Nizzar Ben Chekroune

Work · Proof

OCP · 1 Œuvre, 1 Histoire

One work, one story: two short films on Mohamed Melehi and Chaïbia for OCP's art patronage, made with Diptyk.

In July 2020, Nizzar Ben Chekroune and Nabil Nadifi of the studio Arroz Con Pollo led creative direction and production on two mini-documentaries about the Moroccan artists Mohamed Melehi and Chaïbia, produced with the art magazine Diptyk for OCP's art patronage under the title 1 Œuvre, 1 Histoire.

Relationship
Studio client
Role
Creative direction and production, with Nabil Nadifi
Period
July 2020
Where
Morocco
With
OCP, Diptyk, Arroz Con Pollo
Attribution
Arroz Con Pollo (co-founded studio)
Ocp · archived work
Ocp · Arroz Con Pollo portfolioArroz Con Pollo · Nizzar Ben Chekroune & Nabil Nadifi / studio team

One work, one story

In July 2020, Arroz Con Pollo produced two mini-documentaries with Diptyk for OCP's art patronage: one on Mohamed Melehi, one on Chaïbia. The series title, 1 Œuvre, 1 Histoire, sets its own rule: one work, one story.

July 2020 was the middle of the pandemic, with galleries and museums closed or barely open. Films were one of the few ways art could still reach people.

Nabil Nadifi and I are credited with creative direction and production. OCP provided courtesy footage and imagery. The work is a studio contribution and I keep the credit where it belongs: with Nabil, with the studio, and with Diptyk as the editorial partner.

Minutes to carry an artist

Melehi and Chaïbia are two major figures of Moroccan art, and two very different ones. A mini-documentary has a few minutes to make a viewer care about a single work and the life behind it, without reducing either to a caption.

The rule in the title helped. Starting from one work rather than a whole career gives the film a centre, and lets the story radiate out from something the viewer can actually look at.

The films also had to work for two publics at once: people who already knew these artists, and people meeting them for the first time.

What a film adds to patronage

Corporate art patronage usually appears as a logo in a catalogue or a line in an annual report. A short film puts the patron's support where people actually look, in a feed, next to the artist's work.

The difficulty is that the same feed ignores anything that looks like corporate communication. The series had to read as art content first. Diptyk's editorial voice made that possible, and the studio's job was to make the films match it.

Why the commission came through Diptyk

My team at Arroz Con Pollo had rebuilt Diptyk's digital strategy and communication from A to Z. Once the magazine behaved as a media brand, partners came to it: Audi with Driven by Art around 1-54 in Marrakech, and OCP with this series the same year.

For OCP, working through Diptyk brought the magazine's standing with artists and collectors. A patron's name on a film about an artist only works if the film is about the artist.

What I take forward

I can turn an editorial relationship into commissioned cultural work, and make patronage content that serves the art first, which is what makes it worth anything to the patron.

People

Nabil Nadifi
· Arroz Con Pollo co-founder; creative direction and production
OCP
· Courtesy footage and imagery
Nabil Nadifi & Nizzar Ben Chekroune
· Creative direction and production

Sources

  • DiptykThrough Arroz Con Pollo, I led the brand strategy and implementation that transformed Diptyk’s digital presence and led to its New York Times recognition.
  • Audi × Diptyk · Driven by ArtBrand programming, content and live campaign
  • Arroz Con PolloCo-founder
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