Tashkeel 2009 © © ﺗﺸﻜﻴﻞ

Catalogue designed by Zahra Pedram ﺗﺼﻤﻴﻢ اﻟﻐﻼف و اﻟﻜﺎﺗﺎﻟﻮج: زﻫﺮة ﺧﻠﻴﻞ Foreword: Lateefa bint Maktoum اﳌﻘﺪﻣﺔ: ﻟﻄﻴﻔﺔ ﺑﻨﺖ اﳌﻜﺘﻮم Tashkeel ﺗﺸﻜﻴﻞ P.O.Box 122255, Dubai, United Arab Emirates ص.ب. ٥٥ دﺑﻲ، اﻻﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Tel: +971 4 336 3313 ﻫﺎﺗﻒ: -٦-٤-+ Fax: +971 4 336 1606 ﻓﺎﻛﺲ: ٦٦-٦-٤-+ www.tashkeel.org اﳌﻮﻗﻊ: www.tashkeel.org

ISBN 978-9948-15-078-7 اﻟﺘﺮﻗﻴﻢ اﻟﺪوﻟﻲ:--٥-٤-

Silent Conversations ﺣﻮار ﺻﺎﻣﺖ Selected works from an open call أﻋﻤﺎل ﻣﺨﺘﺎره ﻣﻦ دﻋﻮة ﻋﺎﻣﺔ Takes place at Tashkeel from ﻳﻘﺎم ﻓﻲ ﺗﺸﻜﻴﻞ ﻓﻲ اﻟﻔﺘﺮة ﻣﺎ ﺑﲔ ﻣﺎرس إﻟ 12th March to 30th April 2009 اﺑﺮﻳﻞ

Translation by Vision Translation and ﻗﺎم ﺑﺘﺮﺟﻤﺔ اﻟﻜﺘﺎﻟﻮج: اﻟﺮؤﻳﺔ ﻟﻠﺘﺮﺟﻤﺔ وﺧﺪﻣﺎت رﺟﺎل Businessmen Services, Dubai اﻷﻋﻤﺎل، دﺑﻲ Catalogue printed at Printwell, Dubai ﰎ ﻃﺒﺎﻋﺔ اﻟﻜﺘﺎﻟﻮج ﻓﻲ ﭘﺮﻳﻨﺘﻮل، دﺑﻲ Foreword Contents 2 ري-ﺳﻮرس، ﺻﺎﻟﺔ إﻳﻠﻴﻤﻨﺘﺎ، Theme 4 دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻣﺤﻄﻮﻳﺎت Abeer Tahlak 5 Ahmed Al Muhairi ﺗﻌﺒﻴﺮات إﻣﺎراﺗﻴﺔ، اﻟﺼﺎﻟﺔ اﻷوﻟﻰ، Akbar Abdul Ibrahim ﻗﺼﺮ اﻹﻣﺎرات، أﺑﻮﻇﺒﻲ، اﻹﻣﺎرات Allan Floralde اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Altamash Urooj Anupama Jain Arwa Bukash ﺻﻨﻊ ﻓﻲ ﺗﺸﻜﻴﻞ، ﺗﺸﻜﻴﻞ، دﺑﻲ، Ava Monshi اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Bader Al Awadhi Carrie Brummer إﻛﺴﺒﻮزد، ﻗﻨﺎة اﻟﻘﺼﺒﺎء، اﻟﺸﺎرﻗﺔ، Colin G. Reaney Colleen Quigley اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Debjani Bhardwaj Dima Arabi Katbi اﳌﻌﺮض اﻟﺴﻨﻮي اﳋﺎﻣﺲ واﻟﻌﺸﺮﻳﻦ، Eduardo Yap ﺟﻤﻌﻴﺔ اﻹﻣﺎرات ﻟﻠﻔﻨﻮن اﳉﻤﻴﻠﺔ، Fathima Mohiuddin ﻣﺘﺤﻒ اﻟﺸﺎرﻗﺔ ﻟﻠﻔﻨﻮن، اﻟﺸﺎرﻗﺔ، Fatma Al Mulla اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Ginger & Michael Dosier Hadeyeh Badri Hassina Sakhri Hind Mezaina Ibrahim Al Sheikh Jalal Abuthina Joshua Watts Karmele Salaberria Khalid Hidmi 3

Maitha Demaithan رﺳﻠﺴﻠﺔ ﻣﻦ اﻟﺘﻌﺒﻴﺮات اﻟﺘﻲ ﲤﺜﻞ اﳊﻮاس اﳋﻤﺲ Meera Huraiz اﻟﺮﺋﻴﺴﻴﺔ وﻋﻼﻗﺘﻬﻢ ﺑﺎﻟﺜﻘﺎﻓﺔ اﻟﺸﺮق أوﺳﻄﻴﺔ Mohammad Rasoul ﺑﺼﻮرة أﻳﻘﻮﻧﻴﺔ. Najla Al Bassam Nivedita Saha Omran AlOwais ﻳﺬﻛﺮﻧﺎ ﻫﺬا اﻟﻌﻤﻞ ﺑﺎﳌﻜﻮﻧﺎت اﻷﺳﺎﺳﻴﺔ ﻟﻠﺘﻮاﺻﻞ Paolomaria ﺑﲔ اﻟﺒﺸﺮ، واﺳﺘﺨﺪام وﺳﺎﺋﻞ Patricia Millns Radhika Grover اﻻﺗﺼﺎل اﻷﺳﺎﺳﻴﺔ ﻓﻲ ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ، إﻟﻰ Rami Hosni ﺟﺎﻧﺐ اﻟﺘﻤﺜﻴﻞ اﻷﻳﻘﻮﻧﻲ ﻟﻠﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻦ Rebecca Rendell ﺧﻼل اﻟﻠﻐﺔ اﳌﻜﺘﻮﺑﺔ؛ ﺗﺆﻛﺪ ﺟﻤﻴﻌﻬﺎ ﻋﻠﻰ أﻫﻤﻴﺔ Saeed Khalifa اﻟﺘﻮاﺻﻞ. Salem Al Qassimi Sumayyah Al Suwaidi Tala Achkar ﻳﻬﺪف ﲡﺎور اﻟﺼﻮر اﻹﻳﻀﺎﺣﻴﺔ إﻟﻰ ﺟﺎﻧﺐ اﻷﺷﻴﺎء Toma Gabor ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد إﻟﻰ إﻋﻄﺎء إﻋﺎدة اﻟﺼﻴﺎﻏﺔ اﳊﺮﻓﻴﺔ Vyacheslava Goncharova ﳌﻌﻨﻰ اﳊﻮارات اﻟﺼﺎﻣﺘﺔ. إﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ، ﺗﺘﻠﺨﺺ ﻓﻲ ﻫﺬه اﻟﺼﻮرة اﻟﺼﺎﻣﺘﺔ اﶈﺎدﺛﺎت اﳌﺘﻜﺮرة اﻟﺘﻲ ﺗﺸﻜﻞ ﺟﺰءاً ﻣﻦ ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ، وﻛﺬﻟﻚ اﻟﺘﻔﺎﻋﻞ ﺑﲔ اﻟﻨﺎس وﺗﺒﺎدل اﻷﻓﻜﺎر واﳌﻌﻠﻮﻣﺎت ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ، واﻟﺘﻌﺒﻴﺮ ﻋﻦ اﳌﺸﺎﻋﺮ ﻣﻦ ﺧﻼل وﺳﺎﺋﻞ ﻣﺨﺘﻠﻔﺔ. 4

Silence is one of the great arts of Foreword ري-ﺳﻮرس، ﺻﺎﻟﺔ إﻳﻠﻴﻤﻨﺘﺎ، ”.conversation دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ﻣـﻘـﺪﻣـﺔ Marcus Tullius Cicero ﺗﻌﺒﻴﺮات إﻣﺎراﺗﻴﺔ، اﻟﺼﺎﻟﺔ اﻷوﻟﻰ، Every year in March Tashkeel puts ﻗﺼﺮ اﻹﻣﺎرات، أﺑﻮﻇﺒﻲ، اﻹﻣﺎرات out a call for artwork in which it seeks to challenge the art scene اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة in the UAE. Artists of all ages, backgrounds, and disciplines are ﺻﻨﻊ ﻓﻲ ﺗﺸﻜﻴﻞ، ﺗﺸﻜﻴﻞ، دﺑﻲ، invited to participate by responding . theme specified a to creatively اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة This year Tashkeel has received إﻛﺴﺒﻮزد، ﻗﻨﺎة اﻟﻘﺼﺒﺎء، اﻟﺸﺎرﻗﺔ، a vast number of submissions, comprising of a truly diverse اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة spectrum of artwork. اﳌﻌﺮض اﻟﺴﻨﻮي اﳋﺎﻣﺲ واﻟﻌﺸﺮﻳﻦ، The theme for the exhibition this ﺟﻤﻌﻴﺔ اﻹﻣﺎرات ﻟﻠﻔﻨﻮن اﳉﻤﻴﻠﺔ، year expects artists to visually ﻣﺘﺤﻒ اﻟﺸﺎرﻗﺔ ﻟﻠﻔﻨﻮن، اﻟﺸﺎرﻗﺔ، articulate an internal dialogue, which اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة can be read purely through their art. This process in itself becomes an attempt to express and converse without words, hence the title: Silent Conversations. The artists featured this year have beautifully showcased diverse ways of representing their own unique silent conversations, through an eclectic mix of photography, painting, installation and video. 5

,The submissions have been varied رﺳﻠﺴﻠﺔ ﻣﻦ اﻟﺘﻌﺒﻴﺮات اﻟﺘﻲ ﲤﺜﻞ اﳊﻮاس اﳋﻤﺲ although there are three different اﻟﺮﺋﻴﺴﻴﺔ وﻋﻼﻗﺘﻬﻢ ﺑﺎﻟﺜﻘﺎﻓﺔ اﻟﺸﺮق أوﺳﻄﻴﺔ groups of thought that have emerged ﺑﺼﻮرة أﻳﻘﻮﻧﻴﺔ. linking the artworks. The first group of artists have created works that ,take the audience out of their normal ﻳﺬﻛﺮﻧﺎ ﻫﺬا اﻟﻌﻤﻞ ﺑﺎﳌﻜﻮﻧﺎت اﻷﺳﺎﺳﻴﺔ ﻟﻠﺘﻮاﺻﻞ everyday surroundings and make the ﺑﲔ اﻟﺒﺸﺮ، واﺳﺘﺨﺪام وﺳﺎﺋﻞ viewer focus on a realm other than that of the tangible world. Others have اﻻﺗﺼﺎل اﻷﺳﺎﺳﻴﺔ ﻓﻲ ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ، إﻟﻰ captured delicate physical gestures ﺟﺎﻧﺐ اﻟﺘﻤﺜﻴﻞ اﻷﻳﻘﻮﻧﻲ ﻟﻠﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻦ in human behaviour, allowing the ﺧﻼل اﻟﻠﻐﺔ اﳌﻜﺘﻮﺑﺔ؛ ﺗﺆﻛﺪ ﺟﻤﻴﻌﻬﺎ ﻋﻠﻰ أﻫﻤﻴﺔ audience to go close and read the اﻟﺘﻮاﺻﻞ. subtle, yet complex, language of the body, allowing the viewer to contemplate the important role that ﻳﻬﺪف ﲡﺎور اﻟﺼﻮر اﻹﻳﻀﺎﺣﻴﺔ إﻟﻰ ﺟﺎﻧﺐ اﻷﺷﻴﺎء it plays in communication. And ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد إﻟﻰ إﻋﻄﺎء إﻋﺎدة اﻟﺼﻴﺎﻏﺔ اﳊﺮﻓﻴﺔ have artists the of few a finally, ﳌﻌﻨﻰ اﳊﻮارات اﻟﺼﺎﻣﺘﺔ. إﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ، chosen to translate the theme in a very abstract way, using text or symbols to ﺗﺘﻠﺨﺺ ﻓﻲ ﻫﺬه اﻟﺼﻮرة اﻟﺼﺎﻣﺘﺔ اﶈﺎدﺛﺎت speak through subjective forms using اﳌﺘﻜﺮرة اﻟﺘﻲ ﺗﺸﻜﻞ ﺟﺰءاً ﻣﻦ ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ، .non-verbal dialect وﻛﺬﻟﻚ اﻟﺘﻔﺎﻋﻞ ﺑﲔ اﻟﻨﺎس وﺗﺒﺎدل اﻷﻓﻜﺎر واﳌﻌﻠﻮﻣﺎت ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ، واﻟﺘﻌﺒﻴﺮ ﻋﻦ اﳌﺸﺎﻋﺮ ...We hope you enjoy listening ﻣﻦ ﺧﻼل وﺳﺎﺋﻞ ﻣﺨﺘﻠﻔﺔ.

Lateefa bint Maktoum 6

We all as humans participate in frequent Theme ﺗﻌﺪ ﻣﺸﺎرﻛﺘﻨﺎ ﻓﻲ اﳊﻮارات اﻟﺘﻠﻔﺔ ﻣﻊ اﻟﻌﺎﺋﻠﺔ conversations as part of our daily lives – اﳌﻮﺿﻮع واﻷﺻﺪﻗﺎء واﻟﺰﻣﻼء وﺣﺘﻰ ﻣﻊ اﻟﻐﺮﺑﺎء ﺟﺰءاً ﻣﻦ with family, friends and colleagues and ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ ﺣﻴﺚ ﻳﺴﺎﻋﺪﻧﺎ ﻫﺬا اﻟﻨﻮع ﻣﻦ even complete strangers. Through this interaction we exchange ideas and اﻟﺘﻔﺎﻋﻞ ﻋﻠﻰ ﺗﺒﺎدل اﻷﻓﻜﺎر واﳌﻌﻠﻮﻣﺎت واﻟﺘﻌﺒﻴﺮ information, express our feelings, learn ﻋﻦ ﻣﺸﺎﻋﺮﻧﺎ واﻟﺘﻌﻠﻢ واﻟﺘﻄﻮر ﻛﺄﻓﺮاد. وﻣﻊ and grow as people. However, almost ذﻟﻚ، ﺣﻮاﻟﻲ %50 ﻣﻦ أﺳﺎﻟﻴﺐ اﻟﺘﻮاﺻﻞ اﻟﺘﻲ – of all communication is unspoken %50 ﻧﺴﺘﺨﺪﻣﻬﺎ ﺻﺎﻣﺘﺔ ﻣﻌﺘﻤﺪة ﻋﻠﻰ اﻟﺘﺼﺮﻓﺎت relying on human actions, reactions and expressions. As a result of differences in وردود اﻷﻓﻌﺎل واﻟﺘﻌﺒﻴﺮات اﻟﺒﺸﺮﻳﺔ اﻟﺘﻠﻔﺔ اﻟﺘﻲ culture, education and experience these ﻗﺪ ﻳﺴﺎء ﺗﻔﺴﻴﺮﻫﺎ ﻧﺘﻴﺠﺔ ﻻﺧﺘﻼف اﻟﺜﻘﺎﻓﺎت .can frequently be misinterpreted واﻟﺘﻌﻠﻴﻢ واﳋﺒﺮات.

Artists constantly seek to provoke وﻳﺴﻌﻰ اﻟﻔﻨﺎﻧﻮن داﺋﻤﺎً إﻟﻰ إﺛﺎرة اﺳﺘﺠﺎﺑﺎت external responses through articulation of an internal dialogue, creating a ﺧﺎرﺟﻴﺔ ﻣﻦ ﺧﻼل اﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺣﻮارات ﺗﺪور non-verbal form of communication that ﺑﺪاﺧﻠﻬﻢ، ﳑﺎ ﻳﺨﻠﻖ ﻧﻮﻋﺎً ﻣﻦ اﻟﺘﻮاﺻﻞ ﻏﻴﺮ .might have universal resonance اﻟﻠﻔﻈﻲ اﻟﺬي ﻗﺪ ﻳﻠﻘﻰ ﺻﺪى ﻋﺎﳌﻴﺎً. Abeer Tahlak 7 Born 1984 | Emarati | Art Director ﻋـﺒـﻴـﺮ ﻃـﺤـﻠـﻚ ﻣﻮﻟﻮد ٤ | اﻹﻣﺎرات | ﻣﺪﻳﺮة ﻓﻨﻮن

exhibitions Re-Source, Elementa Significant 2009 ري-ﺳﻮرس، ﺻﺎﻟﺔ إﻳﻠﻴﻤﻨﺘﺎ، Gallery, Dubai, UAE دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة أﻫــﻢ اﻟــﻤــﻌـﺎرض ,Emirati Expressions 2009 Gallery One, Emirates ﺗﻌﺒﻴﺮات إﻣﺎراﺗﻴﺔ، اﻟﺼﺎﻟﺔ اﻷوﻟﻰ، ,Palace, Abu Dhabi ﻗﺼﺮ اﻹﻣﺎرات، أﺑﻮﻇﺒﻲ، اﻹﻣﺎرات UAE اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2008 Made in Tashkeel, Tashkeel, Dubai, UAE Exposed, Qanat Al 2006 ﺻﻨﻊ ﻓﻲ ﺗﺸﻜﻴﻞ، ﺗﺸﻜﻴﻞ، دﺑﻲ، Qasba, Sharjah, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2006 25th Annual Exhibition, Emirates Fine Art إﻛﺴﺒﻮزد، ﻗﻨﺎة اﻟﻘﺼﺒﺎء، اﻟﺸﺎرﻗﺔ، Society, Sharjah اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Art Museum, Sharjah, UAE اﳌﻌﺮض اﻟﺴﻨﻮي اﳋﺎﻣﺲ واﻟﻌﺸﺮﻳﻦ، ﺟﻤﻌﻴﺔ اﻹﻣﺎرات ﻟﻠﻔﻨﻮن اﳉﻤﻴﻠﺔ، ﻣﺘﺤﻒ اﻟﺸﺎرﻗﺔ ﻟﻠﻔﻨﻮن، اﻟﺸﺎرﻗﺔ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 8

Hawaas Mixed Media February 2009 ﺣﻮاس وﺳﺎﺋﻞ ﻣﺨﺘﻠﻄﺔ ﻓﺒﺮاﻳﺮ

A series of expressions representing Concept Statement رﺳﻠﺴﻠﺔ ﻣﻦ اﻟﺘﻌﺒﻴﺮات اﻟﺘﻲ ﲤﺜﻞ اﳊﻮاس اﳋﻤﺲ the basic five senses and their ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻟﺮﺋﻴﺴﻴﺔ وﻋﻼﻗﺘﻬﻢ ﺑﺎﻟﺜﻘﺎﻓﺔ اﻟﺸﺮق أوﺳﻄﻴﺔ relationship to our Middle Eastern ﺑﺼﻮرة أﻳﻘﻮﻧﻴﺔ. culture in an iconic way.

A reminder of the basic components ﻳﺬﻛﺮﻧﺎ ﻫﺬا اﻟﻌﻤﻞ ﺑﺎﳌﻜﻮﻧﺎت اﻷﺳﺎﺳﻴﺔ ﻟﻠﺘﻮاﺻﻞ ,of communication as human beings ﺑﲔ اﻟﺒﺸﺮ، واﺳﺘﺨﺪام وﺳﺎﺋﻞ which are the senses, and the use of the basic communication media اﻻﺗﺼﺎل اﻷﺳﺎﺳﻴﺔ ﻓﻲ ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ، إﻟﻰ used on a daily basis, alongside the ﺟﺎﻧﺐ اﻟﺘﻤﺜﻴﻞ اﻷﻳﻘﻮﻧﻲ ﻟﻠﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻦ iconic representation of the Arabic ﺧﻼل اﻟﻠﻐﺔ اﳌﻜﺘﻮﺑﺔ؛ ﺗﺆﻛﺪ ﺟﻤﻴﻌﻬﺎ ﻋﻠﻰ أﻫﻤﻴﺔ ;culture through written language اﻟﺘﻮاﺻﻞ. all emphasize the importance of communication. ﻳﻬﺪف ﲡﺎور اﻟﺼﻮر اﻹﻳﻀﺎﺣﻴﺔ إﻟﻰ ﺟﺎﻧﺐ اﻷﺷﻴﺎء The juxtaposition of illustrations ﺛﻼﺛﻴﺔ اﻷﺑﻌﺎد إﻟﻰ إﻋﻄﺎء إﻋﺎدة اﻟﺼﻴﺎﻏﺔ اﳊﺮﻓﻴﺔ alongside the 3D objects are intended ﳌﻌﻨﻰ اﳊﻮارات اﻟﺼﺎﻣﺘﺔ. إﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ، to give the literal re-phrasing of the meaning of Silent Conversations. The ﺗﺘﻠﺨﺺ ﻓﻲ ﻫﺬه اﻟﺼﻮرة اﻟﺼﺎﻣﺘﺔ اﶈﺎدﺛﺎت frequent conversations as part of our اﳌﺘﻜﺮرة اﻟﺘﻲ ﺗﺸﻜﻞ ﺟﺰءاً ﻣﻦ ﺣﻴﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ، daily lives, the interaction of people وﻛﺬﻟﻚ اﻟﺘﻔﺎﻋﻞ ﺑﲔ اﻟﻨﺎس وﺗﺒﺎدل اﻷﻓﻜﺎر and their exchange of ideas and واﳌﻌﻠﻮﻣﺎت ﻓﻴﻤﺎ ﺑﻴﻨﻬﻢ، واﻟﺘﻌﺒﻴﺮ ﻋﻦ اﳌﺸﺎﻋﺮ information, expression of feelings ﻣﻦ ﺧﻼل وﺳﺎﺋﻞ ﻣﺨﺘﻠﻔﺔ. through different media, all sum up in this very silent representation. Ahmed Al Muhairi 9 Born 1987 | Emarati | Student أﺣــﻤـﺪ اﻟــﻤــﻬــﻴــﺮي ﻣﻮﻟﻮد | اﻹﻣﺎرات | ﻃﺎﻟﺐ

exhibitions Dubai Summer Surprises, Significant 2009 ﻣﻔﺎﺟﺂت ﺻﻴﻒ دﺑﻲ، ﻣﺴﺎﺑﻘﺔ ﺗﺼﻮﻳﺮ أﻫــﻢ اﻟــﻤــﻌـﺎرض photography competition ﻓﻮﺗﻮﻏﺮاﻓﻲ وﻣﻌﺮض، دﺑﻲ، ,and exhibition, Dubai اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE Emirates Photography 2009 ﻣﺴﺎﺑﻘﺔ وﻣﻌﺮض اﻟﺘﺼﻮﻳﺮ اﻹﻣﺎراﺗﻲ Competition and Exhibition The 4th Fine Art 2008 ﻣﻌﺮض اﻟﻔﻨﻮن اﳉﻤﻴﻠﺔ اﻟﺮاﺑﻊ، أﺑﻮﻇﺒﻲ ,Exhibition, Abu Dhabi اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE 10

Analogue Analogue photography 40.6 x 50.8 cm February 2009 اﻟﺘﻨﺎﻇﺮي ﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٤٫٦ × ٥٫ ﺳﻢ ﻓﺒﺮاﻳﺮ

It takes few seconds, or sometimes Concept Statement ﻗﺪ ﻳﺴﺘﻐﺮق اﻷﻣﺮ ﺛﻮان ﻗﻠﻴﻠﺔ، وﻓﻲ ﺑﻌﺾ a blink of an eye, for people to drift ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻷﺣﻴﺎن ﻏﻤﻀﺔ ﻋﲔ، ﻛﻲ ﻳﺘﺤﻮل اﻟﻨﺎس ﺑﻌﻴﺪاً ,away from their everyday busy life ﻋﻦ ﺣﻴﺎﺗﻬﻢ اﻟﻴﻮﻣﻴﺔ اﳌﻠﻴﺌﺔ ﺑﺎﳌﺸﺎﻏﻞ، وذﻟﻚ in a book, a thought, a phone call, a little chat… What they do, whom they ﻣﻦ ﺧﻼل ﻣﻄﺎﻟﻌﺔ ﻛﺘﺎب، أو اﻟﺘﻤﻌﻦ ﻓﻲ ﻓﻜﺮة talk to, what they read or what runs ﻣﻌﻴﻨﺔ، أو إﺟﺮاء ﻣﺤﺎدﺛﺔ ﻫﺎﺗﻔﻴﺔ، أو ﲡﺎذب أﻃﺮاف through their minds are all questions اﳊﺪﻳﺚ ﻣﻊ اﻵﺧﺮﻳﻦ... ﻣﺎ اﻟﺬي ﻳﻔﻌﻠﻮﻧﻪ، وﻣﻊ that come to our minds… We try ﻣﻦ ﻳﺘﻜﻠﻤﻮن، وﻣﺎذا ﻳﻘﺮأون، وﻣﺎ اﻟﺬي ﻳﺪور ﻓﻲ to find an answer for those silent conversations… or a part of it through ﻋﻘﻮﻟﻬﻢ؛ ﺟﻤﻴﻌﻬﺎ أﺳﺌﻠﺔ ﺗﺨﻄﺮ ﻋﻠﻰ أذﻫﺎﻧﻨﺎ... …facial expressions and body gestures وﻧﺤﻦ ﻧﺤﺎول أن ﳒﺪ إﺟﺎﺑﺔ ﻟﺘﻠﻚ اﳊﻮارات اﻟﺼﺎﻣﺘﺔ، but as the questions vary, the answers أو ﺟﺰء ﻣﻨﻬﺎ ﻣﻦ ﺧﻼل ﺗﻌﺒﻴﺮات اﻟﻮﺟﻪ وﻣﻦ ﺧﻼل .are unlimited إﳝﺎءات اﳉﺴﺪ... وﻟﻜﻦ ﻣﻊ ﺗﻨﻮع اﻷﺳﺌﻠﺔ، ﺗﺼﺒﺢ اﻹﺟﺎﺑﺎت ﻏﻴﺮ ﻣﺤﺪودة. Can they just be quick blinks of thoughts? ﻫﻞ ﳝﻜﻦ أن ﺗﻜﻮن ﶈﺎت ﺳﺮﻳﻌﺔ ﻣﻦ اﻟﺘﻔﻜﻴﺮ؟ If so… is it a pink thought? A yellow ???one? Blue? Black إذا ﻛﺎن اﻷﻣﺮ ﻛﺬﻟﻚ، ﻫﻞ ﻫﻲ أﻓﻜﺎراً ﻗﺮﻓﻨﻠﻴﺔ … Or اﻟﻠﻮن؟ أم أﻧﻬﺎ ﺻﻔﺮاء؟ أم زرﻗﺎء؟ أم ﺳﻮداء؟

…Is it a bit more than that. Is it أم

?Almost… a daydream أﻧﻬﺎ أﻛﺜﺮ ﻣﻦ ذﻟﻚ.. ﻫﻞ ﻫﻲ ﺣﻘﺎً... ﺗﻘﺮﻳﺒﺎً ... ﺣﻠﻢ ﻳﻘﻈﺔ؟ Akbar Abdul Ibrahim 11 Born 1963 | Indian | Illustrator أﻛـﺒــﺮ ﻋــﺒــﺪ اﻹﺑـﺮاﻫـﻴـﻢ ﻣﻮﻟﻮد ٦ | اﻟﻬﻨﺪ | ﻓﻨﺎن ﺻﻮر ﺗﻮﺿﻴﺤﻴﺔ

exhibitions Dubai Ladies Club, Significant 2009 ﻧﺎدي دﺑﻲ ﻟﻠﺴﻴﺪات، اﳉﻤﻴﺮا، أﻫــﻢ اﻟــﻤــﻌـﺎرض Jumeirah, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,Sahara Mall, Sharjah 2004 ﻣﺮﻛﺰ ﺻﺤﺎرى، اﻟﺸﺎرﻗﺔ، UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 1999- Indian Consulate اﻟﻘﻨﺼﻠﻴﺔ اﻟﻬﻨﺪﻳﺔ، ٦ ﻣﻌﺎرض ﻓﻲ ﻫﺬه 2001 6 exhibitions during this period اﻟﻔﺘﺮة 12

Achieve the Goal Oil on canvas 106 x 244 cm November 2008 ﺣﻘﻖ اﻟﻬﺪف اﻟﺰﻳﺖ ﻋﻠﻰ اﻟﻘﻤﺎش ٦ × ٤٤ ﺳﻢ ﻧﻮﻓﻤﺒﺮ

finish. Concept Statement the to fight constant a is Life إن اﳊﻴﺎة ﻛﻔﺎح ﻣﺴﺘﻤﺮ إﻟﻰ اﻟﻨﻬﺎﻳﺔ You aim for something and try to ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﺗﺮﻧﻮ إﻟﻰ ﺷﺊ وﲢﺎول ﲢﻘﻴﻘﻪ .achieve it وﻫﻨﺎك داﺋﻤﺎً ﻋﻮاﺋﻖ؛ ﻫﻨﺎك أﻣﻮر ﻣﺰﻋﺠﺔ There are often hindrances. There .are disturbances اﻋﻄﻬﺎ ﺗﺮﻛﻴﺰك اﻟﻜﺎﻣﻞ؛ ﻗﺪرﺗﻚ اﻟﻜﺎﻣﻠﺔ .Give it your complete concentration ﺣﻘﻖ ﻫﺪﻓﻚ، ﻣﻬﻤﺎ.... .Your complete potential إن اﳊﻮار اﻟﺼﺎﻣﺖ ﻓﻲ داﺧﻠﻚ ﻫﻮ اﻟﺬي ﻳﺪﻓﻌﻚ You achieve your goal, no matter إﻟﻰ ﲢﻘﻴﻖ اﻟﻬﺪف. what… A silent conversation within is what drives you to achieve the goal. Allan Floralde 13 Born 1982 | Filipino | Artist أﻻن ﻓــﻠـــﻮراﻟـــﺪ ﻣﻮﻟﻮد | اﻟﻔﻠﺒﲔ | ﻓﻨﺎن

exhibitions Silent Conversations is the artist’s Significant ﺣﻮار ﺻﺎﻣﺖ أول ﻣﻌﺮض ﻟﻬﺬا اﻟﻔﻨﺎن first exhibition أﻫــﻢ اﻟــﻤــﻌـﺎرض 14

Word War Digital art 88.9 x 43.2 cm February 2009 ﺣﺮب اﻟﻜﻠﻤﺔ اﻟﻔﻨﻮن اﻟﺮﻗﻤﻴﺔ ٫ x ٤٫ ﺳﻢ ﻓﺒﺮاﻳﺮ

My concept is about word war. Concept Statement ﺗﺮﺗﻜﺰ ﻓﻜﺮﺗﻲ ﻋﻠﻰ ﺣﺮب اﻟﻜﻠﻤﺔ.

ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة Word war is throwing of bad words ﺣﺮب اﻟﻜﻠﻤﺔ ﻫﻲ إﻟﻘﺎء اﻟﻜﻠﻤﺎت اﻟﺴﻴﺌﺔ ﻋﻠﻰ .at each other, morally and spiritually ﺑﻌﻀﻨﺎ اﻟﺒﻌﺾ، ﺳﻮاء ﻛﺎن ذﻟﻚ ﺑﺸﻜﻞ ﻣﻌﻨﻮي Sometimes, it is the cause of a أو روﺣﻲ، وﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن ﻳﻜﻮن ذﻟﻚ ﺳﺒﺒﺎً ﻓﻲ physical battle and sometimes terror. ﻣﻌﺮﻛﺔ ﺑﺪﻧﻴﺔ، وﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن ﻳﻜﻮن ﺳﺒﺒﺎً And the victim? The innocent people ﻓﻲ إﺣﺪاث ﻧﻮع ﻣﻦ اﻟﺮﻋﺐ. who suffer this kind of act. وﻣﺎذا ﻋﻦ اﻟﻀﺤﻴﺔ؟ اﻟﻨﺎس اﻷﺑﺮﻳﺎء اﻟﺬﻳﻦ ﻳﻌﺎﻧﻮن ﻣﻦ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻷﻓﻌﺎل. Altamash Urooj 15 Born 1984 | Pakistani | Photographer أﻟـــﺘـــﺎﻣــﺎش أوروج ﻣﻮﻟﻮد ٤ | ﺑﺎﻛﺴﺘﺎن | ﻣﺼﻮر

exhibitions Do Not Feed The Artists Significant 2009 ﻻ ﺗﻄﻌﻤﻮا اﻟﻔﻨﺎﻧﲔ أﻫــﻢ اﻟــﻤــﻌـﺎرض Rituals of Dinner, Ayyam 2008 ﻃﻘﻮس اﻟﻌﺸﺎء، ﺻﺎﻟﺔ أﻳﺎم، دﺑﻲ، اﻹﻣﺎرات Gallery, Dubai, UAE اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,Summer Exhibition 2008 اﳌﻌﺮض اﻟﺼﻴﻔﻲ، ﺻﺎﻟﻢ ﻣﻴﻢ، دﺑﻲ، ,Meem Gallery, Dubai اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE ,Dubai Traffic, Cliché, 2008 ﻛﻠﻴﺸﻴﻪ، اﳌﺮور، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ UAE اﳌﺘﺤﺪة ,Timecards exhibition 2008 ﻣﻌﺮض اﻟﺒﻄﺎﻗﺎت اﻟﺰﻣﻨﻴﺔ، ﺟﺎﻣﺠﺎر، دﺑﻲ، The Jam Jar, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Art for Rent, Dubai 2007 اﻟﻔﻦ ﻟﻺﻳﺠﺎر، ﻣﺴﺮح دﺑﻲ ﻛﻤﻴﻮﻧﺘﻲ وﻣﺮﻛﺰ Community Theatre and اﻟﻔﻨﻮن، ﻣﻮل اﻹﻣﺎرات، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ Arts Centre, Mall of the Emirates, Dubai, UAE اﳌﺘﺤﺪة Basically Human, Art 2007 إﻧﺴﺎن ﻓﻲ اﻷﺳﺎس، ﺻﺎﻟﺔ أرت ﺳﺒﻴﺲ، ,Space Gallery, Dubai دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE ,Gulf Art Fair, Bastakiya 2007 ﻣﻌﺮض اﻟﻔﻦ اﳋﻠﻴﺠﻲ، اﻟﺒﺎﺳﺘﺎﻛﻴﺎ، دﺑﻲ، Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,Basically Human 2006 إﻧﺴﺎن ﻓﻲ اﻷﺳﺎس، ﺟﺎﻣﻌﺔ أرﻳﺰوﻧﺎ، ,University of Arizona ﺗﺎﻛﺴﻮن، أرﻳﺰوﻧﺎ، اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة Tuscon Arizona, USA Bulb Fiction Video Art 2006 ﻣﻌﺮض اﻟﻔﻨﻮن Bulb Fiction Video، Exhibition, Dubai ﻣﺴﺮح دﺑﻲ ﻛﻤﻴﻮﻧﻴﺘﻲ وﻣﺮﻛﺰ اﻟﻔﻨﻮن، ﻣﻮل Community Theatre and اﻹﻣﺎرات، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Arts Centre, Mall of the Emirates, Dubai, UAE 16

Counterproduct Digital photography 91.4 x 22.8 cm 2009 ﻧﺘﺎج ﻋﻜﺴﻲ ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٫٤ × ٫ ﺳﻢ

Relationships are often the victims Concept Statement اﻟﻌﻼﻗﺎت ﻏﺎﻟﺒﺎً ﻣﺎ ﺗﻜﻮن ﺿﺤﺎﻳﺎ ﻟﻠﺤﻮارات of silent conversations. I say victims ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻟﺼﺎﻣﺘﺔ. أﻗﻮل ﺿﺤﺎﻳﺎ ﻷﻧﻪ ﻓﻲ ﺣﺎﻟﺔ اﻟﻌﻼﻗﺔ because in the case of a 2-way اﳌﺘﺒﺎدﻟﺔ ﺑﲔ اﺛﻨﲔ، ﻳﺆدي اﻟﺼﻤﺖ اﻟﺒﺎرد إﻟﻰ ﺣﺎﻟﺔ relationship, cold silence has a tendency to atrophy any sense of ﻣﻦ اﻟﻀﻤﻮر ﻷي ﺷﻌﻮر ﺑﺎﶈﺒﺔ. وﲡﺴﺪ ﻫﺬه compassion. This image embodies اﻟﺼﻮرة اﻻﻧﻔﺼﺎل اﻟﺬي ﻳﻮاﺟﻬﻪ اﶈﺒﻮن ﻋﻨﺪﻣﺎ that schism faced by lovers when they ﻳﺘﻮﻗﻔﻮا ﻋﻦ اﻟﺘﻮاﺻﻞ وﻳﺘﻮﻗﻊ ﻛﻞ ﻃﺮف أن اﻟﻄﺮف stop communicating and expect each اﻵﺧﺮ ﻳﻌﺮف ﻣﺎ ﻳﺪور ﻓﻲ رأﺳﻪ، ﺛﻢ ﻳﻨﺘﻬﻲ ﺑﻬﻢ other to know what is going on inside their heads and end up drifting اﳌﻄﺎف إﻟﻰ اﻧﻔﺼﺎل ﻋﺎﻃﻔﻲ وروﺣﻲ ﻋﻦ ﺑﻌﻀﻬﻢ emotionally and spiritually away اﻟﺒﻌﺾ. from each other. ﺗﻠﺘﻘﻂ ﻫﺬه اﻟﺼﻮرة ﻋﻠﻰ وﺟﻪ اﳋﺼﻮص ﳊﻈﺔ A realization of the need to break إدراك اﻟﺮﻏﺒﺔ ﻓﻲ ﻛﺴﺮ اﳊﻮارات اﻟﺼﺎﻣﺘﺔ. the silent conversations is the very moment this image captures. Anupama Jain 17 Born 1960 | Indian | Artist أﻧــﻮﺑـﺎﻣــﺎ ﺟــﻴـﻦ ﻣﻮﻟﻮد ٦ | اﻟﻬﻨﺪ | ﻓﻨﺎﻧﺔ

exhibitions Joint exhibition, Dubai Significant 2009 ﻣﻌﺮض ﻣﺸﺘﺮك، ﻧﺎدي ﺳﻴﺪات دﺑﻲ، دﺑﻲ، ,Ladies Club, Dubai اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة أﻫــﻢ اﻟــﻤــﻌـﺎرض UAE ,Holiday Inn, Abu Dhabi 2006 ﻫﻮﻟﻴﺪاي إن، أﺑﻮﻇﺒﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE Kaleidoscope, Dubai 2005 ﻛﺎﻟﻴﺪوﺳﻜﻮب، ﻣﺪﻳﻨﺔ دﺑﻲ ﻟﻺﻋﻼم، دﺑﻲ، ,Media City, Dubai اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE Group show, Cultural 2003 ﻣﻌﺮض ﺟﻤﺎﻋﻲ، اﻟﻤﻊ اﻟﺜﻘﺎﻓﻲ، أﺑﻮﻇﺒﻲ، ,Foundation, Abu Dhabi اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE ,Evolution, Twin Towers 2001 اﻟﺘﻄﻮر، اﻷﺑﺮاج Twin Towers، دﺑﻲ، Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Evolution, Mazaya 2001 اﻟﺘﻄﻮر، ﻣﺮﻛﺰ ﻣﺰاﻳﺎ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Center, Dubai, UAE Auction and 2000 ﻣﺰاد وﻣﻌﺮض، ﻓﻨﺪق J W ﻣﺎرﻳﻮت، دﺑﻲ، exhibition, J W Marriott اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Hotel, Dubai, UAE ,Emirates Tower, Dubai 2000 ﺑﺮج اﻹﻣﺎرات، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE ,Indian Consulate, Dubai 1999 اﻟﻘﻨﺼﻠﻴﺔ اﻟﻬﻨﺪﻳﺔ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE till date, Dubai Internat 1997 ﺣﺘﻰ اﻵن: ﻣﺮﻛﺰ دﺑﻲ اﻟﺪوﻟﻲ ﻟﻠﻔﻨﻮن، ﻣﻌﺎرض ﻧﺼﻒ ional Art Center ﺳﻨﻮﻳﺔ، ﻛﺮاون ﺑﻼزا، ﻣﺪﻳﻨﺔ واﻓﻲ، أﺑﺮاج اﻹﻣﺎرات، bi-annual exhibitions, ,City Wafi Plaza, Crown ﻟﻮ ﻣﻴﺮﻳﺪﻳﺎن، وأﻣﺎﻛﻦ أﺧﺮى. دﺑﻲ، Emirates Towers, Le اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Meridian and other venues, Dubai, UAE 18

In Silence Acrylic and ink 120 x 80 cm 2007 ﻓﻲ ﺻﻤﺖ أﻛﺮﻳﻠﻴﻚ واﳊﺒﺮ × ﺳﻢ Concept Statement infinite to birth given have beings Human أﺑﺪع اﻟﺒﺸﺮ ﻋﺪد ﻻ ﻧﻬﺎﺋﻲ ﻣﻦ اﻻﺧﺘﺮاﻋﺎت ﻓﻲ اﻟﻌﻠﻢ inventions in the name or science and واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ. واﻟﻴﻮم وﻧﺤﻦ ﻓﻲ ذروة ﺣﻀﺎرﺗﻨﺎ، ﻫﻨﺎك ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة technology. Yet today, at he pinnacle of our ﺷﻌﻮر ﺑﻌﺪم اﻟﺜﻘﺔ ﻳﻨﺘﺸﺮ ﺑﲔ اﻷﺷﺨﺎص، وﻫﻨﺎك ﲤﻴﻴﺰ civilization, there is distrust between individuals, prejudice between societies ﺑﲔ اﻟﺘﻤﻌﺎت وﺣﺮوب ﺑﲔ اﻟﺪول. وأﺻﺒﺤﻨﺎ أﺑﻌﺪ ﻣﺎ ﻧﻜﻮن and war between countries. We are far from ﻋﻦ اﻟﺴﻌﺎدة ﻛﻤﺎ ﻛﻨﺎ ﻣﻦ ﻗﺒﻞ. ﻟﺬا، ﻣﺎ ﻫﻮ ﻫﺬا اﻟﺸﺊ being the happiest we have been. Then, what اﻟﺬي ﻳﺴﻤﺢ ﻟﻨﺎ ﺑﺘﺤﻘﻴﻖ ﺣﺎﻟﺔ اﻟﺴﻌﺎدة اﻟﺘﻲ ﲢﻠﻢ ﺑﻬﺎ is it that allows us to achieve that state of bliss ﻛﻞ ﻧﻔﺲ ﺑﺸﺮﻳﺔ؟ وﻧﻈﺮاً ﻷن اﻹﺟﺎﺑﺔ ﻟﻴﺴﺖ ﻣﻮﺟﻮدة ﻓﻲ so coveted by every human soul? Since the answer evidently does not reside in the world اﻟﻌﺎﻟﻢ ﻣﻦ ﺣﻮﻟﻨﺎ، ﻓﻘﺪ ﻓﻜﺮت ﻓﻲ أن اﻹﺟﺎﺑﺔ ﻗﺪ ﺗﻜﻮن I us. within lie must it that reflect I us, around ﺑﺪاﺧﻠﻨﺎ. ﻓﻴﺠﺐ أن أﺗﻮﻗﻒ ﻋﻦ اﻟﺒﺤﺚ ﻋﻦ ﻧﻔﺴﻲ ﻓﻲ must turn from seeking the world to seeking ﻫﺬا اﻟﻌﺎﻟﻢ – ﻟﻜﻦ أﺑﺤﺚ ﻋﻦ اﻹﻧﺴﺎن ﺑﺪاﺧﻠﻲ. myself – the person most central to my existence. وﻟﻜﻲ ﻧﻌﺮف أﻧﻔﺴﻨﺎ، ﻓﺈﻧﻨﺎ ﻻ ﻧﺤﺘﺎج إﻟﻰ ﻛﻠﻤﺎت To know ourselves we do not need spoken words but the absence of them. We need silence. The ﻣﻠﻔﻮﻇﺔ، وﻟﻜﻨﻨﺎ ﻧﺤﺘﺎج إﻟﻰ ﻏﻴﺎب ﺗﻠﻚ اﻟﻜﻠﻤﺎت. ﻧﺤﻦ power of silence is universally underestimated ﻧﺤﺘﺎج اﻟﺼﻤﺖ. ﻓﻘﻮة اﻟﺼﻤﺖ ﻻ ﺗﻘﺪر ﻓﻲ ﻫﺬا اﻟﻌﺎﻟﻢ ,and that of sound universally propagated. Yet ﺣﻖ اﻟﺘﻘﺪﻳﺮ وﻻ ﻳﺮوج ﻟﻬﺎ ﻓﻲ اﻟﻌﺎﻟﻢ ﺑﺎﻟﺸﻜﻞ اﻟﺼﺤﻴﺢ. our life’s most spectacular moments are spent وﻣﻦ ﻫﻨﺎ، ﻓﺈن أﻓﻀﻞ ﳊﻈﺎت ﺣﻴﺎﺗﻨﺎ ﺗﻘﻀﻰ ﻓﻲ اﻟﺼﻤﺖ in silence – the moment we grasp a long-evasive ً idea, the moment something beautiful takes – ﻓﻲ ﳊﻈﺔ ﻓﻬﻤﻨﺎ ﻟﻔﻜﺮة ﻟﻄﺎﳌﺎ ﺣﻴﺮﺗﻨﺎ ﻛﺜﻴﺮا، وﳊﻈﺔ realize first we moment the away, breath our إﻋﺠﺎﺑﻨﺎ ﺑﺸﺊ ﺟﻤﻴﻞ، وﳊﻈﺔ ﻋﻠﻤﻨﺎ ﻷول ﻣﺮة أﻧﻨﺎ ﻗﺪ we are in love. It is the moment of freedom and وﻗﻌﻨﺎ ﻓﻲ اﳊﺐ. إﻧﻬﺎ ﳊﻈﺔ اﳊﺮﻳﺔ واﻟﺴﻌﺎدة اﻷﺑﺪﻳﺔ. eternal bliss. ﲢﺎول ﻛﻞ روح ﲢﻘﻴﻖ ﻫﺬه اﳊﺎﻟﺔ ﺑﻄﺮﻳﻘﺘﻬﺎ اﳋﺎﺻﺔ، Every soul strives to achieve that state in its own way, opting for its own path. I chose art. To me ﺣﻴﺚ ﺗﺨﺘﺎر ﻛﻞ روح ﻃﺮﻳﻘﻬﺎ اﻟﺬي ﺗﺴﻠﻜﻪ. وأﻧﺎ اﺧﺘﺮت it is a journey of self-discovery that also helps اﻟﻔﻦ؛ ﻓﻬﻮ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻲ رﺣﻠﺔ ﻻﻛﺘﺸﺎف اﻟﻨﻔﺲ unravel the mysteries surrounding me. It ﺗﺴﺎﻋﺪﻧﺎ ﻋﻠﻰ ﺣﻞ اﻷﻟﻐﺎز اﻟﺘﻲ ﲢﻴﻂ ﺑﻨﺎ. ﻓﻬﻮ ﻳﺮﺑﻄﻨﻲ -connects me to my core and to the world. Ev ﲟﺎ ﻓﻲ داﺧﻠﻲ وﺑﺎﻟﻌﺎﻟﻢ ﻣﻦ ﺣﻮﻟﻲ. ﻓﻔﻲ ﻛﻞ ﻣﺮة أرى رد ery time my work triggers a reaction from a ً chord a life, their of shades reflects or viewer ﻓﻌﻞ ﻣﻦ اﳌﺸﺎﻫﺪ إزاء ﻋﻤﻠﻲ أو ﻳﻌﻜﺲ ﻋﻤﻠﻲ ﻇﻼﻻ is struck. Whenever I paint or sculpt, I dive ﻣﻦ ﺣﻴﺎة اﳌﺸﺎﻫﺪﻳﻦ، أﺷﻌﺮ ﺑﺸﻌﻮر ﻋﺎﻃﻔﻲ ﺟﻤﻴﻞ. into the depths of my soul and bring back a وﻓﻲ ﻛﻞ ﻣﺮة أﻗﻮم ﻓﻴﻬﺎ ﺑﺎﻟﺮﺳﻢ أو اﻟﻨﺤﺖ، أﻏﻮص ﻓﻲ new pearl of emotion – each carrying a unique أﻋﻤﺎق روﺣﻲ وأﺧﺮج ﺑﻠﺆﻟﺆة ﺟﺪﻳﺪة ﻣﻦ اﻟﻌﺎﻃﻔﺔ – ﲢﻤﻞ color. Each acts as a catalyst in my evolution ﻛﻞ ﻣﻨﻬﺎ ﻟﻮﻧﺎً ﻓﺮﻳﺪاً. ﺗﻌﻤﻞ ﻛﻞ ﻣﻨﻬﺎ ﻛﻌﺎﻣﻞ ﻣﺴﺎﻋﺪ bringing me closer to the ultimate goal of self- .realization – Nirvana ﻓﻲ ﺗﻄﻮري، وﺗﻘﺮﺑﻨﻲ أﻛﺜﺮ وأﻛﺜﺮ ﻣﻦ اﻟﻬﺪف اﻟﻨﻬﺎﺋﻲ ﻟﺘﺤﻘﻴﻖ اﻟﺬات – ﻧﻴﺮﻓﺎﻧﺎ. Arwa Bukash 19 Born 1987 | Emarati | Student أروى ﺑـــﻮﻛــــﺎش ﻣﻮﻟﻮد | اﻹﻣﺎرات | ﻃﺎﻟﺒﺔ

exhibitions Zayed University Significant 2008 ﻣﻌﺮض ﻃﻼب ﺟﺎﻣﻌﺔ زاﻳﺪ، Students and Faculty ﻣﻌﺮض اﳋﻮر ﻟﻠﻔﻨﻮن، اﻟﺒﺎﺳﺘﻜﻴﺎ، أﻫــﻢ اﻟــﻤــﻌـﺎرض Exhibition, Creak Art ,Fair, Bastakiya, Dubai دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE ,The Summer Exhibition 2008 اﳌﻌﺮض اﻟﺼﻴﻔﻲ، ﺻﺎﻟﺔ ﻣﻴﻢ، دﺑﻲ، اﻹﻣﺎرات ,Meem Gallery, Dubai اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE

,Different Cultures 2008 اﻟﺜﻘﺎﻓﺎت اﻟﺘﻠﻔﺔ، اﻷﻓﻜﺎر اﳌﺸﺘﺮﻛﺔ ﺑﲔ Common Thoughts اﻟﻨﺴﺎء، ﻣﺸﺮوع دوﻟﻲ ﺑﲔ اﻟﺴﻴﺪات ﻣﻦ Among Women, An اﻹﻣﺎرات واﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة international project between women from the UAE and the USA 20

Rage, Serenity and Grief Photography 48.3 x 32.1 cm September 2008 اﻟﻐﻀﺐ واﻟﺴﻜﻮن واﳊﺰن ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٤٫ × ٫ ﺳﻢ ﺳﺒﺘﻤﺒﺮ

We interact with people every day, Concept Statement ﻧﺤﻦ ﻧﺘﻔﺎﻋﻞ ﻣﻊ اﻟﻨﺎس ﻓﻲ ﻛﻞ ﻳﻮم، ﻣﻦ أﺻﺪﻗﺎء be it friends, family, professors or ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة أو أﺳﺮة أو ﻣﺪرﺳﲔ أو ﺣﺘﻰ أﻏﺮاﺑﺎً. وﻧﺘﺤﺪث even strangers. We talk to them about إﻟﻴﻬﻢ ﻋﻦ اﻷﺷﻴﺎء، وﳒﺎدﻟﻬﻢ، وﻧﺘﺸﺎﺟﺮ ﻣﻌﻬﻢ، things, we argue, we fight, we smile at .them, we laugh, or we might even cry وﻧﺘﺒﺴﻢ إﻟﻴﻬﻢ، وﻧﻀﺤﻚ، أو ﺣﺘﻰ ﻧﺼﻴﺢ ﻓﻲ There will always be some silent part ﺑﻌﺾ اﻷﺣﻴﺎن. وﻟﻜﻦ ﺳﻴﺒﻘﻰ داﺋﻤﺎً ﺟﺰء ﺻﺎﻣﺖ ;of them and us that is unseen though ﻓﻴﻬﻢ وﻓﻴﻨﺎ ﻻ ﻧﺮاه؛ إﻧﻪ ﺣﻮار ﻳﺪور ﺑﺪاﺧﻠﻨﺎ ﻻ ﻳﺮاه a conversation that takes place inside أﺣﺪ. أو أﻧﻨﺎ ﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن ﻗﺪ ﻧﺸﻌﺮ ﺑﺸﺊ ﻣﺎ of us, where no one can see. Or sometimes we feel something that we ﻻ ﻧﺮﻳﺪ اﻟﺒﻮح ﺑﻪ، ﺣﺘﻰ ﻧﺸﻌﺮ ﻓﻲ ﻳﻮم ﻣﺎ ﺑﺄن اﻷﻣﺮ just do not let out, until one day it is ﻗﺪ زاد ﻋﻠﻴﻨﺎ. ﻗﺪ ﻧﺘﺒﺴﻢ ﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن، وﻟﻜﻦ ,all too much. Sometimes we smile ﻗﺪ ﻧﺸﻌﺮ ﺑﺎﳊﺰن ﻓﻲ داﺧﻠﻨﺎ. ﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن .but silently we might be grieving ﻧﻌﺸﺮ ﺑﺎﳊﻨﻖ اﻟﺸﺪﻳﺪ، وﻟﻜﻨﻨﺎ ﻻ ﻧﻈﻬﺮ ذﻟﻚ. ﻗﺪ Sometimes we are mad but do not ﻧﻀﺤﻚ ﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن وﳕﺰح، وﻟﻜﻦ ﻛﻞ ﻣﻦ show it. Sometimes we laugh and joke and are hyper, but all we ﻧﻨﺸﺪه ﻫﻮ اﻟﺸﻌﻮر ﺑﺎﻟﺴﻜﻴﻨﺔ. وﻗﺪ ﻳﻘﻮل ﻟﻨﺎ want is some serenity. Sometimes ﺷﺨﺺ ﻣﺎ ﺷﺊ ﻣﺎ ﻳﺠﻌﻠﻨﺎ ﻧﺸﻌﺮ ﺑﺸﺊ ﻣﻦ ﻋﺪم something someone says makes us اﻻرﺗﻴﺎح، ﻓﻨﺘﺤﺪث إﻟﻰ ﻋﻘﻮﻟﻨﺎ ﻟﻨﻌﺮف ﻣﺎ ﻧﻈﻬﺮه uncomfortable, and we just converse ﻟﻠﻐﻴﺮ. وﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن ﻗﺪ ﻧﺮﻏﺐ ﻓﻲ اﻟﺴﻤﺎح، with our minds what we want to show on the outside. Sometimes, deep وﻟﻜﻨﻨﺎ ﻻ ﻧﻈﻬﺮ ذﻟﻚ. ﻫﻨﺎك داﺋﻤﺎ ﻋﺎﻟﻢ ﻛﺎﻣﻞ inside we want to forgive, but we just ﻣﺨﺒﻮء وراء ﻣﺎ ﻳﻈﻬﺮ. do not show it. There is always a whole hidden world beyond what is shown. Ava Monshi 21 Born 1984 | Iranian | Interior Designer أﻓــﺎ ﻣــﻮﻧـﺸﻲ ﻣﻮﻟﻮد ٤ | إﻳﺮان | ﻣﻬﻨﺪس ﻣﻌﻤﺎري داﺧﻠﻲ

exhibitions Silent Conversations is the artist’s Significant ﺣﻮار ﺻﺎﻣﺖ أول ﻣﻌﺮض ﻟﻬﺬا اﻟﻔﻨﺎن first exhibition أﻫــﻢ اﻟــﻤــﻌـﺎرض 22

Narration Analogue Photography 40.6 x 50.8 cm February 2009 اﻟﻘﺼﺺ ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٤٫٦ × ٥٫ ﺳﻢ ﻓﺒﺮاﻳﺮ

History silently shapes our future. Concept Statement ﻳﺸﻜﻞ اﻟﺘﺎرﻳﺦ ﻣﺴﺘﻘﺒﻠﻨﺎ ﺑﺼﻤﺖ. Narration of life… ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة َﻗﺼﺺ اﳊﻴﺎة... …Narration of time ﻗﺼﺺ اﻟﻮﻗﺖ... Narration of history… …Narration of culture ﻗﺼﺺ اﻟﺘﺎرﻳﺦ... ﻗﺼﺺ اﻟﺜﻘﺎﻓﺔ... Bader Al Awadhi 23 Born 1984 | Emarati | IT Technician ﺑـــﺪر اﻟـــﻌـــﻮﺿــﻲ ﻣﻮﻟﻮد ٤ | اﻹﻣﺎرات | ﻓﻨﻲ ﺗﻘﻨﻴﺔ ﻣﻌﻠﻮﻣﺎت

exhibitions 4th National Gallery of Significant 2008 اﳌﻌﺮض اﻟﻮﻃﻨﻲ اﻟﺮاﺑﻊ ﻟﻠﻔﻨﻮن اﳉﻤﻴﻠﺔ أﻫــﻢ اﻟــﻤــﻌـﺎرض Fine Arts Exhibition of Emirates 2008 ﻣﻌﺮض ﺟﻤﻌﻴﺔ اﻹﻣﺎرات ﻟﻠﻔﻨﻮن اﳉﻤﻴﻠﺔ Fine Arts Society Charity Exhibition for 2008 ﻣﻌﺮض ﺧﻴﺮي ﻷﻃﻔﺎل اﻟﺜﻼﺛﻴﻤﻴﺎ Thalasimya children Club Scientific Kuwait 2008 ﻣﻌﺮض ﻧﺎدي اﻟﻜﻮﻳﺖ اﻟﻌﻠﻤﻲ Exhibition Urban Renaissance 2008 ﻣﻌﺮض اﻟﻨﻬﻀﺔ اﳊﻀﺮﻳﺔ Exhibition (إﻛﺴﺒﻮ – اﻟﺸﺎرﻗﺔ) (Expo-Sharjah) ,A word & a picture 2008 ﻛﻠﻤﺔ وﺻﻮرة، اﳌﻌﺮض اﳌﺼﺎﺣﺐ ﳌﻨﺘﺪى Exhibition اﻟﺸﺎرﻗﺔ ﻟﻠﺨﻂ اﻟﻌﺮﺑﻲ accompanying the Sharjah Forum for Arabic Calligraphy 24

Bleeding Digital Photography 2008 اﻟﻨﺰﻳﻒ ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ

At the time that everyone is talking Concept Statement ﻓﻲ اﻟﻮﻗﺖ اﻟﺬي ﻳﺘﺤﺪث ﻓﻴﻪ اﳉﻤﻴﻊ دون إدراك without being aware of the impact of ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻷﺛﺮ اﻟﺬي ﺗﺘﺮﻛﻪ ﻛﻠﻤﺎﺗﻬﻢ اﻟﺼﺎدﻣﺔ واﻟﺤﻔﺔ his or her shocking, unfair and wrong واﳋﺎﻃﺌﺔ ﻓﻲ ﻧﻔﻮس اﻵﺧﺮﻳﻦ، ﻓﺈﻧﻨﺎ ﻧﺸﻌﺮ ﻋﻨﺪﺋﺬ words on others’ souls, we find that we need someone who can heal these ﺑﺤﺎﺟﺘﻨﺎ إﻟﻰ ﺷﺨﺺ ﻳﻌﺎﻟﺞ أﻧﻔﺴﻨﺎ اﳉﺮﻳﺤﺔ. injured souls. ﺗﻮﺿﺢ ﻫﺬه اﻟﺼﻮرة اﻟﻮﻗﻊ اﻟﻌﻤﻴﻖ ﻟﻠﻜﻠﻤﺎت This picture shows the deep impact ﻋﻠﻰ اﻟﻨﺎس. إﻧﻬﺎ رﺳﺎﻟﺔ ﺗﻨﺼﺢ أي ﺷﺨﺺ ﻳﺮﻳﺪ of words on people. Its message is that anyone who wants to comment أن ﻳﻌﻠﻖ ﺑﺄن ﻳﺄﺧﺬ ﻓﻲ ﺣﺴﺒﺎﻧﻪ اﻟﺘﺄﺛﻴﺮ اﻟﺴﻠﺒﻲ should take into account the bad اﻟﺬي ﻗﺪ ﺗﺘﺮﻛﻪ ﻛﻠﻤﺎﺗﻪ ﻋﻠﻰ ﺣﻴﺎة اﻟﻨﺎس، وأن ﻫﺬا impact that his or her words may have اﻟﺘﺄﺛﻴﺮ ﻗﺪ ﻳﺪوم ﻟﻔﺘﺮة ﻃﻮﻳﻠﺔ. on people’s life, and that will remain for a long time. Carrie Brummer 25 Born 1981 | American | Teacher / Artist ﻛـــــﺎري ﺑـــﺮاﻣــــﺮ ﻣﻮﻟﻮد | اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة | ﻣﺪرس/ ﻓﻨﺎن

exhibitions University of Tennessee Significant 2008 ﺟﺎﻣﻌﺔ ﺗﻴﻨﻴﺴﻲ ﻓﻲ ﻣﺎرﺗﻦ، ﻣﺎرﺗﻦ ﺗﻴﻨﻴﺴﻲ at Martin, Martin TN أﻫــﻢ اﻟــﻤــﻌـﺎرض Anna Lamar Switzer 2008 أﻧﺎ ﻻﻣﺎر، ﻣﺮﻛﺰ ﺳﻮﻳﺘﺴﺮ ﻟﻠﻔﻨﻮن اﳌﺮﺋﻴﺔ، ,Center for Visual Arts ﺑﻴﻨﺴﺎﻛﻮﻻ، ﻓﻠﻮرﻳﺪا Pensacola, FL Museum of Texas Tech 2008 ﻣﺘﺤﻒ ﺟﺎﻣﻌﺔ ﺗﻴﻜﺴﺎس ﻟﻠﺘﻜﻨﻮﻟﻮﺟﻴﺎ، University, Lubbock, TX ﻻﺑﻮك، ﺗﻴﻜﺴﺎس Hillstrom Museum of 2008 ﻣﺘﺤﻒ ﻫﻴﻠﺴﺘﺮوم ﻟﻠﻔﻦ، ﻛﻠﻴﺔ ﺟﻮﺳﺘﺎف Art, Gustavus Adolphus أدوﻟﻔﻮس، ﺳﺎﻧﺖ ﺑﻴﺘﺮ، ﻣﻴﻨﻮﺳﻮﺗﺎ. College, Saint Peter, MN Studio San Guiseppe Art 2008 ﺻﺎﻟﺔ اﻟﻔﻨﻮن ﺳﺘﺪﻳﻮ ﺳﺎن ﺟﻮﻳﺴﻴﺐ، Gallery, Mt. Saint Joseph ﻛﻠﻴﺔ ﺳﺎﻧﺖ ﺟﻮزﻳﻒ، ﺳﻨﺴﻴﻨﺎﺗﻲ، أوﻫﻮﻳﻮ College, Cincinnati, OH ,Kansas City YMCA 2007 ﻣﺪﻳﻨﺔ ﻛﺎﻧﺴﺎس YMCA، ﻣﺪﻳﻨﺔ ﻛﺎﻧﺴﺎس، Kansas City, KS وﻻﻳﺔ ﻛﺎﻧﺴﺎس ,Monteagle City Hall 2007 ﺻﺎﻟﺔ ﻣﻮﻧﺘﺈﻳﻴﺠﻞ ﺳﻴﺘﻲ ﻫﻮل، ﻣﻮﻧﺘﺈﻳﻴﺠﻞ، Monteagle, TN ﺗﻴﻨﻴﺴﻲ Miami University of Ohio 2007 ﺟﺎﻣﻌﺔ ﻣﻴﺎﻣﻲ ﺑﺄوﻫﻮﻳﻮ، ﻣﺘﺤﻒ اﻟﻔﻨﻮن، Art Museum, Oxford, OH أوﻛﺴﻔﻮرد، أوﻫﻮﻳﻮ The Smithsonian 2006 ﻣﺆﺳﺴﺔ ﺳﻤﻴﺜﺴﻮﻧﻴﺎن، ﻣﺮﻛﺰ إس دﻳﻠﻮن Institution, S. Dillon رﻳﺒﻠﻲ، واﺷﻨﻄﻦ اﻟﻌﺎﺻﻤﺔ Ripley Center, Washington, D.C. ,Kennedy Hall of States 2006 ﻛﻴﻨﻴﺪي ﻫﻮل أوف ﺳﺘﻴﺘﺲ، واﺷﻨﻄﻦ .Washington, D.C اﻟﻌﺎﺻﻤﺔ. 26

Looking Glass Acrylic, molding paste on canvas 100 x 100 cm November 2008 اﻟﺰﺟﺎج اﻟﻨﺎﻇﺮ إﻛﺮﻳﻠﻴﻚ، ﻣﻌﺠﻮن اﻟﻘﻮاﻟﺐ، ﻋﻠﻰ اﻟﻠﻮﺣﺔ × ﺳﻢ ﻧﻮﻓﻤﺒﺮ

