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B C M Y C 20 C 40 C 80 B C M Y CMY CMY B C M Y M 20 M 40 M 80 B C M Y BBC M Y Y 20 Y 40 Y 80 B C M Y C B C M Y B 20 Prinect CS−4 Format 52 Dipco 15.0i (pdf) © 2013 Heidelberger Druckmaschinen AG CY MY B C M Y M B C M Y C 20 C 40 C 80 B C M YYB C M Y M 20 M 40 M 80 B C M Y CMY CMY B C M Y Y 20 Y 40 Y 80 B C M

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ARTS STYLE CULTURE FROM THE ARAB WORLD AND BEYOND Black Cyan Magenta Yellow

# 42 Paper Height 35.0cm Printing Plate Height 45.9cm

A DIALOGUE BETWEEN GENERATIONS OF ARAB WOMEN IN ART

A DIALOGUE BETWEEN GENERATIONS OF ARAB WOMEN Cover_Selectiom_42 / Cover_Selectiom_42_Cover_ LEBANON_Front_1_Loose Binding_20-Sep-17 7:52:13 AM REWIND REFLECTIONS ON THE ARTIST AS MOTHER IN THE LIBRARY WITH LAURE GHORAYEB IN CONVERSATION WITH HRH PRINCESS WIJDAN ALI Cover_Selectiom_42 / Cover_Selectiom_42_Cover_ LEBANON_Front_1_Loose Binding_20-Sep-17 7:52:13 AM

LBP 15,000 / AED 37 Gripper Margin 1.0cm Baseline 5.0cm

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Times

0.5P Times Lin+ Brand_Two / 50.0 * 35.0 cm / 2 (matt coated) / 0.1200 mm / 400 g/m² 4 P 1P Times Times 2 P 2P Process Times Times 1 P Times Plate Control Strip 0.5 P 4P © Heidelberger Druckmaschinen AG 2015 Times CalCurveName Lin: V14L.0g (pdf) Suprasetter 15.0i (pdf) Process: Saphira

Million Plate Huber 1/16 0/100% 1% 2% 3% 5% 10% 20% 25% 30% 40% 50% 60% 70% 75% 80% 90% 95% 97% 98% 99% Paper Width 50.0cm Placeholder for the AGFA DigiControl wedge Printing Plate Width 52.5cm Paper Center Offset 0.0cm

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39 FOGRA

L • v2 v2 • L GrayCon GrayCon ECI/bvdm ECI/bvdm Gray Control Strip (L) • FOGRA39 cmy 70 k 70 cmy 50 k 50 cmy 30 k 30 cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off set on gloss or matt coated paper (PT 1+2) • 4 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 100 10 20 30 40 50 60 70 80 90 100 60 70 80 90 ISO 12647-2:2004/Amd 1 • Reference Paper Height 63.0cm FOGRA39.txt (www.fogra.org) • www.eci.org, www.bvdm.org Black Cyan Magenta Yellow Printing Plate Height 81.1cm

Printing Plate Height 81.1cm 235.0 x 285.0 mm 235.0 x 285.0 mm Black Cyan Magenta Yellow (www.fogra.org) • www.eci.org, www.bvdm.org FOGRA39.txt Paper Height 63.0cm • Reference ISO 12647-2:2004/Amd 1 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 4 set on gloss or matt coated paper (PT 1+2) •

ON ART, IDENTITY AND LABELS

In a special section dedicated to women artists,

• ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off Mona Khazindar, Nada Shabout and Nayla Tamraz speak with nine talented artists about life, work, equality and identity — DIALOGUES BETWEEN GENERATIONS BETWEEN — DIALOGUES ART cmy 70 k 70 cmy 50 k 50 cmy 30 k 30 cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 100 10 20 30 40 50 60 70 80 90 100 cm cy my 10 20 30 40 50 60 70 80 90 cmy 30 k 30 cmy 50 k 50 cmy 70 k 70 cmy ECI/bvdm Gray Control Strip (L) • FOGRA39

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In the 1980s, the Guerrilla Girls began wheat-pasting In the upcoming pages, three prominent curators and art provocative posters around New York. Fact-based and historians interview nine talented female artists from the enlivened by a wicked sense of humour, their research Arab world. Director general of the Institute du monde arabe highlighted inequalities between male and female artists and Mona Khazindar, art historian Nada Shabout and professor the sexism of the art world. of art history and literature Nayla Tamraz each speak with In 1985, they pointed out that while on average women in three artists about life, work and the gender barriers that still America earned two thirds of a man’s salary, women artists exist, 30 years after the Guerrilla Girls started their grass- earned only a third of their male counterparts’ income. A roots campaign for equality in the art world. 1988 poster on “The Advantages of Being a Woman Artist” Boushra Almutawakel, Maysaloun Faraj and Samia included the line “Knowing your career might not pick up till Halaby tell Khazindar, and Haya Al Hejailan, who helped in after you’re 80.” Their most famous poster, in 1989, asked “Do formulating the questions and liaising with the artists, about women have to be naked to get into the Met. Museum?” how they began their careers as artists, their thoughts on art Times have changed. But have they changed that much? and freedom, the role of activism in art, how they feel about Women are sometimes artists. Artists are sometimes women. labels and their relationships with the Western art world, The two facets of identity may be intimately intertwined, or among other topics. entirely incidental. And yet, whether or not a female artist’s Shabout talks to Iraqi artists Rheim Alkadhi, Hayv work is bound up with her gender, women artists around the Kahraman and Hanaa Malallah about subjects including world still face inequality and prejudice when it comes to sales, what it means to identify as an “Iraqi” artist, the challenges museum acquisitions and recognition from the art world. that come with making art as and about women and the politics of representation. Tamraz engages with Lebanese artists Etel Adnan, Lamia

101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Front_4_Perfect Binding_15-Sep-17 9:01:56 AM Joreige and Tagreed Darghouth about issues including the dangers of a female-oriented artistic discourse in exacerbating marginalisation and whether or not “Arab artist” and “women artist” are equally reductive terms, best addressed in the frame of an intersectional feminism.

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CalCurveName Lin: Placeholder for the AGFA DigiControl wedge 15.0i (pdf) Process: Brand_Three / 100.0 * 63.0 cm / 4 (uncoated) / 0.9000 mm / 120 g/m² Paper Width 100.0cm Printing Plate Width 105.5cm

13.8cm Paper Center Offset 0.0cm Offset Center Paper

Printing Plate Width 105.5cm Width Plate Printing 105.5cm Width Plate Printing

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101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_4_Perfect Binding_15-Sep-17 9:02:01 AM / Yellow Magenta Cyan Black / / / / AM AM AM AM 9:02:01 9:02:01 9:02:01 9:02:01 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Lebanon_42_Back_4_Perfect Lebanon_42_Back_4_Perfect Lebanon_42_Back_4_Perfect Lebanon_42_Back_4_Perfect Selection_Mag_42_Selection Selection_Mag_42_Selection Selection_Mag_42_Selection Selection_Mag_42_Selection / / / / 101846_Selection_42 101846_Selection_42 101846_Selection_42 101846_Selection_42 Yellow Magenta Cyan Black / / / / AM AM AM AM 9:02:01 9:02:01 9:02:01 9:02:01 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Lebanon_42_Back_4_Perfect Lebanon_42_Back_4_Perfect Lebanon_42_Back_4_Perfect Lebanon_42_Back_4_Perfect Selection_Mag_42_Selection Selection_Mag_42_Selection Selection_Mag_42_Selection Selection_Mag_42_Selection / / / / 101846_Selection_42 101846_Selection_42 101846_Selection_42 101846_Selection_42

