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of the artist presented

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for publishing

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of the DIA AZZAWI artist presented

in pdf. copy to www.ibrahimicollection

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of the DIA AZZAWI artist SOMETHING DIFFERENT presented

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15.03.2015 – 25.04.2015 on Meem Editions the site courtesy

of Contents the artist Contributors ix Foreword xi Charles Pocock This catalogue is published in conjunction with the Dia Azzawi: Something Different exhibition held by presented 1 Meem Gallery, Dubai, 15 March – 25 April 2015. Dia Azzawi: Expanding the Imaginary Published in 2015. Tom Flynn

© Charles Pocock © Tom Flynn Contemporary Dialogues with Textile: 9 © Michèle Giffault Tapestry and the Work of Dia Azzawi © Samar Faruqi © Art Advisory Associates Ltd. Michèle Giffault in All works by Dia Azzawi. © Dia Azzawi pdf. Interview with Dia Azzawi 21 Used by permission. All rights reserved. Samar Faruqi

ISBN: 978-1-907051-44-9 copy Preparatory Sketches and Drawings 30 A catalogue record for this book is available from the British Library, Library of Congress, Bibliothèque National de France, Bibliotheca Sculptures 78 Alexandrina and the Al Noor Institute. All rights to reserved. No part of this publication may be reproduced, stored in a retrieval system, or www.ibrahimicollectionTapestries 126 transmitted in any form or by any means: electronic, mechanical, photocopying, and recording or otherwise, without the written Biography 148 permission of the publishers.

Art Direction and Design by Noura Haggag of Further Reading 152 Meem Gallery

Edited by Samar Faruqi of Meem Gallery

Photography by Anthony Dawton and Matthew Lazarus.

Photography of the sketchbook, drawings, The Target, and Suspiro del Moro by Anthony Dawton.

Published by the Publications Department of Meem with Art Advisory Associates Ltd.

Meem Gallery for P.O. Box 290 Dubai, United Arab Emirates Tel: +971 4 3477883 publishing www.meemartgallery.com

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of Contributors the Samar Faruqi is director of research at Meem Gallery. She has edited and authored artist publications for the gallery including Dia Al-Azzawi: Retrospective (2010), Parviz Tanavoli: Monograph (2010), and Art in Iraq presented Today (2011). She is a PhD candidate in the Department of History of Art at the University of Cambridge, where she is researching British Orientalist paintings and the Victorian art market.

in Dr Tom Flynn is a London-based art historian pdf. and writer with a specialist interest in sculpture and the professional practices in the global art market. He is the author of The copy Body in Sculpture (Weidenfeld & Nicolson, 1998) and a number of monographs on contemporary artists. He teaches to postgraduate courses on the art market at www.ibrahimicollectionKingston University, the Institut des Études Supérieures des Arts, and other London universities.

Michèle Giffault is museum curator. From 1982 to 1996, she was co-director of the first laboratory for museum artefacts in wood and waterlogged woods at ARC-Nucléart, Grenoble, and from 1997 to 2010, she was director of the Musée de la Tapisserie d’Aubusson. for publishing

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of Foreword the There is a lot to discuss in relation to this by car. At the time it made sense to drive new body of work. Dia is known foremost on paper, in practice maybe not as it turned artist as a painter, followed by his work as a out to be nine hours one way via Marseilles printmaker, however, it was only until the – via Lyon, Saint-Étienne, and Vichy – but a opening of Mathaf: Arab Museum of Modern stunning drive nevertheless. We met at 10 presented Art, Doha, that his sculptures became more am at the atelier and were both impressed recognized as a stand alone body of work. In by the incredible level of craftsmanship on relation to textiles, Dia had worked on kilims, display, how the human touch can do what produced in Jordan, in the mid-1990s, and no computer or automated machine can do: a painting was converted into a textile wall bring a breath of freshness into the work, hanging in the early 1980s for Riyadh airport making it come alive aesthetically. From in (Royal Pavillion, Riyadh), however, tapestry is a distance it is hard to see the difference pdf. something completely different to his oeuvre. between the original painting and the These areas are looked at in detail further in tapestry, close up one realizes that this is a this book. different work altogether, perhaps in its own copy It was in Doha in November 2013 that way even more beautiful. Dia and I started to discuss the possibility Aubusson has been home to the French of him producing tapestries and turning tapestry industry for six hundred years and to Sabra Shatila, the original acquired by the Ateliers Pinton are the recognized masters www.ibrahimicollectionTate Modern in 2012, into a tapestry based of this art form. Working with Lucas Pinton on an offer by Dr Ramzi Dalloul to fund the and with Dia has given me incredible insight production of the work. I was tasked with into an art form that has recently seen a kind the research into which weaver to use which renaissance, evident at Frieze and Frieze led me to look at the works of Picasso for Masters, in October 2014, and the article the Rockefellers, tapestries by Miró, Calder, relating to this subject in The Art Newspaper Chilidia, Braque, Delaunay and Chagall. at that time. One master weaver’s name and workshop I made my way to Antibes via the Djamel came up again and again and this was Tatah show at MAMA Saint-Étienne, and Yvette Cauquil-Prince and Ateliers Pinton the vineyards of Côte Rôtie, Condrieu and in Aubusson, France. I embarked on an Château Grillet, personal favourites of mine extensive research adventure, securing as and incredibly scenic, but then all hell broke much printed material as possible: books, lose between Orange and Valence when catalogues and independent opinions. We I had a monumental car crash, writing off reviewed numerous projects with weavers forthe car and doing a bit of damage to yours in Spain, Belgium, France, England, China, truly. I think the size of the replacement car, Scotland and Turkey. In our opinion the beingpublishing a Renault Twingo, did more damage to atelier that best translates a painting into a myself than the car crash a few hours earlier, tapestry is Ateliers Pinton. The next step was as the vehicle was clearly not designed for getting there, easier said than done. someone 6 feet 4 inches in height. With all Dia took a flight from London to Limoges, this taken into account, the journey was

followed by a one-hour drive to Aubusson; a complete adventure, worthwhile on all Dia Azzawi, studio I travelled from our family home in Antibes counts. Seeing the atelier, meeting Lucason visit, Beirut, 2014 the site x xi courtesy

of the artist presented

in pdf. copy to www.ibrahimicollection

for publishing

on the Ateliers Pinton studio visit, Aubusson, July 2014 Dia Azzawi, studio visit, Beirut,site 2014 xii xiii courtesy

Pinton, the owner and part of the family that for all his help with the London works. I foundedof the Ateliers, meeting the master would also like to thank Anthony Dawton weaver, and seeing what could be done with and Matthew Lazarus for photographing the our project,the was a worthwhile experience I works for this exhibition. will never forget. The incorporationartist of the sculptures in Charles Pocock the exhibition proved a lot easier and less Managing Director, Meem Gallery adventurous from my side, however, I did New York, 2 March 2015 have the pleasure to see the prototypepresented for Imaginary Plant in the mountains outside Beirut with Dia. The sculptural works cover a range of subjects and display Azzawi’s idiom in the best way. We have exhibited a few of Dia’s sculptures previously, and I have even carried Azzawi’s works as hand luggage in over the years! I was once asked to take a pdf. small work to a mutual friend as a favour to another friend (no names will be mentioned), being told in advance that it was small and copy would fit in my hand luggage, only to find it just about fit and was 60 kg! I would like to thank Dia Azzawi for to having the faith in me to do this and for www.ibrahimicollection branching into a new medium. What is being exhibited is clearly ‘Something Different’ to what Azzawi is best known for. I would also like to extend my thanks to the writers Tom Flynn and Michèle Giffault who have contributed brilliant and interesting insights into Azzawi’s sculpture and the art of tapestry, and to Georgina Adam and Lucas Pinton for making these introductions. To Samar Faruqi, Meem’s Director of Research, for editing the publication and for providing an introduction to this collection in her interview with Dia; Noura Haggag, Meem’s Creative Director, for designing a great book; Meagan Kelly for Horsman for helping me curate and run the logistics of the project; and Vinosh Hameed publishing for coordintaing all the shipments and other organizational details of the exhibition. I would also like to thank, in Beirut, Kaissar Rizkallah for all his help, support and advice. In Amman, Jordan Saver Jalal for the production and logistics regarding the shipment of the on works from Amman, and to Sargon Geworgis the site xiv xv courtesy

of Dia Azzawi: Expanding the Imaginary the Tom Flynn

In the great deserts of the world an act of The claim to an atavistic connection to 1 Stuart Hall, artist quoted in Ruth creation has been unfolding for millennia, regional ancestry has become a contentious Frankenberg, delivering forms of unfathomable crystalline issue in cultural discourse. On one side and Lata Mani, diversity and visual splendour. The processes are those who argue for the significance of ‘Crosscurrents, Crosstalk: Race, presented material cultural heritage as an umbilicus that bring them about are not human in origin, “Postcoloniality” but rather products of nature, of little more that connects the people of a particular and the Politics of Location,’ in than the serendipitous force of the wind on nation or region to their archaic forebears Cultural Studies gypsum, baryte and other hard minerals. The in that part of the world. In this formulation, 7.2 (1993): 292 – 310. floral characteristics of these natural objects cultural heritage is said to reinforce a sense has earned them the name of desert rose and of local identity and connectivity to the past. in they can be found in the vast, sandy regions Opposing this view is a position which holds pdf. of Mexico, North America, North Africa and that culture is ever in flux, that identity is the Middle East. not fixed but hybrid, that cultural heritage is As observers, we find the desert roses universal and speaks of our shared humanity copy visually compelling, but our appreciation is and moreover that any claim to regional also mixed with a sense of wonder that a connectivity or nationhood is problematic in power beyond that of humankind could bring its implications. Like many artists, Azzawi to forth such dazzling formal complexity. This is holds these positions in creative tension, www.ibrahimicollectionthe very point where art and nature overlap acutely conscious of his Arab identity and the and few are more sensitive to the potential influence of ancient culture in his work, and of this threshold zone in stimulating fresh yet sensitive to the power of art to replace creative thinking than Dia Azzawi. conflict with connectivity. The cultural critic Azzawi has been experimenting with a Stuart Hall has spoken of identity as ‘neither new body of forms inspired in part by desert continuous nor continuously interrupted, roses (see pp. 97 – 109) and other forms but constantly framed between the found in nature. This is a natural outcrop simultaneous vectors of similarity, continuity of his restless intellectual curiosity, which and difference.’1 This aptly describes the spans everything from European modernist trajectory of Azzawi’s career to date, his painting to Arabic calligraphy, from Moroccan work reflecting both the continuity of his Arab garden design to Mesopotamian architecture, identity and the simultaneity of Western and from ancient Middle Eastern poetry to the Middle Eastern influences on his thinking. sculptural qualities of modern automobile Some time ago, Azzawi stumbled upon design. Thus the works that emerge from forthe photographic work of the early twentieth- his studio are at once profoundly personal century German sculptor and designer Karl and idiosyncratic and yet grounded in an Blossfeldt,publishing reinforcing his belief in creativity awareness of humanity’s deeply embedded as a universal impulse whose reach often propensity to appreciate a shared formal extends beyond human agency. Blossfeldt’s Blessed Tigris vocabulary. This would seem to reinforce the great opus, Urformen der Kunst (Art Forms in (2006) universality of visual culture, transcending Nature) of 1928, exerted a profound impact Polyester resin 600 * 140 cm local variations. Azzawi’s work plays on his contemporaries, aligning him with the British Museum, imaginatively on this dialectic. ‘New Objectivity’ school of inter-war Germanon Great Hall, London the site xvi 1 courtesy

