The Pulsar exhibition invites us to reflect in depth on the notion of tradition through the works of Mounir Ayache (1991) and Sara Ouhaddou (1986). Although both are rooted in a rich cultural heritage, their approaches show markedly different interpretations, with one reinventing the very concept of tradition, and the other ensuring the continuance of ancestral knowledge. Their works resonate with philosophical questioning around collective memory, the persistence of knowledge and the emergence of new cultural forms. At the heart of the exhibition is a new work made by 4 hands, entitled Pulsar – a reference to the heart of a fallen star that continues to emit light – bridging the gap between the practices of these two artists.

Mounir Ayache approaches tradition not as a fixed set of rules or forms to be repeated, but as a field of infinite potential, open to reinterpretation. His work is characterised by a bold deconstruction and reconstruction of established codes, including in particular references to science-fiction. Following on from the reflections on dynamic cultural identities proposed by thinkers such as Stuart Hall (1932-2014), Ayache shows us that what we perceive as ancient is often a malleable construction, capable of being remodelled by the present. He has no hesitation in taking traditional motifs, techniques or stories and bringing them in contact with contemporary language or inserting them into new contexts, thereby infusing them with unexpected vitality. For Ayache, tradition is a living entity enriched by the dialogues it enters into with the present, embracing a form of cultural hybridity close to the hearts of philosophers like Kwame Anthony Appiah (1954). His works invite us to question our own perceptions of cultural heritage and see tradition as a driving force of innovation, capable of endless renewal.

In contrast, Sara Ouhaddou positions herself as a transmitter of ancient knowledge. Her art is deeply rooted in ancestral artisanal techniques, often passed down from one generation to the next. Her approach is far removed from mere reproduction, but rather involves transmission and updating. She collaborates with artisans, immerses herself in their practices and contributes to the conservation of activities and knowledge which, as so well emphasised by the Malian writer Amadou Hampâté Bâ (1901-1991) when he speaks of African oral traditions, constitute real living libraries. This knowledge is the collective memory of a community, allowing techniques and story to continue existing through the ages. The work of Ouhaddou highlights the richness and complexity of these artisanal traditions, and demonstrates how the continuance of such knowledge is not only essential to the preservation of material heritage, but also to the continuity of intangible and identity heritage. Her work provides eloquent testimony to tradition’s ability to endure and adapt, while retaining its essence and depth, embodying a persistence essential to cultural vitality.

Together, these artists show us that tradition is not a monolithic bloc, but a pluralist concept, under constant evolution. It can be the source of inspiration for the most radical experimentation, just as it can embody the tranquil force of uninterrupted continuity. Their dialogue invites us to celebrate the richness of our past while embracing the transformations necessary to build the future, thus offering a complex and enriching vision of our relationship with heritage.