is focused on accompanying and promoting engaged art that questions meta-narratives, gives voice to unprecedented reflections and experiences, and informs the public.

Alkhariqun

ALKHARIQUN

Alkhariqun is a collective of young artists and cultural operators acting as an audio-visual production studio. Based in Morocco, The members produce projects that take the shape of comic books, exhibitions, paintings, and animated videos.
Founded in 2020, Alkhariqun have been organizing art projects and accompanying other artists in their art production.

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Mehdi Annassi: Crafting Identity, Building Networks, and Embracing Multidisciplinarity in Moroccan Comics

On August 8th, artist Mehdi Annassi took center stage in a live stream interview, delving into his artistic journey, notably his experiences with the Skefkef magazine. In this insightful conversation, Annassi generously shared his perspectives and recounted key episodes from his artistic endeavors in Morocco. Here’s a concise summary of the five major insights that captured my attention.

Read More »