2 Karl Nierendorf, avant-garde photography while drawing itself. As the architect Zaha Hadid has noted, smoothed and remodelled here into soft the Paris Museum and, thanks to your 7 Venetia Porter, ‘Introduction to ed., Word into attention to the often unacknowledged debt ‘For millennia, the art of the Middle East has concavities and gently rolling contours. work, I was able to amass a considerable Urformen der of Art: Artists of the Kunst (Art Forms that architects, artists and designers owe to bridged the cultural divide between East and Azzawi encountered the gypsum flowers in amount of microscopic documentation: Modern Middle in Nature),’ in the naturalthe world. Writing in the introduction West. This work teaches us that these worlds the deserts of Qatar in the mid-1990s. ‘After radiolarians, bryozoans, hydroids, etc. … East (London: Hans C. Adam, which I examined with the utmost care British Museum Karl Blossfeldt: to Blossfeldt’s photographic collection in are not mutually exclusive, but rather layered seeing them I tried to make a different version Press, 2006), 16. The Complete 4 from an artistic standpoint: in the interest of 1928, the Berlin art dealerartist Karl Nierendorf upon each other and profoundly interlinked.’ of them, but a shape related to them in some 8 Published Work architecture and ornamentation. At present, John Ruskin, noted: That layering is nowhere more apparent way.’9 This calls to mind the concept of ‘self- quoted in Lewis F. (Cologne: Taschen, I am busy realising the monumental 2014), 51 – 53. Day, Nature and than in Azzawi’s work, which has long similarity’ in the abstract fractals developed entrance gate for the exhibition in the year Ornament: Nature, 3 Just as nature, in its endless monotony Samir al-Khalili, presenteddrawn inspiration from Western modernism, by the Polish-born mathematician Benoit 1900 and everything about it, from the the Raw Material The Monument: of origin and decay, is the embodiment 10 of Design (London: Art, Vulgarity and particularly a feeling for Fauvist colour and Mandelbrot in the 1970s. Unlike the drab general composition to the smallest details, Batsford, 1929 of a profoundly sublime secret, so art Responsibility in Cubist form. His sensitivity to European colouration and jagged texture of their desert has been inspired by your studies.12 ed., 1908), 1. Iraq (London: Andre is an equally incomprehensible second art is not a form of ventriloquism, however, counterparts, however, Azzawi’s objects 9 Interview with Deutsch, 1991), creation, emanating organically from the 11. Al-Khalili is a any more than Picasso’s art can be seen have a sensual, haptic quality, demanding Despite the historical distance separating the author at human heart and human brain: a creation Azzawi’s studio, pseudonym of Iraqi as a blank re-deployment of African masks, to be held in the hand, their luscious, shiny them, Haeckel, Blossfeldt and Azzawi academic Kanan which from the very beginning of time and 19 February 2015, ancient Iberian sculpture or ethnographic surfaces rendered in bright primary colours London. Makiya, the Sylvia throughout the ages has had its origin in in represent a continuum that springs from a K. Hassenfeld 5 10 the yearning for perpetuity, for eternity, and photography. Like many of his European that intensify their visual appeal. mutual fascination with what the German John D. Professor of Islamic pdf. Barrow, The Artful Modernist forebears, Azzawi sees the entire The thread of sensibility connecting critic Walter Benjamin described as ‘one of and Middle Eastern in the desire to retain the spiritual face of Universe: The Studies at Brandeis its generation — doomed to be engulfed visual field as amenable to reinterpretation; Azzawi to Blossfeldt can be pursued back the deepest, most unfathomable forms of Cosmic Source of University. in the whirlpool of time — in stone, the cultural origins of the elements alightedcopy even further to the work of the nineteenth- creation – from the mutation in which the Human Creativity 4 (London: Penguin, Zaha Hadid, bronze, wood and painted images that are upon are secondary to their aesthetic century German biologist Ernst Haeckel. element of genius has always resided – the foreword to Saeb 1997), 59 – 63. independent of birth and death.2 Haeckel’s Kunstformen der Natur (Art 13 Eigner, Art of potential. As Picasso phrased it: ‘When I collective creative power of Nature’. Just 11 Irenaus Eibl- the Middle East: have found something to express, I have to Forms in Nature), published between 1899 as Binet used Haeckel’s discoveries, Azzawi Eibesfeldt, ‘Ernst Modern and Today, in an era witnessing geopolitical done it without thinking of the past or the and 1904, was an equally epoch-making Haeckel: The Artist Contemporary Art has incorporated the visual stimuli he found in the Scientist,’ 6 www.ibrahimicollection of the Arab World upheaval in the Middle East and rampant future.’ That attitude was shared by many confirmation of the artful universe. Haeckel’s in Blossfeldt into a range of objects, some in Art Forms in and Iran (London: materialism in the West, the need to assert of Picasso’s contemporaries, some of lithographic plates revealed the structure of which contain the latent potential for Nature: The Prints Merrell, 2010). of Ernst Haeckel the spiritual face of humanity is arguably more whom borrowed from Arabic influences, of radiolarians and other microscopic architectural applications. 5 The visual (Munich: Prestel, correlations urgent than ever. Later in the same passage, one example being Paul Klee’s use of sea creatures recovered during deep-sea Among the many lamentable outcomes 2010), 20. between Picasso’s Nierendorf refers to ‘the unity of the creative Arabic script in his work following his visit expeditions in the 1870s. The symmetry of the political upheavals ravaging the 12 Olaf Breidbach, Les Demoiselles will in nature and art’, an idea that Azzawi to Tunisia in 1914.7 A similarly fertile cultural and ornamental intricacy of these creatures ‘Brief Instructions d’Avignon and Middle East in recent decades has been to Viewing the postcard seems to have made central to his practice. interchange is apparent in some of Azzawi’s as presented by Haeckel mesmerized his the departure of many of the region’s most Haeckel’s photographs There is an ideological dimension to this as recent sculptures, which rephrase Blossfeldt’s contemporaries such that many of the forms prominent artists and their dispersal to more Pictures,’ in Art taken by Dakar- Forms in Nature: based French well, insofar as it equates with what Samir magnified plant forms into new, totemic found their way into painting, sculpture, secure locations around the world.14 While The Prints of Ernst photographer al-Khalili has termed ‘the moral universe of configurations. In doing so he unwittingly architecture and manifold applied art Iraq’s cultural diaspora is a tragedy for the Haeckel (Munich: Edmond Fortier Prestel, 2010), 15. in 1905 – 06, art’, a sense in which ‘political freedom and reveals an empathy with the English critic contexts. Some of the radiolarians published country and for its artists, who have been 13 Walter Benjamin, found in Picasso’s the flourishing of the arts are seen as natural John Ruskin who found ‘the forms most by Haeckel bear striking similarities to the made to feel like exiles from their homeland, archive, are ‘New Things About 3 discussed in Anne corollaries’. Azzawi has spoken of the moral frequent in nature to be the most natural, and desert roses that have influenced Azzawi’s their resettlement elsewhere does have Plants,’ quoted Baldessari, Picasso responsibility he personally feels towards the most natural to be the most beautiful.’8 work. As Irenaus Eibl-Eibesfeldt has noted, many positive consequences both for them in David Mellor, and Photography: for ed., Germany: The The Dark Mirror Iraq, where he was born in 1939. It is also a See, for example, Azzawi’s Kinda Obelisk Haeckel himself maintained that ‘nature and for their adopted countries. Azzawi, New Photography, (Paris: Flammarion, yearning for the cultural hinterland from which of 2004 (p. 115), whose ascending tiers, works here much like an artist, and even who publishinghas been resident in London since 1927-33, 1997), 45 – 84. Documents and he emerged as a mature artist in the 1970s, overlapping skins and bud-form pinnacles postulated that protoplasm has an inherent 1976, is now widely regarded not only as a Essays (London: 6 ‘Picasso much of which has since been decimated by pay subtle homage to Blossfeldt’s images “artistic drive”.’11 In March 1899, the French Arts Council Speaks,’ The Arts leading exponent of the contemporary art war and ethnic strife. Despite this he retains England, 1978), (New York, May of the twig of the Pacific dogwood (Cornus architect René Binet wrote to Haeckel: of the Middle East, but also as a passionate 13. 1923), 315 – 26; an unshakeable belief in the potential of Nuttallii). Other works in the current exhibition advocate for pan-Arab culture in general reprinted in Alfred Barr, Picasso (New creativity to build bridges between people can be seen as meditations on the crystal About six years ago I began to study and an energetic supporter of a younger York, 1946), 270 and cultures. In this regard he is continuing a efflorescence of the gypsum desert roses, the numerous volumes written on the generation of Arabic artists. To be sure,on – 1. tradition that is as ancient as the Arab world whose blade-like protrusions have been Challenger Expedition in the library of his presence in London has allowed him the site 2 3 courtesy

