Egypt's Awakening and Modern & Contemporary Middle Eastern
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1 Pavilion of Greece at the 58Th International Art Exhibition ― La
Press Release Pavilion of Greece at the 58th International Art Exhibition ― La Biennale di Venezia Artists Panos Charalambous, Eva Stefani, and Zafos Xagoraris represent Greece at the Biennale Arte 2019 in an exhibition titled Mr. Stigl curated by Katerina Tselou May 11–November 24, 2019 Pre-opening: May 8–10, 2019 Inauguration: May 10, 2019, 2 p.m. Giardini, Venice Artists Panos Charalambous, Eva Stefani, and Zafos Xagoraris represent Greece at the 58th International Art Exhibition―La Biennale di Venezia (May11–November 24, 2019) with new works and in situ installations, curated by Katerina Tselou. Lining the Greek Pavilion in Venice―both inside and outside―with installations, images, In the environment they create, there is an constant transposition occurring from grand narratives to personal stories. The unknown (or less known) details of history emerge, subverting Mr. Stigl, who lends his name to the title of the Greek Pavilion exhibition, is a historical paradox, a constructive misunderstanding, a fantastical hero of an unknown story whose poetics take us to a space of doubt, paraphrased sounds, and nonsensical identities and histories. What does history rewrite and what does it conceal? The voices introduced by Panos Charalambous reach us through the rich collection of vinyl records he has accumulated since the 1980s. By combining installations with sonic performances, Charalambous brings forward voices that have been forgotten or silenced, recomposing their orality through an idiosyncratic play of vinyl using eagle’s claws, rose thorns, and agave leaves. His new work An Eagle Was Standing drinking glasses upon which an ecstatic, “ultrasonic” dance is performed—a vortex of deep listening. -
MOMA Pavilion in Venice
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y FOR RELEASE: MONDAY, TELEPHONE: CIRCLE 5-8900 March 29, 19Si No. 32 MUSEUM OF MODERN ART BUYS EXHIBITION PAVILION IN VENICE William A.M. Burden, President of the Museum of Modern Art, announced today that the Museum has bought the pavilion used for showing modern American art at the Intel-national Art Biennale Exhibitions in Venice, The pavilion, formerly owned by the Grand Central Art Galleries of New York, is the only privately-owned exhibition hall at the famous international art show. The other pavilions are owned by more that 20 governments which officially sponsor exhibitions of contemporary art from their own countries at the Biennale, The Museum of Modern Art has bought the building, Mr* Burden said, in order to insure the continuous representation of art from this country at these famous inter national exhibitions which have been held every two years since 1892 except for the war period* The Venice Biennale is sponsored by the Italian government in order "to bring together some of the most noteworthy and significant examples of con temporary Italian and foreign art" according to the official prospectus, To present as broad a representation of American art as possible the Museum of Modern Art will ask other leading institutions in this country to co-operate in organizing future exhibitions. The exhibition hall in Venice was purchased to implement the Museum's Inter national Exhibitions Program, made possible by a grant to the Museum last year from the Rockefeller Brothers Fund. -
Venice & the Common Ground
COVER Magazine No 02 Venice & the Common Ground Magazine No 02 | Venice & the Common Ground | Page 01 TABLE OF CONTENTS Part 01 of 02 EDITORIAL 04 STATEMENTS 25 - 29 EDITORIAL Re: COMMON GROUND Reflections and reactions on the main exhibition By Pedro Gadanho, Steven Holl, Andres Lepik, Beatrice Galilee a.o. VIDEO INTERVIew 06 REPORT 30 - 31 WHAT IS »COMMON GROUND«? THE GOLDEN LIONS David Chipperfield on his curatorial concept Who won what and why Text: Florian Heilmeyer Text: Jessica Bridger PHOTO ESSAY 07 - 21 INTERVIew 32 - 39 EXCAVATING THE COMMON GROUND STIMULATORS AND MODERATORS Our highlights from the two main exhibitions Jury member Kristin Feireiss about this year’s awards Interview: Florian Heilmeyer