The human face draws me in… its Concept Statement ﻳﺠﺬﺑﻨﻲ اﻟﻮﺟﻪ اﻟﺒﺸﺮي... ﺣﻴﺚ إن ﻗﺪرﺗﻪ ﻋﻠﻰ potential for expressing emotion ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻟﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻌﺎﻃﻔﺔ ﺗﺘﻤﻠﻜﻨﻲ وﺗﺄﺳﺮﻧﻲ. engages and intrigues me. The face acts ﻳﻌﻤﻞ اﻟﻮﺟﻪ ﻛﻄﺒﻘﺔ ﺳﻔﻠﻴﺔ ﺗﺒﻨﻰ ﻋﻠﻴﻬﺎ as a substrate upon which ideas and dialogue are built. So much can be said اﻷﻓﻜﺎر واﳊﻮار، ﻓﻴﻤﻜﻨﻪ أن ﻳﻘﻮل اﻟﻜﺜﻴﺮ without words. My work focuses on this دون ﻛﻠﻤﺎت. إن ﻋﻤﻠﻲ ﻳﺮﻛﺰ ﻋﻠﻰ ﻫﺬا اﳊﻮار personal, silent dialogue and acts as a اﻟﺸﺨﺼﻲ اﻟﺼﺎﻣﺖ وﻳﻌﻤﻞ ﻛﻮﺳﻴﻠﺔ ﻟﻠﺘﻌﺒﻴﺮ .vehicle to express this fascination ﻋﻦ ﻫﺬا اﻟﺴﺤﺮ. In addition to the face, the actual physical boundaries of the canvas وﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ اﻟﻮﺟﻪ، ﺗﺨﻠﻖ اﳊﺪود اﳌﺎدﻳﺔ create my visual conversation. The اﳊﻘﻴﻘﻴﺔ ﻟﻠﺼﻮرة ﻣﺤﺎدﺛﺘﻲ اﳌﺮﺋﻴﺔ. ﺣﻴﺚ .camera a of viefinder the as acts canvas ﺗﻌﻤﻞ اﻟﺼﻮرة ﻛﻌﺪﺳﺔ اﻟﻜﺎﻣﻴﺮا. وﺗﺘﻤﻴﺰ The canvas has its own autonomous اﻟﺼﻮرة ﺑﺴﻄﺤﻬﺎ اﳌﺴﺘﻘﻞ، واﳊﺪ اﻟﻔﺮدي surface, the sole boundary, separating .viewer from subject اﻟﺬي ﻳﻔﺼﻞ اﳌﺸﺎﻫﺪ ﻋﻦ اﳌﻮﺿﻮع. My most recent work combines these ﻳﺠﻤﻊ ﻋﻤﻠﻲ اﻷﺧﻴﺮ ﺑﲔ ﻫﺬه اﻷﻓﻜﺎر وﺑﲔ ideas with the study of application دراﺳﺔ ﺗﻄﺒﻴﻖ وﻃﺒﻘﺎت اﻟﻠﻮن ﺣﻴﺚ ﺗﻘﺎم ﻋﻼﻗﺔ and layering of paint as it interrelates ﻣﺘﺒﺎدﻟﺔ ﻣﻊ اﳌﺰج ﻏﻴﺮ اﻟﺘﻘﻠﻴﺪي ﻟﻠﻮﺳﺎﺋﻞ. with nontraditional mixing of media. By limiting my palette I look to emphasize وﻣﻦ ﺧﻼل ﺗﻘﻴﻴﺪ ﻟﻮﺣﺔ اﻷﻟﻮان، ﻓﺄﻧﺎ أﺳﻌﻰ the impact of my emotional expression إﻟﻰ اﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﺗﺄﺛﻴﺮ ﺗﻌﺒﻴﺮي اﻟﻌﺎﻃﻔﻲ ﻓﻲ in the work. The more I deviate from the اﻟﻌﻤﻞ. ﻓﻜﻠﻤﺎ اﻧﺤﺮﻓﺖ ﻋﻦ اﻟﺜﻮاﺑﺖ اﻟﺘﻘﻠﻴﺪﻳﺔ traditional norms of planning, the faster ﻟﻠﺘﺨﻄﻴﻂ، ﻛﻠﻤﺎ أﳒﺰت ﻗﻄﻌﺔ وﻛﻠﻤﺎ ﻋﻜﺲ I realize a piece, and the more my art ً .environment new altogether an reflects ﻓﻨﻲ ﺑﻴﺌﺔ ﺟﺪﻳﺪة ﲤﺎﻣﺎ. أﻧﺎ اﺳﺘﻤﺘﻊ ﺑﺘﺴﺨﻴﺮ I enjoy the harnessing of unexpected اﻷﻓﻜﺎر ﻏﻴﺮ اﳌﺘﻮﻗﻌﺔ اﻟﺘﻲ ﺗﻈﻬﺮ ﻋﻨﺪﻣﺎ أﺳﻤﺢ ideas that appear when I allow for ﺑﺨﺮوﺟﻬﺎ ﻣﻦ ﻋﻤﻠﻴﺘﻲ اﻟﻮاﻋﻴﺔ. release from my conscious process. Colin G. Reaney 27 Australia | Artist / Art academic ﻛـﻮﻟـﻴـﻦ ﺟﻲ رﻳـﻨـﻲ اﺳﺘﺮاﻟﻴﺎ | ﻓﻨﺎن / أﻛﺎدﳝﻲ ﻓﻨﻮن

exhibitions Transitions, VCU Gallery, Significant 2009 ﲢﻮﻻت، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﺻﺎﻟﺔ ﺟﺎﻣﻌﺔ Doha, Qatar ﻓﻴﺮﺟﻴﻨﻴﺎ ﻛﻮﻣﻨﻮﻳﻠﺚ، اﻟﺪوﺣﺔ، ﻗﻄﺮ أﻫــﻢ اﻟــﻤــﻌـﺎرض Curated Postcard /2007 اﻹﺷﺮاف ﻋﻠﻰ ﻣﻌﺮض اﻟﻌﻤﻞ اﻟﻔﻨﻲ 2009 Artwork Exhibition, International Traveling ﻓﻲ اﻟﺒﻄﺎﻗﺎت اﻟﺒﺮﻳﺪﻳﺔ، اﳌﻌﺮض اﻟﺪوﻟﻲ ,Exhibition, Australia اﳌﺘﺠﻮل، اﺳﺘﺮاﻟﻴﺎ، ﻓﻠﺴﻄﲔ، اﻹﻣﺎرات Palestine, UAE ,In Situ, The Jam Jar 2008 إن ﺳﻴﺘﻮ، ﺻﺎﻟﺔ ﺟﺎﻣﺠﺎر، دﺑﻲ، اﻹﻣﺎرات Dubai, UAE اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2008 The Twentieth Anniversary ,Exhibition,Hobart City Gallery ﻣﻌﺮض اﻟﺬﻛﺮى اﻟﺴﻨﻮﻳﺔ اﻟﻌﺸﺮون، ﺻﺎﻟﺔ T Australia ﻫﻮﺑﺎرت ﺳﻴﺘﻲ، اﺳﺘﺮاﻟﻴﺎ ,Situation: collections 2005 ﻣﻮﻗﻒ: ﻣﺠﻤﻮﻋﺎت وﺷﺒﻜﺎت ﻣﻦ اﻟﻔﻨﺎﻧﲔ collectives, & artist networks ﻣﻦ ﺳﻴﺪﻧﻲ وﺳﻨﻐﺎﻓﻮرة وﺑﺮﻟﲔ، ﺑﺎﻟﺘﻌﺎون from –Sydney –Singapore Berlin, Collaboration with– ﻣﻊ ﺟﻮﻟﻴﺎﻧﺎ ﻳﺎﺳﲔ، ﻣﺘﺤﻒ اﻟﻔﻦ اﳌﻌﺎﺻﺮ، Juliana Yasin, Museum of ﺳﻴﺪﻧﻲ، اﺳﺘﺮاﻟﻴﺎ Contemporary Art (MCA), Sydney, Australia ,New Expression of Asian Art 2004 ﺗﻌﺒﻴﺮ ﺟﺪﻳﺪ ﻋﻦ اﻟﻔﻦ اﻵﺳﻴﻮي، اﻟﺒﻴﻨﺎﻟﻲ Asia Biennale Event, Tainan اﻵﺳﻴﻮي، ﻣﺮﻛﺰ ﺻﺎﻟﺔ ﺗﺎﻳﻨﺎن اﻟﺜﻘﺎﻓﻴﺔ، Cultural Gallery Center, Taiwan ﺗﺎﻳﻮان bigsmallisland… house, home 2002 ﺟﺰﻳﺮة ﺻﻐﻴﺮة ﻛﺒﻴﺮة... اﻟﺒﻴﺖ، اﻟﻮﻃﻦ، ,homeland, Group exhibition ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﻣﻌﺮض اﺣﺘﻔﺎﻻت اﻻﲢﺎد، Federation Celebration اﻟﻠﺠﻨﺔ اﻻﺳﺘﺮاﻟﻴﺔ اﻟﻌﻠﻴﺎ، ﺳﻨﻐﺎﻓﻮرة Exhibition, Australian High Commission, Singapore Gwangju Biennale, PKW 2002 ﺑﻴﻨﺎﻟﻲ ﺟﻮاﳒﺠﻮ، ﻣﺸﺮوع PKW Flag، Flag project representing ﲤﺜﻴﻞ ﺳﻨﻐﺎﻓﻮرة، ﺟﻮاﳒﺠﻮ، ﻛﻮرﻳﺎ Singapore, Gwangju, Korea 28

…writing across water series Steel Installation February 2009 ﻟﻜﺘﺎﺑﺔ ﺣﻮل ﺳﻠﺴﻠﺔ اﳌﻴﺎه اﻟﺼﻠﺐ ﻓﺒﺮاﻳﺮ I want to extend on the use of the Concept Statement أود أن أﺗﻮﺳﻊ ﻓﻲ ﺑﻴﺎن اﺳﺘﺨﺪام ﺻﺎﻟﺔ اﻟﻌﺮض، gallery, providing a writing space that is ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﻓﻬﻲ ﺗﻮﻓﺮ ﻣﻜﺎﻧﺎً ﻋﺎﻣﺎً ﻟﻠﻜﺘﺎﺑﺔ، وﻓﻲ ﻧﻔﺲ public yet at the same time, a quiet place اﻟﻮﻗﺖ، ﻣﻜﺎﻧﺎً ﻫﺎدﺋﺎً (ﺑﻌﺪ ﻟﻴﻠﺔ اﻻﻓﺘﺘﺎح)، وﲤﺜﻞ (post opening night) and for the most part an empty space in which to stop and ﻛﺬﻟﻚ ﻓﻀﺎءاً ﺧﺎﻟﻴﺎً ﻳﺘﻴﺢ اﻟﻔﺮﺻﺔ ﻟﻠﺘﻮﻗﻒ space gallery the in alone Being reflect. واﻟﺘﻔﻜﻴﺮ. إن اﳉﻠﻮس وﺣﻴﺪاً ﻓﻲ ﺻﺎﻟﺔ اﻟﻌﺮض and writing to someone who you do not واﻟﻜﺘﺎﺑﺔ إﻟﻰ ﺷﺨﺺ ﻻ ﺗﻌﺮﻓﻪ ﻗﺪ ﻳﺼﺒﺢ know, becomes ‘a point of intersection in ”ﻧﻘﻄﺔ ﺗﻘﺎﻃﻊ ﻓﻲ اﻟﺸﺒﻜﺔ اﻷوﺳﻊ ﻟﻠﻌﻼﻗﺎت a wider network of daily relations.’ What takes place at these ‘‘crossings,” these اﻟﻴﻮﻣﻴﺔ“؛ ﻓﻤﺎ ﻳﺤﺪث ﻓﻲ ”ﻧﻘﺎط اﻟﺘﻘﺎﻃﻊ“ ﻫﺬه، borders, these places of arrivals and وﻫﺬه اﳊﺪود، وأﻣﺎﻛﻦ اﻟﻮﺻﻮل واﳌﻐﺎدرة ﻫﻮ ﺷﺊ departures are interesting, as you are ﳑﺘﻊ؛ ﻓﺎﻟﺸﺨﺺ ﻳﻜﻮن ﻣﻄﻠﻮﺑﺎً ﻣﻨﻪ اﻟﺘﻐﻠﺐ required then to negotiate the various ﻋﻠﻰ اﻟﻀﻐﻮط اﻟﺘﻠﻔﺔ واﳌﻌﺎﻧﻲ اﻟﻀﻤﻨﻴﺔ ﻓﻲ tensions and constructions implicit in ﺳﻴﺮة اﻟﺸﺨﺺ. one’s own biography. 1

It can be just a line or two, a paragraph, a ﻗﺪ ﻳﻜﻮن ذﻟﻚ ﻓﻲ ﺳﻄﺮ أو ﺳﻄﺮﻳﻦ، أو ﻓﻲ 1 ,page, recounting a personal experience ﻓﻘﺮة، أو ﺻﻔﺤﺔ، ﲢﻜﻲ ﲡﺮﺑﺔ ﺷﺨﺼﻴﺔ، أو a reflection, or an opinion about these Massey, D. (1991) ‘A place Called Home,’ New ﺗﻔﻜﻴﺮ، و رأي ﻋﻦ ﻫﺬه اﻟﻜﻠﻤﺎت اﻟﺜﻼث، وﻗﺪ three words and they can be signed or Formations 17,1991:29, as ,remain anonymous. cited in Morley, David. 1999 ﺗﻮﻗﻊ ﺗﻠﻚ اﻟﻜﻠﻤﺎت أو ﺗﺘﺮك ﻣﺠﻬﻮﻟﺔ. “bounded realms,” in Naficy, Hamid. [Ed] 1999, Home, Exile, Homeland, Ruthledge Press. دي ﻣﺎدﻳﺴﻲ (1991): ”ﻣﻜﺎن اﺳﻤﻪ اﻟﻮﻃﻦ“، ﺗﺸﻜﻴﻼت ﺟﺪﻳﺪة 17، 1991:29 ﻛﻤﺎ ﻫﻮ ذﻛﺮ ﻓﻲ دﻳﻔﻴﺪ ﻣﻮرﻟﻲ. 1999، ”ﻋﻮاﻟﻢ ﻟﻬﺎ ﺣﺪود“ ﻓﻲ ﺣﺎﻣﺪ ﻧﻔﻴﺴﻲ. (ﻃﺒﻌﺔ) 1999: اﻟﺒﻴﺖ، اﳌﻨﻔﻰ، اﻟﻮﻃﻦ، ﻣﻄﺒﻌﺔ روﺛﻠﺪج. Colleen Quigley 29 American | Artist / Educator ﻛـﻮﻟـﲔ ﻛـﻮﻳـﺠـﻠـﻲ اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة | ﻓﻨﺎﻧﺔ / ﻣﻌﻠﻤﺔ

exhibitions Insitu, The Jam Jar, Significant 2008 إن ﺳﻴﺘﻮ، ﺻﺎﻟﺔ ﺟﺎﻣﺠﺎر، دﺑﻲ، أﻫــﻢ اﻟــﻤــﻌـﺎرض Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة In the Mix, Creek Art 2008 إن ذا ﻣﻴﻜﺲ، ﻣﻌﺮض اﳋﻮر ﻟﻠﻔﻨﻮن، دﺑﻲ، Fair, Dubai, UAE Constructing the 2008 اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Constructor, The Jam ﺑﻨﺎء اﻟﺒﺎﻧﻲ، ﺻﺎﻟﺔ ﺟﺎﻣﺠﺎر، دﺑﻲ، Jar, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,Vibrations Within 2008 ذﺑﺬﺑﺎت ﻣﻦ اﻟﺪاﺧﻞ، ﺗﺸﻜﻴﻞ، دﺑﻲ، Tashkeel, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Minus Reality, Art 2007 اﳊﻘﻴﻘﺔ اﻟﻨﺎﻗﺼﺔ، أرت أﺗﺎك، دﺑﻲ، Attack, Dubai, UAE ,Rtoosh, Meem Gallery 2007 اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dubai, UAE رﺗﻮش، ﺻﺎﻟﺔ ﻣﻴﻢ، دﺑﻲ، ,Subjects, More 2, Dubai 2007 اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE ﻣﻮﺿﻮﻋﺎت، ﻣﻮر ﺗﻮ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 30

Vision Oil on canvas paper mounted on panel 100 x 130 cm 2008 رؤﻳﺔ اﻟﺰﻳﺖ ﻋﻠﻰ ورق اﻟﻜﺎﻧﻔﺎ اﳌﻌﻠﻖ ﻋﻠﻰ ﻟﻮح × ﺳﻢ

Vision is inspired by the opulent portrait Concept Statement اﺳﺘﻮﺣﻲ اﻟﻌﻤﻞ ”رؤﻳﺔ“ ﻣﻦ ﺧﻼل رﺳﻮﻣﺎت paintings created by the 19th century ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻟﺼﻮر اﻟﻮاﻓﺮة اﻟﺘﻲ أﺑﺪﻋﻬﺎ اﻟﺮﺳﺎم ”إﳒﺮﻳﺲ“ painter, Ingres. My interest lies in اﻟﺬي ﻋﺎش ﻓﻲ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﺸﺮ اﳌﻴﻼدي. revisiting the original 19th century portrait and “de-composing” it with ﻳﻜﻤﻦ اﻫﺘﻤﺎﻣﻲ ﻓﻲ اﻟﺮﺟﻮع إﻟﻰ اﻟﺼﻮرة اﻷﺻﻠﻴﺔ thick strokes of paint so that the اﻟﺘﻲ رﺳﻤﺖ ﻓﻲ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﺸﺮ وﺣﺎوﻟﺖ painting is considered in an entirely new ﲢﻠﻴﻠﻬﺎ إﻟﻰ ﻋﻨﺎﺻﺮﻫﺎ اﻷﺳﺎﺳﻴﺔ ﺑﺎﺳﺘﺨﺪام and different context with a focus on the رﺗﻮش ﺳﻤﻴﻜﺔ ﻣﻦ اﻟﻠﻮن ﺣﺘﻰ ﺗﻈﻬﺮ اﻟﻠﻮﺣﺔ paint itself, while still communicating .a faint memory of the original portrait ﻓﻲ ﺷﻜﻞ ﺟﺪﻳﺪ ﲤﺎﻣﺎً وﻓﻲ ﺳﻴﺎق ﻣﺨﺘﻠﻒ، ﻣﻊ reflect to viewer the want I Ultimately, ﺗﺮﻛﻴﺰ ﻋﻠﻰ اﻟﺮﺳﻢ ﻧﻔﺴﻪ، واﻻﺣﺘﻔﺎظ ﺑﺬﻛﺮى on the process of painting and on the ﺿﺌﻴﻠﺔ ﻣﻦ اﻟﻠﻮﺣﺔ اﻷﺻﻠﻴﺔ. وﻓﻲ اﻟﻨﻬﺎﻳﺔ، أرﻳﺪ .idea of originality in art ﻣﻦ اﳌﺸﺎﻫﺪ أن ﻳﻔﻜﺮ ﻓﻲ ﻋﻤﻠﻴﺔ اﻟﺮﺳﻢ وﻓﻲ ﻓﻜﺮة اﻷﺻﺎﻟﺔ ﻓﻲ اﻟﻔﻦ. Debjani Bhardwaj 31 Born 1972 | Indian | Artist / Sculptor دﻳــﺒـﺠـﺎﻧـﻲ ﺑـﻬـﺎردواج ﻣﻮﻟﻮد | اﻟﻬﻨﺪ | ﻓﻨﺎن/ ﻧﺤﺎت

exhibitions Kaleidoscope, Dubai Significant 2009 ﻣﻌﺮض اﻟﺮﺳﻢ ”ﻛﺎﻟﻴﺪوﺳﻜﻮب“، ﻧﺎدي دﺑﻲ أﻫــﻢ اﻟــﻤــﻌـﺎرض Ladies Club, Dubai, UAE ﻟﻠﺴﻴﺪات، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dubai Artist Residency 2008 ﺑﺮﻧﺎﻣﺞ دﺑﻲ ﻹﻗﺎﻣﺔ اﻟﻔﻨﺎﻧﲔ، ﺑﺎﺳﺘﺎﻛﻴﺎ، Programme Bastakiya, Dubai, UAE دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Group show, Creek 2008 ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﻣﻌﺮض اﳋﻮر ﻟﻠﻔﻨﻮن، ,Art Fair, Bastakiya ﺑﺎﺳﺘﺎﻛﻴﺎ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dubai, UAE Vibrations Within, Group 2008 ذﺑﺬﺑﺎت ﻣﻦ اﻟﺪاﺧﻞ، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ,show, Tashkeel, Dubai ﺗﺸﻜﻴﻞ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE ,Across Boundaries 2008 ﻋﺒﺮ اﳊﺪود، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، دﺑﻲ وﻣﺴﻘﻂ ,Group show, Dubai وﻟﻨﺪن Muscat and London. 32

Wired Stoneware clay sculpture, plastic wires 40 x 15 x 10 cm (figures) February 2009 اﻟﺮﺑﻂ ﺑﺎﻷﺳﻼك اﻟﻨﺤﺖ ﻋﻠﻰ اﳋﺰف اﳊﺠﺮي، اﻷﺳﻼك اﻟﺒﻼﺳﺘﻴﻜﻴﺔ ٤ x ٥ x ﺳﻢ ﺑﺸﺮﻳﺔ ﻓﺒﺮاﻳﺮ

All of us are wired to an invisible giant Concept Statement ﺗﺮﺑﻄﻨﺎ ﺟﻤﻴﻌﺎً أﺳﻼك ﺑﻜﻤﺒﻴﻮﺗﺮ ﺿﺨﻢ ﻏﻴﺮ computer that accurately and precisely ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﻣﺮﺋﻲ ﻳﻘﺮأ ﺑﺪﻗﻊ ﺟﻤﻴﻊ أﻓﻜﺎرﻧﺎ اﻟﺘﻲ ﻻ ﻧﺒﻮح ﺑﻬﺎ. reads all our unspoken thoughts. Our ﻓﺘﻨﺘﻘﻞ أﻓﻜﺎرﻧﺎ ﺑﺤﺮﻳﺔ، وﻛﺬﻟﻚ أﳌﻨﺎ اﻟﺸﺪﻳﺪ، thoughts are transmitted freely, our intense pain, our deep anguish, our أو ﺣﺰﻧﻨﺎ اﻟﻌﻤﻴﻖ، أو ﺧﻮﻓﻨﺎ اﻟﺸﺪﻳﺪ، أو ﺷﻌﻮرﻧﺎ simmering angst, our heartfelt اﻟﻘﻠﺒﻲ ﺑﺎﻹﻋﺠﺎب، أو اﻷﺳﺌﻠﺔ اﻟﺘﻲ ﺗﺘﺮك دون appreciation or the unanswered إﺟﺎﺑﺔ. ﻓﻨﻨﺘﻈﺮ ﻇﻬﻮر اﻷﺟﻮﺑﺔ، وﻋﻨﺪﻣﺎ ﺗﻈﻬﺮ questions. We wait for the answers to ﻓﻲ ﻧﻬﺎﻳﺔ اﻷﻣﺮ، ﺗﺄﺗﻲ إﻟﻴﻨﺎ ﺑﺸﻜﻞ ﺻﺎﻣﺖ emerge and when they finally do, they come to us ever so silently and often in ﺑﺸﻜﻞ ﻻ ﻧﺘﻮﻗﻌﻪ وﻻ ﻧﺪرﻛﻪ ﲤﺎﻣﺎً. ﻓﻼ ﺗﺬﻫﺐ the most unexpected, unrecognizable أي ﻣﻦ ﻫﺬه اﳌﺸﺎﻋﺮ دون إﺟﺎﺑﺔ. وﻟﻜﻦ ﻋﻨﺪﻣﺎ ways. None of these transmissions ever ﻧﺘﻮﻗﻒ ﻟﻠﺤﻈﺔ ﻛﻲ ﻧﺘﺄﻣﻞ، ﻓﺈﻧﻨﺎ ﻧﻌﻠﻢ أن ﻣﺎ go without response. But when we stop ﻳﺪﺧﻞ إﻟﻰ اﻟﻜﻤﺒﻴﻮﺗﺮ ﻫﻮ ﺑﺎﻟﻈﺒﻂ ﻣﺎ ﻳﺨﺮج that know we reflect, to moment a for ﻣﻨﻪ ﻓﻲ اﻟﻨﻬﺎﻳﺔ. what goes into the computer is exactly what eventually comes out. Dima Arabi Katbi 33 Born 1987 | Syrian | Student دﳝــﺎ ﻋــﺮﺑــﻲ اﻟﻜﺘﺒـﻲ ﻣﻮﻟﻮد | ﺳﻮرﻳﺎ | ﻃﺎﻟﺒﺔ

exhibitions Silent Conversations is the artist’s Significant ﺣﻮار ﺻﺎﻣﺖ أول ﻣﻌﺮض ﻟﻬﺬة اﻟﻔﻨﺎﻧﺔ first exhibition أﻫــﻢ اﻟــﻤــﻌـﺎرض 34

Life Goes On Digital Photography 60 x 60 cm October 2007 ﺗﺴﺘﻤﺮ اﳊﻴﺎة ﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٦ × ٦ ﺳﻢ أﻛﺘﻮﺑﺮ

Concept Statement empty and up fill I life in wanderer a As ﻛﻤﺘﺠﻮﻟﺔ ﻓﻲ اﳊﻴﺎة، أﻗﻮم ﺑﺎﻏﺘﺮاف وﺗﻔﺮﻳﻎ thoughts, memories and pain that I have ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻷﻓﻜﺎر واﻟﺬﻛﺮﻳﺎت واﻵﻻم اﻟﺘﻲ أﺣﻤﻠﻬﺎ ﻣﻌﻲ. been carrying around. I own four wheels ﻟﺪي ﻣﺎ ﳝﻜﻨﻨﻲ ﻣﻦ اﻟﺘﺤﻜﻢ واﳊﺮﻛﺔ. وﻋﻠﻰ with them I control and move around. ,Dislocated, misplaced and uncertain اﻟﺮﻏﻢ ﻣﻦ ﺷﻌﻮري ﺑﻌﺪم وﺟﻮدي ﻓﻲ ﻣﻜﺎﻧﻲ but as long as I breathe I will keep rolling اﻟﺼﺤﻴﺢ، ﺳﻮف اﺳﺘﻤﺮ ﻓﻲ اﳊﺮﻛﺔ ﻃﺎﳌﺎ for emptiness, my fills what reach I until اﺳﺘﻤﺮت أﻧﻔﺎﺳﻲ ﺣﺘﻰ أﺻﻞ إﻟﻰ ﻣﺎ ﳝﻸ ﻓﺮاﻏﻲ؛ ,life will never wait for you to come clean ﻓﺎﳊﻴﺎة ﻟﻦ ﺗﻨﺘﻈﺮ، ﺑﻞ ”ﺗﺴﺘﻤﺮ اﳊﻴﺎة“. but “life will go on…” Eduardo Yap 35 Born 1973 | Filipino | Painter / Artist Supervisor إدواردو ﻳـــــــﺎب ﻣﻮﻟﻮد | اﻟﻔﻠﺒﲔ | رﺳﺎم/ ﻣﺸﺮف ﻓﻨﺎﻧﲔ

exhibitions My Name is Robot, Significant 2009 اﺳﻤﻲ روﺑﻮت، ﺻﺎﻟﺔ ﺟﺎﻣﺠﺎر، دﺑﻲ، اﻹﻣﺎرات The Jam Jar Gallery اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة أﻫــﻢ اﻟــﻤــﻌـﺎرض Dubai UAE ,Redbull, The Art of Can 2008 رﻳﺪﺑﻮل، ﻓﻦ ﻛﺎن، ﻣﻮل اﻹﻣﺎرات، دﺑﻲ، ,Mall of the Emirates اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dubai UAE ,The Art of Can 2006 ﻓﻦ ﻛﺎن، ﻣﻮل اﻹﻣﺎرات، دﺑﻲ، ,Mall of the Emirates اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dubai UAE Safe and Sound, Breast 2006 اﳊﻤﻠﺔ اﻟﺘﻮﻋﻮﻳﺔ ﻟﺴﺮﻃﺎن اﻟﺜﺪي & Safe Sound Cancer Awareness, The، ﺻﺎﻟﺔ ﺟﺎﻣﺠﺎر، ﻣﺮﻛﺰ ﺑﺮﺟﻤﺎن، دﺑﻲ، Jam Jar Gallery at the ,Burjuman Centre Dubai اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE Burjuman Art and 2006 ﻣﻬﺮﺟﺎن اﻟﻔﻨﻮن واﻷزﻳﺎء ﻓﻲ ﻣﺮﻛﺰ ﺑﺮﺟﻤﺎن، ,Fashion Festival Dubai دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE 36

“FACE” the reality Acrylic 121.9 x 121.9 cm (each) February 2009 «واﺟﻪ» اﳊﻘﻴﻘﺔ إﻛﺮﻳﻠﻴﻚ ٫ × ٫ ﺳﻢ ﻓﺒﺮاﻳﺮ These three faces represent those people Concept Statement ﲤﺜﻞ اﻷوﺟﻪ اﻟﺜﻼﺛﺔ اﻷﺷﺨﺎص اﻟﺬﻳﻦ ﺗﺄﺛﺮوا global the by affected significantly most ﺑﺸﻜﻞ ﻛﺒﻴﺮ ﺑﺎﻷزﻣﺔ اﳌﺎﻟﻴﺔ اﻟﻌﺎﳌﻴﺔ – اﻟﻌﻤﺎل ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة and Indian Pakistani, the – crisis financial Filipino workers who generally work in the اﻟﺒﺎﻛﺴﺘﺎﻧﻴﲔ واﻟﻬﻨﻮد واﻟﻔﻠﺒﻴﻨﻴﲔ اﻟﺬﻳﻦ ﻳﻌﻤﻠﻮن .construction industries ﻋﻤﻮﻣﺎً ﻓﻲ ﺻﻨﺎﻋﺎت اﻹﻧﺸﺎءات. There have been instances where their ﻛﺎﻧﺖ ﻫﻨﺎك ﺣﺎﻻت ﺗﺄﺧﺮت رواﺗﺒﻬﻢ ﻓﻴﻬﺎ، ﺑﻞ salary was delayed or worse, when the ﺣﺪث ﻣﺎ ﻫﻮ أﺳﻮأ ﻣﻦ ذﻟﻚ؛ وﻫﻮ إﻧﻬﺎء ﻋﻘﻮد workers contracts have been terminated اﻟﻌﻤﺎل وأﺿﻄﺮوا ﻟﻠﺮﺟﻮع إﻟﻰ ﺑﻼدﻫﻢ دون and they have been forced to go back to أي ﺷﺊ. their own countries without anything. أﻗﺪم ﻓﻜﺮة ﺗﺘﻤﺜﻞ ﻓﻲ ﺛﻼﺛﺔ أﺷﺨﺎص ﻳﻘﻮﻣﻮن I present the idea of three different people biting their own currency to ﺑﻘﻀﻢ ﻋﻤﻼﺗﻬﻢ ﻟﻠﺪﻻﻟﺔ ﻋﻠﻰ رﻏﺒﺘﻬﻢ ﻓﻲ ,symbolize their desperation to be paid اﳊﺼﻮل ﻋﻠﻰ رواﺗﺒﻬﻢ، ﻟﻠﺤﺼﻮل ﻋﻠﻰ اﳌﺎل اﻟﺬي to receive the money that they deserve ﻳﺴﺘﺤﻘﻮﻧﻪ ﻷﻧﻬﻢ ﻋﻤﻠﻮا ﺑﺠﺪ واﺟﺘﻬﺎد ﻛﻲ .because they have worked hard for it ﻳﺤﺼﻠﻮا ﻋﻠﻴﻪ. ﻫﺆﻻء اﻟﻨﺎس ﻳﻔﺘﻘﺮون أﻛﺜﺮ وأﻛﺜﺮ، These poor people are getting even poorer, while rich people try to ﺑﻴﻨﻤﺎ ﻳﺘﻼﻋﺐ ﺑﻬﻢ اﻷﻏﻨﻴﺎء. .manipulate them ﳌﺎذا ﻳﻌﺎﻧﻲ ﻫﺆﻻء اﻟﻨﺎس، اﻟﺬﻳﻦ ﻳﻜﺪون وﻳﻌﻤﻠﻮن Why is it people who are working very ﺑﺄﻳﺪﻳﻬﻢ اﻟﻌﺎرﻳﺔ وﻳﻘﻀﻮن وﻗﺘﺎً ﻃﻮﻳﻼً ﲢﺖ ﺣﺮارة hard, using their bare hands, spending a اﻟﺸﻤﺲ، ﻣﻦ اﻟﺮواﺗﺐ اﻟﻈﺎﳌﺔ... ﺑﻴﻨﻤﺎ اﻷﺷﺨﺎص long time working under the heat of the اﻟﺬﻳﻦ ﻳﺠﻠﺴﻮن ﻋﻠﻰ أﺟﻬﺰة اﻟﻜﻤﺒﻴﻮﺗﺮ sun, are the people who suffer an unjust ﻣﺴﺘﺮﻳﺤﲔ ﻃﻮال اﻟﻨﻬﺎر ﻳﺤﺼﻠﻮن ﻋﻠﻰ رواﺗﺐ salary…while people who sit at their computers and relax the whole day, those ﻣﺮﺗﻔﻌﺔ. .are the people who enjoy a high salary ﻫﺆﻻء اﻟﻨﺎس ﻟﻴﺲ ﻟﻬﻢ ﺻﻮت ﻛﻲ ﻳﺼﺮﺧﻮا These people do not have a voice to shout وﻳﻌﺒﺮوا ﻋﻦ ﺷﻜﻮاﻫﻢ؛ ﻟﻴﺲ ﻟﺪﻳﻬﻢ أي ﺧﻴﺎر their complaints; they have no choice ﺳﻮى اﻧﺘﻈﺎر ﺣﺪوث اﻟﺘﻐﻴﻴﺮ، وﻫﻮ ﻣﺎ ﳝﻜﻦ ﻟﻨﺎ but to wait for change, as can be seen by أن ﻧﻠﻤﺤﻪ ﻓﻲ وﺟﻮﻫﻬﻢ. ﻫﺬه ﻫﻲ ﻃﺮﻳﻘﺘﻬﻢ looking at their faces. That is their only way اﻟﻮﺣﻴﺪة ﻟﻠﺘﻌﺒﻴﺮ ﻋﻦ ﻣﺸﺎﻋﺮﻫﻢ؛ اﻟﻄﺮﻳﻘﺔ to express their emotions, the only way to .show their SILENT CONVERSATION اﻟﻮﺣﻴﺪة ﻹﻇﻬﺎر ﻣﺤﺎدﺛﺘﻬﻢ اﻟﺼﺎﻣﺘﺔ. Fathima Mohiuddin 37 Born 1983 | Canadian / Indian | Artist / Special Projects Manager ﻓـﺎﻃـﻤـﺔ ﻣـﺤـﻴـﻲ اﻟـﺪﻳﻦ ﻣﻮﻟﻮد | ﻛﻨﺪا/ اﻟﻬﻨﺪ | ﻓﻨﺎﻧﺔ / ﻣﺪﻳﺮة ﻣﺸﺮوﻋﺎت

exhibitions Bloom, Group Significant 2008 ﺑﻠﻮوم، ﻓﻌﺎﻟﻴﺔ ﺟﻤﺎﻋﻴﺔ ﳉﻤﻊ اﳌﺴﺎﻋﺪات fundraising event for aids ﻓﻲ ﺣﻤﻠﺔ ﺗﻮﻋﻴﺔ، رﺳﻢ ﺣﻲ ﳌﺰاد ﻓﻨﻲ، أﻫــﻢ اﻟــﻤــﻌـﺎرض awareness, Live drawing ,for art auction, Toronto ﺗﻮروﻧﺘﻮ، ﻛﻨﺪا Canada 1st Prize, Juried 2005 اﳉﺎﺋﺰة اﻷوﻟﻰ، ﻣﻌﺮض ﺟﻮرﻳﺪ، ﺟﺎﻣﻌﺔ exhibition, University of ﺗﻮروﻧﺘﻮ، ﺗﻮروﻧﺘﻮ، ﻛﻨﺪا Toronto, Toronto, Canada MindFrame, Solo 2005 ﻣﺎﻳﻨﺪ ﻓﺮﱘ، ﻣﻌﺮض ﻓﺮدي، ﺻﺎﻟﺔ 1265 exhibition, Gallery 1265 EcoItaly, Group 2004 إﻳﻜﻮﻟﺘﺎﻟﻲ، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﺗﻮروﻧﺘﻮ، ﻛﻨﺪا exhibition, Toronto, Canada UTSC senior group 2004 ﻣﻌﺮض ﺟﻤﺎﻋﻲ ﻓﻲ ﺟﺎﻣﻌﺔ ﺗﻮروﻧﺘﻮ ﻓﻲ exhibition ﺳﻜﺎرﺑﺎره 38