14 Although war, access to European museums and galleries, writers equated the practice of colouring rose; the works inspired by Blossfeldt’s contemporary design and how its elements 19 Robin Middleton, ethnic conflict ‘Hittorff’s which has coloured his own creative project. sculpture with an earlier stage of human photography, and a series of brightly painted can be ushered productively into the realm and invasion have of polychrome driven many artists Equally important, however, is the increasing development. Richard Westmacott, for geometrical compositions that hover playfully of sculpture. The work entitled Toy Like campaign’ in R. away, others have visibility ofthe his own work in major public example, a professor at the Royal Academy between architecture, furniture and abstract No. 2 (2014, p. 87) comprises a simple red Middleton, ed., remained, as the The Beaux-Arts Iraq Pavilion at collections, which is serving to expand in London, stated baldly that, ‘the further sculpture. His totemic sculptures in brightly cube raised on orange stud feet, the cube and Nineteenth- th the 55 Venice European awarenessartist of Iraq as a source of we go back towards barbarism in art, or coloured polyester resin or wood, such as intersected by a blue and green-painted Century French Biennale in 2013 Architecture demonstrated, culture rather than how it is currently so often to the infancy of art, the more surely do Homage to Khalil Hawi and Homage to planar form, itself pierced by a black- (London: Thames the country’s presented in the media: as predominantly we meet with coloured sculpture.’16 By the Unknown Poet (2014, pp. 80 – 83), have and-white banded cylindrical shape that & Hudson, 1984), representation 187. on that occasion a place of sectarian division and politicalpresented late Victorian period, however, a wealth of an affinity with certain elements found in suggests a handle of some kind. This is being drawn from instability. Azzawi’s contributions to the archaeological evidence had begun to alter the graphic reconstructions of ancient abstract sculpture, but with a gentle nudge those artists still living and British Museum’s groundbreaking Word into attitudes towards the colouring of ancient architecture produced by the nineteenth- towards figuration. When viewed in profile working in Iraq. Art exhibition of 2006 are a case in point, architecture and sculpture, although it would century German architects Gottfried Semper the work takes on a vaguely equine form, See Jonathan allowing visitors to encounter the work of one still take time for the possibilities to become and Jacques-Ignace Hittorff in the 1830s. the constituent parts of which have been Watkins, and Tamara Chalabi, of the region’s most important voices, and fully clear to artists. Rearguard academic Hittorff’s lithographic plates suggested that distilled into a kindergarten-like configuration, eds., Welcome to moreover one now happily domiciled just a pronouncements suchin as that made by the exterior of Greek temples at Selinunte suggesting a miniature postmodern hobby Iraq, Exhibition catalogue, Ikon few miles north of the museum. Even those Westmacott thus speak as muchpdf. of a sense in Italy and elsewhere were likely to have horse. Some of these brightly coloured Gallery / Ruya of his works that allude to traumatic historical of ethnic superiority engendered by Western been painted in bright polychrome colours works have the visual appeal of the Memphis Foundation for Contemporary events and the unsolved problems of the imperialism as they do about any aesthetic or covered with coloured stucco. As Robin furniture designed by Ettore Sottsass and his Culture in Iraq, Middle East, such as the bronze Wounded preferences. By the modernist period at copy Middleton has pointed out, Hittorff ‘sought associates in the 1980s. If scaled up, one Birmingham and Baghdad, 2013. Soul series (2010, pp. 20, 28 – 29) and the the turn of the century, much had changed. to persuade his audience to imagine a Greek can see how a work such as Toy Like No. 1 bronze ‘winged’ standing figure entitled The prompting Gauguin to advise, ‘Have before architecture of rich and ravishing beauty; (2014, p. 85), which stands in an uncertain 15 Jewad Selim, quoted in Jabra Target (2010, p. 121) have a moving nobility you always the Persians, the Cambodians, to the mechanical smoothness of white marble zone somewhere between sculpture, Ibrahim Jabra, The of purpose. This latter work recalls something and a little of the Egyptian. The great error made soft with a coat of pale yellow paint, architecture and furniture, could take its place Grass Roots of 17 www.ibrahimicollection Iraqi Art (Jersey: of the mood of the work made by the post- is the Greek, however beautiful it may be.’ the surface modulations made lively with in an open public space, inviting one to sit on Wasit Graphic and war British sculptors who became known as Not only had abstraction been fully integrated patterns of bright blue, green, red and gold its lower ledge and enjoy the shade provided Publishing, 1983), 19 7. the Geometry of Fear generation, in particular into artistic practice, but the conservative paint…’ To the nineteenth-century mindset, by the central pillar and the vertical ‘screen’ Lynn Chadwick and Kenneth Armitage. It also strictures against the use of colour had also architectural approaches of this kind chimed that unites the oval base with its pyramidal 16 Richard Westmacott, hints at an oblique connection with the art been swept aside by the avant-garde. In with a speculative vision of the sun-drenched pinnacle. And yet its true dimensions deny ‘On Polychromy of ancient Assyria, echoing an observation 1935, Picasso could look back and pour environments of the Mediterranean and such functionalism; its visual appeal stems in Sculpture, or Colouring by Iraqi sculptor Jewad Selim that artists of scorn on the previous academic generation, Aegean where the unbroken white marble instead from its proximity to the tradition of Statues,’ in the region ‘speak through the drama of the asserting that: surfaces of ancient temples were thought Surrealist objects. Journal of the 15 Society of Arts, wounded beast’. However, the presence of likely to have had an uncomfortable, dazzling Qualities of ambiguity and strangeness are Vol. 7 (4 March 4 so much joyous colour in many of Azzawi’s Academic training in beauty is a sham. We effect on the eye if not muted by colour. equally apparent in the sculpture entitled Toy 1859): 226. paintings and sculptures is testament to his have been deceived, but so well deceived Conversely, Azzawi’s monumental Blessed Like No. 3 (2014, p. 89), which comprises a 17 Quoted in Tom unbreakable optimism, Iraq’s political troubles that we can scarcely get back even a Tigris (p. xvi) provided a welcome flash of saddle-like upper element of phallic outline Flynn, The Body in shadow of the truth. The beauties of the Sculpture (London: notwithstanding. polychromy when displayed within the relative mounted on a cube raised on four bubble Parthenon, Venuses, nymphs, Narcissuses, Orion, Weidenfeld The importance of colour is critical monochrome interior of the British Museum’s feet. From the front surface of the cube (or & Nicolson, are so many lies. Art is not an application for to Azzawi’s creative project. It has long central court during the 2006 Word into Art is it the rear?) emerge two pointed shapes London 1998), of a canon of beauty but what the instinct 139. been apparent in his painting, but it is also exhibition. Perhaps this is why his larger scale that provide a sharp counterpoint to the soft and the brain can conceive beyond any publishing 18 Pablo Picasso, clear from his recent sculpture. We take canon.18 coloured sculptures sit so fittingly within the edges of the ‘saddle’ surmount. The formal reported by coloured sculpture for granted today but built environments of the modern Middle East contradictions at play here call to mind the Christian Zervos in ‘Conversations it is well to recall that until the modernist Azzawi’s coloured sculptures currently fall while also having the potential to brighten the objects made by Henry Moore, Giacometti, avec Picasso,’ in period of the early twentieth century to gloomy urban landscapes of northern Europe and their Surrealist contemporaries in the Cahiers d’Art, Vol. into three distinct but interrelated groups, 10, 1935, quoted apply colour to sculpture was to disobey which might be summarized as those forms where colour is so often lacking. 1930s although the polychrome decoration of in Elizabeth one of the fundamental edicts laid down that began as meditations on the desert The brightly coloured works also speak Azzawi’s works places them into a categoryon Cowling and John Golding, eds., by the academy. Some nineteenth-century of Azzawi’s openness to the aesthetics of that is entirely their own. Picasso: Sculptor/ the Painter (London: Tate Gallery, 1984), 105. site 4 5 courtesy

20 Barbara Braun, A Surrealist sensibility is also discernible music, sculpture, landscape and calligraphy. painters, sculptors, botanists and scientists, Pre-Columbian Art in White Obelisk (2014, p. 111), the verticality The diversity of forms and techniques on or the sensual lines of modern motor cars, and the Post- of Columbian World of which encourages a figurative reading. display in Azzawi’s sculpture speaks not only all are susceptible to incorporation and (New York: Abrams Like Picasso’sthe experiments in the late 1920s, of his openness to a broad range of historical reinterpretation in his painting, drawing, 1993), 306 – 310. such as his Bathers (Study of a Monument) and stylistic influences, but also of his sculpture, or designs for tapestry. Azzawi 21 B. Braun of 1928, White Obeliskartist distils any descriptive willingness to experiment with technological takes his place in a long and noble modern (1993), 310. Coincidentally, elements into elegantly arranged geometrical applications in conceiving and making his tradition of painters who were also sculptors, Nevelson’s first solo exhibition, in abstraction, leaving us to switch between the work. On a recent visit to his London studio I and sculptors who were also painters; the New York in 1941, playful ambiguity of possible interpretations:presented was struck by the broad range of his interests names of Gauguin, Degas, Matisse and, was at the gallery and activities. On one side of the room was of course, Picasso, immediately suggest of Karl Nierendorf, figure/obelisk, obelisk/figure. who penned It is interesting to observe the contrast a table teeming with a multitude of clay themselves. Azzawi is all of these and more. the influential in semantic charge between the brightly maquettes rehearsing the endless possibilities His irrepressible creative vitality allows him introduction to Blossfeldt’s coloured works and the white monochrome presented by the desert rose. Nearby was to build deep and meaningful connections Urformen der compositions, which reveals Azzawi’s an easel supporting a canvas on which an across cultures, and in doing so he connects Kunst of 1928. See Arnold B. sensitivity to both natural and applied acrylic painted abstractin form was beginning those of us fortunate enough to experience Glimcher, Louise polychromy. In the former category is one of to emerge, its hatched contours revealing his work. Nevelson (London: pdf. Secker & Warburg, the most beautiful of the recent works—the the extent to which an instinct for sculpture 1972), 19. white relief entitled Mural for Silent Music underpins so much of what he does (‘When 22 Anthony (2014, p. 112), which comprises a series I paint, I feel plastic,’ he says.) He guides mecopy Downey, ed., of abstract elements arranged within an from one project to the next, speaking with Uncommon Grounds: New enclosing rectangular frame. There is a infectious enthusiasm about the possibilities Media and sense of rhythm and flow here that we might of various materials and processes, no matter to Critical Practices in North Africa connect to Azzawi’s love of Arabic calligraphy, whether it be the immediate, malleable www.ibrahimicollection and the Middle which has been a constant source of potential of clay or the new avenues being East (London: I.B.Tauris, 2014). inspiration in his painting and sculpture. The opened up by 3-D printing and other See also Wafa soft edges of the forms are also suggestive of technologies. Bilal, Shoot an human limbs, and there is even a landscape Technology and new media have Iraqi: Art, Life and Resistance quality at play here. The compacting of become important tools for artists of the Under the Gun harmonic elements into a bounded frame Iraqi diaspora. The Internet has been (San Francisco: City Lights Books, recalls Joseph Cornell’s boxes, but more deployed with notable criticality by Wafaa 2008). pertinently, perhaps, the work of Russian- Bilal, but many artists of the region are born American sculptor Louise Nevelson, using digital image manipulation and other who also drew on ancient precedents, in her electronic applications to open up expressive case the Pre-Columbian art of Mexico and possibilities and innovative processes for Peru.20 The art historian Barbara Braun has fabricating three-dimensional objects.22 spoken of how the ‘calculated geometry’ and Azzawi is adept at a range of software suites, uniform colour of Nevelson’s assemblages using Photoshop and Publisher applications for amount to ‘a metaphor of the archaeological to sketch out designs. These can then be mystique.’21 Azzawi’s Mural resonates in translated via 3-D printing technology into publishing a similar way, its various components are sculpted objects made from polyester resin discreet and yet architectonically connected, and other lightweight synthetic media. its straight and sinuous lines, soft and hard- Dia Azzawi is at the height of his powers. edged contours rhythmically intertwining to His voracious curiosity and appetite for visual create an atmosphere of light, colour and stimuli is boundless. Whether it be the art space. Mural for Silent Music might be read or architecture of the ancient or modern on as a metaphor of the combined mystique of Middle East, the work of Western Modernist the site 6 7 courtesy

