Hassan Hajjaj, born in Larache, Morocco in 1961, is considered one of the leading photographers of his generation. Moving to London at the age of 12, the contrast between his life in Morocco and his experiences in England greatly influenced his work. A visit back to Morocco in the ’90s further shaped his artistic vision.
Hajjaj’s photography often features stylishly dressed individuals in vibrant spaces. The backgrounds and floors of these spaces create a striking contrast with the colors of the subjects‘ clothing or the furniture they are seated on. He enhances these large-scale photographs by framing them with custom-made frames made of eye-catching canned goods, ranging from teas to tomato sauce.
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Hajjaj often focuses his lens on the people of Marrakech, particularly the female henna artists of his „Kesh Angels“ series. These artists, known for their vibrant caftans and black face coverings, are a prominent part of Marrakech’s culture. Hajjaj captures them wearing heart-shaped glasses, showcasing their unique style and individuality.
In 2015, Hajjaj ventured into the realm of moving images with his short documentary „Karima – A Day in the Life of a Henna Girl,“ which follows a henna artist named Karima as she navigates her daily life in Marrakech.
Expanding his practice over the years, Hajjaj has created immersive installations based on his photographs. One such installation, „Dar Miami 1446,“ located on Lincoln Road in Miami Beach, showcases his work in a retail space transformed into a large-scale art installation. Featuring his photographic prints and a screening of his film „U-Lot 2010,“ the installation immerses viewers in Hajjaj’s vibrant and eclectic world.
During the day, visitors can explore „Dar Miami 1446,“ enjoy tea from Hajjaj’s brand Jajjah, and savor treats by chef Rose Previte. The space also offers merchandise for sale, with proceeds supporting the Miami Foundation’s work with marginalized communities in the area.
For three nights in December, Hajjaj hosted dinners at the installation, featuring a menu by Previte and live music performances. This convergence of art, food, and music embodies the concept of „Marhaba,“ which centers on Arabic hospitality and the spirit of welcome.
ARTnews interviewed Hajjaj about his project in Miami, discussing its origins and inspirations. The project culminated in a final tea service on December 6.
Hajjaj talked about his collaboration with the Cultivist and Capital One, which led to the creation of „Dar Miami 1446.“ The project aimed to combine art, food, and music to provide a unique experience for guests and cardholders.
Reflecting on the architecture of the space on Lincoln Road Mall, Hajjaj emphasized his intention to integrate his cultural influences and journey into the project. The building’s design inspired him to create a daytime and evening experience that showcased his contemporary interpretation of his background and travels.
Hajjaj’s project in Miami, building on his existing tea salon in Marrakech, aimed to immerse visitors in his world through art, music, and culinary delights.
The unique architecture of the building, with two windows and a central door, further added to the charm and character of the space.
I chose to place the tea shop on the right side to make it accessible to the public during the day, while on the left side, there will be a shop selling our merchandise. When working on projects like these, especially with Capital One, I always try to give back to the city or neighborhood. All proceeds from the merchandise sales will go to the Miami Foundation, which was a bonus for me.
Inside the building, I set up a large dinner table with unique seating, additional tables on the side, and a stage in front for photo shoots. Each night will have a theme, and I have enjoyed planning the evening programming. Guests will arrive at six o’clock for cocktails, followed by dinner, live music, and DJ sets for after parties. Simo Lagnawi will play Gnawa music during dinner, with performances by Yussef Dayes, Shaboozey, DJ Pee Wee, and Kaytranada on subsequent nights.
In addition to the dinners, Chef Rose Previte is creating sweets that complement each type of tea. I want guests to feel at home, surrounded by food that promotes togetherness. Some rooms will showcase my art, including videos and photographs, to provide guests with different spaces to explore.
The welcoming nature of the project is important to me because it reflects the culture of my region, where food and hospitality are central. I want to create an environment that encourages conversation and connection, rather than formality that can stifle interaction in the art world.
Launching my tea brand, Jajjah, was inspired by my partner Amine El Baroudi, a tea manufacturer and art collector. Designing the packaging for the tea cans allowed me to personalize the brand and incorporate music and collaborations with other artists. It has been a rewarding learning experience.
The project’s design was influenced by my upbringing in Morocco and my experience in London. The contrast between the bright colors of Morocco and the subdued tones of England has shaped my approach to color and pattern. The play of color and light in different environments has been a significant influence on my design choices. Aber ich ging einfach mit meinem Fluss und meinem Gefühl für Farbe und lernte irgendwie, Farben zu mischen. Ich denke, ich entkomme auch dieser Umgebung, schaffe eine Pandora’s Box, um für eine Minute oder Stunden zu entkommen.
Das ist wirklich natürlich passiert. Ich habe seit etwa ’96 einen Salon und es ist eine Umgebung, in der recycelte Objekte verwendet werden, um etwas zu schaffen, das vertraut wirken könnte, während es gleichzeitig etwas Neues ist, um die Leute einzuladen, es zu benutzen. Ich komme aus dieser Hintergrund. Ich habe in kleinen und großen Orten gearbeitet. Das war immer die Herausforderung: Wie kann man einen großen Ort nicht so kalt machen und wie kann man einen kleinen Ort warm und einladend machen. Ich denke, all diese Erfahrungen, die ich beim Aufwachsen gemacht habe, wie man Farben mischt und wie man mit Raum spielt, um Menschen ein angenehmes Gefühl zu geben. Sie würden normalerweise vielleicht nicht auf einer Kiste sitzen, aber dann setzt man sie in diese Umgebung und sie sehen es nicht als Kiste, sondern als Sitzgelegenheit. Es geht darum, damit zu spielen, und ich denke, das kommt wirklich aus meinem Hintergrund des Aufwachsens in Marokko und dem Recyceln von Dingen. Und wenn ich von Marokko spreche, spreche ich auch von [dem Rest des Globalen Südens], dem afrikanischen Kontinent, der Karibik, Südamerika, wo nichts weggeworfen wird. Für mich ist bei diesem Projekt das Wichtigste, dass die Leute es genießen und hoffentlich etwas Neues erleben.