Untitled Ink, charcoal, conte 152.4 x 304.8 cm 2009 ﺑﺪون ﻋﻨﻮان اﳊﺒﺮ، اﻟﻔﺤﻢ، ﻗﻠﻢ ﻛﻮﻧﺘﻴﻪ ٥٫٤ × ٤٫ ﺳﻢ

In Automatic drawing the objective is Concept Statement اﻟﻬﺪف ﻓﻲ اﻟﺮﺳﻢ اﻟﺘﻠﻘﺎﺋﻲ ﻫﻮ ﻣﺤﺎوﻟﺔ to attempt to escape, as much as ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻟﻬﺮوب، ﻗﺪر اﻹﻣﻜﺎن، ﻣﻦ اﻟﺘﻌﺮﻳﻒ واﻟﻠﻐﺔ، and language and definition possible, وﻛﺬﻟﻚ اﻟﺘﻮاﺻﻞ ﻣﻦ ﻣﻜﺎن ”ﻣﺎ ﻗﺒﻞ اﻟﻠﻐﺎت“. communicate from a place that is almost ‘pre-language’. In drawing وﺗﻜﻤﻦ ﻓﺎﺋﺪة اﻟﺮﺳﻢ اﻟﺴﺮﻳﻊ ﻋﻠﻰ ﻣﺴﺎﺣﺔ quickly and on a large scale one is cutting ﻛﺒﻴﺮة ﻫﻮ ﺗﻮﻓﻴﺮ اﻟﻮﻗﺖ اﻟﺬي ﻗﺪ ﻳﺸﻐﻞ ﻋﻘﻠﻪ out the time it takes for the mind to make ﻻﺗﺨﺎذ ﻗﺮارات إدراﻛﻴﺔ ﳌﻌﺮﻓﺔ ﻣﺎ ﻳﺮﺳﻢ. ﻓﻬﺬا conscious decisions as to what to اﻷﻣﺮ ﻳﺘﻮﺟﻪ أﻛﺜﺮ ﻧﺤﻮ اﻟﺘﻮاﺻﻞ ﻣﻦ اﻟﻼوﻋﻲ. draw. It is more oriented towards communicating from the subconscious. ﺗﺴﺘﻄﻴﻊ اﻟﻔﻨﺎﻧﺔ ﻣﻦ ﺧﻼل اﻟﺮﺳﻢ اﳊﻲ اﻟﺘﻐﺬي In drawing live, the artist feeds off the ﻣﻦ اﳊﻴﻮﻳﺔ اﻟﺘﻲ ﻳﺒﺜﻬﺎ اﻟﻨﺎس ﻣﻦ ﺣﻮﻟﻬﺎ، وﻫﻮ energy of the people around her and this ﻣﺎ ﻳﻨﻌﻜﺲ ﻻ ﺷﻌﻮرﻳﺎً ﻋﻠﻰ ﻃﺒﻴﻌﺔ اﻟﻌﻼﻣﺎت is subconsciously channeled into the اﻟﺘﻲ ﺗﻘﻮم ﺑﺮﺳﻤﻬﺎ. وﻛﺬﻟﻚ ﻣﻦ ﺧﻼل اﻟﺮﺳﻢ nature of the marks made. As well, ,drawing in front of people as they watch اﳊﻲ أﻣﺎم اﳌﺸﺎﻫﺪﻳﻦ، ﻳﺴﺘﻄﻴﻊ اﻟﻔﻨﺎن ﺧﻠﻖ the artist is creating a dialogue on a ﺣﻮار ﻋﻠﻰ ﻣﺴﺘﻮى ﻣﻌﲔ ﻣﻦ اﻟﻠﻐﺔ ﻏﻴﺮ اﻟﻠﻐﺔ level that escapes language as we اﻟﺘﻲ ﻧﻌﺮﻓﻬﺎ. ﻓﺎﻟﺴﻄﻮر واﳊﺮﻛﺎت ﺗﺘﻮاﺻﻞ ﻣﻊ know it. The lines and movements اﳌﺸﺎﻫﺪ ﻋﻠﻰ ﻣﺴﺘﻮى أﺷﺪ ﻻ وﻋﻴﺎً ﻣﻦ اﻟﻨﺎﺣﻴﺔ communicate with the viewer on a more emotive subconscious level. They اﻟﻌﺎﻃﻔﻴﺔ. ﻓﻬﻲ ﺗﺜﻴﺮ اﺳﺘﺠﺎﺑﺔ ﻏﻴﺮ ﻣﺤﺪدة defined not is that response a provoke وﺣﺘﻰ ﻏﻴﺮ ﻣﺴﺠﻠﺔ ﻣﻦ ﻗﺒﻞ اﳌﺸﺎﻫﺪ؛ ﻓﻴﺤﺪث and perhaps not even registered by the ﻧﻮع ﻣﻦ اﻟﺘﺒﺎدل. ﻓﺒﺪون أن أﲢﺪث أو أﻧﻈﺮ إﻟﻰ viewer. There is an exchange. Without اﻟﺸﺨﺺ اﻟﺬي ﻳﺸﺎﻫﺪﻧﻲ ﺣﺎل ﻗﻴﺎﻣﻲ ﺑﺎﻟﺮﺳﻢ، speaking to or even looking at the person ﻳﻜﻮن ﺑﻴﻨﻨﺎ ﺣﻮار. watching me while I draw, I have had a conversation Fatma Al Mulla 39 Born 1990 | Emarati | Student ﻓـﺎﻃـﻤــﺔ اﻟــﻤــﻼ ﻣﻮﻟﻮد | اﻹﻣﺎرات | ﻃﺎﻟﺒﺔ

exhibitions Minus Reality, Art Attack Significant 2007 اﳊﻘﻴﻘﺔ اﻟﻨﺎﻗﺼﺔ، ﺻﺎﻟﺔ أرت أﺗﺎك، دﺑﻲ، Gallery, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة أﻫــﻢ اﻟــﻤــﻌـﺎرض 40

nhabitation Ditigal photography 42 cm x 28 cm (each) November 2008 اﻹﻗﺎﻣﺔ ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٤ × ﺳﻢ ﻧﻮﻓﻤﺒﺮ

Silent conversations are communicated Concept Statement ﺗﺘﻢ اﶈﺎدﺛﺎت اﻟﺼﺎﻣﺘﺔ ﻣﻦ ﺧﻼل ﻟﻐﺔ اﳉﺴﺪ، through body language and sometimes ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة وﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن ﺗﺘﻢ ﻓﻲ وﺟﻮد ﻋﺎﻟﻢ آﺧﺮ. .a presence with perhaps another realm وﺗﻜﻮن ﻟﻐﺔ اﳉﺴﺪ أﻛﺜﺮ اﺳﺘﻴﻌﺎﺑﺎً ﻷﻧﻨﺎ Body language is more understandable, however, because we see it on a daily ﻧﺸﺎﻫﺪﻫﺎ ﺑﺸﻜﻞ ﻳﻮﻣﻲ. ﻓﻴﻤﻜﻨﻨﺎ أن ﻧﻌﺮف basis. We can get a certain impression or اﻧﻄﺒﺎع ﻣﺎ أو ﺷﻌﻮر ﻣﻌﲔ ﻣﻦ ﺷﺨﺺ ﻳﺘﺤﺪث sense from a person talking in front of أﻣﺎﻣﻨﺎ وأن ﻧﻌﺮف ﻣﺎ إذا ﻛﺎن ﻫﺬا اﻟﺸﺨﺺ ﻳﻜﻦ ,us as to whether they like or dislike us ﻟﻨﺎ ﺣﺒﺎً أم ﻻ ﻣﻦ ﺧﻼل ﻃﺮﻳﻘﺔ ﻧﻄﻘﻪ ﻟﻠﻜﻠﻤﺎت؛ mostly depending on how they pronounce their words and we react ﻓﻨﺘﻔﺎﻋﻞ ﺑﺸﻜﻞ ﻃﺒﻴﻌﻲ ﲡﺎه ﻫﺬا اﻟﺸﺨﺺ to them by naturally including facial ﻣﻦ ﺧﻼل ﺗﻌﺒﻴﺮات اﻟﻮﺟﻪ وﻟﻐﺔ اﳉﺴﺪ. expressions and body language. وﻟﻜﻦ ﻛﻴﻒ ﻟﻨﺎ أن ﻧﻔﻬﻢ ﻋﻠﻰ اﻟﻔﻮر أو ﻧﺘﻮاﺻﻞ But how can we instantly understand ﻣﻊ ﺷﺊ أو ﺷﺨﺺ ﻻ ﻧﺮاه؟ ﻓﻲ ﺳﻠﺴﻠﺔ or communicate with something or someone we cannot see? In the ”اﻹﻗﺎﻣﺔ“، أﺻﻮر ﺷﺨﺺ ﻳﺒﺪو وﻛﺄﻧﻪ ﻏﻴﺮ ﻗﺎدر series ‘Inhabitation’ I awkwardly place a ﻋﻠﻰ اﻟﺘﻌﺎﻳﺶ ﻣﻊ اﻟﺒﻴﺌﺔ اﻟﺘﻲ ﻳﻘﻴﻢ ﻓﻴﻬﺎ؛ in fit to seem not does who person وﻫﻲ ﺑﻴﺌﺔ ﻳﻘﻴﻢ ﻓﻴﻬﺎ آﺧﺮون ﻏﻴﺮه. ﻳﺒﺤﺚ with the environment they occupy, an ﻫﺬا اﻟﺘﻮاﺟﺪ ﻋﻦ ﺷﺊ ﻏﻴﺮ ﻣﻌﺮوف ﻟﻴﺲ ﻫﻨﺎك environment occupied by others; this presence is searching for something ﺣﻮار ﻳﺤﺪث ﻓﻲ ﻫﺬه اﻟﺼﻮر، ﺑﻘﺼﺪ إﻗﺤﺎم unknown. There is no conversation اﳌﺸﺎﻫﺪ ﻟﻠﺘﻮاﺟﺪ ﻓﻲ أﺑﻌﺎد اﻟﺼﻮرة وأن ﻳﻘﻮم occurring in the images, with the ﺑﺤﻮار ﺻﺎﻣﺖ ﻟﻴﻜﻮن ﻟﻪ ﺗﻔﺴﻴﺮه اﻟﺸﺨﺼﻲ intention of forcing the viewer to engage اﳋﺎص ﺑﻪ. with the presence within the dimensions of the photograph and to have a silent conversation, making their own personal interpretations. Ginger & Michael Dosier (VergeLabs) 41 Born 1977 | American | Assistant Professor of Architecture Born 1979 | American | Adjunct Faculty of Architecture ﺟﻨﺠﺮ وﻣﺎﻳﻜﻞ دوﺳﻴﺮ (ﻓﻴﺮﺟﻼﺑﺲ) ﻣﻮﻟﻮد | اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة | ﻣﺪرس ﻣﺴﺎﻋﺪ ﻫﻨﺪﺳﺔ ﻣﻌﻤﺎرﻳﺔ ﻣﻮﻟﻮد | اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة | ﻣﻠﺤﻖ ﺑﻜﻠﻴﺔ اﻟﻬﻨﺪﺳﺔ اﳌﻌﻤﺎرﻳﺔ

exhibitions Sketchbook Project, Significant 2009 ﻣﺸﺮوع ﻛﺮاﺳﺔ اﻟﺮﺳﻮم، ﻣﺘﺤﻒ اﻟﻔﻦ اﳌﻌﺎﺻﺮ، Museum of Contemporary واﺷﻨﻄﻦ اﻟﻌﺎﺻﻤﺔ، أﻃﻼﻧﻄﺎ، وﻻﻳﺔ ﺟﻮرﺟﻴﺎ؛ أﻫــﻢ اﻟــﻤــﻌـﺎرض ;Art, Washington DC ;Atlanta, GA; St. Louis, MS ﺳﺎﻧﺖ ﻟﻮﻳﺲ؛ ﻣﻴﺴﻴﺴﻴﺒﻲ؛ ﺑﺮوﻛﻠﻦ، ﻧﻴﻮ ﻳﻮرك، ,Brooklyn, NY; Philadelphia ﻓﻼدﻟﻔﻴﺎ، ﺑﻨﺴﻠﻔﺎﻧﻴﺎ، ﺷﻴﻜﺎﻏﻮ، إﻟﻴﻨﻮي، اﻟﻮﻻﻳﺎت PA; Boston, MA; Chicago, IL, USA اﳌﺘﺤﺪة ,Vibrations Within, Tashkeel 2008 ذﺑﺬﺑﺎت ﻣﻦ اﻟﺪاﺧﻞ: ﺗﺸﻜﻴﻞ، دﺑﻲ، اﻹﻣﺎرات Dubai, UAE اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2007- Beach Hut Traveling Exhibition, United 2009 اﳌﻌﺮض اﳌﺘﺠﻮل ”ﺑﻴﻴﺘﺶ ﻫﺖ“، اﳌﻤﻠﻜﺔ ;Kingdom; Cannes France اﳌﺘﺤﺪة؛ ﻛﺎن: ﻓﺮﻧﺴﺎ، ﻣﻮﻧﺘﺮﻳﺎل: ﻛﻨﺪا Montreal Canada Unit x 10,000 Faculty 2007 وﺣﺪة × 10,000 ﺑﺤﺚ ﻟﻠﻜﻠﻴﺔ، ﻛﺎروﻟﻴﻨﺎ Research, North Carolina اﻟﺸﻤﺎﻟﻴﺔ، راﻳﻠﻪ، ﻛﺎروﻟﻴﻨﺎ اﻟﺸﻤﺎﻟﻴﺔ، اﻟﻮﻻﻳﺎت State University, Raleigh, North Carolina USA اﳌﺘﺤﺪة Material Geographies, Little 2006 ﺟﻐﺮاﻓﻴﺎت ﻣﺎدﻳﺔ، ﻣﺨﺘﺒﺮ ﻟﻴﺘﻞ دﻳﺰاﻳﻦ، دﻳﻮرام، Design Lab, Durham, North Carolina, USA ﻛﺎروﻟﻴﻨﺎ اﻟﺸﻤﺎﻟﻴﺔ، اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة Emerging Artist, Daimler 2005 اﻟﻔﻨﺎن اﻟﺒﺎزغ، ﻣﻘﺮ دﳝﻠﺮ ﻛﺮاﻳﺰﻟﺮ، ﺑﺮﻟﲔ، أﳌﺎﻧﻴﺎ Chrysler Headquarters, Berlin, Germany Thinking Green: Visualizing 2004 اﻟﺘﻔﻜﻴﺮ ﺑﺎﻟﻠﻮن اﻷﺧﻀﺮ: ﺗﺼﻮر اﻟﻌﻴﺶ Sustainable Living, Mary ,Grove Gallery, Detroit اﳌﺴﺘﺪام، ﺻﺎﻟﺔ ﻣﺎري ﺟﺮوف، دﻳﺘﺮوﻳﺖ، Michigan USA ﻣﻴﺘﺸﺠﻦ، اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة. Convival Tools, Internatinal 2004 أدوات ﻣﺮﺣﺔ، اﳌﻌﺮض اﻟﺪوﻟﻲ ﻟﻸﺛﺎث اﳌﻌﺎﺻﺮ، ﻧﻴﻮ Contemporary Furniture Fair, New York, USA ﻳﻮرك، اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة ,Constructing º, Belkin Gallery 2004 اﻟﺒﻨﺎء؛ ﺻﺎﻟﺔ ﺑﻴﻠﻜﻦ، ﻓﺎﻧﻜﻮﻓﺮ، ﻛﻮﻟﻮﻣﺒﻴﺎ Vancouver British Columbia, Canada اﻟﺒﺮﻳﻄﺎﻧﻴﺔ، ﻛﻨﺪا Working Lines, Skidmore 2000 ﺧﻄﻮط ﻋﻤﻞ: ﺳﻜﺪﳝﻮر أوﻳﻨﺰ وﻣﻴﺮﻳﻞ، ﻧﻴﻮ ﻳﻮرك، ,Owens and Merrill, New York اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة USA 42

Tall Haptesthai Tactile surface plaster 25.4 cm x 25.4 cm (casts) February 2009 ﺗﻮل ﻫﺎﺑﺘﺴﺘﻬﺎي اﳉﺺ ذو اﻟﺴﻄﺢ اﻟﻠﻤﺴﻲ ٥٫٤ × ٥٫٤ ﺳﻢ ﻓﺒﺮاﻳﺮ

Ancient cultures covered their Concept Statement ﻋﻤﺪت اﳊﻀﺎرات اﻟﻘﺪﳝﺔ إﻟﻰ ﺗﻐﻄﻴﺔ ﻧﻔﺎﻳﺎﺗﻬﻢ refuse with earth, creating small ﺑﺎﻟﺘﺮاب، ﺣﻴﺚ ﺗﺘﻜﻮن ﻧﺘﻴﺠﺔ ﻟﺬﻟﻚ أﻛﻮام ﺻﻐﻴﺮة، ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة mounds known as talls, which became ﺗﻌﺮف ﺑﺎﺳﻢ ”ﺗﻮﻟﺰ“، وﻫﻲ اﻟﺘﻲ أﺻﺒﺤﺖ ﻓﻴﻤﺎ ﺑﻌﺪ geographic indicators of past ﻣﺆﺷﺮات ﺟﻐﺮاﻓﻴﺔ ﻋﻠﻰ اﳊﻀﺎرة اﻟﻘﺪﳝﺔ. civilization. Like our predecessors, modern وﻛﺄﺳﻼﻓﻨﺎ، ﲤﻴﺰ اﳊﻀﺎرة اﳊﺪﻳﺜﺔ وﺟﻮدﻫﺎ ﺟﻐﺮاﻓﻴﺎً civilization geographically marks its ﺑﺎﻟﻨﻔﺎﻳﺎت. ﻓﻨﺠﺪ أﻧﻪ ﻣﻊ ﻣﺮور ﻛﻞ 3 دﻗﺎﺋﻖ، ﺗﺮﻣﻰ ﻣﺎ existence with waste. Every three ﻳﻘﺮب ﻣﻦ 30,000,000 زﺟﺎﺟﺔ ﻣﻴﺎه ﻓﺎرﻏﺔ ﻓﻲ ﻣﺪاﻓﻖ minutes, nearly 30,000,000 empty اﻟﻘﻤﺎﻣﺔ ﺣﻮل اﻟﻌﺎﻟﻢ. وﻗﺪ أﺻﺒﺤﺖ ﻓﻜﺮة ”اﻷﺷﻴﺎء water bottles are dumped into landfills اﻟﺘﻲ ﳝﻜﻦ اﻟﺘﺨﻠﺺ ﻣﻨﻬﺎ“ ﻣﻜﻮﻧﺎً رﺋﻴﺴﻴﺎً ﻣﻦ globally. The notion of ‘disposable’ is an integral component of a rapidly growing اﻟﺜﻘﺎﻓﺔ اﻻﺳﺘﻬﻼﻛﻴﺔ اﳌﺘﺰاﻳﺪة ﻋﻠﻰ ﻧﺤﻮ ﻣﺘﺴﺎرع. consumer culture. Resource intensive ﻛﻤﺎ أن اﻟﻌﻤﻠﻴﺎت اﳌﻜﺜﻔﺔ ﻟﻠﻤﻮارد ﲢﺪث ﻣﻨﺘﺠﺎت processes generate the temporary ﺻﻨﺎﻋﻴﺔ ﻣﺆﻗﺘﺔ ﺗﺴﺘﺨﺪم ﻓﻲ اﳊﻴﺎة اﻟﻴﻮﻣﻴﺔ، وﻫﻲ artifacts of everyday life, circulating اﻟﺘﻲ ﻳﺘﻢ ﺗﺪاوﻟﻬﺎ ﻟﻔﺘﺮة ﻗﺼﻴﺮة ﻗﺒﻞ أن ﺗﻮﺿﻊ ﻓﻲ in deposited being before briefly اﻷﻣﺎﻛﻦ اﻟﻮاﺳﻌﺔ اﳋﺮﺑﺔ؛ ﻓﺘﺼﺒﺢ ﺑﻌﻴﺪة ﻋﻦ اﻟﺒﺼﺮ expansive, uninhabitable landscapes of وﺑﻌﻴﺪة ﻋﻦ اﻟﻌﻘﻞ، وﻳﺘﻢ ﻧﺴﻴﺎﻧﻬﺎ وﻳﺘﻢ ﲡﺎﻫﻠﻬﺎ :the unwanted. Out of sight, out of mind وإﻫﻤﺎﻟﻬﺎ. forgotten, ignored, disregarded. Tall Haptesthai is composed of three ﻳﺘﻜﻮن ﻫﺬا اﻟﻌﻤﻞ ﻣﻦ ﺛﻼﺛﺔ أﻟﻮاح ﻣﻦ اﳉﺺ. وﺗﺘﻤﻴﺰ cast plaster tablets. A Braille-like اﻷﻟﻮاح ﺑﻮﺟﻮد ﺳﻄﺢ ﻳﺸﺒﻪ اﻟﻜﺘﺎﺑﺔ ﺑﻄﺮﻳﻘﺔ ﺑﺮاﻳﻞ، imagery landfill from generated surface وﻫﻮ ﻳﺮﻣﺰ إﻟﻰ ﺻﻮرة ﻣﺪاﻓﻦ اﻟﻘﻤﺎﻣﺔ، ﺣﻴﺚ ﻳﺠﺬب beckons the observer to touch, invoking اﳌﺸﺎﻫﺪ إﻟﻰ ﻣﺸﺎﻫﺪﺗﻪ، وﻳﺪﻋﻮ إﻟﻰ وﺟﻮد ارﺗﺒﺎط ﺑﲔ a connection between the observer and اﳌﺸﺎﻫﺪ وﻋﺎﻟﻢ اﳌﻨﺘﺠﺎت اﳌﻬﻤﻠﺔ. وﻣﻊ ﺗﺮاﻛﻢ ﺑﻘﺎﻳﺎ realm of disregarded artifacts. As the ,residue from human touch accumulates اﻟﻠﻤﺴﺔ اﻟﺒﺸﺮﻳﺔ، ﻳﻌﺘﻢ اﻟﺴﻄﺢ اﻷﺑﻴﺾ وﺗﺼﺒﺢ the white surface darkens and the image اﻟﺼﻮرة أﻛﺜﺮ وﺿﻮﺣﺎً ﻣﻦ اﻟﻨﺎﺣﻴﺔ اﳌﺮﺋﻴﺔ، وﺗﺼﺒﺢ becomes more visually apparent: a ذاﻛﺮة ﻣﻨﺴﻴﺔ ﻋﺎدت ﻟﻠﺤﻴﺎة ﺑﺎﻟﺘﻔﺎﻋﻞ اﻟﻠﻤﺴﻲ. forgotten memory revived by tactile interaction Hadeyeh Badri 43 Born 1988 | Emarati | Student ﻫــﺎدﻳــﺔ اﻟـﺒــﺪري ﻣﻮﻟﻮد | اﻹﻣﺎرات | ﻃﺎﻟﺒﺔ

exhibitions Silent Conversations is the artist’s Significant ﺣﻮار ﺻﺎﻣﺖ أول ﻣﻌﺮض ﻟﻬﺬة اﻟﻔﻨﺎﻧﺔ first exhibition أﻫــﻢ اﻟــﻤــﻌـﺎرض 44

Passage / Entry (1/10) Ditigal photography 29.7 cm x 42 cm (each) 2008 اﳌﻤﺮ/ اﻟﺪﺧﻮل (/( ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٫ × ٤ ﺳﻢ

There are a lot of things in the Concept Statement ﻫﻨﺎك أﺷﻴﺎء ﻛﺜﻴﺮة ﻓﻲ اﻟﺒﻴﺌﺔ ﺗﻌﻠﻦ ﻋﻦ ﻧﻔﺴﻬﺎ؛ environment that suggest themselves. ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﻟﺬا، ﻳﻌﺘﺒﺮ اﳌﺼﻤﻤﻮن واﻟﻔﻨﺎﻧﻮن ﻣﺴﺆوﻟﻮن ﻋﻦ ,Designers and artists are, therefore اﳌﻼﺣﻈﺔ وﻋﻦ ﺗﻔﻜﻴﻚ اﻷﺷﻴﺎء وﻋﻦ ﲡﻤﻴﻌﻬﺎ responsible for observing, taking something apart, and putting it back ﻣﺮة أﺧﺮى. إﻧﻬﺎ ﻃﺒﻴﻌﺔ ﻣﺎ ﻧﻘﻮم ﺑﻪ. ﲢﻜﻲ .together. It is the nature of what we do ﺻﻮرة اﳌﻤﺮ/ اﻟﺪﺧﻮل أو ﲢﺎول أن ﲢﻜﻲ ﻗﺼﺔ Passage/Entry narrates, or tries to رﺣﻠﺔ ﻗﺎم ﺑﻬﺎ ﺷﺨﺺ ﻣﺎ ﻟﻴﺮاﻗﺐ ﻣﺎ ﻳﺤﺪث ﻓﻲ narrate, a journey of someone that is اﳌﻜﺎن، ﻓﻲ ﻫﺬه اﳊﺎﻟﺔ، اﻟﺼﺤﺮاء. observing what is happening to a space, in this case, the desert. Hassina Sakhri 45 Born 1974 | French | Classical and jazz singer / Photographer ﺣـﺼـﻴـﻨـﺔ ﺻـﺨﺮي ﻣﻮﻟﻮد ٤ | ﻓﺮﻧﺴﺎ | ﻣﻐﻨﻴﺔ ﻛﻼﺳﻴﻜﻴﺔ وﺟﺎز / ﻣﺼﻮرة

exhibitions years of performances, and Significant 10 10 ﺳﻨﻮات ﻣﻦ اﻟﻌﺮوض واﻟﺘﺴﺠﻴﻼت ,recording in the UK ﻓﻲ اﳌﻤﻠﻜﺔ اﳌﺘﺤﺪة وﻓﺮﻧﺴﺎ وﺑﻠﺠﻴﻜﺎ أﻫــﻢ اﻟــﻤــﻌـﺎرض France, Belgium and the UAE واﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 46

L’ailleurs est ici - Somewhere else is here Video 14 mins 26 secs January 2009 ﻣﻜﺎن آﺧﺮ ﻫﻨﺎ ﻓﻴﺪﻳﻮ ٤ دﻗﻴﻘﺔ و٦ ﺛﺎﻧﻴﺔ ﻳﻨﺎﻳﺮ

In a moment of extreme privacy and Concept Statement ﺗﻄﻠﻖ اﻣﺮأة ﻟﺬﻫﻨﻬﺎ اﻟﻌﻨﺎن ﻓﻲ ﳊﻈﺔ ﻣﻦ intimacy, part of our habitual ritual, ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﳋﺼﻮﺻﻴﺔ واﳌﻮدة، واﻟﺘﻲ ﲤﺜﻞ ﺟﺰءاً ﻣﻦ a woman lets her mind wander. The اﻟﻄﻘﻮس اﳌﻌﺘﺎدة. وﻳﺆدي اﳉﻮ اﶈﻴﻂ ﺑﻬﺎ ﻣﻦ ambiance created through the slow motion of the video, the facial ﺧﻼل اﻟﺘﺼﻮﻳﺮ اﻟﺒﻄﻴﺊ ﻟﻠﻔﻴﺪﻳﻮ، وﻛﺬﻟﻚ expressions, the sound track as well ﺗﻌﺒﻴﺮات اﻟﻮﺟﻪ، واﳌﻮﺳﻴﻘﻰ اﳌﻮﺟﻮدة ﻓﻲ as the poem, are there to provoke and اﳋﻠﻔﻴﺔ، واﻟﻘﺼﻴﺪة، إﻟﻰ اﺳﺘﺤﻀﺎر اﻟﺬﻛﺮﻳﺎت .trigger personal memories اﻟﺸﺨﺼﻴﺔ. Even in this moment of habitual in head The anguish. finds she relaxation وﻟﻜﻨﻬﺎ ﲡﺪ اﳊﺰن ﺣﺘﻰ ﻓﻲ ﻣﺜﻞ ﺗﻠﻚ اﻟﻠﺤﻈﺎت water flowing the of sound the water, the اﳌﻌﺘﺎدة اﻟﺘﻲ ﺗﺸﻌﺮ ﻓﻴﻬﺎ ﺑﺎﻻﺳﺘﺮﺧﺎء. ﺗﻀﻊ and resonates vibrates, up, filling slowly اﳌﺮأة رأﺳﻬﺎ ﻓﻲ اﳌﻴﺎه، وﻳﺮن ﺻﻮت اﳌﻴﺎه اﳌﺘﺪﻓﻘﺔ .creates a chaotic symphony, thoughts ﳌﻠﺊ اﳊﻮض وﻳﻬﺘﺰ اﻟﺼﻮت وﻳﺨﺮج ﺳﻴﻤﻔﻮﻧﻴﺔ While the water envelops her whole ﻣﺸﻮﺷﺔ وﻳﺜﻴﺮ أﻓﻜﺎراً. body, face, she whispers intimate messages, being closer and closer to وﻓﻲ ﺣﲔ ﺗﻐﻤﺮ اﳌﻴﺎه ﺟﻤﻴﻊ ﺟﺴﻤﻬﺎ ووﺟﻬﻬﺎ، creating a unique conversation with the ﺗﻬﻤﺲ اﳌﺮأة ﺑﺮﺳﺎﺋﻞ ودﻳﺔ، ﺗﻘﺘﺮب وﺗﻘﺘﺮب ﻣﻦ viewer. Throughout the performance, nothing is really heard. It is like a إﻗﺎﻣﺔ ﺣﻮار ﻣﻊ اﳌﺸﺎﻫﺪ. وﻓﻲ ﺧﻼل ﺟﻤﻴﻊ .conversation with oneself أﺟﺰاء اﻟﻌﺮض، ﻻ ﻳﺴﻤﻊ أي ﺷﺊ. إﻧﻪ ﻳﺸﺒﻪ اﳊﻮار ﻣﻊ اﻟﺬات. Hind Mezaina 47 Born 1971 | Emarati ﻫــﻨــﺪ ﻣــﺰﻳـﻨــﺔ ﻣﻮﻟﻮد | اﻹﻣﺎرات

exhibitions Emirati Expressions, Significant 2009 ﺗﻌﺒﻴﺮات إﻣﺎراﺗﻴﺔ، ﺻﺎﻟﺔ 1 (ﻓﻨﺪق ﻗﺼﺮ Gallery One (Emirates اﻹﻣﺎرات) أﺑﻮﻇﺒﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة أﻫــﻢ اﻟــﻤــﻌـﺎرض ,(Palace Hotel Abu Dhabi, UAE ﻣﺘﺮو دﺑﻲ، ﺻﺎﻟﺔ ﻻﻳﻚ ذا ﺳﺒﺎﻳﺲ، ﻧﻴﻮﻳﻮرك، ,Dubai Underground 2009 اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة ,Like the Spice Gallery اﺳﻤﻲ روﺑﻮت، ﺻﺎﻟﺔ ﺟﺎﻣﺠﺎر، دﺑﻲ، New York, USA اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة My Name is Robot, The 2009 ﻣﻦ أﺟﻞ ﺣﺐ اﻟﺒﻮﻻروﻳﺪ، وﺳﻂ اﳌﺪﻳﻨﺔ SAANS Jam Jar, Dubai, UAE، ﻣﺪﻳﻨﺔ ﺳﻮﻟﺖ ﻟﻴﻚ، 2009 For the Love of Polaroid, SAANS Downtown, Salt اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة Lake City, USA ﻋﻤﻮد اﻟﻔﻦ، أرت ﺑﻴﻠﻮ، ﻓﻦ اﻟﺸﺎرع ﻓﻲ ﺑﺮﻟﲔ، ,Pillar of Art, Art Below 2009 أﳌﺎﻧﻴﺎ ,street art in Berlin اﻟﺘﻮﺛﻴﻖ، ﺗﺸﻜﻴﻞ، دﺑﻲ، Germany اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2008 Documentation, Tashkeel, Dubai, UAE ﺳﺤﻮر – ﻣﻌﺮض إﻣﺎراﺗﻲ، أرت ﻛﻮﻧﻜﺸﻦ، Suhour – Emirati 2008 دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Exhibition, Art Connection, Dubai, UAE أرت ﺑﻴﻠﻮ ﻃﻮﻛﻴﻮ، ﻣﺤﻄﺔ ﺷﻴﺒﻮﻳﺎ، ,Art Below Tokyo 2008 ﻃﻮﻛﻴﻮ، اﻟﻴﺎﺑﺎن Shibuya Station, Tokyo, Japan ﻓﻴﻮﺟﻦ، ﺻﺎﻟﺔ إﳝﺮﺳﻮن، ﺑﺮﻟﲔ، أﳌﺎﻧﻴﺎ 2008 Fusion, Emerson Gallery, Berlin, Germany وﺟﻪ ﺟﺪﻳﺪ رؤى ﺟﺪﻳﺪة، ﻣﺴﺮح دﺑﻲ ,New Face New Visions 2008 ﻛﻤﻴﻮﻧﺘﻲ وﻣﺮﻛﺰ اﻟﻔﻨﻮن، دﺑﻲ، DUCTAC, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 48