Contemporary Dialogues with Textile of Tapestry and the Work of Dia Azzawi the Michèle Giffault artist

This series of three tapestries represent a Tapestry and the Ateliers Pinton turning point in the already abundant and presented diversified works of Dia Azzawi. As is the When one is an artist as productive and case with many recognized artists who have renowned as Dia Azzawi, why turn to a new a strong understanding of creation and who medium, and in particular to weaving? How have experimented with the many forms of is one drawn to tapestry? The attraction artistic expression available, a curiosity for to tapestry must arise from a feeling of new forms of artistic expression develops. familiarity, sensuality, proximity and the in However, the artist’s gestures remain their comfort that it evokes and inspires. It was in pdf. own but are tempted by new media, different observing and admiring in a public building, forms, even new uses. tapestries woven by the Ateliers Pinton, copy Rich with his numerous experiences, Felletin, Creuse, in France, a weaving centre an artist nourished by Occidental art of the for many centuries, that Azzawi experienced twentieth century, where many figurations the desire to know more about the medium to both suit and seduce the artist, Dia Azzawi and quite naturally turned to this continually encounters the multi-secular, universal art of thriving workshop. www.ibrahimicollectiontapestry. In his work he honours the art of The Ateliers Pinton represent more the past, from ancient times to more recent than a half a century of textile history and history; he has understood – and wishes knowledge, in both the creation of carpets to pass on – this wealth of human research and mural tapestries, works created by artists that has no boundaries of time or place. The in often exceptional formats from all over the connections and the echoes can only but world. The Pinton workshop is the largest enrich the most contemporary vision of art. and oldest workshop in the region to maintain His is a committed art, one that serves all the traditions and it operates alongside not one cause in particular, but the human individual or delocalized workshops. race in general. The titles of his works are Of the well-known tapestries in the but proof that Azzawi’s art is not only an world, one of the most notable, and largest outcome of research in general but of careful (measuring more than 250 metres2), hangs investigation, narration and illustration. Always in Coventry Cathedral, woven after a cartoon determined to ignore nothing of the past or by Graham Sutherland (1962). Others include subjects relating to more recent events, and forJohn Coburn’s curtains for the Sydney Opera to use both to nourish his work, Dia Azzawi House (commissioned in 1970); Music and explores different artistic expressions. In the Dancepublishing (1991, 150 metres²) in the major same way that he has devoted himself to theatre Espace Carpeaux, à Courbevoie, near sculpture, he has expressed the desire to Paris, cartoon by Daniel Riberzani; UNESCO Jenin Jenin (2015, produce models to be visually transcribed (1956) by Le Corbusier, a wool tapestry detail) into tapestry. He offers us works that will that welcomes the public to UNESCO’s Triptych 300 * 456 cm undoubtedly leave their mark on the art of prestigious building. All these tapestries were on (300 * 152 cm weaving. woven in Pinton’s studio in Felletin. theeach) site 8 9 courtesy

1 René Huyghe, Aubusson-Felletin and the revival of Léger, Alexandre Calder, Sonia Delaunay, Exposition à la Victor Vasarely, Pablo Picasso, Le Corbusier, Maison de la tapestryof Pensée française Jean Lurçat, and numerous American artists. (1952). Admittedly,the there are many places in the In the field of modern art the commissions 2 Claude Faux, world where weaving prevails using ancestral of the art editor, Marie Cuttoli, lent a new Lurçat à haute voix techniques. However,artist in this small region of energy to the weaves of the 1930s, despite (Julliard, 1962). France energy and money has been invested the difficulties of transcribing the work of so that the technique of tapestry weaving art into tapestry—this was particularly the remains at the service of contemporarypresented case with the works of Picasso and his close and universal art. The official text to which friend Joan Miró, and with the works of Jean we contributed for the Inscription on the Cocteau and Léger. The movement continued Representative List of the Intangible Cultural to grow and re-establish itself before and Heritage of Humanity, that became effective during the Second World War. from the Autumn 2009, reads as: It could be said that in the beginning of the twentieth century, approximatelyin fifty tapestry A centuries-old tradition, the craft of painter-designers were involvedpdf. in the Aubusson tapestry consists of weaving renaissance of woven art, to the extent that an image using processes practised in René Huyghe considered the display of such Aubusson and a number of other localities works the main event in art for this century.copy1 in the Creuse region of France. This craft It is to Jean Lurçat – comissioned by the produces mainly large decorative wall government and a pioneer of the movement hangings but also rugs and pieces of to establish a revival of the medium – that to Coloured wools in the storeroom of Ateliers Pinton, Aubusson, France furniture. Aubusson tapestry can be based one owes an understanding of tapestry as a on an image in any artistic style, prepared www.ibrahimicollection by a paper ‘cartoon’ (template) designer. collective material, heavy in signification and 2 regard to the lines and strokes in the tones wools knotted at the junction of each colour Weaving is done manually by a lissier, or a serious object. Yet there exist as many used. It should be added that the creation of and representing the exact shade of each weaver, on a loom positioned horizontally, artists as there are personalities and as many such a work requires the skill of more than colour used in each tapestry. That is why, working on the reverse side of the tapestry, reactions to the approach of tapestry, this one weaver, and often involves the work of in a workshop, the storeroom is such a and using yarns that are hand-dyed in- according to the character of each person four hands or more. sumptuous treasure of coloured wools. The house. This process is time consuming and to their expectations. All unravels either in particularity of the Pinton workshop is that and expensive. The Aubusson tapestries mutual respect or in a certain distance in the they employ their own assortisseur, which are a gold standard throughout the world, confidence offered. From planning to action to the extent that Aubusson has become guarantees quality and ensures a direct and It is only natural to think that the simplest a common noun in some languages. The The life-size painting, produced by the artist, continuous dialogue with the artist. These drawings are the easiest ones to transcribe production of tapestries in Aubusson and the cartoon, drawn in the past on fabric or colour references allow the newcomer to into tapestry, however, nothing could be Felletin provides enough work for three a sheet, can be a gouache, oil on canvas, choose his or her own and unique palette further from the truth. An example is the work small businesses and ten or so freelance varnished even, or an enlargement on of colours. In order to remain true to the artisan weavers, thus creating a significant of Sonia Delaunay. When viewing her oeuvre, photographic paper. It can also be coded colours of the cartoon, the yarns are dyed volume of related work (wool production one can sense that she had immediately and numbered. The cartoon is always forfor each weave, even if a series is woven. and spinning, marketing, by-products, considered the composition in relation to turned inversely to that of the painting as the The dyeing takes place in the workshop and museum exhibitions and tourism). the characteristics of textile, its weave and publishing tapestry is woven on the reverse side. To can therefore be tested and adjusted when texture. In other cases, the particularities of look under the warp to weave requires great needed. Dia Azzawi thus discovers the magic world the cartoon can and often provide a challenge visual, manual and intellectual skill. In the dyeing process, the wool is hung of tapestry, as did many artists before him, for the workshop. Transposing paint on paper to dye in skeins on a thick wooden rod called a particularly those of the twentieth century, To have one’s work woven into a on wool is not so easy but the colourist lissoir and is then inserted vertically into the a century that marks the renaissance of tapestry is neither an easy undertaking nor (assortisseur) can give, or make together with vat—the wool used is Australian or from New tapestry. The Pinton studios collaborated an insignificant process. The model must the rosary or chapelet a chain of coloured Zealand and is of top quality, smooth andon with the biggest names of the time, Fernand respond or be adapted to several criteria with the site 10 11 courtesy

