DOCSLIB.ORG

From the Syrian Capital to the Heart of the Middle East's Art Market, Ayyam Gallery Boasts a Vast Array of Modern and Contempo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From the Syrian Capital to the Heart of the Middle East's Art Market, Ayyam Gallery Boasts a Vast Array of Modern and Contempo SYRIA’S PREMIER ART GALLERY OPENS IN DUBAI MAY 2008 MAY T h e s t o r i e s behind the In discussion HOTTEST with the key Contemporary players of the artists on the Middle Eastern Syrian scene art market N a v i g a t i n g the road to success for Modern and Contemporary Arab art From the Syrian capital to the heart of the Middle East’s art market, Ayyam Gallery boasts a vast array of Modern and Contemporary Middle Eastern art. The new Ayyam-Dubai gallery continues to promote the hottest Syrian art in a city that is breaking new ground through its cultural endeavours. From Damascus to Dubai, Ayyam Gallery has established itself as a powerful and passionate advocate of Modern and Contemporary Arab art. From time-honoured masters to young, upcoming talents, Ayyam’s stable of artists mirrors the richness, legacy and diversity of Syrian art. Since it first opened its doors in Damascus in November 2006, Ayyam’s name has become synonymous with an ever-expanding reach across the Middle East with its participation in regional and international art fairs, as well as the innovative First Ayyam Prize for Emerging Syrian Artists under their Shabab Ayyam Programme. An avid supporter of arts education, Ayyam has also published a vast number of artists’ books in the name of providing the region with a significant source of art literature. By publishing these books on their artists, Ayyam has helped to further promote the artistic legacy of Modern and Contemporary Syrian art. From the mesh of symmetry and faces of the renowned Safwan Dahoul to the abstract strokes and Sufi influence of the young Walid El-Masri, the artists of Syria have seen a dramatic rise in interest in collectors’ circles. Witnessing a new chapter through the launch of Ayyam-Dubai, the gallery continues to celebrate the wealth of Syrian talent and grow from strength to strength at their space in Showroom B11 on the Alserkal Warehouse Avenue in Al-Quoz. 03 A Promising Future Art is helping to open a new chapter in the life of the Middle East and Arab world THE MIDDLE EASTERN ART MARKET Samia HALABY «Yellow Spiral» 168X168cm Oil on Canvas 1970 Halaby's «Yellow Spiral» to be exhibited during Ayyam Dubai's opening show Youssef ABDELKE Ammar AL-BEIK Mouneer AL-SHAARANI Nihad AL-TURK Asaad ARABI His Excellency Abdul Rahman Mohammad Al-Owais, UAE Minister of Culture, visits the Ayyam Gallery stand at the inaugural Haughton Arts and Antiques Fair Dubai. Tammam AZZAM t last, Modern and Contemporary Arab and Iranian art is beginning drives towards independence and thereafter (the effects of which are still continuing Houssam BALLAN Opening 31/5/2008 to enjoy the attention it so richly deserves. Recognised as one of the today), led to a paralysis that stunted the development of the art market. Safwan DAHOUL hottest emerging markets in the world, second only to Chinese and Walid EL-MASRI Indian art, the masters of creativity from across the Gulf, Levant, It was the arrival of the auction houses in the region - the birth of the secondary Samia HALABY North Africa and Iran are becoming household names among the tier of the art market - that has really prompted worldwide awareness. Historically, Thaier HELAL world’s most esteemed collecting circles. pieces of Modern Arab and Iranian art were sold within the category of Islamic art by Mounzer KAMNAKACHE A auction houses such as Sotheby’s in London. However, it was the launch of Christie’s So what prompted this wave of global recognition and why has it taken so long? (Middle East) in Dubai in 2005 that prompted the creation of a new sales category Abdul-Karim MAJDAL AL-BEIK There are always a number of factors that contribute to the birth of an art market. Over - that of Modern and Contemporary Arab and Iranian art. This separate and distinct Abdullah MURAD the last 50 years, the Middle East and Arab world has witnessed the establishment classification encouraged other houses such as Sotheby’s and Bonhams to follow suit; Mouteea MURAD of a sprawling network of private galleries, offering buyers the option of purchasing setting up specific divisions and launching sales focusing on the region. This, in turn, Mohannad ORABI works from an ever-expanding stable of talent. This has built upon the established and led to collectors of other categories, such as Modern and Contemporary Western art Yaser SAFI more traditional model of arts patronage where artistic expression has been nurtured by and Islamic art, to expand their acquisition rationales to embrace this new category. Syria’s Premier Modern & Contemporary Art Gallery Kais SALMAN prominent individuals who served as patrons to selected artists. Over the last three years, there have been a total of five auctions of Modern and Khaled TAKRETI Damascus Mezzeh