In my mind 1, In my mind 2, In my mind 3 Photography 50 x 50 cm (each) February 2009 ﻓﻲ ﻋﻘﻠﻲ ، ﻓﻲ ﻋﻘﻠﻲ ، ﻓﻲ ﻋﻘﻠﻲ ﻓﻴﺪﻳﻮ ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٥ × ٥ ﺳﻢ ﻓﺒﺮاﻳﺮ

In the midst of living in a city that is home Concept Statement ﻓﻲ وﺳﻂ اﻟﻌﻴﺶ ﻓﻲ ﻣﺪﻳﻨﺔ ﻳﺘﺨﺬﻫﺎ اﻟﺒﻌﺾ to some, a transit point to others, where ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﻣﻮﻃﻨﺎً، وﻳﺘﺨﺬﻫﺎ آﺧﺮون ﻧﻘﻄﺔ اﻧﺘﻈﺎر؛ ﻣﺪﻳﻨﺔ ,life is hard and some party even harder ﺗﺼﻌﺐ ﻓﻴﻬﺎ اﳊﻴﺎة وﻳﺼﻌﺐ ﻓﻴﻬﺎ اﻻﺣﺘﻔﺎل؛ where some try to connect, share, learn and others remain in their shell enjoying ﻳﺤﺎول اﻟﺒﻌﺾ ﻓﻴﻬﺎ أن ﻳﺘﻮاﺻﻞ أو ﻳﺸﺎرك a very one dimensional view of Dubai – I أو ﻳﺘﻌﻠﻢ، ﺑﻴﻨﻤﺎ ﻳﻈﻞ آﺧﺮون ﻓﻲ ﻗﻮﻗﻌﺘﻬﻢ look for answers and even questions, for ﻳﺴﺘﻤﺘﻌﻮن ﺑﺮؤﻳﺔ دﺑﻲ ﻣﻦ ﺑﻌﺪ واﺣﺪ؛ ﻓﻲ وﺳﻂ ,fairness and equality, for love, for peace ﻫﺬا ﻛﻠﻪ، أﺑﺤﺚ ﻋﻦ إﺟﺎﺑﺎت، وﺣﺘﻰ ﻋﻦ أﺳﺌﻠﺔ، for something everlasting. An escape to the garden in my mind is my escape from ﻟﻠﻌﺪاﻟﺔ واﳌﺴﺎواة، ﻋﻦ اﳊﺐ، واﻟﺴﻼم، ﻋﻦ .the daily madness we live in ﺷﺊ ﺧﺎﻟﺪ ﺳﺮﻣﺪي. ﻓﺄﻟﻮذ ﺑﺎﻟﺒﺴﺘﺎن اﳌﻮﺟﻮد ﻓﻲ ﻋﻘﻠﻲ ﻷﻫﺮب ﻣﻦ اﳉﻨﻮن اﻟﻴﻮﻣﻲ اﻟﺬي ﻧﻌﻴﺶ ﻓﻴﻪ. Ibrahim Al Shaikh 49 Born 1986 | Emarati | Student إﺑــﺮاﻫـﻴـﻢ اﻟــﺸــﻴــﺦ ﻣﻮﻟﻮد ٦ | اﻹﻣﺎرات | ﻃﺎﻟﺐ

exhibitions Lamasat, Family Significant 2009 ﻣﻌﺮض ”ﳌﺴﺎت“ ﳌﺮﻛﺰ ﺗﻨﻤﻴﺔ اﻷﺳﺮة Development Center (ﺣﻜﻮﻣﺔ اﻟﺸﺎرﻗﺔ)، اﻟﺸﺎرﻗﺔ، أﻫــﻢ اﻟــﻤــﻌـﺎرض ,(Government of Sharjah) Sharjah, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,A Poem & A Picture 2009 ﻗﺼﻴﺪة وﺻﻮرة، ﻣﻌﺮض ﻣﺼﺎﺣﺐ ﳌﻠﺘﻘﻰ Exhibition accompanying اﻟﺸﺎرﻗﺔ ﻟﻠﺸﻌﺮ اﻟﻌﺮﺑﻲ، اﻟﺸﺎرﻗﺔ، The Sharjah Forum for ,Arabic poems, Sharjah اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE 50

Cigarette Digital photography January 2009 ﺳﻴﺠﺎرة ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ﻳﻨﺎﻳﺮ

A silent conversation between the old Concept Statement ﻳﺪور ﺣﻮار ﺑﲔ رﺟﻞ ﻋﺠﻮز وﺳﻴﺠﺎرة؛ ﻳﺒﺪو اﻟﺮﺟﻞ man & the cigarette. It seems as if the ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻟﻌﺠﻮز وﻛﺄﻧﻪ ﻳﺮوي ﻗﺼﺺ ﺣﻴﺎﺗﻪ وﻫﻤﻮﻣﻪ old man is telling his life stories and ﻓﻴﻬﺎ إﻟﻰ اﻟﺴﻴﺠﺎرة. concerns to the cigarette. Jalal Abuthina 51 Born 1980 | Libyan / Irish | Real-estate Agent ﺣـﺼـﻴـﻨـﺔ ﺻـﺨﺮي ﻣﻮﻟﻮد ٤ | ﻓﺮﻧﺴﺎ | ﻣﻐﻨﻴﺔ ﻛﻼﺳﻴﻜﻴﺔ وﺟﺎز / ﻣﺼﻮرة

exhibitions My Name is Robot. The Significant 2009 ﻣﻌﺮض اﻟﺮﺳﻢ ”ﻛﺎﻟﻴﺪوﺳﻜﻮب“، ﻧﺎدي دﺑﻲ أﻫــﻢ اﻟــﻤــﻌـﺎرض Jam Jar. Dubai, UAE ﻟﻠﺴﻴﺪات، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة .Dubai Underground 2009 ﺑﺮﻧﺎﻣﺞ دﺑﻲ ﻹﻗﺎﻣﺔ اﻟﻔﻨﺎﻧﲔ، ﺑﺎﺳﺘﺎﻛﻴﺎ، Like the Spice Gallery, New York City, USA دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dubai Next: Face Of 2008 ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﻣﻌﺮض اﳋﻮر ﻟﻠﻔﻨﻮن، The 21st Century. Vitra ﺑﺎﺳﺘﺎﻛﻴﺎ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Design Museum, Art .Basel, Germany ذﺑﺬﺑﺎت ﻣﻦ اﻟﺪاﺧﻞ، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، :Vibrations Within 2008 ﺗﺸﻜﻴﻞ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Echoing The Energy Of ,Change. Tashkeel ﻋﺒﺮ اﳊﺪود، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، دﺑﻲ وﻣﺴﻘﻂ .Dubai, UAE وﻟﻨﺪن 2008 Alien Aspects Of Amsterdam: A Street Photography Project. The Third Line Gallery and The Jam Jar, Dubai, UAE 2007 Minus Reality, Art Attack Gallery, Dubai, UAE. 2006 Red Bull Creativity Competition, Dubai, UAE. First Place Winner 52

She’s got the answers Digital photography

February 2009 ﻣﻜﺎن آﺧﺮ ﻫﻨﺎ ﻓﻴﺪﻳﻮ ٤ دﻗﻴﻘﺔ و٦ ﺛﺎﻧﻴﺔ ﻳﻨﺎﻳﺮ She’s Got The Answers” is, in essence, a Description“ ﺗﺮﺑﻄﻨﺎ ﺟﻤﻴﻌﺎً أﺳﻼك ﺑﻜﻤﺒﻴﻮﺗﺮ ﺿﺨﻢ ﻏﻴﺮ public installation experiment. وﺻـــــﻒ ﻣﺮﺋﻲ ﻳﻘﺮأ ﺑﺪﻗﻊ ﺟﻤﻴﻊ أﻓﻜﺎرﻧﺎ اﻟﺘﻲ ﻻ ﻧﺒﻮح ﺑﻬﺎ. The idea came about when my sugar ﻓﺘﻨﺘﻘﻞ أﻓﻜﺎرﻧﺎ ﺑﺤﺮﻳﺔ، وﻛﺬﻟﻚ أﳌﻨﺎ اﻟﺸﺪﻳﺪ، coated accomplice Aliya, and I, were trying to come up with something أو ﺣﺰﻧﻨﺎ اﻟﻌﻤﻴﻖ، أو ﺧﻮﻓﻨﺎ اﻟﺸﺪﻳﺪ، أو ﺷﻌﻮرﻧﺎ visually impactful, that could effectively اﻟﻘﻠﺒﻲ ﺑﺎﻹﻋﺠﺎب، أو اﻷﺳﺌﻠﺔ اﻟﺘﻲ ﺗﺘﺮك دون ,utilize a camera, a pair of angel wings إﺟﺎﺑﺔ. ﻓﻨﻨﺘﻈﺮ ﻇﻬﻮر اﻷﺟﻮﺑﺔ، وﻋﻨﺪﻣﺎ ﺗﻈﻬﺮ a slightly-diva-looking Italian plastic ﻓﻲ ﻧﻬﺎﻳﺔ اﻷﻣﺮ، ﺗﺄﺗﻲ إﻟﻴﻨﺎ ﺑﺸﻜﻞ ﺻﺎﻣﺖ beauty, religious stereotypes, mass consciousness, surrealism, fashion, and ﺑﺸﻜﻞ ﻻ ﻧﺘﻮﻗﻌﻪ وﻻ ﻧﺪرﻛﻪ ﲤﺎﻣﺎً. ﻓﻼ ﺗﺬﻫﺐ .some word play أي ﻣﻦ ﻫﺬه اﳌﺸﺎﻋﺮ دون إﺟﺎﺑﺔ. وﻟﻜﻦ ﻋﻨﺪﻣﺎ ,After a small test shoot in an abandoned ﻧﺘﻮﻗﻒ ﻟﻠﺤﻈﺔ ﻛﻲ ﻧﺘﺄﻣﻞ، ﻓﺈﻧﻨﺎ ﻧﻌﻠﻢ أن ﻣﺎ ,practically empty, Jebel Ali warehouse ﻳﺪﺧﻞ إﻟﻰ اﻟﻜﻤﺒﻴﻮﺗﺮ ﻫﻮ ﺑﺎﻟﻈﺒﻂ ﻣﺎ ﻳﺨﺮج the pictures ended up having a very ﻣﻨﻪ ﻓﻲ اﻟﻨﻬﺎﻳﺔ. stagnant, desolate feel to them. Looking for ways to stimulate a more ethereal and expanded feel to the photos, I came up with the idea of photographing “Angel” on the beach in a crowd and Aliya wrote down a fitting phrase on her top (“I’ve got the Answers”) that suited the state of affairs perfectly. One idea lead to another, and eventually one Friday morning at sun rise, Angel blew out of the sand and landed on an empty reclaimed island, about 300 meters off Jumeirah beach. She stood around for a few hours glancing back at the city, not looking very surprised at how much things had changed in her absence. 53

The next day we took her, a big beach ﻣﻌﺮض اﻟﺮﺳﻢ ”ﻛﺎﻟﻴﺪوﺳﻜﻮب“، ﻧﺎدي دﺑﻲ mat, some pillows and an 85 mm ﻟﻠﺴﻴﺪات، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة prime lens to the JBR public beach at around 8 am. We settled down a ﺑﺮﻧﺎﻣﺞ دﺑﻲ ﻹﻗﺎﻣﺔ اﻟﻔﻨﺎﻧﲔ، ﺑﺎﺳﺘﺎﻛﻴﺎ، fair distance away from her and watched دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة as Angel mingled, posed for some ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﻣﻌﺮض اﳋﻮر ﻟﻠﻔﻨﻮن، photos, made some friends, and even ,took a little dip. Interestingly though ﺑﺎﺳﺘﺎﻛﻴﺎ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة from time to time, she kept staring ذﺑﺬﺑﺎت ﻣﻦ اﻟﺪاﺧﻞ، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، off into the North - Eastern horizon, with what seemed to be a slightly ﺗﺸﻜﻴﻞ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة concerned look on her face; almost like When findsomething. to trying was she ﻋﺒﺮ اﳊﺪود، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، دﺑﻲ وﻣﺴﻘﻂ looking in the same direction, all we could وﻟﻨﺪن see was the sea kiss the horizon, and nothing past it. But after watching her again, staring the way she did, we became more and more convinced that it wasn’t that she was looking for something, but more like she was waiting for something to arrive. We tried asking her about it a few times that day, but no matter how hard we tried, she made it pretty clear that we’re never going to get an answer from her. After a few hours Angel got bored, and Aliya and I were getting over heated as the weather turned horribly misty and humid. So we packed up and left. 54

She’s got the answers Digital photography

February 2009 ﻣﻜﺎن آﺧﺮ ﻫﻨﺎ ﻓﻴﺪﻳﻮ ٤ دﻗﻴﻘﺔ و٦ ﺛﺎﻧﻴﺔ ﻳﻨﺎﻳﺮ

From an artistic perspective, my work Concept Statement ﺗﺮﺑﻄﻨﺎ ﺟﻤﻴﻌﺎً أﺳﻼك ﺑﻜﻤﺒﻴﻮﺗﺮ ﺿﺨﻢ ﻏﻴﺮ is mostly photo based. Although I hold ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﻣﺮﺋﻲ ﻳﻘﺮأ ﺑﺪﻗﻊ ﺟﻤﻴﻊ أﻓﻜﺎرﻧﺎ اﻟﺘﻲ ﻻ ﻧﺒﻮح ﺑﻬﺎ. musical, written, and many other forms ﻓﺘﻨﺘﻘﻞ أﻓﻜﺎرﻧﺎ ﺑﺤﺮﻳﺔ، وﻛﺬﻟﻚ أﳌﻨﺎ اﻟﺸﺪﻳﺪ، of expression in the same regard, I find to medium influential most the that أو ﺣﺰﻧﻨﺎ اﻟﻌﻤﻴﻖ، أو ﺧﻮﻓﻨﺎ اﻟﺸﺪﻳﺪ، أو ﺷﻌﻮرﻧﺎ convey a message is certainly through اﻟﻘﻠﺒﻲ ﺑﺎﻹﻋﺠﺎب، أو اﻷﺳﺌﻠﺔ اﻟﺘﻲ ﺗﺘﺮك دون the expression (and manipulation) of إﺟﺎﺑﺔ. ﻓﻨﻨﺘﻈﺮ ﻇﻬﻮر اﻷﺟﻮﺑﺔ، وﻋﻨﺪﻣﺎ ﺗﻈﻬﺮ visual imagery; especially in this day ﻓﻲ ﻧﻬﺎﻳﺔ اﻷﻣﺮ، ﺗﺄﺗﻲ إﻟﻴﻨﺎ ﺑﺸﻜﻞ ﺻﺎﻣﺖ and age. ﺑﺸﻜﻞ ﻻ ﻧﺘﻮﻗﻌﻪ وﻻ ﻧﺪرﻛﻪ ﲤﺎﻣﺎً. ﻓﻼ ﺗﺬﻫﺐ ,I love to work with a variety of images أي ﻣﻦ ﻫﺬه اﳌﺸﺎﻋﺮ دون إﺟﺎﺑﺔ. وﻟﻜﻦ ﻋﻨﺪﻣﺎ in an attempt to mislead the viewer (and ﻧﺘﻮﻗﻒ ﻟﻠﺤﻈﺔ ﻛﻲ ﻧﺘﺄﻣﻞ، ﻓﺈﻧﻨﺎ ﻧﻌﻠﻢ أن ﻣﺎ of course myself) into experiencing an ﻳﺪﺧﻞ إﻟﻰ اﻟﻜﻤﺒﻴﻮﺗﺮ ﻫﻮ ﺑﺎﻟﻈﺒﻂ ﻣﺎ ﻳﺨﺮج idea, scenario or destination beyond ﻣﻨﻪ ﻓﻲ اﻟﻨﻬﺎﻳﺔ. what is presented. My photos present only glimpses, or clues, of a bigger picture. Where and what that picture is, will only ever be as clear as the imagination wants it (or allows it) to be. Joshua Watts 55 Born 1978 | American | Art and Design Professor ﺟــﻮﺷــﻮا واﺗــﺲ ﻣﻮﻟﻮد | اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة | اﺳﺘﺎذ اﻟﻔﻦ واﻟﺘﺼﻤﻴﻢ

exhibitions 10th Annual Contemporary Significant 2008 اﻟﺪورة اﻟﻌﺎﺷﺮة ﻣﻦ اﳌﻌﺮض اﻟﺪوﻟﻲ اﻟﺴﻨﻮي International Exhibition, أﻫــﻢ اﻟــﻤــﻌـﺎرض ,Upstream People Gallery اﳌﻌﺎﺻﺮ، ﺻﺎﻟﺔ أﺑﺴﺘﺮﱘ ﺑﻴﺒﻮل، أوﻣﺎﻫﺎ، Omaha, NE وﻻﻳﺔ ﻧﻴﺒﺮاﺳﻜﺎ 2008 They Are the Water, Solo exhibition,University of اﻧﻬﻢ اﳌﻴﺎه، ﻣﻌﺮض ﻓﺮدي، اﻟﺼﺎﻟﺔ اﻟﺮﺋﻴﺴﻴﺔ ,South Dakota Main Gallery ﳉﺎﻣﻌﺔ داﻛﻮﺗﺎ اﳉﻨﻮﺑﻴﺔ، ﻓﻴﺮﻣﻴﻠﻴﻮن، داﻛﻮﺗﺎ Vermillion, South Dakota, USA اﳉﻨﻮﺑﻴﺔ، اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة Made in the USA, Virginia 2008 ﺻﻨﻊ ﻓﻲ اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة اﻷﻣﺮﻳﻜﻴﺔ، ﺟﺎﻣﻌﺔ Commonwealth University, Virginia, USA ﻓﻴﺮﺟﻴﻨﻴﺎ ﻛﻮﻣﻨﻮﻳﻠﺚ، ﻓﻴﺮﺟﻴﻨﻴﺎ، اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة Visitors Exhibited, Kinston 2008 ﻋﺮض اﻟﺰاﺋﺮﻳﻦ، ﺻﺎﻟﺔ ﻛﻨﺴﺘﻮن ﻟﻠﻔﻨﻮن، Art Gallery, NC ﻛﺎروﻟﻴﻨﺎ اﻟﺸﻤﺎﻟﻴﺔ 2008 Covert Operations, Kiehl ,Visual Arts Center, St.Cloud ﻋﻤﻠﻴﺎت ﺳﺮﻳﺔ، ﻣﺮﻛﺰ ﻛﻴﻬﻞ ﻟﻠﻔﻨﻮن اﳌﺮﺋﻴﺔ، ﺳﺎﻧﺖ MN, USA ﻛﻼود، ﻣﻴﻨﻮﺳﻮﺗﺎ 2008 Thirteen Boats for Pastor, Main Gallery, University of ﺛﻼﺛﺔ ﻋﺸﺮ ﻣﺮﻛﺒﺎً ﻟﻠﻘﺲ، اﻟﺼﺎﻟﺔ اﻟﺮﺋﻴﺴﻴﺔ، Sioux Falls, Sioux Falls, SD ﺟﺎﻣﻌﺔ ﺳﻴﻮﻛﺲ ﻓﻮﻟﺰ، ﺳﻴﻮﻛﺲ ﻓﻮﻟﺰ، 2007 The Gathering of Meaning, ,Nuance Gallery, Beresford داﻛﻮﺗﺎ اﳉﻨﻮﺑﻴﺔ SD ﲡﻤﻴﻊ اﳌﻌﻨﻰ، ﺻﺎﻟﺔ ﻧﻮاﻧﺲ، ﺑﻴﺮﻳﺴﻔﻮرد، 2007 Mythologies Within Us, ,Washington St. Art Center داﻛﻮﺗﺎ اﳉﻨﻮﺑﻴﺔ Vermillion, SD اﻷﺳﺎﻃﻴﺮ ﺑﺪاﺧﻠﻨﺎ، ﻣﺮﻛﺰ ﻓﻨﻮن واﺷﻨﻄﻦ، 2006 Colorprint USA, 25th Annual Juried Print ﻓﻴﺮﻣﻴﻠﻴﻮن، داﻛﻮﺗﺎ اﳉﻨﻮﺑﻴﺔ ,Exhibition, Lubbock, Texas ﻛﻮﻟﻮرﺑﺮﻧﺖ اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة، ﻣﻌﺮض ﺟﻴﻮرﻳﺪ ﺑﺮﻧﺖ USA From Currents to Sea 2004 اﻟﺴﻨﻮي اﳋﺎﻣﺲ واﻟﻌﺸﺮﻳﻦ، ﻟﻮﺑﻮك، ﺗﻜﺴﺎس، Change, UAA Campus اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة Center Gallery, Anchorage, ,AK International Exhibition ﻣﻦ اﻟﺘﻴﺎرات إﻟﻰ ﺗﻐﻴﺮ اﻟﺒﺤﺮ، UAA، ﺻﺎﻟﺔ ﻛﺎﻣﺒﻮس ,Upstream People Gallery ﺳﻨﺘﺮ، أﻧﻜﻮراج، أﻻﺳﻜﺎ Omaha, NE 56

Abundance Through Hope Gum dichromate, acrylic, silkscreen, drawing on wood 61 x 68.6 cm 2008 اﳋﻴﺮ اﻟﻮﻓﻴﺮ ﻣﻦ اﻟﺮﺟﺎء دﻳﻜﺮوﻣﺎت اﻟﺼﻤﻎ، إﻛﺮﻳﻠﻴﻚ، اﻟﺸﺎﺷﺔ اﳊﺮﻳﺮﻳﺔ، اﻟﺮﺳﻢ ﻋﻠﻰ اﳋﺸﺐ ٦ × ٦٫٦ﺳﻢ

This work was created as a response to Concept Statement ﰎ إﺑﺪاع ﻫﺬا اﻟﻌﻤﻞ ﻛﺎﻧﻔﻌﺎل ﻟﻠﻮﻗﺖ اﻟﺬي time I spent in Haiti during October of ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﻗﻀﻴﺘﻪ ﻓﻲ ﻫﺎﻳﻴﺘﻲ ﻓﻲ أﻛﺘﻮﺑﺮ 2007. وﻛﺠﺰء As part of a medical team going .2007 ﻣﻦ اﻟﻔﺮﻳﻖ اﻟﻄﺒﻲ اﻟﺬي ﻳﺨﺮج إﻟﻰ اﻟﻘﺮى out to small villages each day, I found myself trying to come to terms with اﻟﺼﻐﻴﺮة ﻛﻞ ﻳﻮم، وﺟﺪت أﻧﻨﻲ أﺣﺎول ﺗﻘﺒﻞ the overwhelming problems facing اﳌﺸﺎﻛﻞ اﻟﻌﺎرﻣﺔ اﻟﺘﻲ ﺗﻮاﺟﻪ اﻷﺷﺨﺎص ,the people I would meet. Clean water اﻟﺬﻳﻦ أﻗﺎﺑﻠﻬﻢ. ووﺟﺪت أن اﳌﻴﺎه اﻟﻨﻈﻴﻔﺔ sanitation, food, clothing, schooling واﻟﺼﺮف اﻟﺼﺤﻲ واﻟﻐﺬاء واﳌﻼﺑﺲ واﻟﺘﻌﻠﻴﻢ all of the basic necessities we take - – أي ﺟﻤﻴﻊ اﻟﻀﺮورﻳﺎت اﻷﺳﺎﺳﻴﺔ اﻟﺘﻲ for granted were precious commodities. Despite all of this, I found ﺗﻌﻮدﻧﺎ ﻋﻠﻴﻬﺎ ﻟﺪرﺟﺔ أﻧﻨﺎ ﻧﺴﻴﻨﺎ ﻗﻴﻤﺘﻬﺎ – ﻗﺪ myself communicating with Haitians أﺻﺒﺤﺖ ﺳﻠﻌﺎً ﺛﻤﻴﻨﺔ. وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ﻛﻞ who still had a strong hope for their ذﻟﻚ، وﺟﺪت ﻧﻔﺴﻲ أﺗﻮاﺻﻞ ﻣﻊ ﺷﻌﺐ ﻫﺎﻳﻴﺘﻲ future. We were usually unable to اﻟﺬﻳﻦ ﻛﺎﻧﻮا ﻻ ﻳﺰاﻟﻮن ﻣﺤﺘﻔﻈﲔ ﺑﺄﻣﻞ ﻗﻮي ﻓﻲ exchange words, which left only what ﻣﺴﺘﻘﺒﻠﻬﻢ. وﻛﻨﺎ ﻋﺎدة ﻏﻴﺮ ﻏﺎدرﻳﻦ ﻋﻠﻰ ﺗﺒﺎدل ,we could express without language اﻟﻜﻠﻤﺎت، وﻫﻮ اﻷﻣﺮ اﻟﺬي ﻟﻢ ﻳﺘﺮك ﻟﻨﺎ ﻣﺠﺎﻻً and I began using my digital camera to interact with people there, especially ﻏﻴﺮ اﻟﺘﻌﺒﻴﺮ دون اﻟﻠﻐﺔ؛ ﻓﺒﺪأت ﻓﻲ اﺳﺘﺨﺪام the children. Being able to see the digital ﻛﺎﻣﻴﺮﺗﻲ اﻟﺮﻗﻤﻴﺔ ﻛﻲ أﺗﻔﺎﻋﻞ ﻣﻊ اﻟﻨﺎس ﻫﻨﺎك، image on the screen right after taking ﻻﺳﻴﻤﺎ اﻷﻃﻔﺎل. وﻧﻈﺮاً ﻟﻘﺪرﺗﻬﻢ ﻋﻠﻰ رؤﻳﺔ a shot, they would bring over others to اﻟﺼﻮرة اﻟﺮﻗﻤﻴﺔ ﻋﻠﻰ ﺷﺎﺷﺔ اﻟﻜﺎﻣﻴﺮا ﻣﺒﺎﺷﺮة join in, giving me instructions on how ﺑﻌﺪ اﻟﺘﻘﺎط اﻟﺼﻮرة، ﻓﻘﺪ اﻋﺘﺎدوا ﻋﻠﻰ دﻋﻮة and when to take the picture. Moments ﻏﻴﺮﻫﻢ ﻟﻼﻧﻀﻤﺎم، ﺛﻢ ﻳﻌﻄﻮﻧﻨﻲ اﻟﺘﻌﻠﻴﻤﺎت like these were striking in that setting, something that seemed much ﻋﻦ ﻛﻴﻔﻴﺔ ووﻗﺖ اﻟﺘﻘﺎط اﻟﺼﻮرة. ﻓﻜﺎﻧﺖ too normal amid the surreal ﳊﻈﺎت ﻣﺜﻞ ﺗﻠﻚ اﻟﻠﺤﻈﺎت أﻣﺮاً ﻣﺪﻫﺸﺎً ﻓﻲ environment. Sometimes by ﻫﺬا اﳌﻜﺎن؛ ﺷﺊ ﻳﺒﺪو ﻃﺒﻴﻌﻲ ﺟﺪاً وﺳﻂ ﺑﺌﻴﺔ the open to ways smallest the even finding ﻏﻴﺮ واﻗﻌﻴﺔ. وﻗﺪ ﻧﻌﻠﻢ ﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن اﳌﺰﻳﺪ lines of communication we learn something ﻋﻦ أﻧﻔﺴﻨﺎ وﻛﻴﻔﻴﺔ ﻣﺴﺎﻋﺪة ﻣﻦ ﺣﻮﻟﻨﺎ ﻣﻦ more about ourselves and how we can help .those around us ﺧﻼل إﻳﺠﺎد ﺣﺘﻰ أﺻﻐﺮ اﻟﻄﺮق ﻟﻔﺘﺢ ﺧﻄﻮط اﻟﺘﻮاﺻﻞ ﻣﻊ ﻏﻴﺮﻧﺎ. Karmele Salaberria 57 Born 1975 | Spanish | Artist ﻛــﺎرﻣــﻴــﻞ ﺳــﺎﻻﺑـﺮﻳـﺎ ﻣﻮﻟﻮد ٥ | إﺳﺒﺎﻧﻴﺎ | ﻓﻨﺎﻧﺔ

exhibitions Projector 08/videoart Significant 2008 اﳌﺴﻼط 08/ اﺳﺒﻮع ﻓﻦ اﻟﻔﻴﺪﻳﻮ، ﺻﺎﻟﺔ Week, Espacio أﻫــﻢ اﻟــﻤــﻌـﺎرض ,Menosuno Gallery إﺳﺒﺎﺳﻴﻮ ﻣﻴﻨﻮﺳﻮﻧﻮ، ﻣﺪرﻳﺪ، إﺳﺒﺎﻧﻴﺎ Madrid, Spain ﻣﻲ ﻏﻮﺳﺘﺎس ﻣﺎﺷﻮ؛ أﻳﻜﻮﻧﻮس، أﻳﺪوﻟﻮس 2006 Me gustas mucho: Iconos, idolos y fetiches ﻳﺎ ﻓﻴﺘﺶ، ﺻﺎﻟﺔ رﻳﺴﻴﻜﻼرﺗﻲ، ﺑﺎﻣﺒﻠﻮﻧﺎ، ,Reciclarte Gallery إﺳﺒﺎﻧﻴﺎ Pamplona, Spain ,Menos1 art channel prize 2006 ﻣﻴﻨﻮس1 ﺟﺎﺋﺰة ﻗﻨﺎة اﻟﻔﻨﻮن، ﻣﺆﲤﺮات Public art conferences اﻟﻔﻨﻮن اﻟﻌﺎﻣﺔ، ﺳﻜﺎرﺑﻴﺎ 06، ﻗﺮﻃﺒﺔ، ,Scarpia06, Cordoba إﺳﺒﺎﻧﻴﺎ Spain Espacio Menosuno 2006 ﺻﺎﻟﺔ إﺳﺒﺎﺳﻴﻮ ﻣﻴﻨﻮﺳﻮﻧﻮ، ﻻ ﻧﻮش إن Gallery, La Noche en ﺑﻼﻧﻜﻮ (اﻟﻠﻴﻠﺔ اﻟﺒﻴﻀﺎء)، ﻣﺪرﻳﺪ، إﺳﺒﺎﻧﻴﺎ Blanco (The White Night), Madrid, Spain ﺟﺎﺋﺰة ﻓﻦ اﳉﺮاﻓﻴﻚ ﻟﺼﻐﺎر اﻟﻔﻨﺎﻧﲔ، Graphic art prize for 2005 ﻣﺘﺤﻒ ﻛﺎزا دو ﻻ ﻣﻮﻧﺪز، ﻣﺪرﻳﺪ، إﺳﺒﺎﻧﻴﺎ young artist, Casa de ,la Monedz Museum إﻳﺴﺘﺎﻣﻮس إﻛﺴﺒﺴﺘﻮس/ ﺑﻴﺠﺠﺎي ﺟﻮد، Madrid Spain أرﺗﻠﻴﻜﻮ، دوﻧﻮﺳﺘﻴﺎ، إﺳﺒﺎﻧﻴﺎ 2005 Estamos expuestos/ ,Begigai gaude, Arteleku ﺟﺎﺋﺰة ﻻﺗﻴﻨﺎ ﻟﺼﻐﺎر اﻟﻔﻨﺎﻧﲔ، ﺳﺎﻻ Donostia, Spain ﻻﺗﻴﻨﺎرﺗﻲ، ﻣﺪرﻳﺪ، إﺳﺒﺎﻧﻴﺎ 2005 Latina young artist prize, ,Sala Latinarte, Madrid ﺳﻮﻣﺒﺮاس، إﻧﺒﻴﺞ ﻻ إزﻣﺮﻻدا، اﳌﺮﻛﺰ اﻟﻮﻃﻨﻲ Spain ﻟﻠﻔﻨﻮن، ﻣﻴﻜﺴﻴﻜﻮ ﺳﻴﺘﻲ، اﳌﻜﺴﻴﻚ 2002 Sombras, ENPEG La Esmeralda, National ﺟﻴﻨﻴﺮاﺳﻴﻮن 2001، ﺟﻮاﺋﺰ وﻣﻨﺤﺔ ﻣﻦ ,Center of the Arts ﻛﺎﺟﺎ ﻣﺪرﻳﺪ، إﺳﺒﺎﻧﻴﺎ Mexico City, Mexico Generacion 2001, Prizes 2001 اﳉﺎﺋﺰة اﻟﻮﻃﻨﻴﺔ ﳌﺆﺳﺴﺔ ﻛﻮﻧﻔﻴﻤﻴﺘﺎل، and scholarship awarded ﻣﺘﺤﻒ اﳌﺪﻳﻨﺔ، ﻣﺪرﻳﺪ، إﺳﺒﺎﻧﻴﺎ by Caja Madrid, Spain 1999 Confemetal Foundation National prize, City Museum, Madrid, Spain 58