soft. The rod is then hung over the boiling, known as ‘la tombée de metier’ takes place. to the tapestry by the density of its weave, conflation of two cultures he draws such bubblingof cauldron which heats to more than This ceremony is a mixture of artistic know- which is technically expressed in portées, energy that it emanates from his very being, 100° C; the wool is lowered into the vat, then how and recognition of the finished work; it and depends on the mounting of the warp he does not impose but transforms vitality lifted andthe turned so that the dye takes to the has a social role within the community. The on the loom and the number of warps per into sensitivity. He understands the artist’s heart of the yarn. Over and over the dyer ancient quality of this art, and its firm place centimetre. It is with these factors held in role of transmission, the importance of turns each skein by hand.artist Finally, the wool is within the art world, gives way to an almost mind that the atelier decided to weave the awakening the consciousness of the viewer dried by the ambient temperature of the vat, ritual-like ceremony where those involved, Dia Azzawi series in 14 portées, or 5 warp by creating works that are somehow strong without a dryer or any other machinery. the artist, weavers and general public, threads per centimetre. A weave with this and beneficial. He refuses to see the founding presenteddiscover the transformation of the work number of warps per centimetre balances civilizations of the Middle and Near East In Aubusson-Felletin, weavers use low-warp of the artist into another form using other a strong visual appearance and allows for wiped away, but does so with a spirit of looms materials. The crowd gathers, awaiting the a sensitive weave, far removed from that of confidence and enthusiasm. His rhetoric is surprise in discovering for the first time the a fabric that aims to resemble a drawing. resolutely optimist. In Paris, in the Gobelins workshops (Mobilier metamorphoses, the presentation of the right It allows for certain parts of the diptych to Certain difficulties were encountered National, for the state), the weavers work side of the tapestry. be woven with a varying number of warps with Oriental Window (p. 145), which at upright looms (haute-lisse) and use wool French law (financialin law) states that thereby creating contrasts. created both tension and anxiety when for the warp. In Aubusson the looms are tapestry editions must be limitedpdf. to six As previously mentioned, the wool yarns defining the cartoon. It is during these horizontal (basse-lisse) and the weavers are copies, usually one for the workshop and are chosen for each tapestry in the workshop moments of questioning that the evaluation bent over their work. The warp is mounted one for the artist. A true Aubusson or Felletin together with the artist, with the advice of the of what can and cannot be undertaken onto two horizontal wooden rollers (rouleaux tapestry is always handmade: you can seecopy assortisseur. Neither weaver nor designer, is assessed and this is the point at which or ensouples). Weavers work on the reverse the bolduc on the reverse, a small piece of he does, however, master the weaving the discussion should imperatively start in side of the work and cannot see the overall paper or fabric bearing the name of the artist, techniques that can be used. He is the order to preserve the balance of desires and tapestry until it is completed and cut off the the title, the dimensions of the tapestry, the to translator of the terms used in each phase of resolutions. Without this dialogue mistakes loom. Weaving bobbins, full of coloured wool name of the workshop and sometimes the www.ibrahimicollectionthe work; he gathers the wishes of the artist and inaccuracies will occur. It is in this or silk, are called flûtes. Since the end of the date. and translates them into colour and weave. sense that the statement that a tapestry is eighteenth century, cotton has been used for The importance and necessity that the artist nothing more than a copy of a painting takes the warp as it lends an improved drape to the The first tapestries of Dia Azzawi should come to the studios to participate in on new meaning. The technical problems finished tapestry once hung. the various choices and decisions is obvious: encountered with the weave of Oriental In the setting up process heddle bars The initial examination of the model (cartoon) this is what Dia Azzawi undertook in the Windows provides an example of these (barres de lisse) are attached to alternate immediately enables the evaluation of the preparation for his tapestries. A reciprocal potential problems. The metallic blue-green of threads on the warp. The weavers press on feasibility of its weaving. Too many geometric, investment in the project is the key to its the cartoon is vibrant and glistening. Despite treadles (marches) under the loom to open rigid lines, departing in all directions, could success. the addition of shiny fibres, such as silk, rayon these alternative threads so the flûtes can create a visual awkwardness as certain or acrylics, the matt quality of wool cannot be passed through from the right to the left elements cannot be achieved by the warp Oriental Window render the artist’s intention. In this particular (une passée) and, when the other treadle and the weft, themselves crossing right case, the solution was found by the dyer is pressed, passed back again (going back angles. Neither is it easy to keep in one’s 2 x 2 m, 14 portées, or 5 warp threads who achieved an original colour that found a and forth is a duite). After some duites, the mind that it is woven on the reverse and per cm, 5 wool threads on the bobbins. comfortable place among the others. weaver packs the weft (trame) down hard from the side edge in order to keep the Approximately forty shades in colour or for Indeed, here one can recall Victor with his wooden comb; the warp is no longer warps parallel to the ground once hung, thus mixtures of colours. Vasarely, Sonia Delaunay or even Robert visible and the woven picture is completed. ensuring a better fall of the fabric. Delaunaypublishing in the masterful, unique, large work The weaving of about one square metre of The chosen format for Azzawi’s tapestries Dia Azzawi mainly uses abstraction, Rythme N° 1; here we have geometrical tapestry takes approximately one month. is ideal. A square measuring 2 x 2 metres however, he does so in a language that is abstraction at its fullest, however, there is no Once the weaving is finished, the small is appropriate with an object exhibited common, perceptible and easily assimilated clash in the woven rendering of this work. slits of the tapestry – where changes of within an interior, a work that will meet the by all. In a straightforward manner, and Additionally, certain weaves can create colour occur – are sewn by hand (couture eye daily and with familiarity. The warmth, as an international artist, Azzawi does not distortions of the form – although some can des relais). Finally, the finished tapestry is thickness, physical weight, and the depth of resort to titling his works anecdotally but be left as decorative elements as was onthe cut from the loom, and a solemn moment the subject of the work’s meaning are lent maintains the spirit of the subject. In his case with Calder – that do not fit in with a the site 12 13 courtesy

formal geometric composition and are viewed if this is not entirely visible in the finished of as errors or defects. So there you are, there tapestry, is the expertise of the weavers, bent is no user’s manual for the designer! It is the over their looms—they are the first to feel and the role of the cartoonist and the weaver to adapt understand what the tapestry is to look like. the composition with honesty, cooperation In this tapestry it is a window, opened in joy artist and coordination. In the weaving of geometric onto a garden that is to be shared, a gift of lines, the tapestry cannot interpret everything intimacy. without introducing deformations and ‘Man is an animal that thinks with his presented meaningless renderings. fingers,’ noted Maurice Halbwachs (La For example, how do you transpose mémoire collective, 1950), an apt statement the shiny veneer of a work on paper to the in relation to the art of tapestry that remains nearest possible colour in wool or in silk? entirely manual and requires considerably This question has been the preoccupation of more time than industrially produced series many artists and has allowed for significant of weaves. We cannot forget this idea in advances. One can quote the characteristic because it is akin to the founding of the pdf. case of Mario Prassinos, resolutely an social, historic and even aesthetic memory. abstract artist, who understood after the There is most definitely a connection between weaving of his first tapestry, which was the model and its fulfilment. This is not an copy woven directly from an oil on canvas painting, enclosed garden, closed for a hermit but an that one was required certain modifications explosion of colour that one deduces can in order to allow the translation of the change according to the time of day, the to artist’s intention. He opted for the use of a sun, the seasons. Indeed, the impression of lead pencil, abandoned the use of colour movement of what is to become, creates joy Coloured wools in the storeroom of Ateliers Pinton, Aubusson, France www.ibrahimicollection to use numbers that referred to the colour and a feeling of freshness. of his choice which lent a great rigour to his designs. As a result, the majority of Jenin Jenin (triptych) cartonniers worked in this manner to avoid ambiguity. Each created his own chapelet 14 portées, or 5 warp threads per cm, 5 wool or rosary that varied from thirty to around threads on the bobbins. Among forty or more one hundred colours without mentioning the shades, mixtures of colours, grey to green mixtures of different colours that could be arrives at pure colour, the red for signature. made on a bobbin. This is a work of art that marries well with My Garden the art of tapestry and for the delight of all concerned, weaver and the general public 2 x 2 m, 14 portées, or 5 warp threads (pp. 128 - 141). Face to face with this per cm, 5 wool threads on the bobbins. fortriptych of significant size, one cannot help Approximately forty shades in colour or but think of Picasso’s monumental Guernica: mixtures of colours. the samepublishing theme of denunciation, human brutality and its effects, the similar treatment The weavers had much enjoyment toying in both the forms and the colour palette—a with the numerous possibilities of the use of tapestry was also made of this work by De various weaving techniques and proved very La Baume-Dürrbach, after Pablo Picasso spontaneous in the rendering of this weave (1937), low warp tapestry, 1976, 3.30 x 7 m, (p. 143). To use one’s technical vocabulary to for the Unterlinden Museum, Colmar, France,on render the smooth passage of colour, even and the Rockefeller collection, New York. the Jenin Jenin on the loom, Ateliers Pinton site 14 15 courtesy

3 Quoted in Sheila Picasso gave advice to weavers, friends and artists and even in their use of colour. These oval, a language that is universal and can be 4 Jean Cocteau, Gibson Stoodley, Démarche d’un neighbours not to imitate. The same attitude techniques have found a firm position in the understood all over the world. Despite the ‘Dream Weavers,’ of poète (Paris, Art and Antiques, can be found in this new work, but with range of weaving techniques available to the harsh shades, the lack of movement in the 2013). September 2009, another formthe of expression. Commenting on weaver and constantly reappear in weaves forms, there remains the gentleness in the Accessed 25 February 2015, Picasso and his decision to create tapestries, some sixty years after their development. androgynous form – humanity in search of a http://www. Kykuit Curator Cynthiaartist Altman said: ‘He Proof, once more, that tapestry is not a ‘fixed’ dream – who dreams, eyes almost closed, artandantiquesmag. com/2009/09/ wanted to bring appreciation of modern art to art, but on the contrary one that is in constant and who continues to hope. dream-weavers/. everyone, and tapestries are more portable and discreet evolution. With this important set of tapestries and less fragile than the originals.’3 Onepresented could So, the piqués, pure shades that are Dia Azzawi, more than ever before, comes add that tapestry erased the distance created combined in the woven area, and the chinés, across as a true ‘citizen of the world’. The by paintings. ranges of different colours on the five yarns majority of artists that have be drawn to Jenin Jenin was created in response to a of the bobbin, were used. The use of dark tapestry, including amateurs that have brutal attack; it is not a work of revenge but grey was used for the dark colours, echoing collected tapestries to adorn their interiors, one of denunciation, of pain, and of a desire techniques of the Middle Ages where black often continue their relationship with the for peace. The representation of symbols is was replaced by similarin but less aggressive medium, it takes them over and becomes proof of this. This is not the wounded dove colours. A silver thread is woven here and a strong and irrepressible part of them and of peace of Apollinaire but one that soars, there to lighten the matt qualitypdf. of the wool. their art. Perhaps this will be the case for Dia like those of Picasso, Eluard or Cocteau. Silk is used to similar effect in the face or the Azzawi, with the promise of new weaves, The bird flies off to tell Noah that the waters dove. All of this creates a strong emotionalcopy woven with passion. As Cocteau once said, have withdrawn and that the ark can make impact and a direct relationship with the ‘a masterpiece is a painting, a poem, a land, that calm is restored to life on earth. theme. It can be compared to a return to the statue, a film, music that has the power to The visual resources have a shared aesthetic, fundamentals of tapestry, inspired as early as to metamorphose he who looks or listens as if understandable to all who grasp the gravity of the Renaissance by engravings and prints. they were a masterpiece.’4 the work’s content and message. The alchemy of moving from lines to the www.ibrahimicollection The black-and-white colouring of the quest for volume and colours occurs. Indeed, Translated from French by Susanne Cussell Bouret, Tapestry and Textile Conservator cartoon evokes the cold, death and the threat the lines and the drawings are conserved Jenin Jenin on the loom of the attack. This confrontation produces a with precision and lead to contrasts with the metallic effect, that is all the more attractive darkness of time, the poetry of human life and to the eye in that it is not frequent, generally the lyricism of a statement. speaking, but relatively common in the works In this same manner, the white of the of Dia Azzawi. This opposition is very recent background was rendered using a tone in tapestry, as it does not appear until the similar to that of undyed virgin wool, more middle of the twentieth century with the natural and soft, and mixed in with grey large areas of one colour and geometric yarns. This unified background assists in figures of the Cubists. However, it is difficult lessening the image of horror. The interlacing to reproduce in a weave, creating an threads of the keffieh, a magnificent artificial effect. It is therefore necessary to headdress that originates from the depths for use shades of grey, different shades of the of the desert, indicative of Arab identity and same colour which has prompted research therefore of recognition, appears as barbed publishing and experimentation by art teachers, art wire. The static elements do not move schools and the directors and weavers of downwards towards the earth. It appears as tapestry studios. For example, many trials if time has come to a standstill if one could were undertaken for the works of Agam and not recognize the life in the dove (the theme Adam. These specific weaving tests have of the bird appears frequently in Azzawi’s produced techniques that have served us well works); the language becomes powerful on in the past and are still used today by many with the representations of the dove and the the site 16 17 courtesy