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Gripper Margin 1.0cm Gripper Margin 1.0cm Y M C Y M C BB Y M C Y M C B YY M C B 80 B 40 B 20 B Y M C B M Y M C B 80 Y 40 Y 20 Y Y M C B C Y M C B 80 M 40 M 20 M Y M C B Y M C B 80 C 40 C 20 C Y M C B Y M C B Y M C Y M C Y M Y M C BB Y M C B 80 B 40 B 20 B Y M C B YY M C B 80 Y AG Y M C Druckmaschinen Y M Heidelberger C 2013 © (pdf) 15.0i BB Dipco Y M C 102/105 Y Format M CS−4i C Prinect B 20 M Y M YY C M B C B C 80 B Y 40 B M 20 B C Y B M 80 C C 40 B C 20 C M Y M Y C M C B BB 80 Y Y 40 Y M 20 Y C Y B M Y M C C Y M B C Y C C Y M Y C M B C B 80 M YY 40 M M 20 M C Y B M 80 C B 40 B B 20 B Y M Y C M B C B 80 C Y 40 C M 20 C C Y B M 80 C Y 40 B Y 20 Y Y M Y C M B C B Y M C Y Y M C M Y M C Y B M 80 C M 40 M 20 M BB Y M Y C M B C B M 80 B Y 40 B M 20 B C Y B M 80 C C 40 B C 20 C Y M YY C M B C B C 80 Y Y AG M C B Druckmaschinen Y M C Y Heidelberger M C 2013 M © C (pdf) Y 15.0i M Dipco C 102/105 0B Format CS−4i Prinect 20 M Y M C B C Y M C B 80 C 40 C 20 C Y M C BB Y M C B Y M C Y M C Y C Y M C B YY M C B 80 B 40 B 20 B Y M C B Y M C B 80 Y 40 Y 20 Y Y M C B Y M C B 80 M 40 M 20 M Y M C B M Y M C B 80 C 40 C 20 C Y M C B C Y M C B Y M C Y M C M C Y M C 0B 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_4_Perfect Binding_15-Sep-17 9:02:01 AM Black Cyan Magenta Yellow 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_4_Perfect Binding_15-Sep-17 9:02:01 AM Black Cyan Magenta Yellow

101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_4_Perfect Binding_15-Sep-17 9:02:01 AM 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_4_Perfect Binding_15-Sep-17 9:02:01 AM

39 39 FOGRA FOGRA

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ECI/bvdm ECI/bvdm ECI/bvdm Gray Control Strip (L) • FOGRA39 cmy 70 k 70 cmy 50 k 50 cmy 30 k 30 cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 ECI/bvdm Gray Control Strip (L) • FOGRA39 cmy 70 k 70 cmy 50 k 50 cmy 30 k 30 cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off set on gloss or matt coated paper (PT 1+2) • set on gloss or matt coated paper (PT 1+2) • ISO 12647-2:2004/Amd 1 ISO 12647-2:2004/Amd 1 • Reference • Reference Paper Height 63.0cm Paper Height 63.0cm FOGRA39.txt FOGRA39.txt (www.fogra.org) • www.eci.org, www.bvdm.org (www.fogra.org) • www.eci.org, www.bvdm.org

Printing Plate Height 81.1cm Printing Plate Height 81.1cm 235.0 x 285.0 mm 235.0 x 285.0 mm Black Cyan Magenta Yellow Black Cyan Magenta Yellow

ART— DIALOGUES BETWEEN GENERATIONS ART — DIALOGUES BETWEEN GENERATIONS 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100

Nayla Tamraz

Nayla Tamraz is a writer, art critic, researcher and professor of literature ON MARGINALISATION, and art history at St. Joseph University in Beirut. She has also been the Head of the ACTIVISM AND FEMINISM Department of French Literature and in 2010 she launched the MA in Art Criticism and Curatorial Studies that she heads. Nayla Tamraz interviews Etel Adnan, Lamia She has published numerous articles on artistic and literary theory and a collection Joreige and Tagreed Darghouth of essays exploring history and memory in literature and art in post-war Lebanon. She Nayla Tamraz portrait by Nayla Tamraz is currently the curator of the exhibition Poetics, Politics, Places that will take place in Argentina in the framework of the International Biennale of Contemporary Art of South America.

Louise Bourgeois was once asked, noble genres such as historical painting. “Do you see the art world as a men’s It was implied that women could only world?” and she answered, “Yes, it is be good enough for minor categories, a world where men and women try to which was obviously wrong. But this satisfy men’s power.” Therefore, she can explain the fact that, besides very noted the fact that women are not much rare exceptions (Marie Cassatt, Berthe represented and recognised in art Morisot or Judith Leyster), women artists history. We had to wait until the 1970s were rarely bold or creative, because for this issue of under representation they were not trained to be so. Today’s of women in art to be seriously raised art schools, everywhere, are more than by art historians. Linda Nochlin, for half full of girls. It is no longer difficult instance, raises a polemic question in for a woman to train to be an artist. a seminal article published in 1971 in Nevertheless, once past art school, all

Etel Adnan, photo by Simone Fattal. Photo Credits: artist Photograph of the artist by Polly Tagreed Dargouth portrait, © Giles Duley ARTnews: “Why Have There Been No sorts of obstacles stand in the way of Thomas, © Artes Mundi Great Women Artists?” In this article, she her further pursuit of a serious career. reviewed the social structures and the As a matter of fact, out of 169 artists institutional attitudes that influenced the who were invited to the exhibition Etel Adnan Lamia Joreige Tagreed Darghouth art produced by women and their art- An International Survey of Recent historical status as well. Painting and Sculpture, organised by Born in 1925 and raised in Lebanon, Born in Lebanon in 1972, Lamia Joreige Born in Saida, Lebanon, in 1979, Tagreed Nochlin’s article points out that in the the MoMA in 1984, one could count Etel Adnan studied philosophy at the is a visual artist and filmmaker who lives Darghouth is a painter whose work focuses Sorbonne, U.C. Berkeley and Harvard and and works in Beirut. She uses archival on the dangers and desires reflected in 19th century and earlier, institutional only 13 women. More than 30 years taught philosophy for 14 years. She is a documents and fictitious elements to reflect contemporary society. She studied art barriers were strongly established to later, we can reasonably ask ourselves writer, poet and visual artist, whose novel on the relationship between individual at the Lebanese University in Beirut and cut women off from essential training if women artists are still under- Sitt Marie-Rose, exploring the Lebanese stories and collective history. She explores at École Nationale Supérieure des Arts to become professional artists; they represented in art institutions all over Civil War, has been translated into more the possibilities of representation of the Décoratifs in Paris. Her figurative paintings couldn’t study the nude, nor attend the world, especially in the Arab world than ten languages. Now in her 90s, Lebanese wars and their aftermath, and have focused on themes including war, the she continues to work as a visual artist, Beirut, a city at the center of her imagery. exploitation of domestic workers and the the Academy courses. They were only where particularism, religion, tradition producing semi-abstract paintings and Her work is essentially on time, the power of the atomic bomb. Tagreed also allowed to work on portraits and still life, and identity politics have inhibited the folding leporellos. recordings of its trace and its effects on us. participated in Ayloul’s Summer Academy, where models were easily available. possibility of embarking on an in-depth intensive workshops directed by Marwan Thus they were not able to practice and international scaling debate. Kassab Bachi at Darat Al Funoun in Amman.