Untitled Photography and video installation 120 x 250 x 50 cm 2005 ﺑﺪون ﻋﻨﻮان ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ وﺗﺮﻛﻴﺐ اﻟﻔﻴﺪﻳﻮ × ٥ × ٥ ﺳﻢ ٥

The female hair has been an object Concept Statement ﻇﻞ اﻟﺸﻌﺮ اﻟﻨﺴﺎﺋﻲ ﻣﺼﺪر إﻋﺠﺎب ﻓﻲ of fascination across all societies ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﺟﻤﻴﻊ اﻟﺘﻤﻌﺎت ﻋﻠﻰ ﻣﺮ اﻟﺘﺎرﻳﺦ، ﺑﺎﻋﺘﺒﺎره throughout history. It has a poetic ﻋﻨﺼﺮاً ﺷﻌﺮﻳﺎً ﻛﺜﻴﺮاً وﻧﻈﺮاً ﻟﻠﻘﺪرة اﻟﻜﺒﻴﺮة element, due to its huge capacity to symbolize. The female hair can take ﻋﻠﻰ اﺳﺘﺨﺪاﻣﻪ ﻛﺮﻣﺰ. وﳝﻜﻦ أن ﻳﺄﺧﺬ اﻟﺸﻌﺮ many shapes and functions: it can for اﻟﻨﺴﺎﺋﻲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻷﺷﻜﺎل واﻟﻮﻇﺎﺋﻒ؛ instance be used to hide the face or ﻓﻬﻮ ﻗﺪ ﻳﺴﺘﺨﺪم ﻋﻠﻰ ﺳﺒﻴﻞ اﳌﺜﺎل ﻹﺧﻔﺎء body, as with a veil, as shown in the اﻟﻮﺟﻪ أو اﳉﺴﻢ، ﻛﻨﻮع ﻣﻦ أﻧﻮاع اﳊﺠﺎب، ﻛﻤﺎ installation. This work engages the observer in noting for example how the ﻫﻮ ﻣﻮﺿﺢ ﻓﻲ اﻟﺘﺮﻛﻴﺐ. ﻳﺸﺮك ﻫﺬا اﻟﻌﻤﻞ veil underlines the importance of the اﳌﺸﺎﻫﺪ ﻓﻲ ﻣﻼﺣﻈﺔ ﻛﻴﻔﻴﺔ ﺗﺄﻛﻴﺪ اﳊﺠﺎب .female hair ﻋﻠﻰ أﻫﻤﻴﺔ اﻟﺸﻌﺮ اﻟﻨﺴﺎﺋﻲ. Khalid Hidmi 59 Born 1978 | Palestinian | Marketing Manager ﺧــﺎﻟـﺪ ﻫـﻴـﺪﻣـﻲ ﻣﻮﻟﻮد | ﻓﻠﺴﻄﲔ | ﻣﺪﻳﺮ ﺗﺴﻮﻳﻖ

exhibitions Dubai Artist Residency Significant 2008 ﺑﺮﻧﺎﻣﺞ دﺑﻲ ﻹﻗﺎﻣﺔ اﻟﻔﻨﺎﻧﲔ، اﻟﺒﺎﺳﺘﺎﻛﻴﺎ، ,Programme ,Bastakiya دﺑﻲ؛ ﻳﻨﻈﻤﻪ ﻣﺠﻠﺲ دﺑﻲ اﻟﺜﻘﺎﻓﻲ، أﻫــﻢ اﻟــﻤــﻌـﺎرض Dubai, UAE دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2008 Creek Art Fair, Bastakiya, Dubai, UAE ﻣﻌﺮض اﳋﻮر ﻟﻠﻔﻨﻮن، اﻟﺒﺎﺳﺘﺎﻛﻴﺎ، دﺑﻲ؛ Minus Reality, Art Attack 2007 ﻣﻌﺮض ﺟﻤﺎﻋﻲ ﻳﻨﻈﻤﻪ ﻣﺠﻠﺲ دﺑﻲ Gallery, Dubai, UAE اﻟﺜﻘﺎﻓﻲ. The Jam Jar, Dubai, UAE 2006 ﻧﻘﺺ اﳊﻘﻴﻘﺔ، أرت أﺗﺎك، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ,Sallis Benis Theater 2005 دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,Brighton, East Sussex ﺟﺎﻣﺠﺎر، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UK Phoenix Exhibition 2005 ﻣﺴﺮح ﺳﺎﻟﻴﺲ ﺑﻴﻨﻴﺲ، ﺑﺮاﻳﺘﻮن، ﺳﺎﺳﻜﺲ Center, Brighton, East اﻟﺸﺮﻗﻴﺔ، اﳌﻤﻠﻜﺔ اﳌﺘﺤﺪة Sussex, UK ﻣﺮﻛﺰ ﻣﻌﺎرض ﻓﻮﻧﻜﺲ، ﺑﺮاﻳﺘﻮن، ﺳﺎﺳﻜﺲ اﻟﺸﺮﻗﻴﺔ، اﳌﻤﻠﻜﺔ اﳌﺘﺤﺪة 60

The Daydreamer Acrylic and pastel on wood 125 x 125 cm February 2008 اﳊﺎﻟﻢ أﺣﻼم اﻟﻴﻘﻈﺔ أﻛﺮﻟﻴﻚ واﻟﺮﺳﻢ ﺑﺎﻟﻘﻠﻢ اﳌﻠﻮن ﻋﻠﻰ اﳋﺸﺐ٤ ٥ × ٥ ﺳﻢ ﻓﺒﺮاﻳﺮ

Daydreams are visionary fantasies Concept Statement ﺗﻌﺘﺒﺮ أﺣﻼم اﻟﻴﻘﻈﺔ أوﻫﺎم ﺧﻴﺎﻟﻴﺔ ﳝﺮ ﺑﻬﺎ experienced while awake, especially ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻟﺸﺨﺺ ﻓﻲ ﺣﺎل ﻳﻘﻈﺘﻪ، وﺗﻜﻮن ﻋﺎدة أﻓﻜﺎراً of happy, pleasant thoughts, hopes or وآﻣﺎﻻً وﻃﻤﻮﺣﺎت ﻣﺒﻬﺠﺔ وﺟﻤﻴﻠﺔ. وﻟﻜﻦ ﻣﺎذا ambitions. But what if your daydreams ?turn into nightmares ﻳﺤﺪث ﻟﻮ ﲢﻮﻟﺖ ﺗﻠﻚ اﻷﺣﻼم إﻟﻰ ﻛﻮاﺑﻴﺲ؟

burdened is illustration the in figure The ﺗﻈﻬﺮ اﻟﺒﻨﺖ ﻓﻲ اﻟﺼﻮرة ﻣﺜﻘﻠﺔ ﺑﻬﻤﻮم اﳊﻴﺎة with everyday troubles, and therefore she اﻟﻴﻮﻣﻴﺔ، وﻫﺬا ﻣﺎ ﻳﺠﻌﻠﻬﺎ ﺗﻌﺎﻧﻲ ﻣﻦ أﺣﻼم experiences recurring bad daydreams, as her soul fades away slowly, gradually ﺳﻴﺌﺔ ﻓﻲ اﻟﻴﻘﻈﺔ، ﻓﺘﺘﻼﺷﻰ روﺣﻬﺎ ﺑﺒﻂء .losing the path to her inner peace وﺗﺪرﻳﺠﻴﺎً، ﻓﺘﻔﻘﺪ اﻟﻄﺮﻳﻖ إﻟﻰ ﺳﻜﻴﻨﺘﻬﺎ اﻟﺪاﺧﻠﻴﺔ. Maitha Demithan 61 Born 1989 | Emarati | Student ﻣــﻴـﺜــﺎء دﻣــﻴــﺜــﺎن ﻣﻮﻟﻮد | اﻹﻣﺎرات | ﻃﺎﻟﺒﺔ

exhibitions Redbull Art of Can Significant 2008 ﻣﻌﺮض رﻳﺪﺑﻮل ﻟﻔﻨﻮن ﻛﺎن أﻫــﻢ اﻟــﻤــﻌـﺎرض – Photography project 2008 ﻣﺸﺮوع اﻟﺘﺼﻮﻳﺮ، ﺗﺸﻜﻴﻞ، دﺑﻲ، ’documentation اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Exhibition, Tashkeel, Dubai, UAE Installation Art, The 2007 ﻓﻦ اﻟﺘﺮﻛﻴﺐ. اﻟﺮﺑﻊ اﳋﺎﻟﻲ – ﻣﺮﻛﺰ دﺑﻲ اﳌﺎﻟﻲ ,Empty Quarter, DIFC اﻟﻌﺎﳌﻲ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dubai, UAE Minus Reality, Art Attack 2007 اﳊﻘﻴﻘﺔ اﻟﺴﺎﻟﺒﺔ، أرت أﺗﺎك، دﺑﻲ، Gallery, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 62

Solitude Digital photography 84 x 59.4 cm October 2008 اﻟﻌﺰﻟﺔ ﺗﺼﻮﻳﺮ ﻓﻮﺗﻮﻏﺮاﻓﻴﺔ٤ ٤ × ٥٫٤ ﺳﻢ أﻛﺘﻮﺑﺮ

A silent conversation does not occur Concept Statement ﻻ ﲢﺪث ﻣﺤﺎدﺛﺔ ﺻﺎﻣﺘﺔ ﺑﲔ ﺷﺨﺼﲔ، وﻟﻜﻨﻬﺎ only between two people, but also with ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﲢﺪث أﻳﻀﺎً ﻣﻊ اﻟﻨﻔﺲ. أرى أﻧﻪ ﻣﻦ اﳌﻬﻢ أن oneself. It is important, I believe, to have ﻳﻜﻮن ﻟﻺﻧﺴﺎن ﻣﺤﺎدﺛﺔ ﻣﻊ ﻧﻔﺴﻪ. ﻓﻸﺟﻞ a silent conversation with oneself. In order to solve any problem a person is اﻟﻮﺻﻮل إﻟﻰ ﺣﻞ ﻷي ﻣﺸﻜﻠﺔ ﻳﻮاﺟﻬﻬﺎ facing, time is needed to ask questions اﻟﺸﺨﺺ، ﻓﺈﻧﻪ ﻳﺤﺘﺎج إﻟﻰ وﻗﺖ ﻟﻄﺮح اﻷﺳﺌﻠﺔ .mind the clear to solutions the find and وإﻳﺠﺎد اﳊﻠﻮل ﻟﺘﺼﻔﻴﺔ ذﻫﻨﻪ. ﻓﺎﳊﻮار ﻣﻊ اﻟﻨﻔﺲ A conversation with oneself raises ﻳﺮﻓﻊ ﻣﺴﺘﻮى اﻟﻮﻋﻲ وﻳﺴﺎﻋﺪﻧﺎ ﻋﻠﻰ ﲢﺴﲔ awareness and helps us become .better people and learn to grow ﺷﺨﺼﻴﺘﻨﺎ وأن ﻧﺘﻌﻠﻢ ﺗﻨﻤﻴﺔ أﻧﻔﺴﻨﺎ. ﺗﻌﻤﻞ find to try I ‘spaces’ the explores Solitude ﺻﻮرة ”اﻟﻌﺰﻟﺔ“ ﻋﻠﻰ اﺳﺘﻜﺸﺎف ”اﳌﺴﺎﻓﺎت“ and it expresses my lightness of being اﻟﺘﻲ أﺳﻌﻰ إﻟﻴﻬﺎ، وﺗﻌﺒﺮ ﻋﻦ رﺷﺎﻗﺔ روﺣﻲ finding through results sometimes that اﻟﺘﻲ ﺗﻈﻬﺮ أﺣﻴﺎﻧﺎً ﻣﻦ ﺧﻼل ﺳﻜﻮﻧﻲ اﻟﺪاﺧﻠﻲ. inner stillness.

As I sit on my chair and speak with ﻛﻠﻤﺎ ﺟﻠﺴﺖ ﻋﻠﻰ ّﻛﺮﺳﻲ اﲢﺪث إﻟﻰ ﻧﻔﺴﻲ myself in solitude, the chair transforms ﻓﻲ ﻋﺰﻟﺘﻲ، ﻳﺘﺤﻮل اﻟﻜﺮﺳﻲ إﻟﻰ ﻗﺎرب. ﻓﻼ أرى into a boat. I lose sight of the shore and اﻟﺸﺎﻃﺊ ﺣﻮﻟﻲ وأﺑﺤﺮ إﻟﻰ اﻷﻋﻤﺎق. أﺳﺎﻓﺮ sail deeper. I travel into the distance and ﺑﻌﻴﺪاً وأﺗﺮك ﺧﻠﻔﻲ ذﻛﺮى ﻓﻘﻂ. leave only a memory. Meera Huraiz 63 Born 1989 | Emarati | Student ﻣــﻴــﺮا ﺣــﺮﻳـــﺰ ﻣﻮﻟﻮد | اﻹﻣﺎرات | ﻃﺎﻟﺒﺔ

exhibitions Beyond Conventions, Significant 2009 ﻣﺎ وراء اﻷﻋﺮاف، إﻳﻠﻴﻤﻨﺘﺎ، دﺑﻲ، أﻫــﻢ اﻟــﻤــﻌـﺎرض Elementa, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 64

Samara Photo transfer on fabric 100 x 80 cm December 2008 ﺳﻤﺎرة ﻧﻘﻞ اﻟﺼﻮر ﻋﻠﻰ اﻟﻘﻤﺎش × ﺳﻢ دﻳﺴﻤﺒﺮ

Samara is the antagonist of a real life Concept Statement ﺳﻤﺎرة ﻫﻲ ﺑﻄﻠﺔ دراﻣﺔ واﻗﻌﻴﺔ، ﲤﺜﻞ ﺑﺸﻜﻞ drama, vividly representing my own ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ﻗﻮي اﻟﺼﺮاع اﻟﺬي ﻳﺪور ﺑﺪاﺧﻠﻲ. ﻓﺴﻤﺎرة ﻫﻲ another is Samara conflict. inner ﺷﺨﺼﻴﺔ أﺧﺮى داﺧﻞ ﻧﻔﺴﻲ؛ ﻫﻲ ﻗﺮﻳﻨﺘﻲ person within myself - my alter ego, and my personal companion. Using body ورﻓﻴﻘﺘﻲ اﻟﺸﺨﺼﻴﺔ. وﻳﻌﺪ اﺳﺘﺨﺪام ﻟﻐﺔ language, saturated pictures, and اﳉﺴﺪ واﻟﺼﻮر اﳌﺸﺒﻌﺔ واﳌﻨﺴﻮﺟﺎت ﺟﺰءاً ,textiles is an essential part of my work أﺳﺎﺳﻴﺎً ﻓﻲ ﻋﻤﻠﻲ، ﻳﻌﺒﺮ ﻋﻦ اﻻﻧﻔﻌﺎﻻت expressing intense emotions in a اﻟﺸﺪﻳﺪة ﻓﻲ ﺷﻜﻞ ﻏﻴﺮ ﻟﻔﻈﻲ. وﻗﺪ ﻗﻤﺖ non-verbal form. I reconstructed the dress she is wearing and used it as my ﺑﺈﻋﺎدة ﺗﺼﻤﻴﻢ اﻟﺜﻮب اﻟﺬي ﺗﺮﺗﺪﻳﻪ واﺳﺘﺨﺪﻣﺘﻪ canvas to conceptualize the idea of ﻛﻠﻮﺣﺘﻲ اﻟﻘﻤﺎﺷﻴﺔ، وذﻟﻚ ﻛﻲ أﺑﻨﻲ ﻓﻜﺮة an unbreakable paradox or an ﻣﻔﺎرﻗﺔ ﻗﻮﻳﺔ أو ﺣﺮﻳﺔ ﻻ ﳝﻜﻦ اﻟﻮﺻﻮل إﻟﻴﻬﺎ. unattainable freedom. I wanted to أردت أن أﻇﻬﺮ اﻟﻌﻼﻗﺎت اﻟﺘﻲ ﺗﺮﺑﻂ اﻟﻨﺎس manifest the relationships people have ﲟﻼﺑﺴﻬﻢ، وأن ﺗﻠﻚ اﻟﻌﻼﻗﺎت أﻋﻤﻖ ﳑﺎ ﻫﻲ with their own clothes that are rather more profound than they are assumed ﻋﻠﻴﻪ. وأﻧﺎ أﺗﺴﺎﺋﻞ؛ ﻫﻞ ﺗﺴﺘﻄﻴﻊ ﻫﺬه اﻟﻘﻄﻌﺔ to be. I am questioning if this piece of ﻣﻦ اﻟﺜﻴﺎب أن ﺗﺘﻜﻠﻢ ﺑﺎﻟﻔﻌﻞ؟ وﻣﺎذا ﳝﻜﻦ clothing could actually talk, what would أﻧﻬﺎ ﺗﻘﻮل؟ it say? Mohammed Rasoul 65 Born 1984 | Chechnyan | Designer ﻣـــﺤـــﻤـــﺪ رﺳــــﻮل ﻣﻮﻟﻮد ٤ | اﻟﺸﻴﺸﺎن | ﻣﺼﻤﻢ

exhibitions Silent Conversations is the artist’s Significant ﺣﻮار ﺻﺎﻣﺖ أول ﻣﻌﺮض ﻟﻬﺬا اﻟﻔﻨﺎن first exhibition أﻫــﻢ اﻟــﻤــﻌـﺎرض 66

The Oath Digital photography 91.5 x 38 cm February 2008 اﻟﻘﺴﻢ ﺗﺼﻮﻳﺮ ﻓﻮﺗﻮﻏﺮاﻓﻲ ٫٥ × ﺳﻢ ﻓﺒﺮاﻳﺮ

Your Lord is fully aware of your Concept Statement“ ”رﺑﻜﻢ أﻋﻠﻢ ﲟﺎ ﻓﻲ ﻧﻔﻮﺳﻜﻢ“ اﻟﻘﺮان، ﺳﻮرة innermost thoughts.” Quran 17:25 ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻹﺳﺮاء، آﻳﺔ 25 Even during the most private moments of solitude, a Muslim is always ﺣﺘﻰ ﻓﻲ أﺧﺺ ﳊﻈﺎت اﻟﻌﺰﻟﺔ، ﻳﻜﻮن اﳌﺴﻠﻢ .connected to his Creator ﻓﻴﻬﺎ ﻣﺘﺼﻼً ﺑﺨﺎﻟﻘﻪ.

Through one’s conscious and ﻣﻦ ﺧﻼل اﻟﻮﻋﻲ اﳌﺪرك وﻏﻴﺮ اﳌﺪرك ﺑﺎﻟﻮﺟﻮد unconscious awareness of the divine presence, moments of deep اﻹﻟﻬﻲ، ﺗﺼﺒﺢ ﳊﻈﺎت اﻟﺴﻜﻴﻨﺔ اﻟﻌﻤﻴﻘﺔ quietness and external stillness become واﻟﺴﻜﻮن اﳋﺎرﺟﻲ ﻓﺮﺻﺎً ﻟﺘﻔﺎﻋﻞ ﻏﻴﺒﻲ -opportunities for great metaphysical in ﻋﻈﻴﻢ. teraction. ﻳﺼﺒﺢ اﻟﺘﺄﻣﻞ ﻓﻲ اﻟﺬات ﻣﺤﺎدﺛﺔ داﺋﻤﺔ ﻟﻠﺬﻳﻦ Self-contemplation thus becomes a lifelong conversation for those who ﻳﺘﻤﺮﺳﻮن ﻋﻠﻰ اﻟﺼﺒﺮ واﳊﻜﻤﺔ ﳌﻌﺮﻓﺔ اﻵﻳﺎت exercise patience and wisdom to اﻹﻟﻬﻴﺔ. recognize the divine signs. Najla Al Bassam 67 Born 1986 | Saudi Arabian | Student ﳒـــﻼء اﻟــﺒــﺴــﺎم ﻣﻮﻟﻮد ٦ | اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ | ﻃﺎﻟﺒﺔ

exhibitions Made in Tashkeel, Group Significant 2008 ﺻﻨﻊ ﻓﻲ ﺗﺸﻜﻴﻞ، ﺗﺸﻜﻴﻞ، ﻣﺸﺮوع project from Khattography: أﻫــﻢ اﻟــﻤــﻌـﺎرض Contemporary Arabic ﺟﻤﺎﻋﻲ ﻣﻦ ﺧﻴﻄﻮﻏﺮاﻓﻴﺎ: ورﺷﺔ ﻋﻤﻞ Typography workshop اﻟﻄﺒﺎﻋﺔ اﻟﻌﺮﺑﻴﺔ اﳌﻌﺎﺻﺮة، دﺑﻲ، Tashkeel, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2008 Sheikha Manal New ,Signatures Award ﺟﺎﺋﺰة اﻟﺸﻴﺨﺔ ﻣﻨﺎل ﻟﻠﻔﻨﺎﻧﲔ اﻟﺸﺒﺎب، DIFC, Dubai, UAE ﻣﺮﻛﺰ دﺑﻲ اﳌﺎﻟﻲ اﻟﻌﺎﳌﻲ، دﺑﻲ، ,Vibrations Within, Tashkeel 2008 اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dubai, UAE ذﺑﺬﺑﺎت ﻣﻦ اﻟﺪاﺧﻞ، ﺗﺸﻜﻴﻞ، دﺑﻲ، 2008 Ibda’a Media Awards, Media City, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة .AUB dorms exhibition 2008 ﺟﻮاﺋﺰ اﻹﺑﺪاع اﻹﻋﻼﻣﻲ، ﻣﺪﻳﻨﺔ اﻹﻋﻼم، دﺑﻲ، Beirut, Lebanon اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2008 Darat Safia bin Zager exhibition. Jeddah, KSA ﻣﻌﺮض ﺳﻜﻦ اﻟﻄﻼب ﻓﻲ اﳉﺎﻣﻌﺔ اﻷﻣﺮﻳﻜﻴﺔ ﺑﺒﻴﺮوت، ﺑﻴﺮوت، ﻟﺒﻨﺎن. ﻣﻌﺮض دارة ﺻﻔﻴﺔ ﺑﻦ زﻗﺮ، ﺟﺪة، اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ 68

CMYK Digital photography 59 x 42 cm February 2009 CMYK ﺗﺼﻮﻳﺮ ﻓﻮﺗﻮﻏﺮاﻓﻲ ٥ × ٤ ﺳﻢ ﻓﺒﺮاﻳﺮ

In the land of Arabia, beautiful Concept Statement ﻓﻲ أرض اﳉﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ، ﺗﻌﻴﺶ اﻟﻨﺴﺎء independent women inhabit the sand ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﳉﻤﻴﻼت اﳌﺴﺘﻘﻼت ﻋﻠﻰ ﻛﺜﺒﺎن اﻟﺮﻣﺎل. وﻋﻠﻰ dunes. Protected with a black veil but اﻟﺮﻏﻢ ﻣﻦ أﻧﻬﻦ ﻳﻠﺒﺴﻦ اﳊﺠﺎب اﻷﺳﻮد، إﻻ أن never silenced under it; ذﻟﻚ ﻻ ﻳﺼﻤﺘﻬﻦ أﺑﺪاً. “Through it we see the orange pink and green rays of a culture we proudly ”ﻣﻦ ﺧﻼﻟﻪ ﻧﺮى اﻵﺷﻌﺔ اﻟﺒﺮﺗﻘﺎﻟﻴﺔ واﻟﻘﺮﻧﻔﻠﻴﺔ ”.embrace واﳋﻀﺮاء ﻟﺜﻘﺎﻓﺔ ﻧﻌﺘﺰ ﺑﺎﻻﻧﺘﻤﺎء إﻟﻴﻬﺎ“. Nivedita Saha 69 Born 1972 | Indian | Artist ﻧـﻴـﻔـﻴـﺪﺗـﺎ ﺳﺎﻫﺎ ﻣﻮﻟﻮد | اﻟﻬﻨﺪ | ﻓﻨﺎﻧﺔ

exhibitions Kaleidoscope, Indian Significant 2009 ﻛﺎﻟﻴﺪوﺳﻜﻮب، اﻟﺴﻔﺎرة اﻟﻬﻨﺪﻳﺔ، أﺑﻮﻇﺒﻲ، Embassy, Abu Dhabi, أﻫــﻢ اﻟــﻤــﻌـﺎرض UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,Group show, Creek Art Fair 2008 ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﻣﻌﺮض اﳋﻮر ﻟﻠﻔﻨﻮن، Bastakiya, Dubai, UAE اﻟﺒﺎﺳﺘﺎﻛﻴﺎ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,Vibrations Within, Tashkeel 2008 ذﺑﺬﺑﺎت ﻣﻦ اﻟﺪاﺧﻞ، ﺗﺸﻜﻴﻞ، دﺑﻲ، اﻹﻣﺎرات Dubai, UAE ,Across Boundaries, Muscat 2008 اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة London ﻋﺒﺮ اﳊﺪود، ﻣﺴﻘﻂ، ﻟﻨﺪن Different Strokes, Group 2008 ﻧﺒﻀﺎت ﻣﺨﺘﻠﻔﺔ، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﺟﺮاﻧﺪ show, Grand Hyatt, Dubai, UAE ﺣﻴﺎة، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 70

Look out for the hook Intaglio etching and aquatint 38 x 30.5 cm February 2009 اﺣﺬر ﻣﻦ اﻟﺼﻨﺎرة اﻟﻨﻘﺶ اﻟﻐﺎﺋﺮ، اﻟﻨﻘﺶ ﺑﺎﳊﻔﺮ اﳌﺎﺋﻲ × ٫٥ﺳﻢ ﻓﺒﺮاﻳﺮ

Satan makes use of our own desires Concept Statement ﻳﺴﺘﻐﻞ إﺑﻠﻴﺲ رﻏﺒﺎﺗﻨﺎ وﻳﺤﺎول إﻏﻮاﺋﻨﺎ، ﻓﻴﺪﻟﻲ to tempt us, dangling the bait of ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ُﻃﻌﻤﻪ أﻣﺎﻣﻨﺎ ﻟﻴﻌﺪﻧﺎ ﺑﺎﻟﺴﻌﺎدة اﳌﺘﻮﻗﻌﺔ. anticipated pleasure in front of us. We ﻓﻨﺮﺗﻜﺐ اﻟﺬﻧﻮب ﻋﻨﺪﻣﺎ ﻧﺴﺘﺴﻠﻢ ﻟﻬﺬا اﻹﻏﺮاء؛ sin when we yield to the temptation; we fulfill to acts body the and bait” the take“ ”ﻓﻨﺒﻠﻊ ُاﻟﻄﻌﻢ“ وﻳﺒﺪأ اﳉﺴﺪ ﻓﻲ اﻟﺘﺤﺮك our sinful desires. However, the person ﻛﻲ ﻳﻨﻔﺬ رﻏﺒﺎﺗﻨﺎ اﳌﺬﻧﺒﺔ. وﻣﻊ ذﻟﻚ، ﻗﺪ ﻳﻐﻮي who guards his thoughts and controls his اﻟﺸﺨﺺ اﻟﺬي ﻳﻈﻞ ﻳﺤﻤﻲ أﻓﻜﺎره وﻳﻈﻞ desires may be tempted, but he avoids ﻣﺘﺤﻜﻤﺎً ﻓﻲ رﻏﺒﺎﺗﻪ، وﻟﻜﻦ ﻫﺬا اﻟﺸﺨﺺ ﻗﺎدر sin. The fish that won’t bite does not .get caught ﻋﻠﻰ ﲡﻨﺐ اﻟﻮﻗﻮع ﻓﻲ اﻟﺬﻧﺐ. ﻓﺎﻟﺴﻤﻜﺔ اﻟﺘﻲ ﻻ ﺗﻘﻀﻢ ُاﻟﻄﻌﻢ ﻻ ُﲤﺴﻚ. Omran AlOwais 71 Born 1979 | Emarati | Architect ﻋـﻤــﺮان اﻟـﻌــﻮﻳـﺲ ﻣﻮﻟﻮد | اﻹﻣﺎرات | ﻣﻬﻨﺪس ﻣﻌﻤﺎري

exhibitions Photography project: Significant 2008 ﻣﺸﺮوع اﻟﺼﻮر: اﻟﺘﻮﺛﻴﻖ، ﺗﺸﻜﻴﻞ، دﺑﻲ، documentation, Tashkeel, أﻫــﻢ اﻟــﻤــﻌـﺎرض Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 72

Bel-Khoushoum Pixelated digital photograph 190 x 120 cm February 2009 ﺑﺎﳋﺸﻮم ﺻﻮرة رﻗﻤﻴﺔ ﻣﻘﺮﺑﺔ × ﺳﻢ ﻓﺒﺮاﻳﺮ

