"1959: Mahi Binebine is born. At that point, an era of modern art (that of the first generation of American abstraction) seems to come to an end, while another era, more complex, polymorphic, difficult to seize or define, threatens to take over. 1959: three years after the fateful moment when Jackson Pollock, drunk, smashes his Cadillac down against an oak tree and dies. 1959: one year after the first one man show of Jasper Johns at the gallery Castelli - exhibition which propels the very young artist to the front of the international artistic scene. 1959:: one year before the appearance of the Nouveaux Réalistes in France - time which more or less coincides with the fulgurating star of Pop art, in the United States and the United Kingdom. This movement changed forever the order of world of art: everyday life, in its thorough banality - Andy Warhol more ironical than ever and contemplating the conceptual premises established by Marcel Duchamp - becomes a paramount of the world o art.
The birth of Mahi Binebine does come, indeed, at a turning point in the history of modern and contemporary art - a time bringing redefinition, or better, "de-definition", to use the expression of Harold Rosenberg. From childhood to his full artistic career, Binebine grows and works, not only in the critical era of history, where one movement abolishes another, but he also works between three distinct geographical areas - and three continents in full transformation. (...)" JOACHIM PISSARO [It will continued later on] (Lido em: Joaquim Pissarro - 'Mahi Binebine: the paradox of conscience', catálogo da exposição de Mahi Binebine, Musée de la Palmeraie, Marrakech, 2014)
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