LIFE BEYOND FIRST CLASS
ARTS & COLLECTIBLES
POP CULTURE
MEETS THE KASBAH
Mousganistan (Lannoo Publishers) is the visually captivating debut by Moroccan-Belgian artist Mous Lamrabat, blending pop culture, tradition, and consumerism into a vibrant, thought-provoking exploration of identity and multiculturalism.
Cant wrap my head aroud it, 2021
This debut by the acclaimed artist features over 15 years of his iconic fashion imagery and personal work, showcasing a vibrant blend of tradition and modernity. Bound in linen with a glued-in image, Mousganistan reflects Lamrabat’s unique creative vision, one that has graced the pages of Vogue and GQ. His exhibitions, including Mousganistan at FOAM in Amsterdam, FOMU in Antwerp, and his 2023 London show, “There Is No One Like Us,” highlight his bold artistic voice.
Through striking imagery and juxtaposition of symbols, Lamrabat invites readers into his imaginative world, where everyday objects—whether Ikea bags, McDonald’s logos, or luxury brands—are recontextualized to challenge perceptions of tradition and modernity. His work oscillates between playful surrealism and cultural critique, giving voice to the complexities of belonging in a globalized world.
Louis the clown, 2021
The world is thirsty, 2023
Lamrabat’s art is both a manifesto and a celebration of diversity. Drawing inspiration from his dual heritage, his photographs blend Moroccan traditions with Western pop culture, crafting a narrative that is as visually arresting as it is thought-provoking. Christian Caujolle’s description of Lamrabat as “the colorist of his generation” aptly captures his vibrant use of color, which, despite a childhood diagnosis of insufficient color vision, becomes a defining element of his oeuvre. His pieces speak to the multicultural experience, embracing a collision of worlds that transcends racial and societal boundaries.
In Mousganistan, readers witness Lamrabat’s creative evolution from fashion photographer to boundary-pushing artist whose work resonates on deeper cultural and existential levels. This book not only attests to his ingenuity but also to the power of art to bridge disparate worlds. As Lamrabat asserts, his work is “fifty percent of what I want to say. The other half is whoever is looking.” Mousganistan thus becomes a visual dialogue, beckoning art collectors and connoisseurs to engage with the multi-layered narratives embedded in his striking compositions.