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101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Front_5_Perfect Binding_15-Sep-17 9:02:08 AM / Yellow Yellow Magenta Magenta Cyan Cyan Black / / / / Black / / / / AM AM AM AM AM AM AM AM 9:02:08 9:02:08 9:02:08 9:02:08 9:01:56 9:01:56 9:01:56 9:01:56 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Lebanon_42_Front_5_Perfect Lebanon_42_Front_5_Perfect Lebanon_42_Front_5_Perfect Lebanon_42_Front_5_Perfect Lebanon_42_Front_4_Perfect Lebanon_42_Front_4_Perfect Lebanon_42_Front_4_Perfect Lebanon_42_Front_4_Perfect Selection_Mag_42_Selection Selection_Mag_42_Selection Selection_Mag_42_Selection Selection_Mag_42_Selection / / / / Selection_Mag_42_Selection Selection_Mag_42_Selection Selection_Mag_42_Selection Selection_Mag_42_Selection / / / / 101846_Selection_42 101846_Selection_42 101846_Selection_42 101846_Selection_42 101846_Selection_42 101846_Selection_42 101846_Selection_42 101846_Selection_42

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Gripper Margin 1.0cm Gripper Margin 1.0cm Y M C Y M Y C Y M M C C BB BB Y M C Y M Y C Y M M C C B B YY YY M M C C B B 80 B 80 40 B B 40 20 B B 20 Y B Y M M C C B B M M Y Y M M C C B B 80 Y 80 40 Y Y 40 20 Y Y 20 Y Y Y M M C C B B C C Y Y M M C C B B 80 M 80 40 M M 40 20 M M 20 Y M Y M M C C B B Y Y M M C C B B 80 C 80 40 C C 40 20 C C 20 Y C Y M M C C B B Y Y M M C C B Y B M C Y Y M M C C Y M Y C M Y M Y Y M M C C BB BB Y Y M M C C B B 80 B 80 40 B B 40 20 B B 20 Y B Y M M C C B B YY YY M M C C B B 80 Y 80 Y AG AG Druckmaschinen Druckmaschinen Heidelberger 2013 Heidelberger © 2013 © (pdf) 15.0i (pdf) 15.0i Dipco Dipco 102/105 102/105 Format Format CS−4i CS−4i Prinect Prinect 20 M 20 Y M Y M M C C B B C C Y Y M M C C B B 80 C 80 40 C C 40 20 C C 20 Y C Y M M C C BB BB Y Y M M C C B Y B M C Y Y M M C C Y M Y C C Y C Y Y M M C C B B YY YY M M C C B B 80 B 80 40 B B 40 20 B B 20 Y B Y M M C C B B Y Y M M C C B B 80 Y 80 40 Y Y 40 20 Y Y 20 Y Y Y M M C C B B Y Y M M C C B B 80 M 80 40 M M 40 20 M M 20 Y M Y M M C C B B M M Y Y M M C C B B 80 C 80 40 C C 40 20 C C 20 Y C Y M M C C B B C C Y Y M M C C B Y B M C Y Y M M C C Y M M C C M C Y Y M M C C 0B 0B 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Front_5_Perfect Binding_15-Sep-17 9:02:08 AM Black Cyan Magenta Yellow 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Front_4_Perfect Binding_15-Sep-17 9:01:56 AM Black Cyan Magenta Yellow

39 39 FOGRA FOGRA

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ECI/bvdm ECI/bvdm ECI/bvdm Gray Control Strip (L) • FOGRA39 ECI/bvdm Gray Control Strip (L) • FOGRA39 cmy 70 cmy k 70 70 k cmy 70 50 cmy k 50 50 k cmy 50 30 cmy k 30 30 k cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 30 cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off set on gloss or matt coated paper (PT 1+2) • set on gloss or matt coated paper (PT 1+2) • ISO 12647-2:2004/Amd 1 ISO 12647-2:2004/Amd 1 • Reference • Reference Paper Height 63.0cm Paper Height 63.0cm FOGRA39.txt FOGRA39.txt (www.fogra.org) • www.eci.org, www.bvdm.org (www.fogra.org) • www.eci.org, www.bvdm.org

Printing Plate Height 81.1cm Printing Plate Height 81.1cm 235.0 x 285.0 mm 235.0 x 285.0 mm Black Cyan Magenta Yellow Black Cyan Magenta Yellow

ART — DIALOGUES BETWEEN GENERATIONS ART — DIALOGUES BETWEEN GENERATIONS

NAYLA TAMRAZ: We know that the number in the arts. For the very young It’s a fact though that the older fact that some of the best artists people, the situation has changed. They generation of women artists did face in every medium are women is are promoted as much as the boys, and this inequality. Take Saloua Raouda unquestionable: good art has no in the art schools of the main capitals of Choucair as an example. Choucair sex. But in terms of art market, apart the world one can find that the number of got the recognition she deserved from some rare exceptions, do you girls has caught up with the one of boys. only recently, and after a long-term think that today’s women artists get LAMIA JOREIGE: Let’s be clear. I don’t career that proved to be an extremely 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 the prices men do, or that museums think there is equality today, in the powerful one. I am convinced that in are ready to support young women market or even in the visibility between general, yes, men who are engaged in artists as much as they support women and men in the art world. The the art field take time before trusting a 4 young men? Don’t you think that reasons for this are not always clear. I woman’s artwork, and thus giving her women artists generally have to don’t want to go into speculation. I don’t recognition. But times have changed be extraordinarily well-established think women have to be extraordinary to our favour now, and probably in before being bought for collections, well-established today before being Lebanon more than the other Arab or given major exhibitions? bought for collections. You have some countries. Here we have less tension 5 ETEL ADNAN: Women artists have come young women artists who are part of regarding the gender issue, although a long way thanks to some artists from collections. But I do think, at least for an it still exists. Germany and the United States, Agnes older generation of women, who were Martin and Georgia O’Keeffe coming to as good as their male peers, that they N.T: Are collectors, museums, my mind. Louise Bourgeois too. Now only reached recognition at a late stage curators and galleries up on things? there are as many women as men in all of their lives and careers. And is this still happening while the major galleries in the world. I don’t I’m not talking just about the Arab women begin to occupy prominent know the situation in Asia... I would think world. We are witnessing today a sort of places in the art world as creative that they are still struggling. We don’t hear attempt by many institutions worldwide artists? Or when curators and dealers much about women artists from Latin to render visible works by women are women? America either. In the U.S. and Europe, artists that were done decades ago and LAMIA JOREIGE: Collectors and curators that were not given the proper visibility are participating in this, for better and at the time, for reasons that go beyond worse. Today, curators have reached the art world. This inequality goes back such a prominent position. There is If we still hear more thousands of years. For all the reasons this sort of curator stardom that has that exist in all other fields, these risen since the ’80s. Curators have a about men than women women were not visible. And you see very important role in the career of an artists, it’s because they that many institutions are now trying to artist, like the one art critics in the ’50s find, to uncover and unfold the works and ’60s used to have. I don’t like to are still more numerous of women artists. So I wouldn’t say use the word ‘career’ or even the word that today’s institutions do not include ‘profession,’ this is not how I see my work. younger women, and you don’t have But if you want to make a generalisation I would say that the art world is open to to wait until you are highly established or if you want to talk about it as a field, them as much as to men. I don’t think because it has changed. You have like any other field, I think that obviously that women have more difficulties than some kind of change, a progress, but the role of curators and the role of major men finding galleries at home or abroad. we are not there yet. biennales and museums are prominent, I would say that sometimes it helps to be TAGREED DARGHOUTH: I think that your and you can almost retrace their paths a woman artist, as there is great curiosity question relates more to the Western in an artist’s life. But it is very important about women: galleries and collectors art market than the Middle Eastern one. to maintain the idea that you can also may think that there’s a possibility to As a Lebanese artist, working and living find your place in this world without renew art through a feminine approach. in Beirut, I have never encountered a following these paths. Women also tend to be more aggressive, gender-based situation. At least from So there is always this tension. In the more tenacious in finding galleries... men what I have noticed, prices are rather end, you know it is very hard to make get discouraged more easily, it seems based on age, the taste of the local it without being part of these biennales above: Etel Adnan, to me. But the art world has become art collectors and who is considered a and museums. This is not the reason Untitled (072), 2010, oil on canvas, 24 × 30 cm, primarily a market, so galleries favour current “successful investment;” it’s a bit why you do your art but there is always courtesy of the artist and Sfeir-Semler Gallery those artists they can sell, regardless more complicated than being a woman this tension. How am I going to make my Beirut/Hamburg of the fact that they are women or men. artist or a man artist. I believe that work visible and share it with everyone right: Etel Adnan, If we still hear more about men than here in Beirut an artwork is perceived if it is not in that public space? It is also Untitled (073), women artists, it’s because they are still regardless of the artist’s sex. My prices a matter of visibility and publicity, and 2010, oil on canvas, 24 × 30 cm, courtesy more numerous. And it’s also true for the probably match most of my other fellow your work also exists when it is shared of the artist and Sfeir-Semler Gallery old generation where women are less in colleagues who are of my same age. with the public. Beirut/Hamburg

