by @imanzaoin Iman Zaoin
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A visual tribute for @hands0fmorocco to the language of hands across Morocco
#handsofmorocco #Morocco #Maroc #photography #photographers #photographie #hofmorocco
Iman Zaoin @imanzaoin is a Moroccan-Italian photographer, currently based between Marrakech and Bologna. With a background in Development and Migration Studies, during her academic journey she developed a strong interest in contemporary Arab societies, with the aim of gaining a better understanding of her personal history and origins.
Photography, a passion she has pursued since her teenage years, has become a vital tool for documenting reality and engaging in personal exploration. Her work delves into themes such as memory, rural identities, and migration, with a particular focus on marginalized communities.
Her debut photographic series is a personal journey tracing fragments of her childhood memories in Morocco. The project was awarded the Grand Prize at the Festival Face Ă la Mer in Tangier in 2022.
Diasporic dialogues ep.10
From Oulad Frej to Ketama, Iman Zaoin captures discreet realities often overlooked — without freezing them in time. Born in 1996 in Assisi, the Moroccan-Italian artist offers a sensitive perspective on marginalized stories, including that of cannabis growers since its legalization in 2021.
#DiasporicDialogues #ImanZaoin #MoroccanItalian #CannabisCulture #KetamaVoices #OuladFrej #VisualStorytelling #DiscreetRealities #MarginsToCenter #ArtAndLegislation #diptykmagazine
@imanzaoin
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Iman Zaoin, born in 1996 in Italy, is a Moroccan-Italian photographer currently based in Morocco. In 2021, she completed a Master's degree in cultural mediation and migration studies. Throughout her academic journey, she developed a profound interest in studying contemporary Arab societies with the aim to gain a deeper understanding of her personal history and origins. Photography, a passion she has nurtured since her teenage years, has become a vital tool for her to comprehend reality and embark on a journey of personal discovery.
Her work delves into various themes, including memory and rural identities, with a particular focus on the lives of marginalized people. Her debut photographic project, an intimate exploration of her childhood memories in Morocco, received the First Prize at the Festival Face Ă la Mer in Tangier in 2022.
#venicephotolab
Iman Zaoin
On the way to the cemetery, Mouna picks some poppies, Oulad Fraj, 2023
A self-taught documentary and portrait photographer—born in Italy, and raised in Ben Ahmed, close to Khouribga—Zaoin is driven by a deep desire to better comprehend her own personal history and heritage. Holding a Master’s in migration studies, academia enhanced her practice, in turn imbuing a developing interest in the social and cultural issues affecting the Arab region.
Utilising photography, noting it as an invaluable tool for her to understand the world and convey her feelings, her work explores a myriad of themes such as memory and rural heritage, with a particular focus on the lives of marginalized people. Her first photographic series, a personal exploration of her childhood memories in Morocco, won the first prize at the Face Ă la Mer Festival (Tangier) in 2022.
Ketama, a view of the valley (2023)
Cannabis cultivation existed in the Ketama region (North of Morocco) since the 15th century, with its origins tracing back to the arrival of the Arabs in the 7th century. In this area cannabis was traditionally produced for personal use, although a part of the harvest was also intended for sale. Cannabis has always been used in traditional Arab medicine. The plant is also mentioned in “The Canon of Medicine”, by 11th-century Muslim philosopher Avicenna (Ibn Sina).
The start of the prohibition era in Morocco dates back to 1932, when the French protectorate enforced a ban on cannabis cultivation. However, in fact, cannabis culture will continue to grow during the following decades.
![Résister à l’instantIman Zaoin ( @imanzaoin ) refuse l’urgence contemporaine pour habiter pleinement l’instant, jusqu’à ce que le visible révèle ses strates cachées.Exode, oubli, mutations économiques, son travail se déploie dans la lenteur, l’attention, avec une éthique de la proximité qui refuse le voyeurisme.Il faut du temps pour que les choses se révèlent. Pour que la confiance s’installe entre deux regards, pour que l’invisible accepte enfin de se montrer. Dans un monde qui dévore ses images à la vitesse de leur production, Iman Zaoin cultive cette patience. Elle photographie contre cette frénésie qui transforme le réel en marchandise visuelle. [...]Un article signé Basma Mansour ( @besmansour ), dans la rubrique Portfolio du numéro d’été de Dyptik ( @diptykmagazine )Visible en ce moment dans « Alone together, Carte Blanche à Khalil Nemmaoui » chez Abla Ababou Gallery ( @ablaababougalerie ) jusqu’au 30 septembre 2025](https://sp1.picnob.com/p/pt_6752462855723843146873_0_8e6770f824c836dcdd4caf7efa1156bd.jpg?o=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&h=c9f78b475e0dbb3c537ba03dc448ab9b)
