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Mohssin Harraki, Rahatu’L-Aql/Peace of Mind, 2017, lightbulbs, stones, cables, silk screen on glass, concrete, paint. Installation view.

Mohssin Harraki

Galerie Imane Farès

Mohssin Harraki, Rahatu’L-Aql/Peace of Mind, 2017, lightbulbs, stones, cables, silk screen on glass, concrete, paint. Installation view.

In his exhibition “Matière grise” (Gray Matter), Mohssin Harraki’s Débat imaginaire (Imaginary Debate), 2017, covered an entire wall with an enlarged fourteenth-century illustration of the twelfth-century Andalusian thinker Averroes in conversation with Porphyry, the third-century Neoplatonic philosopher. Manfredus de Monte Imperiali, working in what is today Italy, originally fixed this imaginary dialogue between the two Mediterranean intellects on parchment, seating the wide-eyed men, clothed in colored robes, in stiffly foreshortened chairs. The phrases in ornate Latin calligraphy that extend from each figure’s profile were indecipherable to me, as they would be to most viewers, and so function today as visual forms, thrust from the mouth of each speaker toward the other. Manfredus’s manuscript, now held in the Bibliothèque Nationale de France in Paris, clearly recognizes the

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