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Gripper Margin 1.0cm Gripper Margin 1.0cm Y M C Y M C BB Y M C Y M C B YY M C B 80 B 40 B 20 B Y M C B M Y M C B 80 Y 40 Y 20 Y Y M C B C Y M C B 80 M 40 M 20 M Y M C B Y M C B 80 C 40 C 20 C Y M C B Y M C B Y M C Y M C Y M Y M C BB Y M C B 80 B 40 B 20 B Y M C B YY M C B 80 Y AG Druckmaschinen Y M C Heidelberger Y 2013 M © (pdf) C 15.0i Dipco BB 102/105 Y M Format C CS−4i Y M Prinect C 20 M B Y M C YY B M C C B Y 80 B M 40 B C 20 B B Y 80 C M 40 C C 20 C B Y M M C Y M BB C B Y 80 Y M 40 Y C 20 B Y Y Y M C Y M M C C Y C B Y M C C Y B M C B YY 80 M M 40 C M 20 B M Y 80 B M 40 B C 20 B B Y M C Y B M C B Y 80 C M 40 C C 20 B C Y 80 Y M 40 Y C 20 Y B Y M C Y B M C B Y Y M M C Y M C C Y M B Y 80 M M 40 M C 20 M Y M BB C Y B M M C B Y 80 B M 40 B C 20 B B Y 80 C M 40 C C 20 C B Y M C YY B M C C B Y 80 Y M C AG B Y M C Druckmaschinen Y M C M C Heidelberger Y 2013 © M (pdf) C 15.0i Dipco 0B 102/105 Format CS−4i Prinect 20 M Y M C B C Y M C B 80 C 40 C 20 C Y M C BB Y M C B Y M C Y M C Y C Y M C B YY M C B 80 B 40 B 20 B Y M C B Y M C B 80 Y 40 Y 20 Y Y M C B Y M C B 80 M 40 M 20 M Y M C B M Y M C B 80 C 40 C 20 C Y M C B C Y M C B Y M C Y M C M C Y M C 0B 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_5_Perfect Binding_15-Sep-17 9:02:12 AM Black Cyan Magenta Yellow 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_5_Perfect Binding_15-Sep-17 9:02:12 AM Black Cyan Magenta Yellow

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Printing Plate Height 81.1cm Printing Plate Height 81.1cm 235.0 x 285.0 mm 235.0 x 285.0 mm Black Cyan Magenta Yellow Black Cyan Magenta Yellow

ART — DIALOGUES BETWEEN GENERATIONS ART — DIALOGUES BETWEEN GENERATIONS

I took a diversion to explain the still hold in their minds. My body of work Lebanese artist. Of course, I am an Arab reasons for an artist to want to be in debunks their image of how women do artist, but I don’t necessarily identify as such places, apart from the desire for art. But, let me tell you something, my such or say that my work is about being recognition. The fact is that you can real worry has nothing to do with the female or the fact that I am a female. Of barely ‘make it’ today without these gender issue. It’s at that moment while course, this is embedded in who I am. considerations. And so it depends I’m standing in front of my canvas, the I’ve worked on the body, and many on who’s there, but having a woman anguish of becoming better. It is never issues on the body, but I never felt I had 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 at the head of a biennale, or at the between me and the outside world. barriers in my production here or in my head of a museum, does not make A painting or an artwork is going to freedom of speech being in Lebanon. I her recognise other women, as we impress anybody if it is well executed. think this is important to say. know. Unfortunately. I’m always occupied with the desire to T.D: I never approach my canvas evolve as an artist. I make sure that all N.T: But the question is less if it thinking that I am a woman or a man. sorts of potential distractions remain is more difficult to be in the Arab I’m a strong believer, though, that a outside my studio. world than abroad than if it is well-constructed experience is going to more difficult to be a female artist prove itself, whether it’s a he or a she N.T: Is it after all easier for the women in the Arab world. who is behind it. I believe that our actual artists whose work is being shown in L.J: Yes, but not more than being a problem here in Lebanon is the current London, Amsterdam, Berlin and New female artist abroad. I feel like in the academic teaching level. The deficiency York than for those who develop younger generations of artists there are of good art schools, great instructors, their carrier in Beirut, Cairo, Amman, more female artists now, and they don’t the lack of public museums, the limited Ramallah and other centres of the have such differences between them access to private art collections. It is the Arab world? and male artists. fact that art students are not being well T.D: Definitely, Western “women artists” exposed to art. are exposed to places where art is N.T: So this is really a always in action. So yes, as I have question of generation? N.T: What are the challenges women mentioned earlier, a three times effort L.J: It could be. I mean, there is artists from the Arab World faced or is necessary in our case. But I am quite something that is shifting and are still facing in order to sell their optimistic. I’m impressed with the work progressing for the better, between the work and gain recognition? of lots of Arab women and I trust that generation of women working in the T.D: I think artists of both genders their condition is going to get even ’60s, those who started working in the face problems. Not until you find a better. The issue of men and women mid-’90s, and the current one. I don’t good gallery, start to acquire a mature artists is going to be behind us in the know about the situation abroad. I have experience, be well-presented in upcoming few years. friends who are women artists from my exhibitions, museums and art fairs… L.J: I never felt, living in Lebanon (I’ve generation and who are living in France, These challenges face all artists, been working and living here in Beirut Berlin, London, and I don’t think that by here and in the Arab world. As I have for 20 years, except last year, when I living abroad they have more visibility mentioned earlier, Lebanon has made was in Cambridge), that it was harder than us here. considerable progress regarding to be a woman artist than a male artist. gender issues. Some other Arab I felt it was harder to be visible as a N.T: Did it become easier for women countries haven’t yet, so basically Arab woman in the art world in terms of art when contemporary art came along? women and women artists still have lots market, such as being represented by While it was coming off academic of work ahead of them. a good gallery. And all these things are references, contemporary art I do agree that more effort is connected. So, for instance, depending opened up to sociology, philosophy demanded from women artists on where you show and which is your and psychoanalysis, all of them in order to be recognised. This is gallery, you’ll have more institutional disciplines often associated with understandable, considering that shows — all these things are connected. Marxist thinking. Has “anti-painting” women’s experience in this field is still But I never felt that the issue was to be — in the form of photography, video,

Lamia Joreige, “young.” I cannot, for example, ask an art an Arab artist versus a non-Arab artist. installation, and performance — One Night of Sleep, collector to trust a woman’s artwork for If I think about the Arab artists of my gained popularity among women photograms, 180 × 95 cm, 2013, the sole reason that she has the right generation (who are in their 40s and because “they were associated with © The artist to be treated equally. An artist must 50s today), there weren’t many women feminist refusal of the patriarchal work and her experience will inevitably Lebanese artists, and they didn’t have reign of the painted masterpiece”*? be acknowledged. One undoubtedly the same market value or visibility Do you think that these other media needs to fight. as their male counterparts who had offered an independent territory for My artwork has always been confused started at the same time. But it’s not expression? Did these new ways of with that of a man’s or an older woman. because I am in Beirut. Of course, I thinking of art beside the academic I think this proves the stereotype some am a female artist and of course I am a tradition give them the opportunity

