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  • of a landscape awaiting a heavy rain fall the peasant life characterized by both energy and a strange tranquility and perserverance that is almost lighthearted in the case of the young farm worker depicted sombre and eternal in the case of his oxen The works showing Iraqi women real beauties one might say are close to folk art bright colorful geometrical and basically well balanced in their formal language that relies on curves segments of circles intercutting each other The works however that are most dear to me are mythological both in their formal language and their historical reference In the case of these works often wood instead of canvas is used as a surface What is taken at first sight and mistakenly for normal oil paintings is very special in its reliance on natural substances native to his land that the colors are made of One referred to as No 26 in his Trier exhibition Oct 2002 makes me more than aware of how Haddad Maurice recoups the past echos of a distant memory This work is resonant a reflection of an ancient world a bygone culture and its artefacts With apparent ease and great mastership Haddad Maurice creates a montage of law texts hewn into stone tablets a stele presenting two half invisible faces of old and a female figure of which only the body from the waist upward is visible a naked figure with a youthful oval face and delicate arms that seems to carry a symbol on its head the seven suns of Catholicism I guessed whereas this is to him a green ornament of seven eyes disk like eyes grouped around an 8th central disks the center of the amulet that is believed to keep bad looks away They used it already the artist notes on the hands of the kings of Babylon It comes from Sumeria they were the first people who used this tattoo But the people today use it as well the farmers do The turquoise green of the seven eye like or disk like shapes that form a flower corresponds beautifully with other golden disks spots he says green or golden spots the kabile kabeela that the women as well as the men wear each clan each group belonging to a particular sheikh has its own combination of them in his province Three on the arm or four or two or perhaps another number of them in case of the man And similarly a combination and number of spots on the breast in case of the women Thus what may have been the Chaldean Christian heritage with its much older roots merges with the local culture of his Islamic brethren his fellow peasants who are the majority They are all immersed in it like the fish are immersed in the waters they breathe the same culture which is so ancient and so present yet so actual so newly lived so distinctly felt Another work is commented on briefly by the artist

    Original URL path: http://www.art-in-society.de/AS1/HM/HMT.htm (2016-04-25)
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  • villages the memories of his own kind Of the Peasants the peasants of Basra the land between the rivers the fields engulfed by the marshes created by the rivers But in the North also in the country between the rivers they built from the mud transported by the rivers they made bricks from it they found stones in it and so we see here the tower constructed the platform of the law giver of the culture bringer facing the king as his adviser It is a world of secrets packed in boxes a world of papier mâché and bearded men a world with the blood red writing on the wall No 12 Yellow Like Ripe Wheat Chinese stamps Sumerian stone plates symmetric fields of Iraq an abstract painting constructed from patches of yellow squares ochre squares a near circular yellow shape holding inside it the red shape of a chameleon a human being Wherever you look you see the traces of writing Sumerian writing the heritage of the land but the cow the horned bull half hidden by the plates by the writing turns its head and looks backward vital tender watchful full of sadness as it eyes us our world lost a world kept alive by the painter world of dust and wheat sand and shards world Yellow Like Ripe Wheat No 22 Again the Sickle Again the Star Again the sickle again the star golden star golden trace in the night your line frames the universe a world traversed by a boat pushed thru history a boat made of papyrus a fragile boat with the mythical King of dreams carried by it he is propelling it ahead using his pole thrusting the pole into the marshy water covered earth the king wears a cap the cap is a golden moon another sickle in the world of man a symbol of transcendence immersed within immanence reduplicating the far sickle in the sky confronting the rower the traverser of the sea of life is a dancer is a woman is a magical woman a witch woman a dream woman a sacred woman a real woman a figure from far away from the times sunk in the past in the beginnings not of mankind but of culture as we remember it The human universe is that woman the human universe is that man it is the dancer it is the wise man the giver of the law morality ethics the connection with the sky its stars its laws and the calculations thereof In Haddad Maurice s work this universe of woman and man of the culture bringer and the bringer of joy music dance swings like a baby in the fluid of the uterus in the streams running on forever as with silvery scales in the darkness the fish flit I love you little fish I love you Although the Americans have poisoned you with their bombs No 21 Freezes Looking at the freezes three bands of freezes one on top

    Original URL path: http://www.art-in-society.de/AS1/HM8.shtml (2016-04-25)
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  • know the social reality of places far away from the capital As Faisal Ashour mentioned it was during this stay in Upper Egypt that Saad discovered for himself ancient Egyptian art During those years he took part in exhibitions in Cairo Alexandria Peking New Delhi and several South American capitals Then following an offer to become art director of a Kuwaiti monthly he became an expatriate artist spending the next three years in that small oil rich country In 1964 he emigrated to Germany where he joined the Munich Kunstverein as a member in 1966 and has been an art teacher in Nuremberg since 1973 Time and again he visited his native Egypt a fact that has not been without consequences for his further work as an artist He had important exhibitions in Munich as well as Yugoslavia and is presently the honored guest artist of the 9th Cairo International Biennale This honor accorded by the Egyptian Ministry of Culture is truly deserved despite his long absence from Egypt As anybody familiar with his oeuvre will confirm Saad s importance as an artist depends to a large degree on the fact that he is still referring in quite a few of his works to the culture that influenced him so much during his earlier years It was by confronting the Egyptian landscape as well as the social reality of Upper Egyptian small towns and modest villages that he was able to organically absorb and Africanize an academic training originally focused on Western paradigms It was here immersed in the North African Arab socio cultural reality of Upper Egypt that the composition and coloration of his works began to respond to specific requirements prescribed by what he saw and how he was able to see it in a country with a

