SLEEK You grew up in a family surrounded by art, with an appreciation of collecting. How did your own journey begin and evolve into your personal understanding of collecting? I’m thinking both of the legacy that was built and the individual path that collecting represents too.
Othman Lazraq I grew up surrounded by art all my life, and I think growing up with art is an education in itself. My parents always taught me that collecting goes beyond ownership. It’s about responsibility, about preserving stories, and gaining different perspectives from artists across time. That’s what pushed me to join the family foundation and to start the museum.
Now, when I look at all the works around me – so many different approaches, backgrounds, paths. Yet, together, they tell a story. That’s how my sensibility developed: by recognising what resonates with me. Over time, this naturally evolved into a deeper engagement with the art ecosystem, first through photography, video, and installation, and later by expanding the family collection. Coming from a family of collectors, it was important for me to also bring in new media and new conversations. This whole journey became a dialogue between my own path and my father’s. We often describe it as a transmission between a father and his son. With the birth of MACAAL, it’s now a transmission between a son and the public. That’s what a collection should do, it should speak, it should connect.
Photography by Joseph Ouechen.
SLEEK What is the story behind the work by Djamel Tatah, Untitled (1997), that you chose for us?
OL Djamel Tatah is someone I really appreciate, both as an artist and as a person. Early in his career, he gradually shifted his practice toward a refined, almost minimalist figuration. He is French-Algerien and for me, including artists from the Maghreb region is important – to reflect a North African identity and to serve as a window into the regional art scene. The landscape here used to be very small, with limited infrastructure. So collecting artists like Tatah is also about representation and visibility. His works are in major collections such as the Institut du Monde Arabe (IMA), CNAP, Fondation Maeght, and the Centre Pompidou. This particular piece is incredible for its scale and its stillness. It’s mostly blue, with a figure that feels suspended in time. His approach to figuration is subtle — meditative rather than bold — which contrasts with much contemporary African art that can be more expressive or symbolic. I find that anyone can connect to Tatah’s work. It’s quiet but deeply emotional.
SLEEK It feels like a visual anchor in the room. The blue is calm but also alive – not loud, yet powerful. That’s what I find so striking in Tatah’s color choices in general.
OL Exactly. The color carries the emotion. If you look at his other works, each color expresses a different feeling. The subject is often isolated – turned away, not interacting directly – which adds to that introspection. In this work, the figure is in motion, walking toward you. So, as you said, the blue feels active, lively.
Photography by Joseph Ouechen.
SLEEK Do you remember the first artwork you decided to purchase, and why? How do you define collecting for yourself – in terms of being a custodian of a work, but also being an active part in an artist’s career, which I understand is important to you as well?
OL I was about 21 or 22, right after returning to Morocco and already on the board of the Marrakech Biennale, that we were supporting back then with Fondation Alliances. I was very young and shy but knew I would love it. Being part of the Biennale connected me to artists, curators, and the creative community. That’s how I met Leila Alaoui, a photographer and close friend who, tragically, was killed in a terrorist attack in Ouagadougou in 2016.
Leila had just returned from New York, like I had, and we clicked immediately. At that time, I didn’t know much about photography and she made me realise it’s depth, technique and storytelling power. That’s why I often say photography is the medium of my generation – it’s accessible, but also demanding. One day, Leila came to my house and said, “I don’t really know my own country. I want to travel, meet people, and understand who Moroccans are.” She went off with a portable studio – that’s how one of her most iconic series, The Moroccans, was born.
When she returned, she showed me two photographs, and I immediately said, “I want them.” Those two prints became my first art purchase and I still have them. That experience made me realise collecting is a commitment, not just a transaction. It’s about supporting artists, being part of their journey.
Photography by Joseph Ouechen.
SLEEK What advice would you give to a young collector?
OL Be curious! You have to be open and take your time – visit studios, meet artists, engage with their work. Collecting should be an act of passion, not speculation. Build relationships. Learn. Travel. Trust your instincts. Make mistakes – that’s how you understand what you truly like. Collecting is also a responsible act – toward artists, toward their stories, and toward the works themselves. When you buy a work, you bring a piece of someone’s life into your home. That’s the most beautiful thing.