193 ScheidKirsten 93 Anneka Lenssen 81 Faisal Darraj 27 Sarah Rogers

The PeculiaritiesThe of Collection Khalid Shoman Arab in Body The Fragility:Its The Promise of Life and an audience the constitution of walls: On ideals and thesethan between Arab Modernity and Darat al Funun Shoman Collection Making: Khalid The Histories in the Between the Between greaterDistances 432 Faisal Darraj 375 Hassan Khan 361 Stephen Sheehi 305 Ulrich Loock 255 Saleem Al-Bahloly

The case against case The Photographic The PeculiaritiesThe of Transitions and Arab Modernity Painting, and Nicola Saig, Translations the of Art History enchanted? it possible to be continuity, or is Seeing Text in Arabic Before Painting: Art History outside History Art lectures on contemporary Arab art. Arab on contemporary lectures the Abdul and Hameed Shoman to hostFoundation exhibitions spaceof the the Scientific and CenterCultural utilized Shoman at 1988, in beginning For years, five art. of contemporary support and practice her byboth mentor her in inspired was Shoman Zeid, Fahrelnissa artist of Turkish-Jordanian Astudent arts. the to dedication year forty now is on what anearly embarked she artist. practicing of a eyes the through formed acollection was this Furthermore, sector. private the within particularly art, Arab contemporary for support little very was there when nineties and eighties the during impact significant gained initiative This or practice. her of his support and artist the in investment more an and acquired to be object an less is artwork The possible. even were project a such if comprehensiveness, aregional nor documenting artist best next the down tracking about was neither of collecting act the Shoman, Suha and Khalid wife For and husband mission. its in unconventional historically is Moreover, collection the installation. and video, sculpture, photography, books, artist’s on canvas, on paper, works painting oil including of media, range a and artists contemporary over and 100now modern represents It region. the in practices of artistic transformations and shifts the reflects collection the eighties, early the in world. Begun Arab of the art exclusively to contemporary dedicated collections earliest one of the represents Collection Shoman Khalid The — Sarah Rogers 26 of art. history of aregional constitutive both and other’s growth to the one critical each Funun, al Darat and Collection Shoman Khalid The between relationship integral the reveals that practice their and artists on contemporary focus It this is reception. and production of artistic complete trajectory for a infrastructure an provides thus Funun al Darat programs. exchange curatorial and artistic and screenings, film lectures, exhibitions, workshops, scholars, and for artists residencies including of programming array extensive an hosts Funun al Darat today café, garden and alibrary, spaces, research studios, workshop halls, exhibition Housing opened. arts) home for the 1993, (a In Funun al exchange. Darat and creativity, research, for opportunities provided but ahome that nor gallery a museum neither region: the in for artists needed was what to conceptualize When Suha Shoman settled in Amman in the early seventies, seventies, early the in Amman in settled Shoman Suha When

and Darat al Funun KhalidThe Shoman Collection Histories in the Making: 27 1 This experience led Shoman Shoman led experience This talks on Arab art. Arab on talks and exhibitions hosting began it when 1988 in arts the to patronage its expanded foundation the humanities, and sciences of fields the in ment develop and research, knowledge, of promotion the to Dedicated 2002). (1931– Shoman Khalid of father and Bank Arab the of 1974), founder the (1890– Shoman Hameed Abdul after named and 1978 in Amman in established was dation Foun Shoman Hameed Abdul the foundation, private A pioneering 1

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Sarah Rogers — Histories in the Making: The Khalid Shoman Collection and Darat al Funun Fig. 1 Fig. 1951, the at and 1953, 1954 and Salon Gallery Allendy Colette 1949 the a at show including Europe, throughout exhibit to continued and Paris in atelier an maintained Fahrelnissa duties, diplomatic her Despite (1946–58). James Saint of court the to ambassador and Iraq of Kingdom the to regent acting appointed often Zeid, Amir husband, second her married Fahrelnissa philo and practice the in immersed became she as work her on influence profound a had This Ranson. Académie the at Bissiére Roger artist under studied 1927, In Fahrelnissa art. modern of capital European the Paris, with relationship lifelong artist’s the initiated visit 1924. This in Europe to trip first her on her took who Devrim, Izzet-Melih writer Turkish prominent to marriage first Fahrelnissa’s by furthered was passion creative by embraced life A Empire. Ottoman former the throughout academies art of fashion the in impressionism and academicism of techniques included training her where Girls, for Arts Fine of School Imperial Istanbul’s in youth a as began training artistic Her career. distinguished a had already Fahrelnissa time, this By Jordan. of Court Hashemite Royal the at Chamberlain Chief the Zeid, bin Raad Prince son, her near be to Amman in settled Fahrelnissa Funun. al of Darat history unfolding to the formative role a mentor was as Fahrelnissa’s to Shoman of Fahrelnissa. Exhibition 2001 Centenary the with honored Funun al Darat one that Shoman, Suha and Fahrelnissa between relationship longstanding to the attests by Fahrelnissa Collection’s of over works ten Shoman presence Khalid The Funun. al Darat and Shomans, the artists, between relationships of a history reveals Collection Shoman Khalid of The formation ( Collection Shoman Khalid held by The Zeid by Fahrelnissa of pieces number 1960s above to one is dates the of a and described painting The The relationship between the two artists began in 1975 in when began artists two the between relationship The — sophy of European modernism. Several years later, in 1934, later,in years Several modernism. European of sophy eye is lost among the twists and turns of line and color. and line of turns and twists the among lost is eye viewer’s The color. solid of stretches brief and paint applied densely of patches into composition the portioning further surface, painted the across dance lines black Curvilinear colors. bold bright, of use the through fragments geometric into shattered is canvas of expanse horizontal A large, Fahrelnissa Zeid, Zeid, Fahrelnissa Fig. 1 Fig. ). As we shall see throughout this essay, the this throughout see we shall As ). Untitled , 1960s. Oil on canvas, 546 x 221 cm. x 221 546 canvas, on Oil , 1960s. 2 Indeed, Indeed,