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101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Front_5_Perfect Binding_15-Sep-17 9:02:08 AM / Yellow Magenta Cyan / / / AM AM AM 9:02:08 9:02:08 9:02:08 Binding_15-Sep-17 Binding_15-Sep-17 Binding_15-Sep-17 Lebanon_42_Front_5_Perfect Lebanon_42_Front_5_Perfect Lebanon_42_Front_5_Perfect Selection_Mag_42_Selection Selection_Mag_42_Selection Selection_Mag_42_Selection / / / 101846_Selection_42 101846_Selection_42 101846_Selection_42 2.75cm Black / AM 9:02:08 2.75cmBinding_15-Sep-17 Lebanon_42_Front_5_Perfect Selection_Mag_42_Selection / 101846_Selection_42

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Gripper Margin 1.0cm Y M C Y M C BB Y M C Y M C B YY M C B 80 B 40 B 20 B Y M C B M Y M C B 80 Y 40 Y 20 Y Y M C B C Y M C B 80 M 40 M 20 M Y M C B Y M C B 80 C 40 C 20 C Y M C B Y M C B Y M C Y M C Y M Y M C BB Y M C B 80 B 40 B 20 B Y M C B YY M C B 80 Y AG Druckmaschinen Heidelberger 2013 © (pdf) 15.0i Dipco 102/105 Format CS−4i Prinect 20 M Y M C B C Y M C B 80 C 40 C 20 C Y M C BB Y M C B Y M C Y M C Y C Y M C B YY M C B 80 B 40 B 20 B Y M C B Y M C B 80 Y 40 Y 20 Y Y M C B Y M C B 80 M 40 M 20 M Y M C B M Y M C B 80 C 40 C 20 C Y M C B C Y M C B Y M C Y M C M C Y M C 0B 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Front_5_Perfect Binding_15-Sep-17 9:02:08 AM Black Cyan Magenta Yellow

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39 FOGRA

L • v2 v2 • L GrayCon GrayCon ECI/bvdm ECI/bvdm Gray Control Strip (L) • FOGRA39 cmy 70 k 70 cmy 50 k 50 cmy 30 k 30 cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off 5 set on gloss or matt coated paper (PT 1+2) • 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 100 10 20 30 40 50 60 70 80 90 100 60 70 80 90 ISO 12647-2:2004/Amd 1 • Reference Paper Height 63.0cm FOGRA39.txt (www.fogra.org) • www.eci.org, www.bvdm.org Black Cyan Magenta Yellow Printing Plate Height 81.1cm

Printing Plate Height 81.1cm 235.0 x 285.0 mm 235.0 x 285.0 mm Black Cyan Magenta Yellow

(www.fogra.org) • www.eci.org, www.bvdm.org ART — DIALOGUES BETWEEN GENERATIONS ART — DIALOGUES BETWEEN GENERATIONS FOGRA39.txt Paper Height 63.0cm

• Reference to get off the established male artists’ criticising the omnipresence and the As for Arab women who choose pattern? How has the art scene historical understanding that painting is new art fields over painting, probably changed for women in the Arab really more of a man thing. the reason is that these mediums world since 2000? I was recently at the Rose Art Museum are accessible now. I know that the ISO 12647-2:2004/Amd 1 E.A: It is true that women are better in Brandeis University, Massachusetts, percentage of girls in the painting known in the other media than oil watching Ana Mendieta’s work, Body and sculpting section at the Lebanese painting. I think it’s mainly because Tracks. They are a feminist response University of Fine Arts surpasses 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 they themselves are more attracted to Yves-Klein. Of course, as body their fellow boys. I do think, though, to the other forms of art, that they prints, they are performative but they that painting requires high skill and think it’s more “avant-garde” to make nevertheless are drawings. Also Etel — craftsmanship. It is visual, physical and

set on gloss or matt coated paper (PT 1+2) • installations, for example, than oil she’s a painter and she’s a feminist. needs constant practicing to evolve. paintings. In part, there’s more room for I am not at ease with this statement. Being a painter, I assure you is highly being experimental in the other forms I think the shift (to the other media you challenging, especially if you are aiming of visual arts. For painting on canvas mention) has to do with technological for “original results.” progress and with a certain 5 democratisation and freedom in the N.T: In the Arab countries, the topic ability of using images and making shows more problematic aspects: Being a painter, I images. I personally needed to deal we live in a world where, broadly

• ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off assure you is highly with issues related to the narration of speaking, women are still oppressed. the Lebanese wars and the question Some of them still die from challenging, especially of history. I had to use a medium that mistreatment, they sometimes can’t if you are aiming for could unfold through time. I often used initiate court cases and they can still a time-based media because I was be pushed into marriage. Do you “original results.” interested in the recording of speeches think that the rising of the so-called

cmy 70 k 70 cmy 50 k 50 cmy 30 k 30 cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 100 10 20 30 40 50 60 70 80 90 100 cm cy my 10 20 30 40 50 60 70 80 90 cmy 30 k 30 cmy 50 k 50 cmy 70 k 70 cmy ECI/bvdm Gray Control Strip (L) • FOGRA39 and testimonies. There was an urgency “Arab Spring” has placed these after the war, where I felt the need issues on a more political scale?

ECI/bvdm there’s little room for formal invention. to confront myself to the notion of Consequently, has the art scene GrayCon L • v2 FOGRA39 The field is exhausted. You can always testimony, to the notion of the real and changed for women since 2011? And paint, the individual is always new, its relation to documentary and fiction did activism through art — and more unique, but formal invention is rather and the narratives that could be created specifically women artists’ activism exhausted: they did black on black out of this. I felt it was impossible for me — contribute to put these issues into and white on white, they even tore the to do that through painting. This is very the sphere of politics? canvas, or burned it, so one feels that personal. I don’t think it had to do with E.A: Women are still oppressed all the other forms are still practically virgin. being a woman versus a male. over the world: more mildly in some Women in the Arab world follow that T.D: I do agree. The experimentation parts, very much so in the Arab world pattern. The successful women artists in of Western women artists in mediums that interests us here. In many cities the Arab world like Mona Hatoum and like performances, art installation, their situation has improved, and in Emily Jacir or Samia Halaby and a few was definitely an act of defying the some countries more than in others. others use mixed media, assemblage patriarchal system. Marina Abramović Tunisia and Lebanon are better places or performance or installations in very is a perfect example. I was watching for women than the other countries, creative ways, and they are more the other day her MoMA retrospective the worst possible being Saudi Arabia, political than the European or American documentary titled The Artist is which, to make things worse, spreads artists because they come from Present. Abramović speaks about her its Wahhabism all over. But these are countries in trouble. early performances, explaining the oppressive societies, and men are L.J: I am not sure I would agree with where difficulties she encountered, both for oppressed too: look at the way Egypt is this is coming from, when speaking of being a woman and the fact that she repressing its opponents. It’s a problem today’s situation. I don’t think of the use was experimenting in a brand new art that includes men and women. Women

of photography and video installation field, and finally the fact that doubts artists’ activism is a recent phenomenon, Tagreed Dargouth, as anti-painting. I studied painting and regarding her art remained until her but political activism in some Arab Shall You See Me Better Now?, 2015, 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Front_5_Perfect Binding_15-Sep-17 9:02:08 AM cinema and I don’t necessary see retrospective. She is quite aware of countries did not start with women acrylic on canvas, 120 × 166 cm, courtesy mediums as contradictory. I don’t see the bitter reality that the institution, artists, but with women lawyers, doctors, of Ramzi & Saeda video or photography as anti-painting, in this case MoMA, is still in control. I housewives... In Egypt, it started in the Dalloul Art Foundation I still see myself as a painter, although believe her experience, more or less, late ’20s... in Lebanon we had people I don’t necessarily paint anymore. resumes the condition of Western like Laure Moughaizel or Janine Rubeiz I’m speaking based on my personal women artists in the ’60s, ’70s and who were pioneers... Very few Arab experience. Many women continue to later. Abramović’s is an admirable story women artists are directly concerned paint and revisit the genre while still of persistence and authenticity. with political and social issues... Artists