West Villas, 30 Chile Street, Samawi Building, Damascus - Syria However, one cannot deny the impact that regional instability has had on the art Contemporary Arab and Iranian art by leading international auction houses, with Fadi YAZIGI t. + 963 11 613 1088, f. + 963 11 613 1087, e. [email protected], w. www.ayyamgallery.com market. The trials and tribulations of the post-colonialist era and the subsequent social, other auctioneers such as Artcurial in Paris, France, and Compagnie Marocaine des Omran YOUNES Dubai Showroom B-11, Alserkal Warehouse Avenue, Street 8.Al Quoz, Dubai - UAE political and economic problems experienced by nations across the region during their Oeuvres et Objets d’Art (CMOOA) in Casablanca, Morocco, also opening up to the new Nassouh ZAGHLOULEH t. + 971 50 578 5782, e. [email protected], w. www.ayyamgallery.com 05 market. As a result, a growing number of artists from the Middle East and Arab world now have official sales records. The escalating sale prices of works have attracted the attention of a growing number of collectors from within the region and beyond who now appreciate not only the unbridled talent of practitioners but also the investment potential of art. It was the arrival of the auction houses in the region - the birth of the secondary tier of the art market - that has really prompted worldwide awareness. With the growing economic wealth of some countries (particularly those in the Gulf), art has become a symbol of social aspiration and an intellectual force to be reckoned with among those who possess excess financial liquidity. Matched by a pan-regional acknowledgement that it celebrates the multi-cultural heritage and plural identities existent within this The first editon of artparis-AbuDhabi attracted thousands of art lovers from across the UAE and beyond who richly diverse region of the world, art enjoyed myriad artworks, including those from the Ayyam Gallery stable of artists. has become not only desirable, but an incredibly important vehicle of expression and self-determination. On a more holistic note, Modern and Contemporary art is assuming an important role as a global ambassador for the Middle East and Arab world. While the ‘CNN-isation’ of the region has promoted a one-dimensional image, art is helping to change the international profiles of Iran and Arab countries; from nations riddled by conflict and disaster to lands steeped in a formidable cultural heritage and with an ever-evolving artistic expression that deals with a multitude of issues, subjects and concepts of a universal as well as regional relevance. THE MIDDLE EASTERN ART MARKET A growing number of artists from the Middle East and Arab world now have official sales Louay KAYYALI «Then What» 172x190cm Oil on Canvas 1965 records. The escalating sale Kayyali's masterpiece to be exhibited during Ayyam Dubai's opening show prices of works have attracted the attention of a growing number of collectors from within the region and beyond. A prospective bidder views a work by Ayyam Gallery artist Fadi Yazigi at a Christie’s auction of Modern and Contemporary Arab and Iranian art in Dubai. The Middle East and Arab world have now realised that art is an integral ingredient Youssef ABDELKE for healthy and successful societies. The Ammar AL-BEIK drive towards creativity has become the Mouneer AL-SHAARANI order of the day, bringing increased cultural Nihad AL-TURK tourism, and entrepreneurial thinking and Asaad ARABI intercultural communication. Who better to feed the roots of success than the artists? Tammam AZZAM Museums of Modern and Contemporary Houssam BALLAN Opening 31/5/2008 art, galleries and other cultural institutions Safwan DAHOUL that celebrate indigenous creative talent Walid EL-MASRI are taking root across the region - from Iran Samia HALABY to Algeria. Initiated by both governments Thaier HELAL and individuals, art is confronting audiences Mounzer KAMNAKACHE with what they don’t know, what they didn’t know or what they know in a way Abdul-Karim MAJDAL AL-BEIK they didn’t expect. Abdullah MURAD Mouteea MURAD Mohannad ORABI Yaser SAFI Syria’s Premier Modern & Contemporary Art Gallery Kais SALMAN Khaled TAKRETI Damascus Mezzeh West Villas, 30 Chile Street, Samawi Building, Damascus - Syria Fadi YAZIGI t. + 963 11 613 1088, f. + 963 11 613 1087, e. [email protected], w. www.ayyamgallery.com Omran YOUNES Dubai Showroom B-11, Alserkal Warehouse Avenue, Street 8.Al Quoz, Dubai - UAE Lord Poltimore conducting the October 2007 Sotheby’s auction of Modern and Contemporary Arab and Iranian art Nassouh ZAGHLOULEH t. + 971 50 578 5782, e. [email protected], w. www.ayyamgallery.com in London, where Syrian Safwan Dahoul’s untitled work from his ‘Rêve’ series sold for $69,813. 06 07 Art and Opinion ollectors Lamees Gargash and Bassam ART AND OPINION Kuzbari join Publisher and Editor-in-Chief of Canvas Ali Khadra, Christie’s (Dubai) Managing Director Michael Jeha, Khaled Samawi and Hisham Samawi of Ayyam Gallery (Damascus and Dubai) to discuss the state of the Modern and Contemporary Middle Eastern art market.