of the artist presented

in pdf. copy to www.ibrahimicollection

for publishing

Azzawi working on Jenin Jenin, Scrubs Lane studio, London, on 2002 the site 18 19 courtesy

of Interview with Dia Azzawi* the Samar Faruqi It seems that you have been working more painting than a sculpture? with sculpture in recent years. When would artist you say that you really started to explore There was more success with painting the medium in depth and what were the because I put more emphasis on painting. reasons for that shift? This is why maybe now after 2010, when presented I did the large sculpture [Wounded Soul, From the beginning I had a lot of interest in Fountain of Pain] for the opening of the sculpture. I had about ten pieces which were Museum of Arab Art in Doha [in the exhibition exhibited in one of my shows in 1967 at the Interventions] that gave me the opportunity Iraqi Artists Society. At that time, I put more to a new experience in using the modern emphasis on painting, but when I went to technology of scanning a small model in London I started to work more on sculpture, then enlarging it into the size which was pdf. specifically after the eighties, and most of exhibited (3 x 3.50 x 2 metres). After that I these pieces were done in terracotta. I would went back to some of the old pieces which I use acrylic and paint these sculptures. Some had created and enlarged them in the same copy of these works were exhibited during the way. This technology was something that opening exhibition Four Artists at the Arab I was not initially used to, and it gave me World Institute [Institut du Monde Arabe] in more confidence to put more emphasis in to Paris, in 1988. creating more works [sculptures]. In a way it www.ibrahimicollection I kept making pieces but not that many; is easier for me to realize the work, making the exhibition I had was in 2005 in Amman a small model into a larger size like the two where I exhibited some work, about four sculptures, which was done in five months, or five pieces using for the first time a new which was absolutely fantastic if I compare material, polyester resin. Also before that that with the normal way of enlarging I did, using the same material, a large sculptures. sculpture (6 metres high) under the title Blessed Tigris [see p. xvi]. It was specially When you exhibited your sculptures in the created for the exhibition Word into Art 1960s, 1970s and 1980s, how were they [2006] which was held at the British Museum, received by audiences? its shape echoes that of the ninth-century minaret found in the ancient city of Samarra, Actually, I sold some of those pieces; the sculpture is inscribed with a poem by the audiences were very welcoming at that time. celebrated Iraqi poet Muhammad al-Jawahiri. The pieces were more reliefs than three- There was not really a shift but more a need fordimensional sculptures though. to explore the medium and how it was Wounded Soul, Fountain of Pain something that could add greater visual Havepublishing you held many exhibitions dedicated (2010) richness to my work as a painter. to sculpture? Horse: bronze 290 * 110 * 160 cm Basin: metal and At the start of your career did you have to No, this is the first exhibition focused on crude oil, roses in polyester resin consider the commercial implications of sculpture. Before, most of the works I 200 * 200 cm working with painting more than sculpture? exhibited were either prints or paintings. Mathaf: Arab Museum of Modern Would you have more success selling a on theArt, Doha site 20 21 courtesy

How important is it to you to form a which is something you can find in the desert, a different medium lead you to a different So you’re very much inspired by nature. linkof between the themes you explore in it is very common, but now it’s become very interpretation of the horse? painting with sculpture? Would you say that rare. The relationship with this phenomenon, Very much by nature, but by nature in two sculpturethe is an extension of your paintings? it in a way reflects my presence in Doha and Most of the time I use the horse to relate to very different aspects: some of the works are Or do you consider it an entirely different my continuing visits to the city, and maybe Iraq. The sculpture I did for the museum was of the desert rose, while others, which I have area of your work? artist it is unconscious, this desire to point to the about Iraq after the US invasion in 2003, it become more involved with, are imaginary necessity of developing local identities within was a great tragedy which forced me to go plants, which is influenced by … when I At the beginning, it was more related to a global context. Most of the pieces which to my past and use it. The tragedy of Karbala started work on the idea of the Hanging painting, but for the time being it has becomepresented I’m exhibiting are in polyester resin but there and what had happened in Karbala to the Gardens of Babylon, I had to create a sort of more independent in the way that it differs are four pieces in bronze. martyr, for example, had happened to more a plant or a garden which does not exist in a completely to what I am doing in painting. than hundreds of Iraqi academics, doctors, way. I had to try to create something different Now I have put more emphasis on the shape, Do you draw inspiration from any artists in professionals and specialists in various based on forms that are not available. how it works within the space, how I would particular when creating your sculptures aspects of life; they were assassinated by evil like to display a three-dimensional work in or are you led more by your paintings and death squads, this is the cream of society Some of the works are presented in solid comparison to a painting. From the beginning drawings? in who were killed by unknown people! Nobody colours – black, white, yellow or red – of the eighties I was more interested in using pdf. knows who killed them, it’s the same as Al while others include a range of colours acrylic colours in terracotta sculpture, which No, most of my work is very much related to Hussein in a way. It was all these people who and look more like toys or, to an extent, in a way became like a painting in 3-D. But my historical research and also my fascination were doing their best to make Iraq better ... three-dimensional interpretations of your now when I use colour, I colour the whole with Sumerian sculpture and primitive art copy killed, which means something is happening, paintings. Do the two groupings represent sculpture instead of painting on it. in general. For example, one of the themes this is like an accident or something, I don’t two different phases in this medium? I am working with is the Hanging Gardens know what, I cannot explain it but for me it Do find that you communicate your ideas of Babylon. The German photographer Karl to was really a protest about what is going on in They are different. In using colour some of the differently through sculpture? Is it different Blossfeldt, who is best known for his close- www.ibrahimicollectionthat sense. work is more related to how much I can add to when you create a painting? up photographs of plants and living things, some feature to the shape of the sculpture. inspired me a lot in creating various shapes At what point did you make that For example, I kept some of the work in It’s completely different. Because when I work which I call ‘imaginary plants’ (see pp. 117 connection? Was it when you were working white, which I tried to relate to marble in a with sculpture I am looking for the relationship and 119). Also another theme is the Tower of on Wounded Soul, or was it prior to that? way. With the others I try to give the idea of between the shape and the light, how the Babylon; both will be the centrepiece of my stone or granite … it is all about how I can piece works if I want to see the work from retrospective in Doha in 2016. Yes, immediately I started thinking about it in give the shape, which is more as you said different angles, which is different to what I do comparison to this tragedy. abstract, a depth so that it can relate to the with a painting. Also, I feel that sculpture is So it’s not that you are looking at other light, the space where I am displaying the more related to the environment in contrast to artists’ work and their treatment of Many of the sculptures you are including in sculpture. It’s different to when I work on painting. I love to have, for example, an open sculpture? this exhibition seem more abstract, more sculptures in bronze, which is completely space. This cannot be done when working simplified in form. Can you talk about what different because of the colour of the bronze on a painting but it can with sculpture. No, not in that way. I believe art is the has led you towards greater abstraction, I am using. It creates a different atmosphere, Specifically in the last three years, I have accumulation of experience, knowledge and which is something I think is also present in a different relationship with the viewer. Maybe been doing a lot of work, which I have never observing new trends in culture in general. your recent paintings? forthe works in polyester resin are more related exhibited before, a lot of small models, some to a kind of industrial production as opposed of which I am enlarging to make large pieces. The horse features in your earlier paintings No, they are not really [that abstract] because to thepublishing individual handmade work. All these pieces which I am doing now … the of the 1960s in relation to the tragedy of what I tried is using this phenomenon which large one, this is for my exhibition in 2016, for Karbala and the martyrdom of Hussein; it is a very abstract form (depending on the With your choice of black I can understand the retrospective which will be held in Doha. also has a strong presence in your recent way you look at it) created by nature not by how you relate it to stone or granite and The works that I am exhibiting now, at Meem sculptures, notably Wounded Soul, Fountain human beings, and this maybe make the white to marble, what led to the choice of Gallery, some of them are more inspired by of Pain. I remember you once telling works more reflective of the environment using yellow and red? the desert rose (pp. 97 – 109). I have done a me that in your recent works the horse rather than in the primitive way [of exploring on different interpretation of this phenomenon, represents Iraq; did working on its form in abstraction]. The bright colours which I use, this is maybe the site 22 23 courtesy

more related to my fondness of colour rather tried sculpture or when I made prints. This of than other things. I love colour, and maybe for me was really a way of adding some I thought I could make these works more richness to my vision, to my thinking, to my the attractive, richer [in appearance] … I can’t say work and when I did all this work I kept it in exactly. storage since 2005. For the first time now, I artist have used one of my paintings, Jenin Jenin Moving on to the tapestries. Can you (pp. 128 – 141), which is included in the discuss what prompted you to explore exhibition, to be made into a tapestry, but presented weaving and what aspects of the process most of the work I specifically designed by of creating the tapestries have stood out for Illustrator and then sent it to the weaver to you? make it [into a tapestry].

