Anthropologist and architect Salima Naji invites us, through her field research, to retrace the "matrix of the vernacular". In other words, the historical depth and material complexity of things; the truth of local know-how. Her primary medium is raw earth, used in the construction of houses and entire oasis villages from Morocco to Mali and throughout Niger: a material that symbolises a common good to be preserved.

Amina Agueznay's textile works, which embrace a variety of scale as well as the collective work of artists and craftspeople, weave a reflection deeply rooted in Morocco's Amazigh and plural knowledge and traditions, but also in the human and social narratives that underpin them. Her training as an architect has honed her sharp eye for the boundary between vernacular forms and (post)modernist languages. The artist constructs her pieces as fragmented narratives: particularly here with Talisman of Henna, a monumental talisman, woven and dyed with the protective force of henna–a pigment used to ward off evil spirits and bring blessing to marriages, bestowing harmony and joy. With almost thirty years' experience in the field, Amina Agueznay pays tribute to the encounters and artisanal excellence that form the foundation of her creative process. She developed her decentralised workshop as a result of professional development missions commissioned by the Ministry of Handicrafts in the early 2000s, and continues to expand to the four corners of the Kingdom as her individual projects take shape. Once the link has been established with a craftsperson, communication takes root, flourishes, and is rarely interrupted. These holders of knowledge to be transmitted and transformed are not only welcomed, but given pride of place in the museum space. Amina Agueznay's modular, absorbent installations also engage with the notion of ecosystems, evoking landscapes in perpetual evolution or mutation.