ESSAY 22 - 24 REVIEW 40 - 41 ARCHITECTURE OBSERVES ITSELF GUERILLA URBANISM David Chipperfield’s Biennale misses social and From ad-hoc to DIY in the US Pavilion political topics – and voices from outside Europe Text: Jessica Bridger Text: Florian Heilmeyer Magazine No 02 | Venice & the Common Ground | Page 02 TABLE OF CONTENTS Part 02 of 02 ReVIEW 42 REVIEW 51 REDUCE REUSE RECYCLE AND NOW THE ENSEMBLE!!! Germany’s Pavilion dwells in re-uses the existing On Melancholy in the Swiss Pavilion Text: Rob Wilson Text: Rob Wilson ESSAY 43 - 46 ReVIEW 52 - 54 OLD BUILDINGS, New LIFE THE WAY OF ENTHUSIASTS On the theme of re-use and renovation across the An exhibition that’s worth the boat ride biennale Text: Elvia Wilk Text: Rob Wilson ReVIEW 47 ESSAY 55 - 60 CULTURE UNDER CONSTRUCTION DARK SIDE CLUB 2012 Mexico’s church pavilion The Dark Side of Debate Text: Rob Wilson Text: Norman Kietzman ESSAY 48 - 50 NEXT 61 ARCHITECTURE, WITH LOVE MANUELLE GAUTRAND Greece and Spain address economic turmoil Text: Jessica Bridger Magazine No 02 | Venice & the Common Ground | Page 03 EDITORIAL Inside uncube No.2 you’ll find our selections from the 13th Architecture Biennale in Venice. -
Saroukhan Catalog ARABIC.Indd
Bibliotheca Alexandrina Armenian General Benevolent Union - Cairo Biblotheca Alexandrina presents in cooperation with Cairo Armenian General Benevolent Union CAGBU a retrospective exhibition of works by cartoonist Alexander Saroukhan Alexander Saroukhan Alexandria, from 9 to 28 December 2009 Alexandria, December 2009 Whenever we celebrate the creative momentum of one of our artists, I feel that flowing current which laid the exciting foundation of our glow- ing contemporary artistic movement. It is a feeling of pride and honor, and at the same time a feeling of gratitude and appreciation to- ward the pioneers who created modern Egyptian heritage. One of them is Saroukhan, the Egyp- tian artist of Armenian origin who represents a landmark in modern Egyptian caricature art that was the result of the Egyptian democratic move- ments in times of war, invasions, feudalism and political, social and cultural vitality. The BA Arts Center is grateful to the great artist’s family for their lending the BA these wonderful masterpieces, and grateful to the artists Mustafa El-Razzaz and Hrant Keshishian for their follow- ing-up and choosing from the works of this great artist’s heritage. We also appreciate the role of the Armenian General Benevolent Union in establish- ing this historical exhibition, which we hope to be a new start towards documenting the works of this artist and introducing him to the Egyptian generations of youth. Maestro Sherif Mohie Eldin Director of BA Arts Center The catalogue is prepared and texts written by: Hrant Keshishian Photography: Viken Varjabedian Translation of Arabic texts to English: Rita Yemenidjian Catalogue Design: Laura Kassabian Editing: Rita Yemenidjian Publisher: Cairo Armenian General Benevolent Union Printing: Nubar Printing House - Shubra - Cairo 4 3 6 5 In his memoirs, he referred to his fellowship with the caricature pioneer Abdel Moneim Rakha The Great Saroukhan in “Akhbar El-Yom” paper and his creation of the character of “El Masri Efendi”, which represented the conscience of the cynical helpless Egyptian citizen. -
Mahmoud Saïd by Valérie Hess 74 Essay
Essay 73 Mahmoud Saïd By Valérie Hess 74 Essay Introduction referenced in art history courses in Western universities. For most art historians, the Bénézit dictionary, Nada Shabout’s lectures and seminars at the University initiated by Emmanuel Bénézit (1854-1920) in 1911, of North Texas are probably the most relevant to Saïd in is recognised as being probably the most important terms of subject and historical context. In other words, it and comprehensive reference dictionary for painters, seems that Mahmoud Saïd’s name, as most of his fellow sculptors, draughtsmen and engravers from all across Modern Egyptian artists, has simply been omitted from the world. Its full title in French is translated as ‘Critical the Western concept of the History of Art. and documentary dictionary of painters, sculptors, Paradoxically, several books and thesis written by locally draughtsmen and engravers