I became aware of tapestries as a way of What in the process of designing tapestries expression in the beginning of the eighties has stood out for you and has it altered the in when I was asked by an interior designer to way you approach the compositions of your pdf. work with a German tapestry weaver. Later paintings or drawings? Or do you keep it that work was hung in the Royal Pavilion in completely separate? Riyadh airport, also in my exhibition held in copy Kuwait in 1983 which included eight different I try to separate, but it’s not easy [laughs]. sized tapestries. Some of them are related to my work as a I do a lot of design, I work a lot with painter, specifically the new one, which will to Illustrator and Photoshop and when I was be exhibited, which is very much related to www.ibrahimicollectionin Amman I met an Egyptian guy who had a my painting in that sense. But in a way in a small shop where he made small kilims for different medium, instead of acrylic which I tourists. When I approached him, I showed can change many times until I feel happy with him a design [I made] and he said he could it, with tapestries I am a bit limited in a way weave it for me. This guy was actually a because of the colour they [the atelier] can brilliant weaver so I gave him some of the use, or the way they produce the line or the pieces which I designed using Illustrator and I shape, in that way it is different from painting gave him a print and he enlarged the pieces. but as a composition it is more related to my In a fantastic way he enlarged the pieces painting. to the size of 2 metres, 3 metres, I don’t know how he managed to do it, because Although you have clarified that with the the design was not that big but he managed tapestries it is more about design, loosely to complete it in a fantastic way. Tapestry is your tapestries are based on your paintings related to my interest in design rather than so how do you select which paintings, or painting. I use a lot of colour, yes, but rarely forwhich painting compositions, will work as do I relate it to my paintings. tapestries? For example, for this exhibition you havepublishing selected two works Oriental At that point when he made these samples Window and My Garden, which are similar for you, at that stage was it something that in that they are both quite abstract and you knew you wanted to explore further? colourful, while Jenin Jenin is figurative and Azzawi working Did you ever think you would exhibit your monochromatic. on the model for kilims or tapestries? Handala, London, No, but that’s what I’m saying. This is the first May 2010 on Photography by No, it was just for me. It’s like when I first time I have produced a painting as a tapestry. theChris Wood site 24 25 courtesy

Jenin, this is a work which I did in 2004, into tapestries, did their interest in the drawings, which I did for the sculpture, as a exhibition in that medium than put it together it’sof because of the topic of the painting, the medium impact your decision to work with way to balance the relationship between the with other materials. I mind putting marble massacre in Jenin, the Palestinian camps, tapestry? tapestry and sculpture. next to bronze but not next to polyester resin that I preferredthe not to use any colour in a way because the medium is completely different. – black and white – and I kept it as it is. But Maybe it gave me some idea but as far as I You’ve suggested including the drawings for me, maybe I wouldn’tartist do it again, in the know most of these works were produced to create a link between your sculpture and sense to produce the painting as a tapestry. I from paintings. As far as I know, the work * The interview took place on 12 January 2015 tapestries. From a curatorial perspective when Dia Azzawi was in Doha. prefer to do the work from the beginning as a of Miró and Léger, most of these works how do you see your sculptures and tapestry, even if it is related in its compositionpresented were very much related to their work, either tapestries working together in the same to a painting, I prefer to design the work a sketch or a painting which were then space? and to produce it within the limitations of the produced [as tapestries]. It’s not designed weaver’s ability to produce the work. specifically to be a tapestry. I have to be there and try to find a way because of the nature of sculpture: the colour, What prompted you to make Jenin Jenin Picasso’s Guernica was made into a the shape, and also people will go around into a tapestry? tapestry. in the sculpture to see the work. The tapestries pdf. hang on the wall. Also there is [the difference] I think maybe because I did the same with Yes, with Guernica what happened was in the media I am using so this is why I am Sabra Shatila for example. With Sabra at that time Rockefeller used to buy from thinking that the best way to demonstrate the Shatila, because of the kind of colour I used Picasso and then I think after the Second copy relationship between the three-dimensional in it, it made it very difficult to exhibit it for World War finished, the prices became work and two-dimensional work is to put long [periods] of time, which wasn’t effective. higher and higher and it became difficult for more drawings next to the tapestries. And And then a Palestinian friend, Dr Ramzi Rockefeller to buy a piece like Guernica. to also one of the pieces is a 2 x 3 metre Dalloul, who was planning to build museum in This why he asked Picasso to make it into a www.ibrahimicollectionrelief that will be part of the exhibition. In Beirut, approached me to produce the work tapestry so that he could give it as a gift to a sense, it is both two dimensional and as a tapestry to give to the museum at the the United Nations. Most of the tapestries three dimensional but its not [fully] three same time so it could be exhibited anywhere. that Picasso had made were related to his dimensional—it’s a piece which can hang on So I thought this was a fantastic idea. We work. the wall rather than a piece which the viewer approached many sources, one in China, one can go around. in North England, one in France and Spain And that’s where you differ, as you and the best weaver we found to produce the mentioned earlier, because you treat it as an You mentioned that when you make a work was in Spain. To produce the painting entirely different process. sculpture in a specific medium you almost [as a tapestry] they could make it maybe envision how you want it displayed so with around seventy per cent [accurate], which Yes. bronze you think of it as a more natural gave me the idea to produce one based on material, whereas the polyester resin is Jenin. I don’t think I would do it again with Did you always intend to exhibit these more industrial. If you had an exhibition of other paintings. I would only produce works works with your sculptures? your bronze sculptures do you have an ideal that were designed to be tapestries, not place you would like them exhibited, or for paintings that are made to be tapestries. This is more because of the curator of the with the polyester resin sculptures, is there exhibition, Charlie Pocock. Ideally I would an ideal place? Do you think the polyester publishing With Oriental Window and My Garden, have the tapestry as an exhibition [on its resin sculptures suit Meem Gallery as a those were designed to be tapestries? own]. space better?

Yes. So you never intended to exhibit your No, maybe because the different material tapestries with the sculptures, it just came gives a different impression also. I prefer, for Artists like Marc Chagall, Fernand Léger about this way? example, if I have the opportunity to display on and Pablo Picasso had their works woven Yes, this is why for example I will include work in marble [I would rather] have an the site 26 27 courtesy

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on Wounded Soul, Journey of Destruction (2010) Interventions exhibition, Mathaf: Arab Museum of Modern Art, Doha the Bronze 250 * 350 * 140 cm site 28 29 courtesy Preparatory Sketches and Drawings of the artist presented

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Sketchbook (2012) the Ink and watercolour on paper 60 * 42 cm site 32 33 courtesy

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Sketchbook (2013) the Ink and watercolour on paper 60 * 42 cm site 36 37 courtesy

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Sketchbook (2014) the Ink and watercolour on paper 60 * 42 cm site 46 47 courtesy

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Hanging Garden of Babylon Details (2013) the China ink on handmade paper 77 * 56.5 cm site 66 67 courtesy

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Homage to Khalil Hawi (2014) the Computer sketch 29.7 * 42 cm site 72 73 courtesy

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SB.SB.  SB. SB. on SB.  SB. Obelisk for Unknownthe Poet (2014) Computer sketch 29.7 * 42 cm site 76 77 courtesy Sculptures of the artist presented

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Toy Like No. 1 (2014) the Polyester resin 44 * 32 * 20 cm site 84 85 courtesy

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Toy Like No. 2 (2014) the Polyester resin 40 * 34 * 21 cm site 86 87 courtesy

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Toy Like No. 3 (2014) the Polyester resin 40 * 42 * 18 cm site 88 89 courtesy

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Abstract Form I (2012) the Polyester resin 80 * 48 * 41 cm site 90 91 courtesy

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Abstract Form II (2012) the Polyester resin 80 * 38 * 41 cm site 92 93 courtesy

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Abstract Form III (2012) the Polyester resin 72 * 38 * 33 cm site 94 95 courtesy

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Desert Rose I (2013) the Polyester resin 30 * 28 * 32 cm site 96 97 courtesy

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Desert Rose II (2013 the Polyester resin 36 * 35 * 27 cm site 98 99 courtesy

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Desert Rose III (2013) the Polyester resin 29 * 36 * 27 cm site 100 101 courtesy

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Desert Rose IV (2013) the Polyester resin 40 * 34 * 35 cm site 102 103 courtesy

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Desert Rose V (2013) the Polyester resin 68 * 56 * 48 cm site 104 105 courtesy

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Desert Rose VI (2013) the Polyester resin 72 * 51 * 72 cm site 106 107 courtesy

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Desert Rose VII (2013) the Polyester resin 78 * 53 * 35 cm site 108 109 courtesy

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White Obelisk (2014) the Polyester resin 186 * 84 * 79 cm site 110 111 courtesy

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Mural for Silent Music (2014) the Polyester resin 200 * 300 * 15 cm site 112 113 courtesy

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Handala (Martyr Signature) (2011) on Original bronze 29 * 17 * 10 cm Edition of 9 the Signed and numbered by the artist Cast by Strassacker Foundry, Germany site 122 123 courtesy

Suspiro del Moro (2012) Bronze 49 * 85 * 18 cm Cast by Strassacker ofFoundry, Germany the artist presented

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Jenin Jenin (2015) 14 portées, or 5 warp threads per cm, 5 wool threads on the bobbins 300 * 456 cm on (300 * 152 cm each) Triptych the site 128 129 courtesy