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CalCurveName Lin: Placeholder for the AGFA DigiControl wedge 15.0i (pdf) Process: Brand_Three / 100.0 * 63.0 cm / 4 (uncoated) / 0.9000 mm / 120 g/m² Paper Width 100.0cm Printing Plate Width 105.5cm

13.8cm Paper Center Offset 0.0cm Offset Center Paper Paper Center Offset 0.0cm Paper Center Offset 0.0cm 13.8cm 13.8cm

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235.0 x 285.0 mm 235.0 x 285.0 mm

set on gloss or matt coated paper (PT 1+2) • like Mona Hatoum or Samia Halaby there is a strong campaign in Lebanon How does this translate into art? set on gloss or matt coated paper (PT 1+2) • are an exception, probably because against a law that prevents a rapist This has more to do with being militant they’re also Palestinians. Some women from being prosecuted if he marries or not than with the issue of being a writers are more aware of the political the woman he raped. Art is a political female or not. Even though my art is importance of their writings... they are territory but it’s fine for me if these are political, for instance when I deal with too many to be mentioned, but women civic movements or activist movements the wars, I don’t do it as an activist or like Hanan al-Shaykh and Joumana that have nothing to do with art. And I a militant. Same for when it comes to Haddad come to mind. The fact that think that in Lebanon they are doing women’s rights.

• ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off women artists are in the open, in the a great job, at least on the level of T.D: Unfortunately, the so called “Arab • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off streets, so to speak, gives them a awareness, because the video they Spring” gave rise to the emergence of political importance: they are visible made on this issue was widely shared radical movements, and along with it in the streets, as just said, and in the on social media, although I wasn’t here a set of values and attitudes that work papers, on television... so they attract to see the installation that was done by against women, humanity itself and

left: Etel Adnan, Untitled (247), attention and become models, an an artist. culture. I think that the local art scene 2016, oil on canvas, 32 × 41 cm,

cmy 70 k 70 cmy 50 k 50 cmy 30 k 30 cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 100 10 20 30 40 50 60 70 80 90 100 cm cy my 10 20 30 40 50 60 70 80 90 cmy 30 k 30 cmy 50 k 50 cmy 70 k 70 cmy ECI/bvdm Gray Control Strip (L) • FOGRA39 encouragement for other women I think that anything can contribute is at a distance from what is happening. 10 20 30 40 50 100 10 20 30 40 50 60 70 80 90 100 cm cy my 10 20 30 40 50 60 70 80 90 cmy 30 k 30 cmy 50 k 50 cmy 70 k 70 cmy ECI/bvdm Gray Control Strip (L) • FOGRA39 courtesy of the artist and Sfeir- Semler Gallery Beirut/Hamburg to understand that a better world is to awareness and to a shift. Although Yet the most efficient thing to do in

ECI/bvdm possible for them, a dream that can one on a personal level I support this kind these dark times is to continue what we ECI/bvdm GrayCon L • v2 GrayCon L • v2 FOGRA39 day become a reality. of movement, this doesn’t necessarily are doing — by that I mean art. FOGRA39 L.J: The Arab Spring pulled us up; we mean that I am a militant through my art were so proud to see that happening or that my art is militant. N.T: Art history, as we all know, is around us, compared to the disillusion I would say that almost every woman eminently male and white. Today, of being in Lebanon where everything who, in her everyday life in Lebanon, is however, as a consequence of post- was stagnating. Then the bigger fighting the common understanding of colonial studies and globalisation disillusion was the collapse of the Arab what the woman’s role should be is a perspectives, parallel art histories Spring in favour of regimes that were militant. Of course, not in the same way have emerged and we talk more than dictatorial or situations harsher or worse as the courageous activists who are ever about “plural modernities.” The than the ones before. taking the time to do these campaigns. exhibition Elles that was organised I mean if we want to be positive, But what I am saying is that there are by Centre Pompidou in 2009-2010 and not only on the issue of women’s certain steps that you take as a person showed the decision to display only rights and the improvement of women’s in your everyday life here that are artworks made by the women artists condition but on all issues related to very different from when you are living of the collection. This exhibition was civil rights, democracy and freedom in other places, where these kinds an attempt to show what a feminine of speech, if we believe that the Arab of rights are already acknowledged and feminist rewriting of modernity Spring completely collapsed into a and where, for instance, you don’t in art can look like. Do you think failure but that still, people rose, people have the same social pressure to get that women from the Arab world are went in the streets, then maybe in married and have kids as you would willing to talk about gender more decades we might see that something have in Lebanon. openly now? remained of that movement. That’s if we If you are a woman of my age, and L.J: Most women I know, are very really want to have some kind of hope. you live without being married and conscious of issue of gender, and of

101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_5_Perfect Binding_15-Sep-17 9:02:12 AM 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_5_Perfect Binding_15-Sep-17 9:02:12 AM It’s very hard for me to see things that without kids, in a society where every their role as female artists. One of the way, because all I can see now is that two minutes someone is looking at you greatest artists, Mona Hatoum, had a this hope was crushed. like you’re weird, you start to realise very important role too. I’m thinking In Lebanon, you do have groups certain things, so for me there are also of her early performances. If you look of women that are activists, and not these minor details of everyday life. A at younger artists today, like Marwa

right: Etel Adnan, Untitled (257), necessarily artists, and I think they shift can happen in a society, the shift is Arsanios, she’s also dealing with issues 2016, oil on canvas, 38 × 46 cm, are doing amazing things to improve not going to happen only in changing of gender in her work. I would say courtesy of the artist and Sfeir- Semler Gallery Beirut/Hamburg the condition of women. For instance, the laws. The problem, actually, is that that not all women include a militant

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0BC M Y CM CMY CMY B C M Y C B C M Y C 20 C 40 C 80 B C M Y M B C M Y M 20 M 40 M 80 B C M Y B C M Y Y 20 Y 40 Y 80 B C M Y B C M Y B 20 B 40 B 80 B C M YYB C M Y CY CMY CMY B C M Y BBC M Y C 20 C 40 C 80 B C M Y C B C M Y M 20 Prinect CS−4i Format 102/1050B Dipco 15.0iC (pdf)M © 2013Y HeidelbergerCM CMY DruckmaschinenCMY B AGC MY 80 YB C C M BYYC M YB C 20C C 40M C 80Y B 20C B 40M B 80Y B C M M BY C BBM Y M 20C M 40M M 80Y BMY CMY CMMY YB C M BY C M YB Y 20C Y 40M Y 80Y CB 20 C 40M C 80 YB C M BY C M YB B 20C B 40M B 80Y M B 20 MC 40 M 80 YYB C M BY C C M YB CYC CMMY CMY YB 20C Y 40M Y 80 YB C BBM Y C M M YB C 20C C 40M C 80Y B 20C B 40M B 80Y B C C M BYYC M YB M 20C PrinectM YCS−4iC FormatMY 102/105BB Dipco 15.0i C(pdf) ©M 2013 YHeidelbergerCMY Druckmaschinen AG Y 80 B C M YYB C M Y B 20 B 40 B 80 B C M Y BBC M Y MY CMY CMY B C M Y B C M Y C 20 C 40 C 80 B C M Y B C M Y M 20 M 40 M 80 B C M Y C B C M Y Y 20 Y 40 Y 80 B C M Y M B C M Y B 20 B 40 B 80 B C M YYB C M Y CMY BBC M Y CMY Gripper Margin 1.0cm Gripper Margin 1.0cm