show of abstraction: the 1981 exhibition, 1981 the exhibition, abstraction: of show collective first country’s the in resulted method mentor’sartistic their of embrace students’ The art-making. to approach radical a was this time the at Jordan In references. cultural multiple from meaning its derives form of distortion whose genealogy modernist a reveals aesthetic Fahrelnissa’s Collection. Shoman Khalid The in are which of five portraits, large-scale her as well as paintings abstract her in evident is This world. surrounding the transcribing camera human a like function to than rather abstraction explore to confidence students her gave Fahrelnissa tell, to story a has who one as artist the Positioning aesthetic. modernist European particularly a embraced Fahrelnissa self-expression, pursue to confidence a with canvas blank the approach to students her Encouraging skills. technical acquiring than more about was institute Fahrelnissa’s in spent time Shoman, Suha was whom of one students, Forher ceilings. the on hung paintings and rooms the crowded work her as museum, and studio art an both as served house her Arts, Fine of Institute Royal Zeid Fahrelnissa the as Known home. her in weekly meet to came who students of modernism. of languages theoretical and formal the in well-versed life abstraction.’ ‘lyrical term the coining with credited critic art French the Estienne, Charles of acclaim critical the garnered shows group and solo in presence Her Nouvelles. Realites des 28 theory, aesthetic of his stage culminating the of work: body artist’s Iraqi the in period Said’sal Hassan Shaker Collection, Shoman Khalid of The Part Funun. al Darat was second the and art Arab contemporary on lectures and exhibitions organizing for Foundation Shoman Hameed Abdul the at Center Cultural and Scientific the of space the use to 1988 her initiative was first The region. the and Jordan in practice artistic innovative nurtured Shoman did, Fahrelnissa as Just horizons. new explore to courage the was Suha to imparted lessons important most Fahrelnissa’s of One practice. life-encompassing a as art approach to Shoman inspired Fahrelnissa with spent Shoman years sixteen The visually. declared affinity an transcends artists two the between Yet relationship the aesthetic. this traces further work installation and video Shoman’s later universalism. and truth in interest philosophical a at hint that titles and paint; the of materiality the to attention careful language; formal abstract an canvases; scale large mentor’s influence: her suggest readily 1981 the in exhibition, paintings those including work, early visual language are evident in the work of Suha Shoman. Institute Thus Fahrelnissa brought with her to Amman an artistic artistic an Amman to her with brought Fahrelnissa Thus Both Fahrelnissa’s philosophy of art and her accompanying accompanying her and art of philosophy Fahrelnissa’s Both spatiality of the compositional surface. compositional the of spatiality the deepen further and figures numerical the embolden once at amber deep of Accents effect. atmospheric an create paint gray and off-white, brown, pale of Layers surface. barely just numerals Arabic as identity whose scratches handwritten of exception the with abstract, is composition The . 4 Al Jidar (The Wall, No. 3) (The Al Jidar

3 It was this experience that she passed on to a group group a to on passed she that experience this was It 29 al bua’dal al-wahid (1992) marks a significant (1992) a significant marks (one dimension), which which (one dimension), Fahrelnissa Zeid and her her and Zeid Fahrelnissa

5 Her Her catalogue. Exhibition 2009). tion, Founda Shoman Khalid The with association in Funun al Darat (Amman: see work, Shoman’s Suha On Institute her and Zeid Fahrelnissa 1984). Arts, Fine the of Zeid Fahrelnissa tute Insti Jordanian National Zeid see work, and life Fahrelnissa’s On catalogue. bition Exhi 2002). Foundation, Shoman Hameed Abdul the with association in Funun al Darat (Amman: of Fahrelnissa Zeid Fahrelnissa of See 5 4 3 2 (Amman: The Royal Royal The (Amman: The Centenary Centenary The

