Maïmouna Guerresi, Iside, 2025. Courtesy of the artist and Mariane Ibrahim.
Mariane Ibrahim is pleased to present A’ishah: Los caminos del alma (A’ishah: The Paths of the Soul), the first exhibition by Maïmouna Guerresi in Mexico and Latin America, and the fourth with the gallery. Conceived as a journey through works created at different stages of the artist’s practice—from 2007 to 2025—the exhibition is united by a central theme: the affirmation of female spiritual strength.
At the heart of A’ishah: The Paths of the Soul lies a profound meditation on the symbolic power of sacred feminine icons across cultures and continents. By linking the Black Madonnas of Europe—venerated figures often obscured by colonial narratives—with Mexico’s Virgen de Guadalupe, Guerresi opens a space of dialogue between African, Islamic, and Latin American spiritual traditions. Both the Black Madonna and the Guadalupana are embodiments of maternal protection, resistance, and divine presence—figures who have spoken to the marginalized and the oppressed across centuries. Through these connections, Guerresi invites viewers to reflect on how histories of devotion, migration, and memory are inscribed in the sacred image.
The exhibition is built around the fictional narrative of A’ishah, co-written by Guerresi and cultural researcher Theophilus Imani. The story follows a young woman born in Italy to a Moroccan family who dreams of Saint Bakhita, a Sudanese Catholic religious sister who joined a religious order after achieving freedom from slavery. In the dream, the saint urges A’ishah to travel across Italy in search of sacred places where Black Madonnas are venerated, with the goal of returning these icons to Africa.
A’ishah’s journey unfolds across geographies. Along the way, she meets artists, mystics, and guardians of forgotten stories—revealing the spiritual legacies of women long relegated to the margins. These encounters become moments of personal awakening and reflection on the colonial legacies that continue to shape the production of history and art. Like A’ishah’s journey, the exhibition proposes a non-linear experience of time, unfolding in a surreal and contemplative space. Works from earlier periods coexist fluidly with new projects, such as Dhikr (2007) and the monumental figures Iside (2025), Ipazia (2024), and Black Madonna with Candles (2025)—all unveiled for the first time in this exhibition.
The polyptych The Girls in Their Private Garden (2016) draws from the histories of the Gāriyah—Muslim women, often of African origin, who were taken as war captives into Arab harems. Many of these women rose to prominence as scholars, queens, and spiritual guides. Guerresi renders them allegorically, in states of transition and empowerment, reclaiming their place in a history long written by patriarchal forces.
At the center of this room stands Annunciation (2025), a sculpture composed of two feet made of colored resin, veiled in blue fabric reminiscent of the mantle of the Virgin of Guadalupe. Referencing one of Mexico’s most revered spiritual figures—believed to have appeared to the Indigenous peasant Juan Diego in 1531—this gesture grounds the installation in local devotion. The Virgin of Guadalupe, long a symbol of protection and cultural resilience, becomes here a transcontinental echo of the divine feminine, reinforcing the exhibition’s resonance with its Mexican context.
The three Madonnas—Isis, Hypatia, and the Black Madonna—continue a series Guerresi began in 2000, dedicated to mystical female figures from Muslim Africa. Towering and ancestral, they are cloaked in flowing robes with torsos rendered as hollow voids—metaphors for energetic and spiritual potential.
In the following room, the video Dhikr (2007) captures a group of veiled Muslim women walking together in circles and exchanging subtle gestures, their movements creating a gentle, meditative rhythm. The term “Dhikr” refers to a form of worship in Sufi Islam that involves the repetition of phrases or prayers, often invoking the names of God, to remember and glorify Allah. This work metaphorically echoes Guerresi’s interest in the notion of circular time—a time in which the past remains ever-present. The repetitive gestures of the women in Dhikr become a quiet assertion of the continuity of spiritual knowledge, shared in communal silence.
The exhibition culminates with four pieces from Unknown Maps (2017–2018), a series of hand-embroidered textile works that function as symbolic cartographies. They celebrate the paths carved by Sufi poetesses and mystics—primarily African Muslim women—whose spiritual influence transcended geography and time. Drawing from oral traditions and literary sources, the series resists Western historical linearity in favor of a cyclical, multivocal vision, where distant voices speak in unison.
The works on view span textile installations, sculpture, video, and photography—Guerresi’s most recognized medium. Each piece marks a distinct moment in her ongoing exploration of spirituality, where mysticism and feminism coexist to reveal a rich tapestry of connections between the material and the metaphysical.
A’ishah: The Paths of the Soul offers a rare convergence of symbols and geographies, bridging continents and belief systems to create a space for memory, resistance, and renewal. This exhibition invites the audience to reflect on the universal power of spiritual womanhood, to reclaim erased histories, and to imagine futures shaped by empathy, connection, and transformation.