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CalCurveName Lin: Placeholder for the AGFA DigiControl wedge CalCurveName Lin: Placeholder for the AGFA DigiControl wedge 15.0i (pdf) Process: Brand_Three / 100.0 * 63.0 cm / 4 (uncoated) / 0.9000 mm / 120 g/m² 15.0i (pdf) Process: Brand_Three / 100.0 * 63.0 cm / 4 (uncoated) / 0.9000 mm / 120 g/m² Paper Width 100.0cm Paper Width 100.0cm Printing Plate Width 105.5cm Printing Plate Width 105.5cm PaperPaper Center Center Offset Offset 0.0cm 0.0cm 13.8cm 13.8cm

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235.0 x 285.0 mm 235.0 x 285.0 mm

ART — DIALOGUES BETWEEN GENERATIONS (www.fogra.org) • www.eci.org, www.bvdm.org (www.fogra.org) • www.eci.org, www.bvdm.org FOGRA39.txt FOGRA39.txt Paper Height 63.0cm Paper Height 63.0cm • Reference • Reference dimension in the visible aspect of their unconsciously as the only possible goes with everything else. There are work, but I would think that they are all point of view. This was true in all women scientists, women engineers, very aware of their role as female artists. domains. I remembered that at school architects, doctors, more and more... ISO 12647-2:2004/Amd 1 ISO 12647-2:2004/Amd 1 T.D: I think it will always be male and in Lebanon we studied ONLY French There are business-women even in the white. And in our society it’s even worse history and the book was called: most unlikely places like Saudi Arabia because the patriarchal system is well France in the world, meaning France or Egypt... So it’s a tide that includes grounded. This reality definitely bothers AND the world. So every field of the women artists too. A feminist-oriented me, but it induces my determination to integer, as well as every field of life, was discourse can only help, as it will be fight against it, not the other way around. considered from the point of view of one more way to look at things, and not

I worked hard to be an independent Western European countries and the the only one. Many angles to reach a set on gloss or matt coated paper (PT 1+2) • set on gloss or matt coated paper (PT 1+2) • woman and an independent artist, my United States! Decolonisation in one question will always be better than to hard work is my form of resistance. field brought about decolonisation in look at things only from a single point The image is not gloomy at all you other fields, artistry being one example of view. know, one should say the truth. I was among many. It’s not yet a battle totally always guided, advised, even looked won because colonisation has been N.T: Don’t you think that being after by male artists, that definitely internalised and the colonised people labeled “artist from the Arab world” brings some light in. An artwork should are comfortable in their situation. It will is as reductive as being labeled

be approached with a strong mindset take many years for our countries to “woman artist?” Do you think that it • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off and complete presence. Feeling regain genuine pride in themselves, is more relevant to put the debate on victimised will divert one’s attention and the more so — and as a result of the representation of women artists it’ll most probably show. their comfort — they are ignorant in the art world in the frame of an to an alarming degree of their own intersectional feminism, including

N.T: Many also felt that a quota past. Everything goes together. When race and class conflicts as well? above: Lamia Joreige, The River,drawing s, wax, below: Lamia Joreige, After the River, three-channel pigments, pastels & crayons on Velin d’Arche video: 20 minutes, 2016, from Under-Writing Beirut, Nahr

demand can be negative towards any some governments dare resist the big T.D: Sure, “artist from the Arab world” is 10 20 30 40 50 100 10 20 30 40 50 60 70 80 90 100 cm cy my 10 20 30 40 50 60 70 80 90 cmy 30 10 20 30 40 50 100 10 20 30 40 50 60 70 80 90 100 cm cy my 10 20 30 40 50 60 70 80 90 cmy k 30 30 k cmy 30 50 cmy k 50 50 k cmy 50 70 cmy k 70 70 k cmy 70 cmy ECI/bvdm Gray Control Strip (L) • FOGRA39 ECI/bvdm Gray Control Strip (L) • FOGRA39 paper, 100 × 65 cm. 2016, exhibition view of Under- (2013-2016), exhibition view at Chapter, Cardiff, in Artes objective standard of quality, with powers, there’s a general enthusiasm labeling as well. Whenever I’m asked Writing Beirut, Nahr (2013-2016) at Cardiff National Mundi 7, photographer Jamie Woodley, © Artes Mundi Museum, U.K. in Artes Mundi 7, 2016-2017, implications of special treatment. in the populations that makes people about a favourite artist, my mind goes ECI/bvdm ECI/bvdm photographer Jamie Woodley, © Artes Mundi GrayCon L GrayCon• v2 L • v2 Women artists want recognition of desirous to take their destinies into directly towards naming Western ones. FOGRA39 FOGRA39 their work on merit as artists and their hands, and that affects everything: See, I was educated in the Lebanese individuals before anything else. Do the way they claim their literature, their University of Fine Arts, following you think that a feminist-oriented different histories, even the way they Western techniques and methods. So discourse can reduce their art to a dress and walk! being introduced as an “Arab artist” marginal category? During the Saddam era in Iraq, for wouldn’t be convincing, especially if T.D: Yes, of course. I don’t appreciate example, Iraqi artists were very close to you’ve seen my paintings. being labeled as a woman artist. I am their heritage — in all ways — while at Yes, I think it’s fairer to put the debate totally against the idea. Playing along the same time in Lebanon artists were in the frame including race and gender. means agreeing that levels and notes still thinking that “Cola de Paris” was all The whole system is like a puzzle, once will be put accordingly. I don’t even like there was to art. Thankfully, Lebanese one issue starts to be solved, another to be labeled as “feminist,” not that I’m artists (and all those of former French will consequently follow. We all fall against women’s rights, of course not, colonies) have since opened up to under a certain kind of inequality and but I came to realise that I’m against all themselves and to the rest of the world, oppression, women, men and kids. kinds of injustice, not necessarily only but that took a few generations. Being born a woman means I have to those related to women. Would a feminist-oriented discourse make more endeavour. But yes, as E.A: Yes, like everything else, art history reduce women art to a marginal you have mentioned, it intersects with is not a tributary of a single source, a category? I would say no! Women all conflicts. When I am requested to single voice. As the West dominated artists are winning their battle, they “identify myself” I say humorously that most of the world, its pontiff view are accepted by all the major galleries I’m a black artist. I have to fight for my was considered consciously and and art fairs of the world. Again, it right because I am treated as a second- class citizen, not because I’m a woman.

101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Front_5_Perfect Binding_15-Sep-17 9:02:08 AM 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Front_5_Perfect Binding_15-Sep-17 9:02:08 AM What I would like to add has nothing to do with gender, rather than art itself. I think from my modest observation, the I would say that not all women include a art world, in general, is losing its poetic militant dimension in the visible aspect of aspect, in favour of what I might define as “spectacular” yet hollow and fake. their work, but I would think that they are all The sad truth is that it’s losing its very very aware of their role as female artists essence, that is standing in front of a

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0B0BC CM MY YCM CCMMY CCMMYY CMBY BC CM MY Y C C B BC CM MY CY 20C C20 40 C C40 80 C 80B BC CM MY Y M M B BC CM MY MY 20M M20 40 M M40 80 M 80B BC CM MY Y B BC CM MY Y 20 Y Y20 40 Y Y40 80 Y 80B BC CM MY Y B BC CM MY BY 20B B20 40 B B40 80 B 80 B BC CM MYYYYB BC CM MY YCY CCYMY CCMMYY CMBY BC CM MY Y BBBBC CM MY CY 20C C20 40 C C40 80 C 80B BC CM MY Y C C B BC CM MY MY 20 M 20PrinectPrinect CS−4i CS−4i Format Format 102/105 102/105 Dipco Dipco 15.0i (pdf)15.0i (pdf) © 2013 © Heidelberger2013 Heidelberger Druckmaschinen Druckmaschinen AG AGY 80 Y 80B BC CM MYYYYB BC CM MY BY 20B B20 40 B B40 80 B 80 B BC CM MY Y BBBBC CM MY YMY MCYMY CCMMYY CMBY BC CM MY Y B BC CM MY CY 20C C20 40 C C40 80 C 80B BC CM MY Y B BC CM MY MY 20M M20 40 M M40 80 M 80B BC CM MY Y C C B BC CM MY Y 20 Y Y20 40 Y Y40 80 Y 80B BC CM MY Y M M B BC CM MY BY 20B B20 40 B B40 80 B 80 B BC CM MYYYYB BC CM MY CYMY CMY BBBBC CM MY CYMY CMY Gripper Margin 1.0cm Gripper Margin 1.0cm