(Amman, 1981). (Amman, Suha Shoman Suha Fahrelnissa

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Sarah Rogers — Histories in the Making: The Khalid Shoman Collection and Darat al Funun media on wood, 123 x 123 cm. wood, on media (The 3) No. Wall, Jidar 2 Fig. Funun. al Darat and Collection Shoman Khalid to The practice artist’s an of supporting importance the confirming thereby Funun, al of Darat founding the after continued center work at the Shoman’s during forged relationships the War.Gulf Furthermore, first the during Center who died Cultural Hussein Saddam of the director the Attar, Leila met with she where to Baghdad, traveled Shoman for example, Said), Al (which included artists on Iraqi For a 1990 time. at the exhibition practices most recent to the public Amman’s introducing region, the in artists contemporary arts. visual for the market and audience a local encouraging and practice and theory between relationship debate on the by generating artists Arab for contemporary system a support provided center the years, five practices. of archiving flurry contemporary the predates that history—one region’s to the art contribution a substantial making 1995 in published as were lectures the Furthermore, field. the in to promote research Shomans the signaled but also region the throughout critics and public to artists Jordanian the introduced not only series lecture The Foundation. Shoman Hameed Abdul Center at the Cultural and Scientific at the period took place over a two-year that art Arab on contemporary series a lecture directed Said Al Shoman, closely with Working capital. Jordanian for the Baghdad graffiti. with peppered walls city in handwriting with accented browns of pale shades the Interestingly, discourse. and practice visual together to bring sought that project on a Shoman Suha with collaborated and Amman in based was Said Al nineties, of the Moreover,theory. beginning at the No. 3 of language formal The identities. cultural and linguistic figures’ the to transcend he sought as of line value plastic pure the towards of departure a point as served Said, for Al numerals, and letters Furthermore, or slashing. burning as such canvas upon the impingements physical through canvas of the surface dimensional two- the to transcend sought Said Al later works, these In space ( and time between relationship the with grappled The Wall, No.The 3 In 1990, with the onset of the first Gulf War, Al Said left War, left Said Gulf Al first of the onset 1990, the In with Shoman chose exhibitions based on her visits to the studios of studios to the onvisits her based exhibitions chose Shoman — thus underscores Al Said’s deep investment in aesthetic aesthetic in Said’s investment Al deep underscores thus Shaker Hassan al Said, Said, al Hassan Shaker , 1992. Mixed Mixed , 1992. conjure up the dusty urbanscape of Amman’s of Amman’s urbanscape dusty up the conjure Hiwar al-Fan al-Tashikly al-Fan Hiwar Al Al at Darat al Funun, 2007. Funun, al Darat at Installed H.138 cm. Bronze, 1980s. late 3 Fig. — Ismail Fattah, Fattah, Ismail (Dialogues on Art), on Art), (Dialogues Man and Mask, Mask, and Man Fig. 2 Fig. The Wall, The ’ 7 ). aim aim For 6

in the 1995 exhibition ( to was entrance Funun included al Darat at the now stands that sculpture, bronze The Funun. solo al show at Darat a 1995 in paintings and sculptures his later displayed exhibition, 1990 the in Iraqi included one of artists seven Fattah, Ismail 30 role of the promoted the also center the practices, contemporary to it was as Committed publics. their and artists among exchange for creative a platform offered place that developed a meeting into Foundation Shoman Hameed Abdul Center at the Cultural and Scientific space at the the demonstrate, New Visions of the Palestinians. Jordanian of majority for a large inaccessible still are Territories, which Occupied neighboring the in practices contemporary into insight public an Amman’s offered center work to the of this examples Bringing act. a political itself is but instead political, the represents merely no longer production Visual result. visual abstracted an in lies distinction the style, realist social the in working artists to other similar agenda adopted a nationalist artists the Although of production. its mechanisms very the via politicized is of art making the art: of Palestinian history the moment in important an of body work clay. documents and This henna, coffee, as such materials natural with instead working and Israel from imported supplies art by boycotting intifada the in participated artists the of production, medium the through art Palestinian in aesthetics to approach a revolutionary Fostering group. New Visions the as intifada first the during collectively known Tamari—were and Mansour, Barakat, Vera artists—Anani, and Four Tamari. of the Rabah, Khalil Malhi, Jawad al Mansour, Suleiman Al-Kurd, Yacoub Tayseer Barakat, Anani, Nabil Territories: Occupied Palestinian the in working of artists hosted a 1992 seven exhibition Collection. Shoman Khalid The in represented are artists Both countries. two the between contact restricted War Civil Lebanese the when a period during art to Lebanese Amman in exposure center, important at the an together exhibition only held their Guiragossian, Paul artist father, renowned his and 1989, artist In Shoman. Lebanese the including students, of Fahrelnissa’s group to a small classes anatomy academic gave also Dresden, in whotrained had space. Guiragossian, exhibition an Center into Cultural and Scientific the transforming of aspects (1975–1990), technical the with he helped Shoman War Civil Lebanese due to the of years for a number capital Jordanian the in Remaining Beirut. from to Amman traveled story. such another represents Guiragossian Emmanuel artist Lebanese opportunity. exhibition moved beyond a one-time that relationships long-term developed Collection Shoman Khalid The in represented artists of the many of this, work. Because their and for artists region the space in a protected as Funun al Darat and Collection Shoman Khalid role of the the underscores Iraq in artworks modern Baghdad. in lootings 2003 the from protected skyline, Amman’s over guards now safely original the act, a serendipitous In original. on the but insisted she Collection, Shoman Khalid a copy for the As the stories of Al Said, Fatah, Guiragossian, and the artists artists the and Guiragossian, Fatah, Said, of Al stories the As center the exposure, and of exchange instance another In he when eighties the in met Guiragossian first Shoman Suha fate of numerous the from of Fattah’s original safety The 31 Fig. 3 Fig. ). The artist offered to make Shoman Shoman to make offered artist ). The Man and MaskMan and