A nose to nose “kiss”, a traditional Concept Statement ﺗﺴﻮد ﺑﲔ ﻣﻮﻃﻨﻲ دوﻟﺔ اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ greeting between the local men in UAE, ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﳌﺘﺤﺪة اﻟﺬﻛﻮر ﲢﻴﺔ اﻟﺘﻘﺒﻴﻞ ﻣﻦ اﳋﺸﻢ إﻟﻰ the Belkhoushoum is a celebration of اﳋﺸﻢ، وﺗﻌﺘﺒﺮ ﺻﻮرة ”ﺑﺎﳋﺸﻮم“ ﲟﺜﺎﺑﺔ اﺣﺘﻔﺎء happiness and connection, a gesture two between connection the reflects that ﺑﺎﻟﺴﻌﺎدة واﻟﺘﻮاﺻﻞ، وﻫﻲ إﺷﺎرة ﺗﻌﻜﺲ people. To other cultures it might be اﻟﺘﻮاﺻﻞ ﺑﲔ ﺷﺨﺼﲔ. ﻗﺪ ﻳﻜﻮن ﻫﺬا اﻷﻣﺮ surprising, misinterpreted, or even ﻣﺪﻫﺸﺎ ﻟﻠﺜﻘﺎﻓﺎت اﻷﺧﺮى، وﻗﺪ ﻳﺴﺎء ﺗﻔﺴﻴﺮه، disturbing. It is a moment in time in أو ﻗﺪ ﻳﻜﻮن ﻣﺰﻋﺠﺎً. إﻧﻬﺎ ﳊﻈﺔ ﻣﻦ اﻟﻮﻗﺖ ﻻ which no words are exchanged but so .much is communicated ﻳﺘﻢ ﻓﻴﻬﺎ ﺗﺒﺎدل ﻛﻠﻤﺎت، وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ، ﻳﺤﺪث ﺗﻮاﺻﻞ ﻛﺒﻴﺮ ﺑﲔ اﻟﺸﺨﺼﲔ. Paolomaria 73 Born 1963 | Italian | Artist ﺑــﺎوﻟــﻮﻣـﺎرﻳـﻪ ﻣﻮﻟﻮد ٦ | إﻳﻄﺎﻟﻴﺎ | ﻓﻨﺎن

exhibitions My Name is Robot, Group Significant 2009 اﺳﻤﻲ روﺑﻮت، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﺻﺎﻟﺔ show, The Jam Jar, Dubai, أﻫــﻢ اﻟــﻤــﻌـﺎرض UAE ﺟﺎﻣﺠﺎر، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Mondo Arte, Dubai, UAE 2008 ﻣﻮﻧﺪو أرت، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,ART OASIS, Group show 2008 واﺣﺔ اﻟﻔﻦ، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، ﺟﺎﻣﺠﺎر، دﺑﻲ، The Jam Jar, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2008 Made in Tashkeel, Group show, Tashkeel, Dubai, UAE ﺻﻨﻊ ﻓﻲ ﺗﺸﻜﻴﻞ، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، Mondo Arte, Dubai, UAE 2008 ﺗﺸﻜﻴﻞ، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Hallufgaard Park, Group 2007 ﻣﻮﻧﺪو أرت، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة show, Odense, Denmark ﻫﺎﻟﻔﻮﺟﺎرد ﺑﺎرك، ﻣﻌﺮض ﺟﻤﺎﻋﻲ، 2007 Galactic Life Forms, ,Symposium, Odense أودﻧﺲ، اﻟﺪﳕﺎرك Denmark أﺷﻜﺎل ﺣﻴﺎة ﺟﺎﻻﺟﺘﻚ، ﻧﺪوة، ,Milton Gallery, Odense 2007 أودﻧﺲ، اﻟﺪﳕﺎرك Denmark Pica Gallery, Napoli, Italy 2006 ﺻﺎﻟﺔ ﻣﻴﻠﺘﻮن، أودﻧﺲ، اﻟﺪﳕﺎرك Batis Gallery, Bacoli, Italy 2006 ﺻﺎﻟﺔ ﺑﻴﻜﺎ، ﻧﺎﺑﻮﻟﻲ، إﻳﻄﺎﻟﻴﺎ ﺻﺎﻟﺔ ﺑﺎﺗﻴﺲ، ﺑﺎﻛﻮﻟﻲ، إﻳﻄﺎﻟﻴﺎ 74

Urladel Silenzo – Silent Screams Mixed media Installation February 2009 أرﻻدل ﺳﻴﻠﻨﺰو – ﺻﺮﺧﺎت ﺻﺎﻣﺘﺔ وﺳﺎﺋﻞ ﻣﺨﺘﻠﻄﺔ ﻓﺒﺮاﻳﺮ

A lot of times, our moral guidelines have Concept Statement ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ اﻷوﻗﺎت، ﻛﺎﻧﺖ ﺧﻄﻮﻃﻨﺎ been silent in front of the horrors of ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻷﺧﻼﻗﻴﺔ ﺻﺎﻣﺘﺔ أﻣﺎم أﻫﻮال ﺗﺎرﻳﺨﻨﺎ. وﻓﻲ our history. A lot of times, only in أوﻗﺎت ﻛﺜﻴﺮة أﻳﻀﺎً، ﻓﻘﻂ ﻓﻲ ﺣﺎﻻت اﻟﻌﻨﻒ violence and in overcoming, have we found a common dictionary. It must be واﻟﻐﻠﺒﺔ، اﺳﺘﻄﻌﻨﺎ أن ﳒﺪ ﻗﺎﻣﻮﺳﺎً ﻣﺸﺘﺮﻛﺎً. a is this, about reflect to voice; a given إﻧﻪ اﻟﻮاﺟﺐ اﻷﺧﻼﻗﻲ اﻟﺬي ﻳﺠﺐ أن ﻧﻌﻄﻲ إﻟﻴﻪ solidification a in believe I duty. moral اﻟﺼﻮت. أؤﻣﻦ ﺑﺘﺮﺳﻴﺦ اﻟﺬﻛﺮى، أؤﻣﻦ ﺑﻌﻤﻠﻴﺔ of the memory, in a process in which ﺗﺴﺘﻮﻋﺐ اﻟﻮﻗﺖ ﻣﻦ ﺧﻼل ﻣﻮاد ﻣﺨﺘﻠﻔﺔ، وﻓﻲ different materials absorb the time and in return they give back pieces اﳌﻘﺎﺑﻞ ﺗﺮﺟﻊ إﻟﻴﻨﺎ أﺟﺰءاً ﻣﻦ اﳋﺒﺮة وأﺟﺰءاً ﻣﻦ ,of experience and pieces of history اﻟﺘﺎرﻳﺦ. أؤﻣﻦ ﺑﺎﻟﺬﻛﺮى ﻷﻧﻬﺎ ﻻ ﺗﻨﺴﻰ؛ أﻓﻜﺮ ﻓﻲ contingent and precarious. I believe ﺑﻌﺾ اﻷﺣﻴﺎن ﻓﻲ أن ﺣﻴﺎﺗﻨﺎ ﺗﺒﺪو وأﻧﻬﺎ ﻋﺪاﺋﻴﺔ؛ in the memory, because it is important رﲟﺎ ﻳﻜﻮن ذﻟﻚ ﺻﺤﻴﺤﺎً ﻷﻧﻨﺎ ﻻ ﻧﺨﺸﻰ ﻣﻦ to not forget. Sometimes I think that ﻣﺴﺘﻘﺒﻠﻨﺎ، ﺑﻞ ﻧﺨﺸﻰ ﻣﻦ ﻣﺎﺿﻴﻨﺎ. frequently our life appears to be hostile: perhaps it is because we are not frightened by our future but by our past instead. Patricia Millns 75 Born 1950 | British | Artist / Art Consultant ﺑـﺎﺗـﺮﻳـﺸـﻴـﺎ ﻣﻴﻠﻨﺰ ﻣﻮﻟﻮد ٥ | ﺑﺮﻳﻄﺎﻧﻴﺎ | ﻣﺼﻤﻤﺔ

exhibitions Art Dubatai Project Artist, Significant /2009 ﻣﺸﺮوع ﻓﻨﻮن دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2007 UAE أﻫــﻢ اﻟــﻤــﻌـﺎرض ﺳﻠﺴﻠﺔ اﻟﻐﺘﺮة: 2007 Ghutra Sequence 2007 ﺳﻠﺴﻠﺔ إﻣﺮأة: 2009 Emra’a sequence 2009 ,Point of Encounter 2009 ﻧﻘﻄﺔ اﻟﺘﻘﺎء، ﺗﺸﻜﻴﻞ، دﺑﻲ،اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Tashkeel, Dubai, UAE ,Emra’a, Dar al Funoon 2009 إﻣﺮأة، دار اﻟﻔﻨﻮن، اﻟﻜﻮﻳﺖ Kuwait Memory, EFAS, Sharjah 2008 ذاﻛﺮة، ﺟﻤﻌﻴﺔ اﻹﻣﺎرات ﻟﻠﻔﻨﻮن اﳉﻤﻴﻠﺔ، اﻟﺸﺎرﻗﺔ، UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة …If there ever was 2008 إذا ﻛﺎن ﻫﻨﺎك أﺑﺪاً .. University of Sunderland ,UK, Cuchifrios Gallery ﺟﺎﻣﻌﺔ ﺳﺎﻧﺪرﻻﻧﺪ، اﳌﻤﻠﻜﺔ اﳌﺘﺤﺪة New York USA ﺻﺎﻟﺔ ﻛﻮﺷﻴﻔﻴﻮرﻳﺲ، ﻧﻴﻮ ﻳﻮرك، اﻟﻮﻻﻳﺎت اﳌﺘﺤﺪة ,Agal Sequence The Gate 2008 ﺳﻠﺴﻠﺔ اﻟﻌﻘﺎل، اﻟﺒﻮاﺑﺔ، ﻣﺮﻛﺰ دﺑﻲ اﳌﺎﻟﻲ اﻟﻌﺎﳌﻲ، DIFC, Dubai,UAE دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Protection Sequence, DIFC 2007 ﺳﻠﺴﻠﺔ اﳊﻤﺎﻳﺔ، ﻣﺮﻛﺰ دﺑﻲ اﳌﺎﻟﻲ اﻟﻌﺎﳌﻲ، دﺑﻲ، Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2007 Thob Sequence, EFAS Sharjah Biennial) ﺳﻠﺴﻠﺔ اﻟﺜﻮب، ﺟﻤﻌﻴﺔ اﻹﻣﺎرات ﻟﻠﻔﻨﻮن اﳉﻤﻴﻠﺔ Exhibition), Sharjah, UAE (ﺑﻴﻨﺎﻟﻲ اﻟﺸﺎرﻗﺔ)، اﻟﺸﺎرﻗﺔ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Messages, Barbara Stanley /2006 رﺳﺎﺋﻞ، ﺻﺎﻟﺔ ﺑﺎرﺑﺮا ﺳﺘﺎﻧﻠﻲ، ﻟﻨﺪن، اﳌﻤﻠﻜﺔ اﳌﺘﺤﺪة 2005 Gallery, London, UK Oman Sequence, British 2004 ﺳﻠﺴﻠﺔ ﻋﻤﺎن، اﳌﺘﺤﻒ اﻟﺒﺮﻳﻄﺎﻧﻲ، ﻟﻨﺪن، اﳌﻤﻠﻜﺔ Museum, London, UK اﳌﺘﺤﺪة 76

Silent conversations Filled glass bottles Installation 2008/9 ﺣﻮارات ﺻﺎﻣﺘﺔ زﺟﺎﺟﺎت ﳑﺘﻠﺌﺔ ﺧﺎﺻﺔ ﺑﺎﳌﺴﺎﺣﺔ /

Silent conversations are collected words Concept Statement ﺗﻌﺘﺒﺮ اﶈﺎدﺛﺎت اﻟﺼﺎﻣﺘﺔ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻜﻠﻤﺎت and thoughts. These are the silent واﻷﻓﻜﺎر اﻟﻤﻌﺔ. وﻫﺬه ﻫﻲ اﳊﻮارات اﻟﺼﺎﻣﺘﺔ ﻣﻊ ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة .conversations to oneself اﻟﻨﻔﺲ. They are the pages kept from diaries, diet books, cookery books, novels إﻧﻬﺎ اﻟﺼﻔﺤﺎت اﳌﻄﻮﻳﺔ ﻋﻦ اﻟﻴﻮﻣﻴﺎت وﻛﺘﺐ ,read, poetry written, letters never sent اﳊﻤﻴﺔ وﻛﺘﺐ اﻟﻄﺒﺦ واﻟﺮواﻳﺎت اﳌﻘﺮوءة واﻟﺸﻌﺮ ,hidden purchases, bank statements اﳌﻜﺘﻮب واﳋﻄﺎﺑﺎت اﻟﺘﻲ ﻟﻢ ﺗﺮﺳﻞ واﳌﺸﺘﺮﻳﺎت lipstick blots, love tokens... اﻟﺒﺄة وﻛﺸﻮﻓﺎت اﳊﺎﺳﺐ وﺑﻘﻊ أﺣﻤﺮ اﻟﺸﻔﺎه ,All these private hidden conversations وﺗﺬﻛﺎر اﳊﺐ... written but never expressed verbally. I contain them in a visual and very public way. They are transparent to all ﺟﻤﻴﻊ ﻫﺬه اﶈﺎدﺛﺎت اﳋﻔﻴﺔ ﺗﻜﺘﺐ وﻟﻜﻦ ﻻ ﻳﺘﻢ ,viewers but the bottles remain closed اﻟﺘﻌﺒﻴﺮ ﻋﻨﻬﺎ ﺷﻔﻬﻴﺎً. and the conversations remain silent, rolled, folded and beribboned. They take ﺟﻤﻌﺖ ﻫﺬه اﶈﺎدﺛﺎت ﺑﻄﺮﻳﻘﺔ ﺑﺼﺮﻳﺔ وﻋﺎﻣﺔ، ﻓﻬﻲ on the status of love letters in their glass ﺗﺒﺪو ﺷﻔﺎﻓﺔ ﳉﻤﻴﻊ اﳌﺸﺎﻫﺪﻳﻦ، وﻟﻜﻦ اﻟﺰﺟﺎﺟﺎت spaces, safely trapped in their silent glass ﺗﺒﻘﻰ ﻣﻐﻠﻘﺔ، وﺗﺒﻘﻰ اﳊﻮارات ﺻﺎﻣﺘﺔ وﻣﻠﻔﻮﻓﺔ .enclosures وﻣﻄﻮﻳﺔ. إﻧﻬﺎ ﺗﺴﺘﻐﻞ وﺿﻊ ﺧﻄﺎﺑﺎت اﳊﺐ ﻓﻲ Connotations with message in a اﻟﺰﺟﺎج، ﻟﺘﻜﻮن ﻣﻮﺿﻮﻋﺔ ﻓﻲ ﻣﻜﺎن زﺟﺎﺟﻲ ﺻﺎﻣﺖ bottle are intentionally made and this وآﻣﻦ. reinforces the urgency and importance of the message and the desire for it to be .released and read إن اﻟﺪﻻﻻت اﻟﺘﻲ ﲢﻤﻞ رﺳﺎﺋﻞ ﻓﻲ اﻟﺰﺟﺎﺟﺔ وﺿﻌﺖ ﻋﻤﺪاً وﻫﺬا ﻳﻘﻮي إﳊﺎح وأﻫﻤﻴﺔ اﻟﺮﺳﺎﻟﺔ واﻟﺮﻏﺒﺔ ﻓﻲ The multiplicity of the units reinforces the conversations and the simple origin إﺧﺮاﺟﻬﺎ وﻗﺮاﺋﺘﻬﺎ. of a reused bottle becomes elevated to that of glass reliquaries containing ﻛﻤﺎ ﻳﻘﻮي ﺗﻌﺪد اﻟﻮﺣﺪات اﳊﻮارات، وﻳﺼﺒﺢ اﻷﺻﻞ precious memories within their اﻟﺒﺴﻴﻂ ﻟﻠﺰﺟﺎﺟﺔ ﺷﻴﺌﺎً رﻓﻴﻌﺎً ﻋﻦ ﻣﺠﺮد ﻛﻮﻧﻬﺎ .contained silent space وﻋﺎء زﺟﺎﺟﻲ ﻳﺤﻮي ذﻛﺮﻳﺎت داﺧﻞ ﺻﻤﺘﻪ اﻟﺪاﺧﻠﻲ. Radhika Grover 77 Born 1972 | Indian |Housewife رادﻳــﻜــﺎ ﺟــﺮوﻓـــﺮ ﻣﻮﻟﻮد | اﻟﻬﻨﺪ | رﺑﺔ ﻣﻨﺰل

exhibitions My Name is Robot, The Jam Significant 2009 اﺳﻤﻲ روﺑﻮت، ﺻﺎﻟﺔ ﺟﺎﻣﺠﺎر، دﺑﻲ، Jar Gallery, Dubai, UAE أﻫــﻢ اﻟــﻤــﻌـﺎرض اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,Redbull, The Art of Can 2009 رﻳﺪﺑﻮل، ﻓﻦ ﻛﺎن- ﻣﻮل اﻹﻣﺎرات، دﺑﻲ، Mall of the Emirates, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,The Art of Can 2006 ﻓﻦ ﻛﺎن، ﻣﻮل اﻹﻣﺎرات، دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Mall of the Emirates, Dubai UAE Safe and Sound, Breast 2006 ﺣﻤﻠﺔ اﻟﺘﻮﻋﻴﺔ ﲟﺮض ﺳﺮﻃﺎن اﻟﺜﺪي، ﺻﺎﻟﺔ ﺟﺎﻣﺠﺎر Cancer Awareness, The Jam ﻓﻲ ﻣﺮﻛﺰ ﺑﺮﺟﻤﺎن ﺑﺪﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Jar Gallery at the Burjuman Centre Dubai, UAE Burjuman Art and Fashion 2006 ﻣﻬﺮﺟﺎن اﻟﻔﻨﻮن واﻷزﻳﺎء ﲟﺮﻛﺰ ﺑﺮﺟﻤﺎن، دﺑﻲ، Festival Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 78

An eternal bond Acrylic, ink and charcoal 100 x 80 cm February 2009 راﺑﻄﺔ ﺧﺎﻟﺪة إﻛﺮﻟﻴﻚ، اﳊﺒﺮ واﻟﻔﺤﻢ × ﺳﻢ ﻓﺒﺮاﻳﺮ

This artwork depicts the deep and pure Concept Statement ﻳﺼﻮر ﻫﺬا اﻟﻌﻤﻞ اﻟﻔﻨﻲ ﻋﻼﻗﺔ ﻋﻤﻴﻘﺔ وﻧﻘﻴﺔ ﺑﲔ .relationship between a mother and child أم واﺑﻨﻬﺎ. ﺣﺘﻰ دون أي ﺗﻮاﺻﻞ ﺻﻮﺗﻲ، ﺗﺘﻮاﺻﻞ ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة Even without any vocal communication اﻷم ﻣﻊ ﻃﻔﻠﻬﺎ ﻋﻠﻰ ﻣﺴﺘﻮﻳﺎت ﻣﺨﺘﻠﻔﺔ. ﺗﻔﻬﻢ the mother and child connect with each اﻷم ﻛﻞ اﺣﺘﻴﺎج ﻟﻠﻄﻔﻞ، ﺳﻮاء ﻛﺎن ﺑﺴﻴﻄﺎً أو other at different levels. The mother ﻣﻌﻘﺪاً. ﻓﺎﻟﻄﻔﻞ ﻳﺮﺗﺒﻂ ﺑﺄﻣﻪ ﺑﻜﻞ اﻟﻄﺮق ﻣﻨﺬ understands every need of the child, اﳌﺮاﺣﻞ اﻷوﻟﻰ ﻟﻠﻄﻔﻮﻟﺔ. وﻫﺬه اﻟﻌﻼﻗﺔ ﻋﻼﻗﺔ ﻗﻮﻳﺔ both the simple and the complex. A child from its early stage of infancy can relate وﻣﺘﻌﺪدة اﻟﻄﺒﻘﺎت، وﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ، ﻓﻬﻲ ﻋﻼﻗﺔ to its mother in each and every way. The أﺻﻴﻠﺔ وﻧﻘﻴﺔ. relationship is intense and multilayered, yet at the same time it is pristine ﻛﻤﺎ ﺗﺼﻮر اﻟﻠﻮﺣﺔ اﻷﻳﺪي وﻫﻲ ﻣﺮﻓﻮﻋﺔ ﻓﻲ ﺗﻀﺮع .and pure إﻟﻰ ا، ﺣﻴﺚ ﺗﺴﺎرع اﻷم ﻓﻲ ﺟﻤﻴﻊ ﻣﺮاﺣﻞ اﳊﻴﺎة إﻟﻰ اﻟﺪﻋﺎء اﳌﺴﺘﻤﺮ ﺑﺎﳋﻴﺮ ﻟﻄﻔﻠﻬﺎ. وﻻ ﺷﻚ أن ﻓﻲ The painting also depicts hands folded in ﻫﺬا إﺷﺎرة ﺗﻮﺿﺢ آﻻف اﻷﻓﻜﺎر واﻷﻣﺎﻧﻲ واﳌﻌﺘﻘﺪات prayer to the almighty. At every stage of واﻷﺣﺎﺳﻴﺲ. ﻓﺎﻷﻳﺪي ﺗﻮﺣﻲ ﺑﺎﻟﺪﻋﺎء اﻟﺬي ﻳﺴﺎﻓﺮ life, a mother continuously prays for the إﻟﻰ ﻣﺎ ﻻ ﻧﻬﺎﻳﺔ ﺑﺠﻤﺎل ﺧﺎﻟﺪ ﺳﺮﻣﺪي. well being of her child. This is a symbolic gesture that communicates a thousand thoughts, aspirations, beliefs and sensibilities. The hands reveal a prayer that will travel through infinity and is timeless in its beauty. Rami Hosni 79 Born 1985 | Syrian | Designer راﻣـﻲ ﺣـﺴـﻨﻲ ﻣﻮﻟﻮد ٥ | ﺳﻮرﻳﺎ | ﻣﺼﻤﻢ

exhibitions Silent Conversations is the artist’s Significant ﺣﻮار ﺻﺎﻣﺖ أول ﻣﻌﺮض ﻟﻬﺬا اﻟﻔﻨﺎن first exhibition أﻫــﻢ اﻟــﻤــﻌـﺎرض 80

I Want to Become Video/motion 16/9 March 2008 أرﻳﺪ أن أﻛﻮن ﻓﻴﺪﻳﻮ/ اﳊﺮﻛﺔ ٦/ ﻣﺎرس

Based on the Arabic saying: Concept Statement ﺑﻨﻲ اﻟﻌﻤﻞ ﻋﻠﻰ اﳌﺜﻞ اﻟﻌﺮﺑﻲ اﻟﺬي ﻳﻘﻮل ”ﻻ ﳝﻜﻦ the hands cannot always reach to what“ ﻟﻠﻴﺪﻳﻦ اﻟﻮﺻﻮل داﺋﻤﺎً إﻟﻰ ﻣﺎ ﺗﻄﻤﺢ إﻟﻴﻪ اﻟﻌﲔ“ ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة with interaction fictional a see” eyes the ﻳﺤﺪث ﺗﻔﺎﻋﻞ ﺧﻴﺎﻟﻲ ﻣﻊ اﳌﻮاد اﻟﺘﻲ ﲤﺜﻞ اﻟﻌﻤﻞ ,materials that represents work, religion واﻟﺪﻳﻦ واﳌﻌﺮﻓﺔ ﻛﻠﻤﺎ ﺟﺬﺑﺖ اﻷﺷﻴﺎء اﳌﺮﺗﺒﻄﺔ and knowledge takes place as I pull ﺑﻬﻢ ﻧﺤﻮي؛ ﺣﺘﻰ أﺻﻮغ ﻫﺬا اﻟﺸﺨﺺ اﻟﺬي أرﻳﺪ أن objects related to them towards me; أﻛﻮن ﻫﻮ. in order to sum up the one I want to become. ﲢﺪث ﻣﺤﺎدﺛﺔ ﺻﺎﻣﺘﺔ ﺑﲔ أوﺟﻪ ﻛﺜﻴﺮة ﻓﻲ ﻧﻔﺴﻲ. A silent conversation takes place وﻋﻼوة ﻋﻠﻰ ذﻟﻚ، ﲢﺪث اﻷﻋﻤﺎل ﻓﻲ ﻧﻔﺲ اﻟﻮﻗﺖ، .between different aspects of me وﻳﻘﻮم ﺑﻬﺎ ﻧﻔﺲ اﻟﺸﺨﺺ (أﻧﺎ) ﻟﺘﺤﻘﻴﻖ رﻏﺒﺘﻲ ﻓﻲ Moreover, the actions are taking place at أن أﺻﺒﺢ ”اﻟﺸﺨﺺ“ اﻟﺬي أرﻳﺪ أن أﻛﻮن ﻫﻮ. the same time, performed by the same person (me) to achieve the “one” person ﺗﺘﺼﺮف اﻟﻜﺎﻣﻴﺮا واﻟﺸﺨﺺ (ﺣﺮﻛﺔ اﳉﺴﻢ وﻟﻐﺔ .I want to become اﳉﺴﻢ) ﺑﺸﻜﻞ ﻣﺘﻤﺎﺛﻞ ﻓﻲ ﺷﺎﺷﺎت ﻣﺨﺘﻠﻔﺔ، وﻫﻮ ﻣﺎ ﻳﺆدي إﻟﻰ ﺗﻘﻮﻳﺔ اﳊﻮار اﻟﺒﻴﻮﻟﻮﺟﻲ ﺑﲔ اﻟﺸﺨﺼﻴﺔ The camera and the person (body movement and language) are behaving وﻧﻔﺴﻪ. إﻧﻪ ﺗﺒﺎدل ﺷﺨﺼﻲ ﻟﻠﻤﻌﺘﻘﺪات واﻷﻓﻜﺎر similarly in the different screens, which اﻟﺘﻲ ﺗﻠﺨﺺ ﻧﻔﺴﻲ اﳌﺜﺎﻟﻴﺔ. lead to strengthen the biological dialogue between the character and himself. It is a personal interchange of beliefs and thoughts that sum up the ideal me. Rebecca Rendell 81 Born 1983 | British | Gallery / Studio Assistant رﻳــﺒــﻴــﻜــﺎ رﻧـــﺪل ﻣﻮﻟﻮد | ﺑﺮﻳﻄﺎﻧﻴﺎ | ﺻﺎﻟﺔ ﻋﺮض/ ﻣﺴﺎﻋﺪة اﺳﺘﺪﻳﻮ

exhibitions Ark, Stroud, England Significant 2009 أرك، ﺳﺘﺮاود، إﳒﻠﺘﺮا Roll On, Stroud House 2007 رول أون، ﺻﺎﻟﺔ ﺳﺘﺮاود ﻫﺎوس، إﳒﻠﺘﺮا أﻫــﻢ اﻟــﻤــﻌـﺎرض Gallery, England Textile Art, WSA, England 2007 ﻓﻦ اﻟﻨﺴﻴﺞ، WSA، إﳒﻠﺘﺮا ,St Cross, Winchester 2006 ﺳﺎﻧﺖ ﻛﺮوس، وﻳﻨﺸﺴﺘﺮ، إﳒﻠﺘﺮا England 82

Building Bridges Acrylic and thread 122 x 30 x 30 cm 2009 ﺑﻨﺎء اﳉﺴﻮر إﻛﺮﻟﻴﻚ واﳋﻴﻮط × ٥ × ٥ ﺳﻢ

This piece is a personal response to Concept Statement ﻳﺄﺗﻲ ﻫﺬا اﻟﻌﻤﻞ ﻛﺎﻧﻔﻌﺎل ﻟﺘﺠﺮﺑﺘﻲ ﻓﻲ اﻷﻣﺎﻛﻦ؛ my experience of a location, it relates ﻓﻬﻮ ﻳﺘﻌﻠﻖ ﺑﻔﻜﺮة اﻟﺴﻔﺮ واﻟﺘﻮاﺻﻞ واﻻﻧﺘﻘﺎل ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة ,to the idea of traveling, connecting moving away from home and back to ﻣﻦ اﻟﻮﻃﻦ واﻟﻌﻮدة إﻟﻴﻪ. وﻫﻮ ﻛﺬﻟﻚ إﺷﺎرة ﻣﺮﺋﻴﺔ home, and is a visual reference for a ﻟﻠﺤﻮار اﳌﺎدي ﺑﲔ ﻧﻘﻄﺘﲔ ﻣﻦ اﻷرض. ﺣﻮار ﺻﺎﻣﺖ.. physical conversation between two إﻧﻪ ﺑﻮاﺑﺔ ﺳﺎﻓﺮت ﻣﻦ ﺧﻼﻟﻬﺎ ﻛﺜﻴﺮاً؛ وﻛﺎﻧﺖ ﻛﻞ .points of land. A silent conversation ﻧﻘﻄﺔ ﻋﺒﻮر ﺗﺴﻤﺢ ﻟﻲ ﺑﺘﻮﺳﻴﻊ ﺧﺒﺮاﺗﻲ ﻓﻲ ﻫﺬا It is the gateway through which I have regularly travelled, each crossing اﻟﻌﺎﻟﻢ واﻷﺷﺨﺎص اﻟﺬﻳﻦ ﻳﻌﻴﺸﻮن ﻓﻴﻪ. permitting me to expand my experiences of اﳉﺴﺮ ﻫﻮ اﻟﺼﻮرة اﻟﺎزﻳﺔ ﻹﺣﺪاث ﻣﻨﺎﻗﺸﺔ ﻣﺮﺋﻴﺔ .this world and the people in it ﻟﻔﻜﺮة اﳊﻮار اﻟﺼﺎﻣﺖ ﺑﲔ ﻃﺮﻓﲔ، وﻫﻲ اﻟﻔﻜﺮة The bridge is my metaphor to visually اﻟﺘﻲ ﺗﻈﻬﺮ ﻓﻲ ﺟﻤﻴﻊ ﻣﻨﺎﺣﻲ اﳊﻴﺎة. أﺷﻌﺮ أن ﻫﺬا discuss an idea of a conversation between two entities, a concept that appears in اﻟﻌﻤﻞ ﻳﻌﻨﻰ ﺑﺘﺴﺎوي ﻓﻀﺎﺋﲔ ﻣﺨﺘﻠﻔﲔ، ﻳﻌﻤﻞ all walks of life. I feel it is about ﻋﻠﻰ اﻟﺮﺑﻂ ﺑﻴﻨﻬﻤﺎ ﻣﻦ ﺧﻼل ﻣﺪ اﳉﺴﻮر ﺑﲔ أرﺿﲔ ,equating two foreign spaces أو ﺑﲔ ﻣﺠﺘﻤﻌﲔ أو ﺑﲔ ﺟﻨﺴﻴﺘﲔ؛ ﻓﻬﻮ ﻳﺪﻟﻞ ﻋﻠﻰ ,building bridges between two lands ﻓﻬﻢ ﺻﺎﻣﺖ ﺑﲔ ﻫﺬﻳﻦ اﳌﻮﻗﻌﲔ. communities, or nationalities, marks a silent understanding between those ﳝﺜﻞ اﳉﺴﺮ اﳌﻌﻠﻖ أﻳﻀﺎً، وﻫﻮ ﻣﻌﺒﺮ ﺳﻴﻔﺮن اﻟﺬي .two locations ﻳﺮﺑﻂ ﺑﲔ إﳒﻠﺘﺮا ووﻳﻠﺰ (اﳌﻜﺎن اﻟﺬي وﻟﺪت ﻓﻴﻪ)، رﺣﻠﺔ the – bridge suspension specific This أﻗﻮم ﺑﻬﺎ ﲟﻔﺮدي داﺧﻞ رأﺳﻲ؛ إﻧﻬﺎ ﻣﺴﺎﻓﺔ ﻗﻄﻌﺘﻬﺎ Severn crossing between England اﻟﻌﺪﻳﺪ ﻣﻦ اﳌﺮات ﻣﻊ ﻣﺌﺎت اﻷﺷﺨﺎص اﻵﺧﺮﻳﻦ اﻟﺬﻳﻦ and Wales, where I was born - also represents a journey, alone, inside my ﻳﻌﺒﺮون ﻫﺬا اﳌﻌﺒﺮ ﻛﻞ ﻳﻮم. own head, it is a drive I have done so اﺧﺘﺮت اﻟﺸﻜﻞ اﳌﺼﻐﺮ ﻣﻦ اﳋﻴﻮط ﻟﻠﺘﺄﻛﻴﺪ ﻋﻠﻰ many times along with the hundreds إﺣﺴﺎس اﻟﺮواﺑﻂ اﳌﺘﻌﺪدة؛ وﻫﺬا اﻟﻌﻤﻞ ﻟﻴﺲ of other people that make the same ً .crossing every day ﻣﺨﺼﺼﺎ ﻟﺬﻟﻚ اﳉﺴﺮ ﺑﻌﻴﻨﻪ، إﻧﻪ ﻳﺘﻜﻠﻢ ﻋﻦ I chose the format of thread miniature to ﺟﻤﻴﻊ اﳉﺴﻮر، ﺳﻮاء ﻛﺎﻧﺖ ﻣﺎدﻳﺔ أم رﻣﺰﻳﺔ، ﻛﺨﻴﻂ ;emphasize a sense of multiple connections ﺑﲔ ﻧﻘﻄﺘﲔ ﻳﺨﻠﻖ ﺣﻮاراً ﺑﲔ ﺗﻠﻚ اﻷﻣﺎﻛﻦ اﳌﺘﻘﺎرﺑﺔ. this piece isn’t about this one particular bridge, it is about all bridges, physical or metaphorical, a thread between two points creating a conversation between those places of contact. Saeed Khalifa 83 Born 1989 | Emarati | Student ﺳـﻌـﻴـﺪ ﺧـﻠﻴـﻔﺔ ﻣﻮﻟﻮد | اﻹﻣﺎرات | ﻃﺎﻟﺐ

exhibitions Silent Conversations is the artist’s Significant ﺣﻮار ﺻﺎﻣﺖ أول ﻣﻌﺮض ﻟﻬﺬا اﻟﻔﻨﺎن first exhibition أﻫــﻢ اﻟــﻤــﻌـﺎرض 84

duo (two) Digital photography 50.8 x 50.3 cm February 2009 دو (اﺛﻨﺎن) ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٥٫ × ٥٫ ﺳﻢ ﻓﺒﺮاﻳﺮ