Load more

Recommended publications
  • ¬¬¬Press Release
    PRESS RELEASE Institute of Contemporary Arts, Theatre, London 26 June – 21 July 2013 Private View Tuesday, 25 June 2013, POINTS OF DEPARTURE 19:00-21:00 Basel Abbas and Ruanne Abou-Rahme, Jumana Emil Abboud, Bisan Abu Eisheh, Bashar Alhroub, Jeremy Hutchison, Olivia Plender Delfina Foundation is delighted to announce Points of Departure, an exhibition that culminates a year of collaboration with ArtSchool Palestine, the British Council and the Institute of Contemporary Arts (ICA). Presented at the ICA, the exhibition will be among the highlights of the 2013 Shubbak Festival in London (22 June - 6 July). Points of Departure begins as a set of thoughtful explorations into the phenomena of liminality. A condition in which one's sense of identity is diffused, liminality leads not only to states of dislocation and disorientation, but also to new perspectives. From this starting point, all the exhibiting artists undertook research-orientated projects in the UK and Palestine, seeking to make meaning, and create new narratives, in response to urgent contemporary questions around nationalism and identity, history and place. Points of Departure presents new commissions by Palestinian artists Jumana Emil Abboud, Bashar Alhroub, Bisan Abu Eisheh, and UK artists Jeremy Hutchison and Olivia Plender - all of whom undertook eight-week residencies in London and Ramallah respectively. In relation to themes raised by the project and the works produced, the exhibition also features a seminal work by Ramallah-based artists Basel Abbas and Ruanne Abou-Rahme. The exhibition has been curated by Rebecca Heald with the support of Mirna Bamieh. Bisan Abu-Eisheh’s installation acts as an introduction to the exhibition.
    [Show full text]
  • Artists Under Occupation: Collective Memory & the Performing Arts in Palestine, 1948-2011
    Artists Under Occupation: Collective Memory & the Performing Arts in Palestine, 1948-2011 By Rozina S. Gilani Submitted to Central European University History Department In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Professor Nadia Al-Bagdadi Second Reader: Professor Tolga Esmer CEU eTD Collection Budapest, Hungary 2012 Copyright in the text of this thesis rests with the Author. Copies by any process, either in full CEU eTD Collection or part, may be made only in accordance with the instructions given by the Author and lodged in the Central European Library. Details may be obtained from the librarian. This page must form a part of any such copies made. Further copies made in accordance with such instructions may not be made without the written permission of the Author. i Abstract This project explores the relationship between art, politics and collective memory as represented in Palestinian performing arts. By looking at the historical trajectory of art movements in Palestine and identifying key moments of change in artistic style and trends, I hope to support the argument that Palestinian art is inherently political and holds political functions in its society. Furthermore, while I initially anticipated discovering artists reproducing motifs of resistance as found in the early works of painters as a means of participating in salvage ethnography, my findings actually show a growing enthusiasm for new works that reappropriate older narratives and breathe new life into older aesthetic representations. The thesis will also explore issues of identity and pinpoint ways in which the Palestinian diaspora are participating in art production and efforts to resist the occupation through cultural means.