Foundation,1995). Foundation,1995). Shoman Hameed Abdul the with association in Funun al Darat (Amman: Art] on [Dialogues al-Tashikly al-Fan Hiwar Said, al Hassan Shaker 97-121. 2007), Press, Florida of University (Gainesville: tion of Arab Aesthetics Arab of tion Forma Art: Arab Modern Shabout, Nada see work, his and theory aesthetic Said’s al Hassan Shaker of study in-depth an For 7 6

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Sarah Rogers — Histories in the Making: The Khalid Shoman Collection and Darat al Funun father 4 Fig. landscape and urban environment through a style that might be Jordan’s heritage. architectural and archaeological Portraying the that drawsCollection—are suggestive on of a visual imagery al Nawafleh Grandfather Ali Jabri’s 1979 drawing on paper, started.” path on the to order continue in happen to had “that Shoman, words of Suha the in event, an therefore was Funun al 1993 world. of Darat The Arab opening the impact to continue that conflicts violent due works to the art and ideas, of artists, circulation the prevents often context whose regional history art an in participant active an as Funun al Darat identifying roles a doubt, one of without most critical is, ideas exchanged and works, together, shared gathered artists which A space in studios. the at work in already artists the among camaraderie to find and or practice her his to continue artist a space for that offered Funun al Darat or Beirut, Baghdad from Amman in newly arrived artist for an for instance, Thus, region. the throughout and city the in both occurred they as transformations and to adapted shifts that programming and of way working to a contingent catered mission, very its in that, organization of an necessity the to realize came she as Funun al of Darat conceptualization for the embryo the thus was center at the Shoman’s experience Beirut. and Cairo as such capitals regional other in those as opportunities same not the have did artists visual Amman’s artists. or emerging creation artistic of process very the either supported that nota place yet did exist world, Islamic of the arts to it contemporary was as dedicated Arts, Fine of the Gallery National of the singularity the Despite artists. local exhibited center the year each Indeed, Jordan. world in and Arab the in for artists system of a support necessity the appreciate to began Shoman Furthermore, region. the in initiative unique way, a historically it was this In arts. visual the in sector private — , 1979. Mixed media on paper, 89 x 65 cm. x 65 89 paper, on media Mixed , 1979. of a Palm tree jutting up against the blue sky. sky. blue the against up jutting tree a Palm of leaves the by only interrupted is architecture the of stillness calm The blue. pale in depicted door worn time a solitary, from comes foreground and wall the both color that brown pale of shades the from relief Visual surface. dimensional two- paper’s the against up pushes stonewall A fawn-colored Ali Jabri, Jabri, Ali ( in Petra—all represented in The Khalid Shoman Fig. 4 The Palm Tree Grand- Palm The Musa’s of ) along with Maan The Palm Tree of Musa’s and his drawings of Khirbet creativity. to a dynamic collage of Jordan’s past and present a regional of Darat al Funun itself—an institution dedicated to the history realism, as fragmentary characterized Ali’s language speaks formal 32 Tabaa, Taha; Samer Mahmoud and Shukairy, Rula Nawash, Nasser, Ahmad Hind Ammoura, Aziz Ali, Rajwa Ali, Wijdan Jordanians following: the includes of artists a selection only name To Collection. Shoman Khalid The in represented are exhibited world. artists Moreover, of the Arab many the throughout working artists featured basis, on a monthly rotating shows, Additional region. the in artists a bird’s of contemporary eye view presenting in distinct initiative an 2002, until annually exhibition held this show, inaugural 1993 the with Opening artists. Arab public toits contemporary community. of the part integral but an not is a luxury art one: a simple was city of the heart the in neighborhood oldest residential Amman’s in Funun al to locate Darat decision the Shoman, Suha For spaces. exhibition additional to provide and artists for visiting residences as 1930s renovated to serve the been also have from house historic another and adjacent Lab to the building apartment An researchers. and artists hub forspace and multidisciplinary experimental an as Weibdeh ofal Jabal serves and streets onto the Lab,” directly “the opens named extension warehouse a restored Collection. Shoman Khalid The of from works exhibition a rotating with for researchers spaces and Foundation Shoman Khalid of the headquarters the houses first The restored. MostFunun. recently, 2011, in were structures neighboring two of al Darat buildings to aesthetic atraditional modernist the stoneintroduced Combining Funun. al and concrete, Hiyari Al aofdesigned new walls Darat front for upper Hiyari the boundary Funun’s al Darat in Sahel al architect 2005, library. In Jordanian on view currently are of Antiquities, Department Jordanian the Centercooperation in with Research, for American Oriental the of former director Bikai, of Pierre direction under garden the the excavated from findings The as aarts. venue for performing the built Church, over aTemple, Roman Byzantine nowwhich serves century ofof also includes Funun a al Darat sixth remains the site The (home of Khalid). and is now asKhalid Dar known was dedicatedone to of memory and legacy buildings his the Foundation, Funun’s al and Darat patron, passed away 2001, in ofShoman Hameed Abdul the deputy chairman Bank, Arab the Shoman, President of Khalid a and library. When café, garden offices, workshophouse halls, spaces, exhibition administrative to Khammash Ammar were restoredarchitect by Jordanian buildings three original The of Jordan. Kingdom Hashemite the seat of of Emirate Transjordan the government in to capital ofthe the city’sfrom the history tracing thus communities, Lebanese and as residenceSyrian, for Palestinian, Amman’s Jordanian, was built by and subsequently served each of structures the to and itsAmman’s role history center. as a regional hold Funun al speak stories that region of the engagement with 1920s/1930s of Darat and a former buildings warehouse, six the Housed five in housestohistoric its architecture. the dating with begins and contemporary togethertraditional the bringing Within only the first few years, Darat al Funun introduced introduced Funun al Darat few years, first the only Within Funun’s al Darat of Amman, heart beliefthe Nestled in in 50 Contemporary Arab Artists 50 Contemporary 33 , Darat al Funun Funun al , Darat 9 A fifth building, building, A fifth 8