We have all grown up to be where we Concept Statement ﻟﻘﺪ ﻧﺸﺌﻨﺎ ﻟﻨﻜﻮن ﻓﻲ اﳌﻜﺎن اﻟﺬي ﻧﺤﻦ ﻓﻴﻪ اﻵن. are now. Personally, I have thought that وﻋﻠﻰ اﳌﺴﺘﻮى اﻟﺸﺨﺼﻲ، ﺣﺴﺒﺖ ﻳﻮﻣﺎً ﻣﺎ أن ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة didn’t I easy. be would myself finding اﻟﻌﺜﻮر ﻋﻠﻰ ﻧﻔﺴﻲ ﻗﺪ ﻳﻜﻮن أﻣﺮاً ﺳﻬﻼً ﻳﺴﻴﺮاً، وﻟﻢ expect the process to be so stressful or أﺗﻮﻗﻊ أن ﺗﻠﻚ اﻟﻌﻤﻠﻴﺔ ﻗﺪ ﺗﻨﻄﻮي ﻋﻠﻰ ﻛﺜﻴﺮ ﻣﻦ painful. But it makes a lot of sense. You اﻹﺟﻬﺎد واﻷﻟﻢ. وﻣﻊ ذﻟﻚ، ﻓﻬﺬا اﻷﻣﺮ ﻃﺒﻴﻌﻲ ﺟﺪاً... cant know who you are until you have ﻓﺎﻹﻧﺴﺎن ﻻ ﻳﺴﺘﻄﻴﻊ أن ﻳﻌﺮف ﻣﻦ ﻫﻮ ﺣﺘﻰ ﻳﻨﺠﻮ survived an emotional coma. ﻣﻦ ﻏﻴﺒﻮﺑﺔ ﻋﺎﻃﻔﻴﺔ. You cannot dream yourself into a char- -acter; you must hammer and forge your ”ﻻ ﺗﺴﺘﻄﻊ أن ﲢﻠﻢ ﺑﻨﻔﺴﻚ ﻓﻲ إﻃﺎر ﺷﺨﺼﻴﺔ self one.” – James A. Froude ﻣﻌﻴﻨﺔ؛ ﺑﻞ ﻳﺠﺐ ﻋﻠﻴﻚ أن ﺗﺸﻜﻞ ﻧﻔﺴﻚ ﻟﺘﺼﺒﺢ ﻫﺬه اﻟﺸﺨﺼﻴﺔ“ – ﺟﻴﻤﺲ إﻳﻪ ﻓﺮود. 85

This piece translates the struggle felt Concept Statement ﻳﺘﺮﺟﻢ ﻫﺬا اﻟﻌﻤﻞ اﻟﺼﺮاع اﻟﺬي ﻳﺸﻌﺮ ﺑﻪ ﻛﻞ by almost everyone in today’s modern اﻷﺷﺨﺎص ﺗﻘﺮﻳﺒﺎً ﻓﻲ ﻫﺬا اﻟﻌﺼﺮ اﳊﺪﻳﺚ. ﻓﻤﻊ ﺗﻘﺪم ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة age. With the growth of technology, we اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ، أﺻﺒﺤﻨﺎ ﻋﺮﺿﺔ ﻟﻠﻌﺪﻳﺪ ﻣﻦ اﻟﺜﻘﺎﻓﺎت are exposed to many sub-cultures that اﻟﻔﺮﻋﻴﺔ اﻟﺘﻲ ﺗﺘﻮاﺟﺪ ﻓﻲ اﻟﻌﺎﳌﲔ اﳌﺎدي واﻻﻓﺘﺮاﺿﻲ. exist in both the physical and the virtual ﺗﻮﺿﺢ اﻟﺼﻮرة اﻟﺼﻌﻮﺑﺔ ﻓﻲ ﻣﺤﺎوﻟﺔ اﻟﻌﺜﻮر world. The photograph portrays the ﻋﻠﻰ ﻣﻜﺎﻧﻨﺎ ﻓﻲ اﻟﻌﺎﻟﻢ ﻣﻦ ﺧﻼل إﻇﻬﺎر اﻟﺘﺮددات difficulty in trying to find our place in the world by showing the various اﳌﺘﻌﺪدة اﻟﺘﻲ ﻳﺤﺎول ﺟﺴﻤﻨﺎ أن ﻳﺘﻨﺎﻏﻢ ﻣﻌﻬﺎ. ﲤﺜﻞ frequencies’ that the body is trying to‘ اﻷﻟﻮان اﻟﺘﻠﻔﺔ اﻟﻨﻮاﺣﻲ اﻟﺘﻠﻔﺔ اﻟﺘﻲ ﻧﻨﺠﺬب إﻟﻴﻬﺎ tune into. The different colors are to – ﺗﻨﺎﻗﺾ ﺑﻌﻀﻬﺎ ﺑﻌﻀﺎً ﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن. ﻟﺬا، ﻗﺪ represent the different aspects that we’re ﳒﺪ اﻟﻠﻮن اﻷﺣﻤﺮ ﻳﺘﺪاﺧﻞ ﻣﻊ اﻷﺻﻔﺮ اﻟﺬي ﻳﺘﺪاﺧﻞ attracted to – sometimes which oppose ﻣﻊ اﻷﺧﻀﺮ واﻷزرق، وﻫﻜﺬا. وﻣﻦ ﻧﺎﺣﻴﺔ أﺧﺮى، ﻗﺪ each other. Therefore, the red clashes ﻳﺮى ﻫﺬا اﻟﺼﺮاع ﻋﻠﻰ أﻧﻪ ﻛﻔﺎح ﶈﺎوﻟﺔ ﻓﻬﻢ ﻫﻮﻳﺘﻨﺎ with the yellow, which clashes with the واﻟﺸﺊ اﻟﺬي ﻳﺠﻌﻠﻨﺎ ﻓﻴﻤﺎ ﻧﺤﻦ ﻓﻴﻪ. وﻗﺪ ﺗﻮﺟﻬﻨﺎ green and blue, and so on. On the other ﻋﻮاﻣﻞ ﻣﻌﻴﻨﺔ إﻟﻰ اﲡﺎه واﺣﺪ، و ﻟﻜﻦ ﻳﺴﺘﻄﻴﻊ ﻧﻮع hand, it can also be seen as a struggle آﺧﺮ ﻣﻦ اﻟﺘﻮﺟﻴﻪ أو ”إﺷﺎرة اﻟﺮادﻳﻮ“ إﻟﻰ ﻃﺮﻳﻖ آﺧﺮ. in trying to understand our identity and what makes up who we are. Certain factors can pull us in one direction, but a different type of calling or ‘radio signal’ can pull us the other way. 86

Frequency Digital photography 91.4 x 142.2 cm December 2008 اﻟﺘﺮدد ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ٫٤ × ٤٫ ﺳﻢ دﻳﺴﻤﺒﺮ Salem Al Qassimi 87 Born 1985 | Emarati | Founder and creative director of Fikra ﺳــﺎﻟــﻢ اﻟـﻘــﺎﺳـﻤﻲ ﻣﻮﻟﻮد ٥ | اﻹﻣﺎرات | ﻣﺆﺳﺲ وﻣﺪﻳﺮ اﺳﺘﺪﻳﻮ ﻓﻜﺮة

exhibitions Ineffable Reality, Significant 2009 ﺣﻘﻴﻘﺔ ﻓﻮق اﻟﻮﺻﻒ، ﺗﻌﺒﻴﺮات إﻣﺎراﺗﻴﺔ، ﻗﺼﺮ ,Emirati Expressions اﻹﻣﺎرات، أﺑﻮﻇﺒﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة أﻫــﻢ اﻟــﻤــﻌـﺎرض ,Emirates Palace, Abu Dhabi UAE ,ink, Creek Art Fair, Dubai 2008 ﳊﺒﺮ – ﻣﻌﺮض اﳋﻮر ﻟﻠﻔﻨﻮن، دﺑﻲ، UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة ,Family Tree Animation 2006 ﺷﺠﺮة اﻷﺳﺮة: رﺳﻮم ﻣﺘﺤﺮﻛﺔ، ﺟﻮاﺋﺰ اﻹﺑﺪاع Ibdaa Media Awards, Dubai اﻹﻋﻼﻣﻲ، ﻣﺪﻳﻨﺔ دﺑﻲ ﻟﻺﻋﻼم، دﺑﻲ، Media City, Dubai, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة 2005 OUT, Senior portfolio, ,Knowledge Village أوت، Senior portfolio، ﻗﺮﻳﺔ اﳌﻌﺮﻓﺔ، دﺑﻲ، Dubai اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Internal Dialogue 2005 ﺣﻮار داﺧﻠﻲ، ﻣﺘﺤﻒ اﻟﺸﺎرﻗﺔ ﻟﻠﻔﻨﻮن، اﻟﺸﺎرﻗﺔ، ,Sharjah Art Museum اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Sharjah, UAE Static Identity – Emirates 2005 ﻫﻮﻳﺔ ﺛﺎﺑﺘﺔ – ﻣﺴﺎﺑﻘﺔ أﻓﻼم ﻣﻦ اﻹﻣﺎرات، أﺑﻮﻇﺒﻲ، Film Competition, Abu اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dhabi, UAE My Way – Emirates Film 2004 ﻃﺮﻳﻘﻲ- ﻣﺴﺎﺑﻘﺔ أﻓﻼم ﻣﻦ اﻹﻣﺎرات، أﺑﻮﻇﺒﻲ، ,Competition, Abu Dhabi اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة UAE Walkthrough 2004 Walkthrough – ITP، ﻣﺼﻮر اﻟﻌﺎم ﺣﺴﺐ ﻣﺠﻠﺔ ITP، ,Photographer of the Year ﻣﻌﺮض اﻟﻔﻨﺎﻧﲔ اﳌﺸﺎرﻛﲔ ﻓﻲ اﻟﺘﺼﻔﻴﺎت اﻟﻨﻬﺎﺋﻴﺔ finalists exhibition 88

The Mechanics of Thought Installation 2009 آﻟﻴﺔ اﻟﺘﻔﻜﻴﺮ اﻟﺘﺮﻛﻴﺐ

Installation piece: A wooden designed object will be used ﻋﻤﻞ ﺗﺮﻛﻴﺐ: ﻗﻄﻌﺔ ﻣﺼﻤﻤﺔ ﺑﺎﳋﺸﺐ ﺳﺘﺴﺘﺨﺪم ﻛﻮﺳﻴﻠﺔ as an interaction tool by the audience which will make ﺗﻔﺎﻋﻞ ﻣﻊ اﳉﻤﻬﻮر, ﻫﺬا اﻟﺘﻔﺎﻋﻞ ﺳﻴﻨﻌﻜﺲ ًﻛﺼﻮرة ﻋﻠﻰ a projected image appear on a screen; creating a silent ﺷﺎﺷﺔ، ﺗﻌﺒﺮ ﻋﻦ اﳊﻮار اﻟﺼﺎﻣﺖ conversation

A conversation is a colloquy, a Concept Statement ﺗﻌﺘﺒﺮ اﶈﺎدﺛﺔ ﻧﻮع ﻣﻦ اﳌﻜﺎﳌﺔ واﳌﻨﺎﻗﺸﺔ واﳊﻮار discussion, a dialogue and an وﺗﺒﺎدل اﻷﻓﻜﺎر واﳌﻌﻠﻮﻣﺎت. ﺗﺘﻜﻮن اﶈﺎدﺛﺎت ﻣﻦ أي ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة interchange of thoughts and ﺷﺊ، ﻓﻘﺪ ﺗﻜﻮن ﻋﻦ أي ﺷﺊ وﻣﻊ أي ﺷﺨﺺ. وﻟﻜﻦ information. Conversations develop from اﻷﻣﺮ اﻟﺬي ﻳﻠﻔﺖ ﻧﻈﺮي ﻛﺜﻴﺮاً ﻫﻮ اﳊﻮار اﻟﺪاﺧﻠﻲ anything. They can be about anything اﻟﺬي ﻳﻘﻴﻤﻪ اﻟﺸﺨﺺ ﻋﻨﺪﻣﺎ ﻳﺘﻔﺎﻋﻞ وﻳﺘﻮاﺻﻞ ﻣﻊ and with anyone. But what intrigues أي ﺷﺨﺺ أو أي ﺷﺊ. me the most is the internal dialogue a person has when interacting and communicating with anyone or ﺗﻠﻌﺐ اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ دوراً رﺋﻴﺴﻴﺎً ﻓﻲ ﺗﺸﻜﻴﻞ ﺣﻴﺎﺗﻨﺎ. .anything إﻧﻬﺎ اﻟﻮﺳﻴﻠﺔ اﳊﺪﻳﺜﺔ ﻟﻠﺘﻌﻠﻴﻢ واﻻﺗﺼﺎل واﻟﺘﺮﻓﻴﻪ، وﺗﺪور ﺣﻮﻟﻬﺎ ﻣﻌﻈﻢ ﺿﺮورﻳﺎﺗﻨﺎ اﻟﻴﻮﻣﻴﺔ. ﻟﺬﻟﻚ، Technology plays a major role in ﻓﻨﺤﻦ ﻧﺘﻔﺎﻋﻞ ﻣﻌﻬﺎ وﻳﺤﺪث ﻣﻊ ﻫﺬا اﻟﺘﻔﺎﻋﻞ ﺣﻮار shaping our lives. It is the new means داﺧﻠﻲ ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ. of education, communication and entertainment. Most of our everyday ﻟﻘﺪ ﻗﻤﺖ ﺑﺒﻨﺎء آﻟﻴﺔ ﺗﻔﺎﻋﻠﻴﺔ ﺗﻌﻤﻞ ﻋﻠﻰ ﺑﺪء ﻧﻮع necessities revolve around it. ﻣﻦ ﻣﺤﺎدﺛﺔ اﻟﻨﻔﺲ. وﻣﻦ ﺧﻼل اﻟﻀﻐﻂ ﻋﻠﻰ اﻟﺰر، Therefore, we interact with it and with this interaction an internal dialogue is ﻳﻮﻟﺪ اﳉﻬﺎز اﻷﻓﻜﺎر ﻣﻦ ﺧﻼل رﺳﻮﻣﺎت ﻣﺼﻮرة .constantly taking place ﻋﺸﻮاﺋﻴﺔ.

I have built an interactive mechanism that initiates self-confabulation. By pressing a button, the device generates thought from random pictograms. Sumayyah Al Suwaidi 89 Born 1980 | Emarati | Digital Artist ﺳــﻤــﻴــﺔ اﻟــﺴــﻮﻳـــﺪي ﻣﻮﻟﻮد | اﻹﻣﺎرات | ﻓﻨﺎﻧﺔ رﻗﻤﻴﺔ

exhibitions Emirati Expressions, Significant 2009 ﺗﻌﺒﻴﺮات إﻣﺎراﺗﻴﺔ، ﻗﺼﺮ اﻹﻣﺎرات، أﺑﻮﻇﺒﻲ، ,Emirates Palace, Abu Dhabi اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة أﻫــﻢ اﻟــﻤــﻌـﺎرض UAE ﺳﺤﻮر، ﻣﻌﺮض ﻓﻦ إﻣﺎراﺗﻲ، اﻟﺒﺎﺳﺘﺎﻛﻴﺎ، دﺑﻲ، 2008 Suhour Emirati Art ,Exhibition اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Al Bastikiya, Dubai, UAE Digital Harmony, Emirati 2008 اﻟﺘﻨﺎﻏﻢ اﻟﺮﻗﻤﻲ، ﻣﻌﺮض اﻟﻔﻦ اﻟﺮﻗﻤﻲ اﻹﻣﺎراﺗﻲ، Digital Art Exhibition, Ghaf ﺻﺎﻟﺔ ﻏﺎف، أﺑﻮﻇﺒﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Gallery, Abu Dhabi, UAE Silent Bidding Auction Art 2008 ﻣﻌﺮض ﻓﻨﻮن وﻣﺰاد Silent Bidding Auction Exhibition ,Dubai Art Venue 2008 رﻛﻦ دﺑﻲ ﻟﻠﻔﻨﻮن، ﻣﻬﺮﺟﺎن دﺑﻲ ﻟﻠﺘﺴﻮق، دﺑﻲ ,Dubai Shopping Festival اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Dubai, UAE Interior Design Show 2008 ﻣﻌﺮض اﻟﺘﺼﻤﻴﻢ اﻟﺪاﺧﻠﻲ (ﻣﺮﻛﺰ أﺑﻮﻇﺒﻲ اﻟﻮﻃﻨﻲ ADNEC), Abu Dhabi, UAE) ﻟﻠﻤﺆﲤﺮات) أﺑﻮﻇﺒﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Desert Whispers Art 2007 ﻣﻌﺮض اﻟﻔﻨﻮن: ﻫﻤﺴﺎت اﻟﺼﺤﺮاء، ﺻﺎﻟﺔ أرت أﺗﺎك، Exhibition Ghaf Gallery, Abu Dhabi, UAE دﺑﻲ اﻟﻌﻄﺎء، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Colors For Good Art 2007 ﻣﻌﺮض اﻟﻔﻨﻮن: أﻟﻮان إﻟﻰ اﻷﺑﺪ، ﺻﺎﻟﺔ أرت أﺗﺎك، دﺑﻲ Exhibition Art Attack اﻟﻌﻄﺎء، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة Gallery, Dubai Cares, Dubai, UAE Al Wahda Mall, Art For 2007 ﻣﻮل اﻟﻮﺣﺪة، اﻟﻔﻦ ﻟﻸﻋﻤﺎل اﳋﻴﺮﻳﺔ، أﺑﻮﻇﺒﻲ، Charity, Abu Dhabi, UAE اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة The 4th National Exhibition 2007 اﳌﻌﺮض اﻟﻮﻃﻨﻲ اﻟﺮاﺑﻊ ﻟﻠﻔﻦ اﳌﻌﺎﺻﺮ (ﻧﺎدي ﺿﺒﺎط For Contemporary Art (AFOC) اﻟﻘﻮات اﳌﺴﺤﻠﺔ). 90

Reflection of thought Digital art 87.5 x 110 cm 2009 اﻧﻌﻜﺎس اﻟﻔﻜﺮ اﻟﻔﻦ اﻟﺮﻗﻤﻲ ٫٥ × ﺳﻢ

It’s a very controversial art work that Concept Statement ﻋﻤﻞ ﻓﻨﻲ ﺷﺪﻳﺪ ﻣﺜﻴﺮ ﻟﻠﺠﺪل ﻻ ﳝﻜﻦ ﺷﺮﺣﻪ؛ إﻧﻪ of reflection the it’s explained, be can’t اﻧﻌﻜﺎس ﻷﻓﻜﺎر اﻟﺸﺨﺺ، ﺳﻮاء ﻛﺎﻧﺖ أﻓﻜﺎراً ﺟﻴﺪة ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة .anyone’s thoughts whether good or bad أم ﺳﻴﺌﺔ.

All of us, once in a while, stare at ﻧﺤﺪق ﺟﻤﻴﻌﻨﺎ، ﻣﺮة ﺑﲔ اﳊﲔ واﻵﺧﺮ، وﻧﺮﻛﺰ أﻋﻴﻨﻨﺎ nothing whilst thinking of ﻋﻠﻰ ﻻ ﺷﺊ وﻧﺤﻦ ﻣﻨﻬﻤﻜﻮن ﻓﻲ اﻟﺘﻔﻜﻴﺮ، وﻧﻨﺴﻰ something, and for a couple of seconds we forget to blink. This is what my أن ﻧﻄﺮف ﺑﺄﻋﻴﻨﻨﺎ ﻟﺜﻮان ﻗﻠﻴﻠﺔ؛ ﻫﺬا ﻫﻮ ﻣﺎ ﺗﻘﻮم talks thought, of Reflection painting, ﻋﻠﻴﻪ ﻟﻮﺣﺘﻲ: ﻋﻦ أي ﺷﺊ ﻳﺘﺤﺪث اﻧﻌﻜﺎس اﻟﻔﻜﺮ. about. Whether the thoughts are good ﺳﻮاء ﻛﺎﻧﺖ اﻷﻓﻜﺎر ﺟﻴﺪة أم ﺳﻴﺌﺔ، وﺳﻮاء ﻛﺎﻧﺖ or bad, or whether they are about me or ﻋﻨﻲ أم ﻻ، ﻓﻲ اﻟﻨﻬﺎﻳﺔ إﻧﻬﺎ أﻓﻜﺎر ﻋﻦ ﺷﺊ ﻣﺎ ﻻ not, at the end they are about something ﻳﻌﺮﻓﻪ ﺳﻮاي. that no know will ever know but me. Tala Achkar 91 Born 1985 | Canadian | Student ﺗـــﺎﻻ أﺷــﻘــﺮ ﻣﻮﻟﻮد ٥ | ﻛﻨﺪا | ﻃﺎﻟﺒﺔ

exhibitions Silent Conversations is the artist’s Significant ﺣﻮار ﺻﺎﻣﺖ أول ﻣﻌﺮض ﻟﻬﺬا اﻟﻔﻨﺎن first exhibition أﻫــﻢ اﻟــﻤــﻌـﺎرض 92

Untitled #2 Digital photography February 2009 ﺑﺪون ﻋﻨﻮان ﺗﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ﻓﺒﺮاﻳﺮ

To bare oneself by means of exiting the Concept Statement ﺗﻌﺮﻳﺔ اﻟﻨﻔﺲ ﻣﻦ ﺧﻼل اﳋﺮوج ﻣﻦ ﻗﻴﻮد اﻟﺮﺳﻤﻴﺎت. silent confines of formality. ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة 93

Tangible, silent, invisible struggle Concept Statement اﻟﺼﺮاع اﳌﻠﻤﻮس اﻟﺼﺎﻣﺖ ﻏﻴﺮ اﳌﺮﺋﻲ ﺑﲔ اﳊﻘﺎﺋﻖ between inner and outer realities. ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة اﻟﺪاﺧﻠﻴﺔ واﳋﺎرﺟﻴﺔ. 94

Untitled #1 Digital photography February 2009 ﺑﺪون ﻋﻨﻮان ﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ ﻓﺒﺮاﻳﺮ Toma Gabor 95 Born 1966 | Romanian | Professional Sculptor / Teacher ﺗــﻮﻣــﺎ ﺟـﺎﺑـﻮر ﻣﻮﻟﻮد ٦٦ | روﻣﺎﻧﻴﺎ | ﻧﺤﺎت ﻣﺤﺘﺮف / ﻣﺪرس

exhibitions EID, Heritage House, Significant 2008 اﻟﻌﻴﺪ، ﺑﻴﺖ اﻟﺘﺮاث، ﻣﻌﺮض اﻟﺒﺎﺳﺘﺎﻛﻴﺎ، Bastakiya, Dubai, UAE دﺑﻲ، اﻹﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة أﻫــﻢ اﻟــﻤــﻌـﺎرض 3rd Bahrain International 2007 ,Sculpture Symposium ﻧﺪوة اﻟﺒﺤﺮﻳﻦ اﻟﺪوﻟﻴﺔ اﻟﺜﺎﻟﺜﺔ ﻟﻠﻨﺤﺖ، اﳌﻨﺎﻣﺔ، Manama, Kingdom of ﳑﻠﻜﺔ اﻟﺒﺤﺮﻳﻦ. Bahrain two), Solo show, Caminul) 2 2001 (2) اﺛﻨﺎن، وان ﻣﺎن ﺷﻮ، ﻛﺎﻣﻴﻨﻮل أرﺗﻲ، Artei, Bucharest, Romania ﺑﻮﺧﺎرﺳﺖ، روﻣﺎﻧﻴﺎ Signs of year, Hall of 2000 ﻋﻼﻣﺎت اﻟﻌﺎم، ﺻﺎﻟﺔ ﺟﺎﻣﻌﺔ اﻟﻔﻦ اﳌﻌﻤﺎري، ,Architecture University ﺑﻮﺧﺎرﺳﺖ، روﻣﺎﻧﻴﺎ Bucharest, Romania ,Scultori in Aglie 1999 ﺳﻜﺎﻟﺘﻮري إن أﺟﻠﻲ، ﻣﻌﺮض ﻧﺤﺖ ﺿﺨﻢ، monumental sculpture ,exhibition, Comune di Aglie ﻛﻤﻴﻮن دي أﺟﻠﻲ، ﺑﻴﻤﻮﻧﺖ، إﻳﻄﺎﻟﻴﺎ Piemonte, Italy HAR Program, Outdoor 1997 ﺑﺮﻧﺎﻣﺞ HAR، ﻧﺪوة اﻟﻨﺤﺖ اﳋﻠﻮﻳﺔ؛ ﻛﻮﻧﺴﺘﺎﻧﺰا، ;Sculpture Symposium ﺑﺎﺳﺎراﺑﻲ، روﻣﺎﻧﻴﺎ Constantza, Basarabi, Romania 96

Reply Steel on a wooden base 200 x 110 x 70 cm January 2009 اﺳﺘﺠﺎﺑﺔ اﻟﺼﻠﺐ ﻋﻠﻰ ﻗﺎﻋﺪة ﺧﺸﺒﻴﺔ × × ﺳﻢ ﻳﻨﺎﻳﺮ

Sometimes we are witnesses / bystanders Concept Statement ﻗﺪ ﻧﻜﻮن ﻓﻲ ﺑﻌﺾ اﻷﺣﻴﺎن ﺷﻬﻮد/ ﻣﺘﻔﺮﺟﲔ ﻓﻲ at occurrences / happenings, just ﺑﻌﺾ اﻷﺣﺪاث، ﻧﺮاﻫﺎ ﻣﻦ ﺑﻌﻴﺪ وﻻ ﻧﺴﺘﻄﻴﻊ/ﻧﺮﻏﺐ ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة watching them from far, we cannot/need ﻓﻲ اﻻﺳﺘﺠﺎﺑﺔ أو اﻟﺘﻔﺎﻋﻞ ﺑﺄي ﻃﺮﻳﻘﺔ. اﻟﺸﺊ .not to/do not respond or react in any way اﻟﻮﺣﻴﺪ اﻟﺬي ﳝﻜﻨﻨﺎ رؤﻳﺘﻪ ﻫﻮ اﻹﳝﺎءات/اﻟﻮﻗﻔﺎت، /The only things we can see are the gestures ﺳﻮاء ﻛﺎﻧﺖ ﻣﺘﺤﺮﻛﺔ أو ﺳﺎﻛﻨﺔ. ﳝﺮ اﻟﻮﻗﺖ، ﻟﻜﻦ postures, dynamic or static. Time pass, but ﺗﺒﻘﻰ اﻟﺬﻛﺮﻳﺎت... اﻧﻄﺒﺎﻋﺎت ﺑﺴﻴﻄﺔ ﻋﻦ اﻹﳝﺎءات memories remains… simple impressions .of gestures, shapes, perhaps meanings واﻷﺷﻜﺎل، ورﲟﺎ اﳌﻌﺎﻧﻲ. Vyacheslava Goncharova 97 Born 1986 | Russian | Student ﻓـﻴـﺎﺷـﻴـﺴـﻼﻓـﺎ ﺟـﻮﻧـﺸـﺎروﻓـﺎ ﻣﻮﻟﻮد ٦ | روﺳﻴﺎ | ﻃﺎﻟﺒﺔ

exhibitions Silent Conversations is the artist’s Significant ﺣﻮار ﺻﺎﻣﺖ أول ﻣﻌﺮض ﻟﻬﺬا اﻟﻔﻨﺎن first exhibition أﻫــﻢ اﻟــﻤــﻌـﺎرض 98

Inner Dialogue Digital photography February 2009

ﺣﻮار داﺧﻠﻲ ﺗﺼﻮﻳﺮ ﻓﻮﺗﻮﻏﺮاﻓﻲ ﻓﺒﺮاﻳﺮ

Holy light reveals, unleashes our inner Concept Statement ﻳﻈﻬﺮ اﻟﻀﻮء اﳌﻘﺪس وﻳﻄﻠﻖ اﻟﻌﻨﺎن ﻟﺼﻮﺗﻨﺎ voice, allowing us to express the true self اﻟﺪاﺧﻠﻲ وﻳﺴﻤﺢ ﻟﻨﺎ ﺑﺎﻟﺘﻌﺒﻴﺮ ﻋﻦ اﻟﻨﻔﺲ اﳊﻘﻴﻘﻴﺔ ﺑــﻴـﺎن اﻟـﻔـﻜـﺮة and projects the shadow of our spirituality وﻳﻈﻬﺮ ﻇﻞ روﺣﺎﻧﻴﺘﻨﺎ إﻟﻰ اﻟﻜﻮن اﻟﻼﻣﺘﻨﺎﻫﻲ ﻣﻦ to the endless universe around us. Whether ﺣﻮﻟﻨﺎ. وﺳﻮاء ﻓﻲ اﻟﻠﻴﻞ أو اﻟﻨﻬﺎر، ﻓﺈﻧﻨﺎ ﻧﻜﻮن ﻓﻲ during the night or during the day we ﺣﻮار ﻣﻊ أﻧﻔﺴﻨﺎ. ﻧﻘﻮم ﺑﺘﺒﺮﻳﺮ اﻟﺼﻮاب واﳋﻄﺄ continuously hold a dialogue within وﻧﺒﺤﺚ ﻋﻦ ﻗﻮة داﺧﻠﻴﺔ وﻧﺒﺘﻜﺮ أﻓﻜﺎراً ﺟﺪﻳﺪة – ﻟﻢ ourselves. Justifying good and wrong, searching for inner strength and creating ﻳﺘﻐﻴﺮ ﻫﺬا اﻷﻣﺮ ﻣﻊ ﺳﺮﻳﺎن اﻟﻮﻗﺖ. new ideas - this has not changed as the time flows. Estabished in January 2008, Tashkeel is an ﺗﺄﺳﺴﺖ ﺗﺸﻜﻴﻞ ﻓﻲ ﻳﻨﺎﻳﺮ ﻋﺎم ٢٠٠٨، وﺗﻌﺪ ﻣﻮردا ﻣﺴﺘﻘل ﻟﻠﻔﻨﺎﻧﲔ independent resource for artists and designers living واﳌﺼﻤﻤﲔ اﻟﺬﻳﻦ ﻳﻘﻴﻤﻮن وﻳﻌﻤﻠﻮن ﻓﻲ دوﻟﺔ الﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﺪة. and working in the United Arab Emirates. Tashkeel is committed to facilitating art and design ﺗﻠﺘﺰم ﺗﺸﻜﻴﻞ ﺑﺘﺴﻬﻴﻞ ﳑﺎرﺳﺔ اﻟﻔﻦ واﻟﺘﺼﻤﻴﻢ، واﳊﻮار ﺑﲔ اﻟﺜﻘﺎﻓﺎت practice, cross-cultural dialogue and creative واﻟﺘﺒﺎدل الﺑﺪاﻋﻲ. ﻳﺴﺘﻄﻴﻊ أﻋﻀﺎء ﺗﺸﻜﻴﻞ اﺳﺘﻌﻤﺎل الﺳﺘﻮدﻳﻮﻫﺎت exchange. Members have access to studio facilities اﳋﺎصﺔ ﺑﺎﻟﺮﺳﻢ/ ﺗﺼﻤﻴﻢ اﳉﺮاﻓﻴﻚ/ اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ/ اﻟﻄﺒﺎﻋﺔ/ /for painting/ graphic design/ photography اﻟﻨﺴﻴﺞ/ اﳌﺠﻮﻫﺮات/ اﻟﺒﻌﺪ اﻟﺜلﺛﻲ. وﺑﺎلضﺎﻓﺔ إﻟﻰ ﻣﻮارد الﺳﺘﺪﻳﻮﻫﺎت، printmaking/ textile design printing/ jewelry and 3D practice. In addition to the studio resources, there is ﺗﻮﺟﺪ ﻣﻜﺘﺒﺔ ﻟﻠﺼﺤﻒ واﳌﺮاﺟﻊ، وﻏﺮﻓﺔ ﻋﺎﻣﺔ ﻟلﻋﻀﺎء وصﺎﻟﺔ ﻋﺮض a journals and reference library, members room and ﻟﻠﻤﻌﺎرض. ﺗﻘﻮم ﺗﺸﻜﻴﻞ ﻛﺬﻟﻚ ﺑﺘﻨﻈﻴﻢ ورش اﻟﻌﻤﻞ ﺗﺘﻌﻠﻖ ﺑﺎﳌﻤﺎرﺳﺎت exhibition gallery. Tashkeel also organizes workshops الﺑﺪاﻋﻴﺔ، وﻫﺬه اﻟﻮرش ﻣﺘﺎﺣﺔ ﻟلﻋﻀﺎء وﻏﻴﺮ اﻷﻋﻀﺎء. in creative practice, open to both members and nonmembers. For more information about ﳌﺰﻳﺪ ﻣﻦ اﳌﻌﻠﻮﻣﺎت ﻋﻦ اﻟﻌﻀﻮﻳﺔ، واﻟﻮرش، واﳌﻌﺎرض، وﺑﺮاﻣﺞ اﻟﺘﺒﺎدل، membership, workshops, exhibition and exchange ﻳﺮﺟﻰ زﻳﺎرة اﳌﻮﻗﻊ programs visit www.tashkeel.org www.tashkeel.org الﻟﻜﺘﺮوﻧﻲ:

Tashkeel ﺗﺸﻜﻴﻞ P.O.Box 122255, Dubai, United Arab Emirates ص.ب. ١٢٢٢٥٥ دﺑﻲ، الﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﳌﺘﺤﻴﺪة Tel: +971 4 336 3313 ﻫﺎﺗﻒ: ٣٣١٣-٣٣٦-٤-٩٧١+ Fax:+971 4 336 1606 اﻟﻔﻜﺲ: ١٦٠٦-٣٣٦-٤-٩٧١+ [email protected] [email protected]