    [Show full text]
  • Teacher's Manual
    Teacher's Manual It's Hot! It's Cool! It's Color! Artmobile Traveling throughout Bucks County October 1993 - June 1994 Artmobile is a museum outreach of the Department of Art and Music of Bucks County Community College. A portion of Artmobile's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a Federal Agency that offers general operating support to the nation's museums. It's Hot! It's Cool! It's Color! is supported in part by a grant from the Pennsylvania Council on the Arts. ACKNOWLEDGMENTS This exhibition would not have been pos- My sincere thanks to everyone who has sible without the generosity of all those art- helped in putting together this exhibition. ists who loaned pieces to Artmobile for the Their assistance has made it all possible. duration of our nine-month tour. I most sincerely thank: To Fran Orlando, whose friendly support, James M. Darrah Diane Lachman patience, sustained interest and profession- Anda Dubinskis Les Mitchell alism was so important to the completion of Debbie Dulman Kurt McVay the project. John Ferris Susan Moore Samia Halaby Bruce Pollock To my husband for providing for my com- Grace Henshaw Thomas Porett puter needs and support in general. To our Barbara Herak Myra Reichel young daughter, who was happy that her Nancy Herman Louise Stahl mother was working on a project that will be Diana Kingman Sherry Tinsman seen by school children and adults. Kroma Also to Pat Freeman, Patricia Roven, Sandi Special thanks to Deborah Jones Dominguez McLaughlin, Gary Mazza, Lisa Orrell, Jane for guest curating this lively and informative Litz, Nancy Ruddle, Joanne Sodono, Ann exhibition and for writing this teacher’s Brown, Susan Schneider, Walter Hazzard of manual.
    [Show full text]
  • Art Patronage in the 21St Century Contents
    ART PATRONAGE IN THE 21ST CENTURY CONTENTS 003 FOREWORD 004 ACKNOWLEDGEMENTS 005 INTRODUCTION 007 REPORT HIGHLIGHTS 009 HISTORY OF ART PATRONAGE 013 ART PATRONAGE IN FIGURES 017 ART PATRON SURVEY 2020 028 ART PATRONAGE AND ETHICS 030 TECHNOLOGY AND ART PATRONAGE 041 MEASURING IMPACT OF ART & CULTURE 045 TRENDS AND INNOVATION IN ART PATRONAGE MODELS 115 STRATEGIC PLANNING IN ART PATRONAGE 118 CONCLUDING REMARKS AND FUTURE DIRECTIONS 02 CHAPTER 1 FOREWORD Institute of Contemporary Art Philadelphia (Philadelphia, PA) Karyn Olivier: Everything That’s Alive Moves January 24 – May 10, 2020 Karyn Olivier Wall 2017–2018 Bricks, used clothing, steel Courtesy of the artist TEFAF’s annual Art Market Report provides an opportunity to shine a light onto an area of the market that is under-researched or in the process of change. Last year’s report on the Chinese Art Market provided a unique overview and insight into a rapidly changing and developing market. This year, we have decided to look at philanthropy and patronage of the arts. There are many developments taking place around the world that make this a very pertinent topic. The report explores how the priorities of today’s patrons differ from those of the previous generation. Changing attitudes and the evolution of a host of new patronage models make this a fascinating area. In an age where sustainability, transparency, social impact and accountability are paramount, it is important to ask questions about how and why we raise money for the arts and the public benefit that this can bring. It is particularly relevant to ask these questions now, when the arts are under increasing pressure from public funding cuts.
    [Show full text]
  • No Longer a Horizon, but Infinity”
    Suheyla Takesh INTRODUCTION: “No Longer a Horizon, but Infinity” In 1964 the Algerian weekly Révolution africaine published “Éléments pour un art nouveau” (Elements for a New Art), an essay by the painter Mohammed Khadda that contended with the role of the artist in post-independence Algeria and in the formation of a socialist state.1 In the text, Khadda argued for a function of art beyond propaganda or agitation.2 The history of painting, he wrote, had been one of successive revolutions and of a continuous liberation that eventually culminated in the emergence of abstraction, allowing painting to become an art unto itself, no longer reliant on a physical subject. In Khadda’s account, the birth of abstract art was tied to the moment Wassily Kandinsky created “the first nonrepresentational work” in 1910—most likely a reference to Untitled (Study for Composition VII, Première abstraction).3 Whether or not we attribute the beginning of abstraction to Kandinsky’s watercolor alone, discussing it prompted Khadda to make compelling observations about abstraction’s potential. “There was no longer a horizon, but infinity,” he wrote.4 Transcending the limits of represen- tation, of physical reality, and thereby the bounds of a metaphorical “horizon,” the artist would be able—in Khadda’s imagination—to tap into an infinite range of “creative” experiences and expand what art could achieve.5 The promise of nonobjective abstraction, purporting, as it does, values of multiplicity, plurality, and heterogeneity, would be to encourage a more genuine expression of individ- uality than had been hitherto possible. The place from which Khadda’s thoughts emerged is one that is shared across geographies of decolonization: a breaking away from the entrenched colonial vision and a questioning of what it means to formulate a distinct national identity.