Indeed, Indeed, khalid-shoman.com life, Shoman’s Khalid to dedicated website See 2002. in tion Founda Shoman Khalid the established children and wife his Shoman, Khalid of memory In www.daratalfunun.org website, Funun’s al Darat see 57-138. Also 1998), Foundation, Shoman Hameed Abdul the with association in Funun al ology Archae Architecture, Art, see tions, excava archaeological and restoration tectural archi the of a history For 9 8

(Amman: Darat Darat (Amman: Darat al Funun: Funun: al Darat www. - - - -

Sarah Rogers — Histories in the Making: The Khalid Shoman Collection and Darat al Funun Palestinians Tayseer Barakat, Samia Halaby, Jumana Husseini, to discuss in depth various modes of interpretation, or ways of 10 Suleiman Mansour, and Vera Tamari; Egyptians Ragheb Ayyad, looking, as well as the details of the process of working. Jordanian For a complete listing Darat al Funun’s activi- Huda Lufti, Adam Henein, and Seif Wanly; Sudanese Mohammad artist Raed Ibrahim, who had come from his studies in the Fine ties and names of partici- Omar Khalil and Rashid Diab; Algerian Rachid Koraïchi; Arts Department at Beirut’s Lebanese University, for instance, was pating artists, see www. Moroccan Farid Belkahia, Mohamed Kacimi, and Najia Mehadji; unaccustomed to such intense discussions that focused on the work daratalfunun.org Tunisians Rafik el Kamel, Abderrazak Sahli, and Gouider Triki; itself. After several weeks of practicing within a shared space, the Iraqis Himat Ali, Ismael Fattah, Halim Mahdi, and Rafa’ al Nasiri; participants developed a deepened sense of trust among one another Lebanese Etel Adnan, Chaouki Choukini, Mohammad el Rawas that enabled the critiques to assume a deeply formative process. and Amine el Bacha; and Syrians Youssef Abdelké, Marwan, A number of students from the first Summer Academy were and Ziad Dalloul. Equally dedicated to supporting emerging invited to attend subsequent sessions and over the years built practices, Darat al Funun hosts exhibitions, often accompanied sustained relationships at Darat al Funun; one of these artists is by residencies, for a younger generation of artists such as Adel Ali Kaaf. After studying under Marwan at the first Summer Abidin, Hani Alqam, Doa Aly, Jananne al-Ani, Mohammed al Academy, Kaaf worked as his assistant in 2003. He was then Hawajri, Raed Ibrahim, Saba Innab, Maha Mustafa, Ibrahim invited to exhibit at Darat al Funun in 2004 for his first solo show. Rashid, Ahlam Shibli, and Basma Alsharif, all of whom are More over, he continued his training under Marwan in Berlin at represented also in The Khalid Shoman Collection. For a the Fine Art Academy. Another student from the first Summer number of these artists, Darat al Funun hosted their first solo. Academy, Mohammed al Hawajri from Gaza, was also invited Importantly, these exhibitions are documented through recorded back for three consecutive years, allowing him to train and pursue lectures, a photographic archive, artists’ files, and publications. his career. In 2012, he was invited again to Darat al Funun for Moreover, these archives have been accessible to a virtual public a residency and exhibition. As these stories show, the experiences since 1997 when Darat al Funun launched its website, one of and relationships initiated at Darat al Funun have long-lasting the earliest in the field. For audiences and scholars today, these effects. archives provide an understanding into a regional cross-section of Darat al Funun also facilitates more than individual projects artistic practices over the past several decades. due to its long-standing place in the regional art scene and its Darat al Funun’s role as a regional center for the practice sustained presence as an infrastructure for providing support and study of the visual arts is thus witnessed in its active for arts production and research investigation. In 2011, Darat al programming.10 Since the early nineties, Darat al Funun has Funun hosted Fulbright fellow Rijin Sahakian, founding director invited critics and scholars such as Dr. Mazen Asfour, Dr. Khaled of Sada (echo), a non-profit organization for contemporary Khreis, and poet May Muzafar to present general courses on the Iraqi artists. Central to Sada’s mission is education for the next history of art along with art films followed by audience discussions. generation of artists in Iraq. Amman’s proximity to Baghdad More recently, art historians and museum directors such as and the historical connection between the two capitals enabled Gerald Matt, Bartomeu Mari, Simon Njami, and Ulrich Loock the exchange of creative forces, research, and on the ground have delivered talks based on current shows. Illustrative, bilingual programming development that would not have been possible exhibition catalogues serve as a further resource. Collaborative otherwise. As a result, this residency played a major part in exhibitions with regional and international institutions enable spearheading Sada. curatorial partnerships; recent examples include Out of Place with Continuing its commitment to research, Darat al Funun Tate Modern London (2011) and Sentences on the Banks and Other announced an annual fellowship in modern and contemporary Activities (2010) curated by Abdellah Karroum. Artists’ residencies Arab art in 2012. Awarded to students pursuing a PhD, each and education programs promote mobility, networks, and career recipient will spend several months exploring the resources at opportunities for artists. Annual workshops in printmaking, Darat al Funun and participating in the creative and intellectual painting, installation, and video art directed by artists such as life there. As the first existent fellowship exclusively designed to