from all times and from and internationally acclaimed academics, from Aimé all countries by a group of French and foreign expert Azar in 1961 to Esmat Dawastashy in 1997, from writers’ in the 1999 fourth edition published in fourteen Liliane Karnouk in 2005 to Nesma Atallah in 2010, volumes. This encyclopaedia of artists consists of 13,440 have rightfully identified Mahmoud Saïd as one of the pages for 175,000 names, yet nowhere does the name main pioneers of Modern Egyptian Art and arguably the ‘Mahmoud Saïd’ feature. The entries under the ‘SAI’ father of Modern Egyptian Painting. It therefore comes section are alphabetically listed as such: SAIA, Pietro with no surprise that one of the jewels of Alexandria, (1779-1833); SAÏD (See also LÉVY Alphonse Jacques); the artist’s native city, is a museum entirely dedicated to SAÏD, Anne (1914-1995); SAIDI, Aboul Ghasem (b. -
Hamed Abdalla in Arabe 1977, Women = Man 1970, Quo Vadis ? 46 X 37 Cm, Mixed Med on Wood 29,5 X 21 Cm, Stencil, Acrylique, Spray 48 X 36 Cm, Ink, Silk Paper
HHHAAAMMMEEEDDD AAABBBDDDAAALLLLLLAAA Cover 1962 Next page Hamed Abdalla in arabe 1977, Women = Man 1970, Quo Vadis ? 46 x 37 cm, mixed med on wood 29,5 x 21 cm, stencil, acrylique, spray 48 x 36 cm, ink, silk paper HAMED ABDALLA Story of a life HAMED ABDALLA (1917 – 1985) by Roula El Zein . His works of art tell of revolt and resistance, of injustice and hope, of fellahins and modest people. They speak of revolution, of equality between man 1951 – Le grand-père, 32 x 22cm, lithographie and woman, of death and spirituality… He drew his subjects from Egypt, his native land, from its Pharaonic, Coptic and Islamic past and from its everyday life in the streets and the coffee-houses… For more than fifty years, Hamed Abdalla worked relentlessly, leaving behind him a big amount of paintings, drawings and lithographs that witness today of an ongoing research and a creation that knew no boundaries. Moreover, Hamed Abdalla left many writings for beyond drawing and painting, the man cultivated his art theory and had a passion for philosophy. Several exhibition catalogs, dozens of interviews done in various languages, hundreds of newspaper articles, studies made by others on his work, and a large number of letters were recorded and kept by his family; a precious documentation that reveals the life and work of a great artist who was also a great humanist. 1954 – Autoportrait de l’artiste, 39.5 x 29.5 cm, Gouache 1983, Al Joua’ - Hunger, 65 x 50 cm, acrylique appreciated for his beautiful calligraphy. Since adolescence, he begins to draw. -
The Iraqi National Museum of Modern Art: Journey of Destruction
The Iraqi National Museum of Modern Art: Journey of Destruction By Ali I. al-Dulaimi Region: Middle East & North Africa Global Research, May 22, 2019 Theme: History In-depth Report: IRAQ REPORT A glimpse of the plastic arts in Iraq The contemporary Iraqi plastic art is considered to be the legitimate heir of the ancient Iraqi civilizations of Sumer and Babylon. Relics have beem found indicating that the Iraqi craftsman is the first artist in the world. He is the one who creates and produces such beautiful household pottery pieces for functional purposes for eating, drinking and other daily uses. The Baghdad School of Art of Illustration was founded by Iraqi artist Yahya bin Mahmoud bin Yahya bin Abi al-Hassan al-Wasiti who laid down its pillars. Al-Wasiti lived in the seventh Hijri century and is considered to be at the forefront of Arab and Islamic creativity scene where the Islamic art of illustration could be straightened and become competitive. Then this School spread from Mesopotamia to all other Islamic countries. Al-Wasiti inspired others with his miniature manuscripts on which he painted topics and narrative facts from the collections of al-Hariri which were written by Abu Muhammad al-Qasim bin Ali bin Othman al-Basri, famous as “al-Hariri”. These collections are considered to be among the Arabic literary masterpieces due to their richness of material, accuracy of observation and unique imagination. Artist al-Wasiti completed illustrating and scripting these collections in 634 A.H./1237 A.D., and they are now treasured at several international museums and libraries. -