    [Show full text]
  • Review II by Samia A. Halaby of the Book "Palestinian Art". 12/24/19, 1059 AM a Review of the Book "Palestinian Art" Part II: Correcting Misconception and Ignorance
    Review II by Samia A. Halaby of the book "Palestinian Art". 12/24/19, 1059 AM A Review of the Book "Palestinian Art" Part II: Correcting Misconception and Ignorance To return to Part I of this review click here. Review by Samia A. Halaby, August 25, 1998. Edited February 2011. (An exhibition of the work of seven Palestinian artists was presented by the Swedish Government at the Konstakademien Vastra Galleriet (Royal Academy of Art) in Stockholm from August 17 through September 20th, 1998. It was accompanied by a hard-cover book titled "Palestinian Art." Mr. Ulf Thomas Moberg was both curator of the show and author of the book. No publisher is specified in the book, but it was printed by Almqvist & Eiksell, Uppsala 1998, copyright Cinclus, Box 14089, 161 14 Stockholm.) The educational intention of the organizers of the exhibition, as I was given to understand, is to increase mutual understanding by presenting the art of Palestinian Arabs to the European community, during this year when Stockholm is designated the cultural capital of Europe. The artists in the exhibition thank The Royal Academy, The Ministry of Foreign Affairs, the Swedish International Development Agency, and very specially Ulf Thomas Moberg for this commendable effort. And in the spirit of mutuality I wish to present some reflections of the cultural traditions of Arab artists. In Part I, the book was described and evaluated. This Part II provides the proper conceptual basis for discussion of the subject of Palestinian Arab art. Such material was completely absent in the book, "Palestinian Art," where propaganda was more the intention than an art historical treatise.
    [Show full text]
  • A Project by Alessandro Petti, Sandi Hilal and Eyal Weizman
    DECOLONIZING ARchITECTURE A PROJECT BY ALEssaNDRO PETTI, SANDI HIlal AND EYal WEIZmaN December 7, 2010–February 6, 2011 The exhibition is funded in part with generous support from the Nimoy Foundation, the Graham Foundation for Advanced Studies in the Fine Arts, and the haudenschildGarage. The Standard is the official hotel of REDCAT. In-kind support provided by Brian Quandt. 631 West 2nd Street, Los Angeles, California USA 90012 Visit www.redcat.org or call +1 213 237 2800 for more information Gallery Hours: noon-6pm or intermission, closed Mondays HOW TO INhaBIT THE HOusE OF YOUR ENEMY? Historical processes of decolonization tended to see the reuse of the buildings and infrastructure left behind in the same way they were designed for, leaving some of the power hierarchies of the colonial world intact. This project deals with the one of the most difficult questions of decolonization: how to inhabit the colonies and military bases to be evacuated in the future archaeology of Israel’s occupation? Concentrating on the settlement of Psagot near Ramallah, the guiding principle was not to eliminate the power of the occupation’s built spaces, nor simply to reuse it in the way it was designed for, but rather to reorient its logic to other aims. Psagot, like other settlements, is suburban when thought of 1 in relation to the Jewish geography in the occupied territories. These settlements are fenced up bedroom communities fed by a growing matrix of roads and other infrastructure, but they must be articulated as potentially urban when considered in relation to the Palestinian cities besides which they were built.
