Joe Namy's art engages with the healing energies of music and the dance floor.
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Curator Naz Cuguoğlu introduces Party on the CAPS, Meriem Bennani’s futuristic video installation.
It’s about connecting generations. A lot of my relationship to what I love about Moroccan culture comes from things I witnessed or overheard growing up, especially from elders. A certain kind of humor, a certain dirtiness or sexiness, a rawness in speech that excites me because it creates a space where I feel that anything is possible. Take, for example, song lyrics that depict with so much poetry and humor how sexuality informs everyday life, from politics to house chores. I’ve always been a sucker for that kind of thing, even as a child, seeing people talk with that kind of frankness and feeling like I can’t speak that way myself. Maybe the only way I can touch that, or re-create it, is through art.
— Meriem Bennani
Meriem Bennani was born in 1988 in Rabat, Morocco and currently lives and works in New York City. Using strategies of immersion, duplication, multiplicity, and remix, Bennani blends humor and critique, reaffirming the power of family and home while analyzing larger systems of power across a networked world.
Top image: installation view of Party on the CAPS, 2019–2018, Single-channel HD video with sound, from Rave into the Future: Art in Motion, October 24, 2025–January 12, 2026. Photograph by Kevin Candland, © Asian Art Museum of San Francisco.