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Biography 1995 Dia Al-Azzawi, Oriental Gardens, Recent of Galerie Claude Lemand, Paris Paintings, Espace Claude Lemand, Paris the Born in Baghdad, 1939 1978 1996 2013 Patrick Seale Gallery, London Art Centre, Bahrain Bilad al-Sawad and Other Works, Art Paris, EDUCATION artist Grand Palais, Galerie Claude Lemand, Paris 1980 2002 Azzawi Retrospective, Institut du Monde 1962 Galerie Faris, Paris 2014 BA in Archaeology, Baghdad University,presented Galerie Centrale, Geneva Arabe, Paris Frieze Masters, Meem Gallery, London Baghdad 1981 2003 2015 Palestine and Mahmoud Darwish: Large Dia Azzawi. Something Different, Meem 1964 Art Basel, Galerie Faris, Paris Diploma in Fine Arts, Institute of Fine Arts, FIAC, Galerie Faris, Paris Polyptychs, Drawings, Prints and Books, Cité Gallery, Dubai Baghdad du Livre, Aix-en-Provence 1982 in SELECTED GROUP EXHIBITIONS SOLO EXHIBITIONS Intercontinental Hall, Abu Dhabipdf. 2004 Recent Paintings, Galerie Claude Lemand, 1967 Paris First International Triennial, New Delhi 1965 1983 Al-Wasiti Gallery, Baghdad Sabra and Shatila, National Council for Artcopy St’Art - Strasbourg Art Fair, Galerie Claude and Culture Gallery, Kuwait Lemand, Strasbourg 1971 Contemporary Arab Art, National Museum, 1966 Nicosia Dhia Al-Azzawi, Gallery One, Beirut 1984 to 2006 Alif Gallery, Washington, DC Prints and Sculptures, 4 Walls Gallery, www.ibrahimicollectionAmman 1967 1972 New Prints, Kalemmat Gallery, Aleppo Four Artists, National Museum of Modern Art, Dhia Al Azzawi: Exhibition of Paintings & 1986 Sculpture, Iraqi Artist Society Hall, Baghdad Royal Cultural Centre, Amman New Paintings, Dar Al-Funoon Gallery, Kuwait Baghdad New Prints, Galerie Claude Lemand, Paris 1968 1988 1975 Exhibition of Painting By Dhia Al Azzawi, Galerie Claudine Planque, Lausanne 2009 Seventh International Painting Festival, National Museum of Modern Art, Baghdad Retrospective, ADMAF, Sixth Abu Dhabi Cagnes-sur-Mer Music and Arts Festival, Emirates Palace, Abu International Summer Academy, Salzburg Gallery One, Beirut 1990 Alif Gallery, Washington, DC Dhabi Recent Paintings, Meem Gallery, Dubai 1969 Galleri Nakita, Stockholm 1976 Sultan Gallery, Kuwait Vanazff Gallery, Gothenburg A Retrospective Collection: Works from 1979 Second Arab Art Biennial, São Paulo Galerie des Art, Tunis to 2007, Espace Claude Lemand, Paris 1973 Galerie 50x70, Beirut 1980 Gallery Raslan, Tripoli, Lebanon 2011 forSalon de Mat, Paris Elegy To My Trapped City, Abu Dhabi Art, FIAC, Galerie Faris, Paris 1992 Meem Gallery, Manarat Al Saadiyat, Abu Salon d’Automne, Espace Cardin, Paris 1975 Flandria Gallery, Tangier publishing National Museum of Modern Art, Baghdad Dhabi 1994 1981 Seventh International Grafik Triennial, Frechen 1976 Al-Manar Gallery, Casablanca 2012 Gallery Nadhar, Casablanca Ab’aad Gallery, Amman Facing History: Dia al-Azzawi and Leon Galerie 50x70, Beirut Golub, Tate Modern, London 1984 Elegy To My Trapped City, Meem Gallery, British International Print Biennial, Bradford 1977 Al-Sayed Gallery, Damascus on Sultan Gallery, Kuwait Dubai First Arab Contemporary Art Exhibition, Museum of Modern Art, Tunis the site 148 149 courtesy

1985 2005 2010 Art Paris, Grand Palais, Galerie Claude Muséeof Hubert d’Uckerman, Grenoble Homage to Shafic Abboud, Galerie Claude Dia Al-Azzawi and Parviz Tanavoli, Abu Dhabi Lemand, Paris Lemand, Paris Art, Meem Gallery, Emirates Palace, Abu Sky Over the East: Works from the Collection 1986 the Dafatir. Contemporary Iraqi Book Art, Dhabi of Barjeel Art Foundation, International Salon Comparaisons, Grand Palais, Paris University of North Texas Art Gallery, Denton, My Home Land, Art Sawa, Dubai Museum Day, Abu Dhabi Music and Arts Semitic Museum, Harvardartist University, Texas Sajjil: A Century of Modern Art, Mathaf: Arab Foundation, Abu Dhabi Cambridge, Massachusetts Improvisation: Seven Iraqi Artists, Bissan Museum of Modern Art, Doha Abu Dhabi Art, Manarat Al Saadiyat, Meem Contemporary Arab Art, The Mall Gallery, Gallery, Doha, Al-Riwaq Gallery, Manama, and Interventions: A Dialogue Between the Gallery, Abu Dhabi London presented4 Walls Gallery, Amman Modern and the Contemporary, Mathaf: Arab Museum of Modern Art, Doha 2015 1987 2006 Art Dubai Modern (with Marwan), Madinat Third International Biennial Exhibition, Taiwan Portraits of the Bird, Festival of Arts, Bastia, 2011 Jumeirah, Meem Gallery, Dubai Corsica Art in Iraq Today: Part IV, Meem Gallery, Picasso in der Kunst der Gegenwart / 1988 Word into Art: Artists of the Modern Middle Dubai Picasso in Contemporary Art, Deichtor Hallen, Olympiad of Art, National Museum of East, British Museum,in London Art in Iraq Today: Conclusion, Solidere, Beirut Hamburg Contemporary Art, Seoul Dafatir. Contemporary Iraqi Bookpdf. Art, Art Center, Beirut and Meem Gallery, Dubai Azzawi, Jumaie, Nasiri, Kufa Gallery, London Carleton College, Northfield, Minnesota; Mashreq Maghreb: Paintings, Sculptures and SELECTED PUBLIC COLLECTIONS Minnesota Centre for Book Arts, Minneapolis, Prints, Contemporary Art Platform (CAP), 1989 Minnesota; University of Texas, El Paso, copy Kuwait Arab Monetary Fund, Abu Dhabi Contemporary Art from the Islamic World, Texas; Daura Gallery, Lynchburg College, Barjeel Art Foundation, Sharjah Barbican Centre, London Lynchburg, Virginia 2012 Bibliothèque Nationale de France, Paris Arab Graphic Art, NCCL, Kuwait to Meem Projects 2012. Part 1: Letters in Art. British Museum, London 2007 www.ibrahimicollectionPart 2: Modern Arab Art, Meem Gallery, Abu Development Fund, Kuwait 1997 Dafatir. Contemporary Iraqi Book Art, The Dhabi Art, Manarat Al Saadiyat, Abu Dhabi Fondation Colas, Paris Five Visual Interpretations, Green Art Gallery, Center for Book Arts, New York; Minneapolis Gulbenkian Collection, Lisbon Dubai Athenaeum, Minneapolis, Minnesota; NIU Art 2013 Harba Collection, Iraq and Italy Museum, DeKalb, Illinois; The Jaffe Center for Meem Projects 2013. Part 1: Modern Arab Institut du Monde Arabe, Paris 1998 Book Arts, Boca Raton, Florida Art. Part 2: Contemporary Arab Art – How Jeddah International Airport Azzawi & Nasiri, Galerie La Teinturerie, Paris Do You Sleep At Night?, Meem Gallery, Abu Jordan National Gallery of Fine Arts, Amman 2008 Dhabi Art, Manarat Al Saadiyat, Abu Dhabi Kinda Foundation, Saudi Arabia 2001 Word into Art: Artists of the Modern Middle Modern Iraqi Art: A Collection, Meem Gallery, Library of Congress, Washington, DC Machreq - Maghreb: Paintings and Books, East, British Museum, Dubai International Dubai Mathaf: Arab Museum of Modern Art, Doha Galerie Claude Lemand, Paris Financial Centre (DIFC), Dubai Tajreed (Abstract Arab Art), Contemporary Art Museum of Modern Art, Baghdad Iraq’s Past Speaks to the Present, British Platform (CAP), Kuwait Museum of Modern Art, Damascus 2002 Museum, London Painting, Sculptures and Projects Garden, Museum of Modern Art, Tunis The Kinda Foundation Collection, Institut du Iraqi Artists in Exile, Station Museum of Mathaf: Arab Museum of Modern Art, Doha Saudi Bank, London Monde Arabe, Paris Contemporary Art, Houston, Texas Re: Orient, Barjeel Art Foundation, Sharjah forTate Modern, London Dafatir. Contemporary Iraqi Book Art, Denison Una Foundation, Casablanca 2003 University, Granville, Ohio 2014 Unitedpublishing Bank of Kuwait, London Fondation Colas, Paris IRAQ: REFRAME. Moments from 20th Century Children of Gaza (in benefit of Salam ya Victoria & Albert Museum, London Broken Letter, Contemporary Art from Arab Iraqi Art, Part II, Montalvo Arts Center, Seghar in partnership with Save the Children), World Bank, Washington, DC Countries, Kunsthalle Darmstadt, Darmstadt Saratoga, CA Meem Gallery, Dubai Post-Picasso: Contemporary Reactions, 2004 2009 Museu Picasso, Barcelona Art Books and Painting, Galerie Claude Modernism and Iraq, Columbia University, Arab Modernities, Galerie Claude Lemand, on Lemand, Paris Wallach Art Gallery, New York Paris the site 150 151 courtesy

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Abu Dhabi Music and Arts Foundation and Barjeel Art Foundation. Sky Over the East: Alzeebawi, Mahmoud. ‘The East of —. ‘al-Fannan amam al-Tajruba (The Artists in Al-Bahloly, Saleem. ‘Dia Azzawi.’ Meem Works from the Collection of Barjeel Art Modernism.’ Dia Al-Azzawi: Paintings, 2009 – the Face of Experience), al-Muthaqaf al-Arabi Projects 2012. Part 1: Modern Arab Art. Part Foundation. International Museum Day 2014. 2011. London: Touch@rt, 2011. (Baghdad, 1976). 2: Letters in Art. Edited by Charles Pocock, Exhibition Catalogue. Abu Dhabi: ADMAF, Samar Faruqi, and Noura Haggag. Exhibition 2014. Amel, Pascal. ‘Dia Al-Azzawi ou la Révolution —.‘Manifesto: Towards a New Vision.’ In Al- Catalogue. Abu Dhabi Art, Meem Gallery, 7 – des forms.’ Art Absolument (May – June 2013). Bayanat al-Fanniyah fi al-Iraq (Art Manifestos 10 November. Dubai: Meem Editions, 2012, Abu Dhabi Music and Arts Foundation and in Iraq), edited by Shakir Hassan Al-Said. 8 – 13. Meem Gallery. 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Bahrani, Zainab and Nada Shabout. Carey, Frances. Collecting the 20th Century. —.‘The World of Art, The World of Being.’ Farzat, Sakher. ‘Al-Ofuq, Al-Da’aerh wa al- Modernismof and Iraq. Exhibition catalogue. London: British Museum Press, 1991. Meem Projects 2013. Part 1: Modern Arab Entilaq min al-Markz’ (The Horizon, the Circle, Wallach Art Gallery, Columbia University, New Art. Part 2: Contemporary Arab Art. Edited Proceeding from the Centre). Al-Youm El- York, 28 theJanuary – 28 March 2009. Collier, Caroline. Contemporary Arab Art. by Charles Pocock, Samar Faruqi, and Sabia (Paris, 23 May 1988): 38. Exhibition Catalogue. 23 – 25 August. Noura Haggag. Exhibition Catalogue. Abu Baydoun, Abbas. ‘Ashkalartist Min al-khat wa London: Blackman Harvey Gallery, 1982. Dhabi Art, Meem Gallery, Abu Dhabi, 20 – 23 Forgey, Benjamin. ‘Galleries.’ The Washington wahat min Alwan Gier Kamila’ (Forms of November, 1 – 8. Post (Washington DC, 10 May 1984): 20. 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