Sama Alshaibi, Tarek Atoui, Ziad Dalloul, Muhanna Durra, and advance scholarship in the field, the Darat al Funun - Khalid Sarah Rogers — Histories in the Making: The Khalid Shoman Collection and Darat al Funun James Webb, for instance, provide opportunities for education Shoman Foundation Fellowship for the Study of Modern and and artistic circulation. Within this broad range of activities, one Contemporary Arab Art is a landmark achievement. of Darat al Funun’s most important initiatives was the Summer Academy (1999-2003), which aimed to serve as an open studio for Identical miniature bronze soldiers stand connected in a circle. With legs tense in a forward thrust of movement, the all artists rather than a formal academy. soldiers pointedly position their guns. As the weapon of each In September of 1999, a group of art students from Gaza, Jordan, soldier touches the figures in front and behind, creating a Lebanon, Iraq, and Syria undertook an intensive course under circular motion, the installation is at once aggressive and Syrian artist Marwan Kassab Bachi (known more commonly as childlike in its figurative postures, rhythms, and delicate scale. Marwan), former professor at the Berlin College of Fine Arts and member of Akademie der Künste. By bringing students together The dynamic opposites in the installation Round and Round under the guidance of an established artist and professor, Darat al (2007) is a hallmark of Mona Hatoum’s minimalist practice, one Funun created a platform for education, exchange, and exposure that engages a series of thematics relevant to the region—exile, as the young artists practiced in an open studio environment and displacement, conflict—and yet is equally invested in the history engaged in collective critiques. For many, even those enrolled in art departments, the lengthy critiques offered a unique forum 34 35 exhibition to Kenawy in celebration of her art and life. and of art her celebration in to Kenawy exhibition hosted a tribute 2012, Funun al In Darat of practice. her vision for a comprehensive together, allowing shown were works her time 2007. solo first show in the It was first held Kenawy’s Funun al Darat practice. artistic for Kenawy’s Shoman’s respect deep was of which basis at the relationship, personal and professional ( Shoman Collection work the acquired for and Khalid The Kenawy Room piece, video her seeing After one artist. is such Kenawy Amal Funun. al Darat and Shoman with relationship ongoing region. the in of art for a history of narratives possible a number suggests formation its within relationships the and collection of the A consideration careers. their in early Collection Shoman Khalid The entered many stage, art international on the figures important become have artists these decade. Although last over the prevalent become have practices new media as practices regional in shifts aesthetic into glimpses enables collection the which in way the see Nasr, Moataz Kenawy, Wael Toukan. we Here, Oraib Shawky, and Jacir, Amal Emily Ali, Buthayna Abboud, Emil Jumana as such by artists pieces installation and come to new include media has collection the then, Since art. new media and video in interest Collection’s Shoman Khalid of The beginning the (1988), marking works, video Hatoum’s acquired Shoman to this, 2009. Previous in happened finally show that Funun—a al at Darat toHatoum exhibit Paris. in du Monde Arabe Institut at the artists Palestinian contemporary featuring exhibition an in participated Collection. Shoman Khalid of The part also is outside just of Amman. village a small in located Women Society, Cooperative Amir Iraq the with collaboration Bronze, 61 x 33 x 33 cm. cm. x 33 x 33 61 Bronze, Round and Round 5 Fig. pieces, ceramic two and installation an new works: three created Hatoum Amman, residency. long month artist’s the following at Hatoum’s Funun solo al exhibited show atwas 2009 Darat ( of Fig. 6 Fig. 5 art, its cultural icons, formal styles, and attendanticons,styles, ideologies formal its cultural art, A number of artists represented in the collection share an an share collection the in represented of artists A number 1997, in met Hatoum had Shoman artists two the when — ). ). The encounter marked the beginning of an enduring enduring of an beginning the marked encounter ). The (2003) in a 2004 group exhibition, Shoman sought to meet sought Shoman exhibition, group a 2004 in (2003) The piece, represented in The Khalid Shoman Collection, Collection, Shoman Khalid The in represented piece, The Mona Hatoum Mona So Much I WantMuch So Say to , 2007. , 2007. , Video, 11’06”.Video, 6 Fig. — Amal Kenawy, Kenawy, Amal (1983) and Still Life Still 11 Interior Landscape Interior During her time in in time her During The Room, The 13 and and Measures of Distance Measures 12 Shoman invited invited Shoman The latter work latter The Witness 2003. 2003. The The in in ,