University Microfilms, Inc., Ann Arbor, Michigan ARABIC CALLIGRAPHY in CONTEMPORARY EGYPTIAN
This dissertation has been microfilmed exactly as received 66-6296 SIDA, Youssef Mohamed Ali, 1922- ARABIC CALLIGRAPHY IN CONTEMPORARY EGYPTIAN MURALS, WITH AN ESSAY ON ARAB TRADITION AND ART. The Ohio State University, Ph.D., 1965 Fine Arts University Microfilms, Inc., Ann Arbor, Michigan ARABIC CALLIGRAPHY IN CONTEMPORARY EGYPTIAN MURALS .WITH AN ESSAY ON ARAB TRADITION AND ART DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Youssef Mohamed Ali Sida, M. Ed. 4c * * * * * The Ohio State University 1965 / Approved by ) Adviser School of Fine and Applied Arts ACKNOWLEDGMENTS I wish to acknowledge my deepest gratitude to the professors and friends who encouraged and inspired me, who gave their pri vate time willingly, who supported me with their thoughts whenever they felt my need, and especially to all the members of my Graduate Committee, Professor Hoyt Sherman, Professor Franklin Ludden, Professor Francis Utley, Professor Robert King, and Professor Paul Bogatay. ii CONTENTS Page ACKNOWLEDGMENTS.............................. ii ILLUSTRATIONS................................................................................... v INTRODUCTION................................................................................... 1 Chapter I. CONTEMPORARY ART OF THE UNITED ARAB REPUBLIC.............................. 4 The Pioneers of Contemporary Egyptian Art Artists of the School of Fine Arts Artists of the School of Decorative Arts (The School of Applied Arts) The "free artists" The Pioneers of Art Education The Pioneers of Art Criticism The Art Movements Types of Contemporary Art Criticism in the United Arab Republic Summary H. ARA B NA TIONALISM AND ARA B CULTURE................ 21 Definition of nationalism Arab Faith and Culture The Influence of Cultures The Islam Influence on the Arts Summary Chapter Page m. -
•C ' CONFIDENTIAL EGYPT October 8, 1946 Section 1 ARCHIVE* J 4167/39/16 Copy No
THIS DOCUMENT IS THE PROPERTY OF HIS BRITANNIC MAJESTY'S GOYERNMENT •C ' CONFIDENTIAL EGYPT October 8, 1946 Section 1 ARCHIVE* J 4167/39/16 Copy No. LEADING PERSONALITIES IN EGYPT Mr. Bowker to Mr. Bevin. (Received 8th October) (No. 1051. Confidential) 53. Ibrahim Abdul Hadi Pasha. Sir, Cairo, 30th September, 1946 54. Maitre Abdel Hamid Abdel Hakk. With reference to Mr. Farquhar's despatch 55. Nabil Abbas Halim. No. 1205 of-29th August, 1945, I have the honour 56. Maitre Ahmed Hamza. to transmit a revised list of personalities in Egypt. 57. Abdel Malek Hamza Bey. I have, &c. 58. El Lewa Mohammed Saleh Harb Pasha. JAMES BOWKEE. 59. Mahmoud Hassan Pasha. 60. Mohammed Abdel Khalek Hassouna Pasha. 61. Dr. Hussein Heikal Pasha. Enclosure 62. Sadek Henein Pasha. INDEX 63. Mahmoud Tewfik el-Hifnawi Pasha. 64. Neguib el-Hilaly Pasha. I.—Egyptian Personalitits 65. Ahmed Hussein Effendi. 1. Fuad Abaza Pasha. 66. Dr. Tahra Hussein. 2. Ibrahim Dessuki Abaza Pasha. 67. Dr. Ali Ibrahim Pasha, C.B.E. 3. Maitre Mohammed Fikri Abaza. 68. Kamel Ibrahim Bey. 4. Mohammed Ahmed Abboud Pasha. 69. Mohammed Hilmy Issa Pasha. 5. Dr. Hafez Afifi Pasha. 70. Aziz Izzet Pasha, G.C.V.O. 6. Abdel Kawi Ahmed Pasha. 71. Ahmed Kamel Pasha. 7. Ibrahim Sid Ahmed Bey. 72. ,'Lewa Ahmed Kamel Pasha. 8. Murad Sid Ahmed Pasha. 73. Ibrahim Fahmy Kerim Pasha. 9. Ahmed All Pasha, K.C.V.O. 74. Mahmoud Bey Khalil. 10. Prince Mohammed All, G.C.B., G.C.M.G. 75. Ahmed Mohammed Khashaba Pasha. 11. Tarraf Ali Pasha. -
Modern & Contemporary
MODERN & CONTEMPORARY ART SATURDAY 26 JUNE 2021 | DOHA | 7:30 PM MODERN AND SALE CONTACTS CLIENT SERVICES Ayoub Bouali CONTEMPORARY ART +974 4408 0526 In Arabic, English or German SATURDAY 26 JUNE 2021 | DOHA | 7:30 PM Arbia Khissibi +974 4408 0523 AUCTION AND VIEWING LOCATION In Arabic, French, or English ALBAHIE AUCTION HOUSE | KATARA | BUILDING 22C MODERN & CONTEMPORARY ART SPECIALIST VIEWING Habeeb Abu Futtaim +974 4408 0534 19 - 26 June 2021 In Arabic, Urdu or English Weekdays | 8:00am - 6:00pm Weekends | 3:00pm - 8:00pm ACCOUNTS Mohammed Sabreen +974 4408 0534 ABSENTEE AND TELEPHONE BIDDING [email protected] OPERATIONS MANAGER +974 4408 0534 Rebecca Joy Holt +974 4408 0535 