    [Show full text]
  • THEN for NOW an Exhibition of Delfina Studio Trust Alumni–Artists in Support of Delfina Foundation
    THEN FOR NOW An exhibition of Delfina Studio Trust alumni–artists in support of Delfina Foundation 09/10 — 14/11/15 CONTENTS AARON CEZAR Foreword Director As the cost of living in London continues to rise and financial support for the arts becomes increasingly strained, Then for Now encapsulates the kind of artistic solidarity that is urgently needed. This fundraising exhibition features 18 of the Delfina Studio Trust’s alumni–artists, including five Turner Prize nominees and winners, who have donated artworks to support the next generation of artists at Delfina Foundation. Selected by INTRODUCTION: alumna–artist Chantal Joffe and curator–critic Sacha Craddock, 3 Aaron Cezar [Foreword] the artists taking part in Then for Now define a specific era of 6 Delfina Entrecanales CBE [Quote] the Studios, one that witnessed a period of radical growth in 7 Chantal Joffe [Quote] London’s contemporary art scene. Craddock reflects on this time 7 Sacha Craddock [Essay: Then for Now] in her essay [page 7], as well as on the importance of Delfina [12] Studios as a hotbed of creativity. FEATURED ARTISTS: 12 Anna Barriball The Studios held an outstanding record for nurturing the careers [3] 14 Simon Bill of over 400 artists, including more than a dozen Turner Prize 16 Ian Dawson nominees, in nearly 20 years. Beginning in Stratford in 1988 18 Tacita Dean then relocating to Bermondsey in 1992, the Studios provided free 20 Ceal Floyer and subsidised workspaces to young British artists at first, 22 Anya Gallaccio eventually creating opportunities for artists from across the 24 Lucy Gunning world to live and work in London.
    [Show full text]
  • Regarding Distance Yazan Khalili Ya Z a N K H a Lili
    YAZAN KHALILI REGARDING DISTANCE YAZAN KHALILI 8 apr – 24 may 2014 REGARDING DISTANCE YAZAN KHALILI 8 APr – 24 MAY 2014 EOA Projects is proud to present Regarding Distance, the first major solo exhibition in the United Kingdom by acclaimed Palestinian artist Yazan Khalili. This show features works produced over the last decade, which explores the scarred and fraught landscapes of the West Bank, where the artist grew up. Khalili’s output is detailed, reflective and full of intent. Predominantly using photography and the written word, he unpacks historically constructed landscapes. Borrowing from cinematic language, images become frames where the spectator embod- ies the progression of time. The artist has woven together parallel stories over the years, suggesting both questions and paradoxes concerning scenery and the act of gazing, all of which are refracted through the prism of personal identity. In particular, he focuses on the effect of geographical distance on our rendering of territory, and its ability to heighten or arrest our political and sentimental attachments. The exhibition features video work, photography and drawings, including some of Khalili’s best-known projects; Regarding Distance, The Aliens, On Love and Other Landscapes and The Slaughterhouse. These works are accompanied by lucid and engaging texts reflecting upon and mediating this visual output. They include accounts of journeys through ‘Area C’, in the occupied West Bank, unplanned stops in car dumps and attempts to reach the sea; others are broader interactions with the notion of landscape in a Palestinian context and a refusal to depict the Israeli-built wall. They form a critical strand in the work of this pioneering Palestinian artist.
    [Show full text]
  • Independent Study Program : 40 Years : Whitney Museum of American Art, 1968-2008
    W INDEPENDENT STUDY PROGRAM: 40 YEARS ^,-K 1^ .dW} 'BUW Of ^OWI» SMOUIO COM* AS MO SUffPffiM <^ lM4r<ON ON P^OOfCI icciivrvics o* *(vOiuriONjt*iM AMit w 'liNrvtrAiif AMCI« o»M«ri C/INll 4 UMfUlMOriv/iriN0»O»CI *Mr ii/»p. u\ » <MMO>>ll oncu»r n FHi APPsurB 4'i vtiPOMM rOMOir v;ru4trOf<i lkl*>ON( i WH)«« .1 (OU*U » IMPCWrXNt HtlP'/OIV*l PIOPII olMVVi IPiCl CONCISIIOMI >4 rnlL/lMISSis A SCKlil KOr * (lOlOC'OK 14 '•IIOCW rj 4 lOJUPr NOT 4 NICItlltr COviaMMINr II 4 (ufolN OM IMI PfOFlf MLiwAvw i oasoirri 014,1 4>| |v|Mru4u r >IPl4CI0IVCONVIMriOM41CO41S >MMI>it4MCI Mutr •! 4SU1'IM(0 mil 'NO 4uM4vO<04ill •urUNOrMiNO TO U ncHJO Ol i4»o» i» 4 iix oitr*oriNC 4crn'iri' MONIr C*l4tfS T4tri M0441S 4(1 >0*tirnf PfOPtt MOjr PIOPII 4» MOI nf tOtUll THIMSIlVIt MOiri r roi/ iMOuio M/VO rou* 0<VM (uliNISt MUCH A4\ OIC'OIO aifO*! roo MOI aoRM MOtO(»M4J r\ MIU41 MOI »4.N C4N ai 4 viar potirivf tkimc >fOPll4>|MU't.< fHlrFMIM. fMITCONtaOj INI.ai,»ll 'i<jPii*Mc,oo«. r«o»« >V'rHrMi,>N4N014air4a4t<rM 'lOPlI l*MOCOC»4/r 4*1 lOO W«l/rivl PIO^K MOt < aiH*.! .» IHI? H4VI MOtMlMO TOIOSI P14riMC .r 1411 t4NC4ull 4lOro» p»ri-4r( 04M4CI oi*x(»\«,p ,j 4M iMvir4rioN rooij4»ria •0*«4M».c lovl M4t <^f»|s^|o roM4M,Pui4ri aVOMlM Mii.VHNm „ ,„, M05ra4vc M0-..4-.0N UP4t4>.U<.t tMl M4r fO 4 MIA mo MMMC U« 0<"I>IMCII 4*1 Miai roiI4.