each. each. x 16 22 cm etchings, 99 of Series Arabi Faces/Ibn 7 Fig.

— Marwan series, 1997-98. 1997-98. series, , Untitled, , Untitled, from from iconography of the bird from the later the from bird of the iconography title, the under pieces series, photographic and video 2005 for his known most well Samra, example, one striking In Samra. Faisal and Koraïchi, Rachid Khalil, Omar Mohammad Henein, Adam Dalloul, Ziad Belkahia, Farid Zeid, Fahrelnissa as such for artists holds true same the as regard this in isolated case not is an Marwan Importantly, practice. and media in shifts revealing career, artist’s moments of an ( figure of the depiction abstract increasing artist’s the one to enables track years, of forty a period across produced of works, Such a range Arabi. Ibn Faces, including century, twenty-first the until eighties and seventies early the from dating etchings and paintings oil of his number holds a substantial which Collection, Shoman Khalid The in reflected is relationship long-standing This of Marwan. direction 1999, Academy in Summer the the under it was launched Funun al Darat When Damascus. in Gallery Atassi from pieces three purchasing subsequently late eighties, the during du Monde Arabe Institut work at tothe Marwan’s introduced was Shoman Marwan. with case the also was or work, her as his through artist an with acquainted becomes first Shoman therefore, instances many In 36 of visual legibility possible the question that documents archival textual and visual War through Civil of the subject the with box, on plexiglass media Saouli’s mixed Salah artist Lebanese Berlin-based turn, In of lens analysis. and subject the both as War serves Civil Lebanese of the history the as of production its circumstances immediate the within grounded intimately nonetheless is Lebanon in art postwar narratives, grand question that strategies postmodernist with of Resonating history. a mediation as document visual the in interest a critical around converges that aesthetic archival an for known of become work body has This of artists. generation postwar of Lebanon’s first practices the highlight Joreige Khalil and Hadjithomas Joana partners and Zaatari, Akram Walid Raad, artists by Lebanese Pieces examinations. in-depth installation, series, Shatila Yehya’s Adnan Lebanon; in Tel massacre al-Zaatar 1979 Azzawi’s Dia Dam; Aswan of the construction the following region Nubian 1960 on canvas, oil Tahia Halim’s following: the include studies case possible Other resistance. and of communication means a critical as served graffiti when intifada first the during taken graffiti of wall photographs incorporates Shawa paintings, previous artist’s the from turn Shawa’s 1994 series, holds Leila also collection the Intifada, first the in participated who artists work of to Palestinian the addition In events. historical to specific divergence, and convergence their in responses, artistic consider we might trajectory formal artist’s individual an study The collection is thus a critical resource in studying different different studying in resource a critical thus is collection The Certain concentrations within the collection beckon more beckon collection the within concentrations Certain than rather reverse: to us the enables work in also collection The a series of ninety-nine etchings, inspired by the poetry of poetry by the inspired etchings, of ninety-nine a series (1983–84) series; Mohamed Kacimi’s 1991 Kacimi’s Mohamed media mixed series; (1983–84) The Gulf War Gulf The Reality Distorted Memorial, Fig. 7 Fig. ). ). Divided Cities Divided Nasheed Jassad al Nuba, ; and most recently Adel Abidin’s 2009 video Adel video Abidin’s 2009 most recently ; and Walls of Gaza 37 Nabatiyyat after a 1991 after Baghdad. in US bombing , previously produced small clay and collage collage and clay small produced , previously painted prior to the flooding of the of the flooding to the prior painted from 1999-2000, also grapples grapples 1999-2000, also from (1998) in which we witness the the (1998) we witness which in . In these lithographs, a notable lithographs, these . In (bodily anthem) after the the after anthem) (bodily Distorted Reality Distorted Sabra and and Sabra . logue. cata Exhibition 1997). Arabe, Monde du Institut Contemporains Palestiniens Artistes ucts. prod their of marketing the towards istrative admin and finance on training receive also women the 2001, Since processing. food and ceramics, fabric, woven hand- paper, handmade of production the in women employs that Foundation Al-Hussein Noor the of initiative an is Society Cooperative Women Amir Iraqi The catalogue. Exhibition 2009). dation, Foun Shoman Khalid the with association in Funun Hatoum Mona 11 13 12