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CalCurveNameCalCurveName Lin:Lin: PlaceholderPlaceholder for for the the AGFA AGFA DigiControl DigiControl wedge wedge 15.0i15.0i (pdf) (pdf) Process: Process: Brand_ThreeBrand_Three / 100.0 / 100.0 * 63.0* 63.0 cm cm / 4 / (uncoated)4 (uncoated) / 0.9000 / 0.9000 mm mm / 120 / 120 g/m² g/m² PaperPaper Width Width 100.0cm 100.0cm PrintingPrinting Plate Plate Width Width 105.5cm 105.5cm Paper Center Offset 0.0cm Paper Center Offset 0.0cm 13.8cm 13.8cm

235.0 x 285.0 mm 235.0 x 285.0 mm

(www.fogra.org) • www.eci.org, www.bvdm.org ART — DIALOGUES BETWEEN GENERATIONS ART — DIALOGUES BETWEEN GENERATIONS (www.fogra.org) • www.eci.org, www.bvdm.org FOGRA39.txt FOGRA39.txt Paper Height 63.0cm Paper Height 63.0cm • Reference • Reference genuine and real human production. be part of these shows and we regret notion of representation, history and Receiving visual pleasure from an it, sometimes we are happy because the use of documents. As much as I am art work, and being extraordinarily the show has an amazing articulation. happy to be in conversation with my ISO 12647-2:2004/Amd 1 happy about it, is becoming more and It is very hard. You can be critical, of peer artists here in Lebanon, I feel like ISO 12647-2:2004/Amd 1 more difficult. course you are going to be labeled it is also important to be in conversation I read once about an artist (I can’t as a woman artist. Being labelled as a with artists from other parts of the world. seem to remember his name). He was woman artist from the Arab world is also And frankly, speaking of the locality and explaining what happens inside his a problem. I am now part of a show that the context, at some point with these head when he enters into his studio: first, encompasses both these dangers. shows about Lebanon, the region, the

set on gloss or matt coated paper (PT 1+2) • all the art-loving crowd leaves the room, But then again, you also have to Middle East, Islamic art, all these labels set on gloss or matt coated paper (PT 1+2) • then slowly the art collectors follow advocate for more visibility. I would that are harmful sometimes, you feel them, then his gallerist. Now if he got say it demands a lot of subtlety in the that their agenda is not always well lucky enough, he himself will disappear curatorial statement, in the articulation intentioned or genuine. in front of his painting. I keep aiming on of the exhibition, in the understanding Things that were happening ten to 15 being in his place to generously give of the fact that you shouldn’t just label years ago, when people were deeply my painting the attention it requires. these works. But I’m torn, because it interested and did serious research, E.A: Questions relating to the works of is something that can be reductive. are not to be put at the same level

• ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off Arab women artists can very well apply Of course, I am a woman and I am as other ways of doing things, where • ISO 12647-2 gray balance condition ‘CIELAB black ink’ Off to men artists too: is there an Arab art? Lebanese, but I am very happy when people are doing ‘art tourism’ or art We need answers from many people, my work is shown beside the work of shopping. And, I must admit, I have curators, and so on, from both the Arab someone who is not from my region, sometimes accepted taking part in world and from outside of it. I would and who I don’t necessarily identify as these exhibitions with regret or for say that most often not: if we see Walid a woman or a man, but whose work various reasons, but we should not put

cmy 70 k 70 cmy 50 k 50 cmy 30 k 30 cmy cm cy my 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 60 70 80 90 100 10 20 30 40 50 100 10 20 30 40 50 60 70 80 90 100 cm cy my 10 20 30 40 50 60 70 80 90 cmy 30 k 30 cmy 50 k 50 cmy 70 k 70 cmy ECI/bvdm Gray Control Strip (L) • FOGRA39 Raad’s work without having his name echoes mine, as if we were really everything in the same basket. So you 10 20 30 40 50 100 10 20 30 40 50 60 70 80 90 100 cm cy my 10 20 30 40 50 60 70 80 90 cmy 30 k 30 cmy 50 k 50 cmy 70 k 70 cmy ECI/bvdm Gray Control Strip (L) • FOGRA39 and knowing him, we may hesitate. speaking to each other. You also have could have an extraordinary ‘women’s

ECI/bvdm Of course, when the subject matter amazing male artists that have done show’ that comes out of Lebanon and ECI/bvdm GrayCon L • v2 GrayCon L • v2 FOGRA39 is obviously Arab... the international incredible works where a woman’s that could be subtle in its articulation. Or FOGRA39 world is too strong... With Chinese art, character is put forward. It is ambiguous. a basket where they’d put everything Japanese art, I personally see rapidly The fight is not over, but one has to be that fits the fashion of the time… where they come from... with Latin conscious. So it’s an answer that is not So in a strange and contradictory way, American artists it’s harder, but most of an answer, sorry. I would say that being a woman today in the time one can guess... mostly with Ten or 15 years ago I was interviewed the Arab world is certainly more difficult, those still influenced by surrealism. But and I said that I never introduce myself and the fight over legal matters for the Arabs? There’s of course a school as a woman artist. But then, of course, equality is certainly harder than being in coming out from Arab calligraphy, and I am a woman artist and, like I said, in Norway, Sweden or France, but being there the origin is clear. On a formal your everyday life in Lebanon, you deal a woman artist is not necessarily more basis, there’s something “international” with the issue of being a woman every difficult, because on the international which blurry boundaries... It’s an open minute of your day. Not necessarily platform it hasn’t reached equality. question, and worth discussions. Of in an oppressive way, but you are Also, on the local aspect, I would course, many Arab artists say they are constantly aware of certain things. A say it is not more difficult to be a Arabs, but know little of their traditions few days ago, I was in a restaurant with woman artist, simply because art is not and history, if they do. So they cannot a male friend, and the waiter asked him regarded as a profession that is serious. be influenced by them. They are how he liked the food but did not ask So, basically, if you are a man and you resolutely part of today’s world. That’s me. So I said, ‘It is great, thank you. If want to become an artist it is hard, you neither good nor bad, it’s just their you care about my opinion.’ I am talking are under pressure. But because it is own situation. about the daily things. not considered as a serious profession,

Tagreed Dargouth, L.J: It’s always the same questions I would not like my work to be or one that has an obvious economic Vision Machines, with identity and politics. To go back reduced to these ‘labels.’ I want my outcome, it is fine if women do it. They acrylic on canvas, 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_5_Perfect Binding_15-Sep-17 9:02:12 AM 101846_Selection_42 / Selection_Mag_42_Selection Lebanon_42_Back_5_Perfect Binding_15-Sep-17 9:02:12 AM 120 × 120 cm, 2015 to the post-colonial discourse now work to speak to everybody. I was can have fun in what is often understood predominance is given to artists from influenced by artists and filmmakers as a ‘decorative’ activity. This is the other parts of the world, from our who were from China and Thailand, for worst way to think about art. So you region, for instance, or let’s say from instance. And many artists who work will not be looked at as someone on South America. But are you actually within different political contexts have a the margin if you are a woman artist. It labelling these artists only through reflection that has great resonance with is fine to be a woman artist, but it is not their identity of origin? This is often mine. Like artists in China, Cambodia, necessarily for good reasons. You know problematic. Sometimes we choose to Argentina or Brazil, who deal with the what I mean?

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