    [Show full text]
  • Decolonizing Architecture / Art Residency Common Assembly For
    Decolonizing Architecture / Art Residency Common Assembly Decolonizing Architecture/Art Residency (DAAR) is an art and architecture collective founded by Alessandro Petti, Sandi Hilal and Eyal Weizman, based in Beit Sahour, outside Bethlehem, in the West Bank. They propose new uses for oppressive Israeli architecture. The word ‘decolonization’ implies the dismantling of the existing dominant structure – financial, military and legal – conceived for the benefit of a single group. As well as working within the professional parameters of architecture and planning, they set up “arenas of speculation” for their projects, drawing on many cultural and political perspectives through individuals and organisations. For more information If you have any questions or want to find out more about the exhibition, please ask our friendly Gallery Assistants. They’re here to help! Logo by Klaus Weber Gallery 1 & 2 The Lawless Line In 1993 secret talks between Israeli and Palestinian representatives were held in Oslo. Three types of territories were defined within the West Bank. Area A was to be under Palestinian control, Area B under Israeli military control and Palestinian civilian control, and Area C under full Israeli control. This temporary geography became permanently splintered when the Oslo process The landscape of the Red Castle and the Line. © DAAR collapsed. A fourth type of territory appeared too. Existing between the others, it represented the width of the line separating them. The line is less than a millimetre thick when drawn on a map at a scale of 1:20,000. Scaled up in real life, its width is more than 5 metres. Our project investigates the route of this line, following it along the edges of villages and towns, across fields, olive and fruit orchards, roads, gardens, children’s nurseries, fences, terraces, homes, public buildings, a football stadium, a mosque and finally a large recently built castle.
    [Show full text]
  • Fadi Yazigi Still Life… Still Alive… Still a Life Curated by Myriam Jakiche
    MEDIA RELEASE For more information contact: Deborah M. Colton 713.869.5151 [email protected] Fadi Yazigi Still Life… Still Alive… Still a Life Curated by Myriam Jakiche February 18 through March 25, 2017 Opening Reception: Saturday, February 18th from 6:00 to 8:00 pm Deborah Colton Gallery is pleased to present Still Life… Still Alive… Still a Life, an exhibition featuring paintings, drawings and sculpture by Syrian artist, Fadi Yazigi. The exhibition opens Saturday, February 18, with an opening reception from 6:00 to 8:00 pm. “Irrespective of what’s happening in the world I live in, I am still alive and still have a life.” Yazigi says. Having arrived at this realization, Yazigi uses his thoughts and findings as the starting point for a new, landmark, mixed-media installation of works that juxtapose still life, or figures in black ink, reflecting the artist’s documented observation that there are times when we are all motionless, be it planned or a random act, yet we are still breathing, thinking, living and even creating art. A large installation consisting of squares painted in contrasting colors on recycled paper and mounted on canvas, acts as the platform for one narration on which the artist explores several themes and concepts. Subjects inevitably include the war in Syria and its impact on both the artist himself and others, but also their desire for a better tomorrow. Another installation includes a collection of ceramic, mosaic figures in jeweled, arabesque colors on wooden bases in the shape of a cross. All of the subjects include figurative illustrations, while some are also upside down.
    [Show full text]