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Sarah Rogers — Histories in the Making: The Khalid Shoman Collection and Darat al Funun reality has been grappled with by competing forces in the region. region. the in forces by competing with grappled been has reality lived and ideology an both as how modernity he traces which Modernity,” in of Arab Destinies Peculiar “The contribution Darraj’s Faisal We Collection. with open Shoman Khalid The in works through concern historical of art issues to explore disciplines different in working scholars together brings first The future. its field and of the formation on the reflect to critically responsibility it a field awards the in investment Funun’s al historical Darat art, Arab contemporary in interests scholarly and of curatorial flurry the Considering efforts. sustained of these a culmination represents publication present The discourses. and practices, its art, Arab contemporary with engagement Funun’sal historical world. Arab the in history toapproach art for a critical role a foundation its as enables more importantly, and, Collection Shoman Khalid of The heart at the stands dialectic This definition. own their exceed categories such where question and art Arab contemporary and modern define to both which from a platform is Collection Shoman way, Khalid The this In history. art a regional to narrate how of and we when begin limitations and parameters at the hints choices of individual hands at the moments. Yet collection’shistorical to for account the formation at precise contemporary” of “the definitions regional possible suggests that a selection offers Collection Shoman Khalid The art, Adonis. writer and poet of Granada Twelve Lanterns lieux Dalloul’s book, Ziad 1993and artist Darwish; Mahmoud writer Palestinian and Koraïchi by Rachid project the novelist Tahar Jalloun; Ben Adnan’s 1978 book, artist’s Etel following: the as such works among collaborations textual and of scope visual the consider Or, we might Halawani. Rula and work of Tarek the in as al-Ghoussein witnessed iconography relation to use ofthe photograph the and a more Palestinian explicit in that Halaby, setting of Samia paintings the in as of Palestine, history the a mode as for depicting of abstraction consideration a through further inquiry this We focus might media? different in practicing artists among and years thirty last over the shifted language theoretical and a formal as abstraction has example, How, questions. for broader aesthetic invites decades over three Protection Last The series, photographic 2006 Mirza’s collection’s do as the Randa practices, Beirut postwar in transformations contemporary the work reflects Tabet’s of artists, ofSemler. generation Lebanon’s A member next exhibition, 2008 Funun’s al Darat in included suitcases, of cement-covered seven Tabet’s installation Rayyane includes 2008 also collection The aesthetic. deploys a montage instead and material its it draws which from archive of the language formal the to mimic refuses generation, contrast to In howpostwar the narrative. This publication consists of three interwoven components. interwoven of three consists publication This Darat and Collection Shoman Khalid The traced essay This Arab contemporary supporting in interest a particular With expands that practices to contemporary dedicated A collection ; Mona Saudi’s; Mona 1996 Abandoned Rooms Abandoned Art Now in Lebanon Now in Art . and Hussein Baydoun’s 2008 installation, Baydoun’s Hussein installation, and 2008 Petra Series Petra (1996), all three inspired by Syrian by Syrian inspired (1996), three all Harrouda , curated by Andrée Sfeir- by Andrée , curated and Kamal Boullata’s Kamal and La main de la pierre dessine le le dessine pierre la de main La with a text by francophone by francophone a text with A Nation in Exile in A Nation ever, Saouli (1997) The The

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