ONLINE BIDDING Visit www.albahie.com to register GENERAL INFORMATION AND POST SALE SERVICES Shruti Shetti Currency | The auction will be conducted in US Dollars. [email protected] Payment will be requested in Qatari Riyal. +974 4408 0534 Conditions of Sale | This auction is subject to Notice of Bidders and Conditions of Sale at the back of the catalogue and on www.albahie.com AUCTION ADVISOR AUCTIONEER Dr. Aissa Deebi Ayoub Bouali AlBahie Auction House Katara, Building 22 C Follow us albahie FOREWARD Writing a foreward for an art auction for artists of the Arab homeland and its extended diaspora can be challenging. Thinking of how to draw a picture of the region makes me think of Francesco Goya's new work, especially if he was alive today. Perhaps this could be a conventional observation when you think of the Arab homeland; it's constantly a broad graphic representation, but I would argue that we could undoubtedly imagine this starting point by thinking alternatively about it. -
Young Gamal Abdel Nasser 152
Making the Arab World Making the Arab World Nasser, Qutb, and the Clash That Shaped the Middle East Fawaz A. Gerges PRINCETON UNIVERSITY PRESS Princeton & Oxford Copyright © 2018 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 6 Oxford Street, Woodstock, Oxfordshire OX20 1TR press.princeton.edu Jacket photograph: Burning of the Muslim Brotherhood’s headquarters in Cairo, Egypt, in retaliation for an attempted assassination of President Gamal Abdel Nasser, October 27, 1954 / AP Photo Jacket design by Faceout Studio, Charles Brock All Rights Reserved ISBN 978-0-691-16788-6 Library of Congress Control Number: 2018930051 British Library Cataloging-in-Publication Data is available This book has been composed in Miller Text Printed on acid-free paper. ∞ Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 As AlwAys, for NorA Contents Preface ix Introduction 3 1 Egypt’s “Liberal Age” 35 2 The Anti-colonial Struggle and the Dawn of Underground Politics 60 3 The Free Officers and the Ikhwan 77 4 The Birth of the Deep State and Modern Radical Islamism 126 5 Young Gamal Abdel Nasser 152 6 Young Sayyid Qutb 175 7 The Lion of the Arabs 187 vii viii contents 8 The Accidental Islamist? 214 9 Qutb’s al-Tanzim al-Sirri 236 10 The Decline of the Nasserist Project 284 11 Sadat’s Coup and the Islamist Revival 314 12 The Mubarak Era: Keeping the Ikhwan in the Freezer 343 Conclusion 390 Notes 407 Index 467 Preface this book sets out to explain how the opposing forces of Arab nationalism, spearheaded by the military, and the Islamists, led mainly by the Ikhwan (the Muslim Brothers), have shaped the development of postcolonial Arab politics. -
Fo#371/22004
ins I 1 cms PUBLIC RECORD OFFICE Conditions of supply of Public Records leaflet 3 2 4 U.V ' Caliphate Islam . Registry ~\ Refers to Foreign Office despatch No. 416 of the 4th Number Jf ^014/2014/16 April 1938 (Ji 1527/1034/65) Peels that it would be FROM, . , advisable to avoid any tiling in the nature of Sir ;/I .La rnp s o n , "representations" from His Majesty's Government Cairo. * regarding Egyptian aspirations to the Oaliph.--.te. No. 459 Suggests that if the Egyptians raise the matter, he (535/6/38 should express his personal feeling that an Egyptian Dated 22nd Apr . 1938. Caliphate claim would stir up trouble with Moslem Received \ States and that such a conflict would "be unwelcome to in Registry jlOth May. 1938, His Majesty's Government. No Moslem ruler possesses orthodox quslif ications for the Caliphate', "but Sheikh • J: Egypt and. Sudan. el Maraghi may have unorthodox regional caliphates in mind, (copies sent to y\ngora, Bagdad, Jedda and Beirut) Last Paper. References. 7 Oxau-sjA dl&Abu »JU-U ) . vx --- / A / I574I 9/37 ins cms PUBLIC RECORD OFFICE Fo Please note that this copy is supplied subject to^Public Record Office's terms and conditions and that your use i iof it may be subject to copyright restrictions. Further information ts given in the enclosed Terms and Conditions of supply of Public Records' leaflet 3 Caliphate of Islam. Reg.istry Refers to Foreign Office despatch No.416 of 4th Number April (E 1527/1034/65). Peels that it would be Sir M.Lampson, advisable to avoidanything in the nature of FROM Cairo.