    Original URL path: http://www.art-in-society.de/AS1/Saad1/RG.shtml (2016-04-25)
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  • Modern Middle Eastern Paintings
    Eastern art counts you see It counts as a commodity It is being globalized merchandized commodified Isn t that innovative isn t that progressive In fact the dealers and the Western investors in this art need courage They put up risk capital sort of They are placing a bet This is another emerging market with its risks and promises of large profits How much did the Middle Eastern artists in the countries mentioned get from the nearly 500 000 US Dollars their paintings were sold for in London last year O come off it this is beside the point I can hear the specialists say What counts is the recognition received the breakthrough They will profit from being part of the art market profit because they ve made it they are known artists now brand names sort of Modern Arab painting is a very new and small field on the international art market Mehreen Rizvi Sotheby s specialist for 20th century Middle Eastern paintings explained And there needs to be much more promotion and exposure through international exhibitions and international museums the British Museum has a small collection as well as corporate collecting not to mention more research and publications in this field to make a bigger impact on the international art scene she said But we are hoping that we will manage to do this on a regular basis and thus have auctions at least once a year of 20th century Middle Eastern Art Yes promotion is the core almost in the international art market Today s globalizing Capitalism doesn t work well without public relations The intrinsic value of the work the experience and emotion and creative process of the artist count little his ambiente the small world he lives in and traverses count little Perception counts though not genuine perception the productive process you and I engage in when we confront a work of art The perception that counts is a mirage the world of images created by the liars and fakers of the PR business the empty praise of those who tell you a work was selling for this much or that little They measure the value of the work by the price it is fetching they have no other gauge Their empty brains and hearts in pursuit of money of realizing the monetary value of a commodity are the hearts and brains of exploiters exploiting the work of the artist Sadly enough the latter often needs them just as the laborer needs his employer to sell his capacity to work The auction is indeed significant for the gradual increase in attention modern Arab art is receiving in the West but more importantly because the painters and their works indicate the unswerving pride of the Arab people at a time when almost all pride has disappeared and Arabs are feeling increasingly disillusioned in the face of a Western cultural and political onslaught Is that so Do today s Arabs masses feel pride that Sotheby is successfully auctioning off the art of their compatriots Do the subaltern classes of this region feeling the onslaught of western neo imperialism really need to be comforted in this way Are they all waiting to surrender to the cultural onslaught of the West Okay let s not be entirely unfair towards the author of this article Maybe the fact that some of us in the West are indeed in touch with Western art but also opening up to the artistic contributions of other cultures is a good sign Maybe the fact that some Arabs and Iranians some people in Turkey and Sudan are not blind to the artistic achievements in their countries needs indeed to be recognized The Sotheby auction aside it is a good thing that we curiously look beyond the fence of our cultures hoping for some genuine and fruitful exchange between equals Cultural exchange can only be exchange between equals because the historically produced difference of specific cultures allows for no common gauge to measure the greater or lesser cultural contribution of each We are dealing with qualities that are specific and cannot be quantified Looking at some of the works offered by Sotheby s Ramsay Short notes These pieces reveal the pride of peoples who despite their scars attempt to overcome despair and show their more attractive side more perfect image They also remember their heritage and critique their situation The works are varied eclectic and pluralist and the rich diversity in the cultures of the countries represented has seen many of the artists look both East and West individually and creatively incorporating a variety of influences More specifically we are alerted to the collection of art works assembled by Riad al Rayyes From the article it is not clear whether the attention it receives is accidental or not On the one hand there are references to qualities of the works and concerns of the artists that transcend a purely commercial interest On the other hand it is quite obvious that these qualities are instrumentalized to buttress the commercial value the works are said to possess Again and again prices already paid for these works or prizes Sotheby s expect to fetch are mentioned the commodifikation of art thus contrasts starkly with the existential involement of the various artists That some of them were heavily indebted to Western currents of arts is a well known fact The merging of influences a resulting hybridity is a much more interesting phenomenon a theme that the writer fails to develop Social commitment in a world were stark social contrasts and contradictions abound could well go together with an absorption of both Western and Middle Eastern aesthetic influences All this would require closer scrutiny and analysis But the article serves mainly as a billboard for Sotheby s who probably furnished a press brief providing the basic information included here But judge for yourself by briefly scanning the remainder of Ramsay Short s contribution As you will see Short stresses the centerpiece

    Original URL path: http://www.art-in-society.de/AS1/MEM/MP2.html (2016-04-25)
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  • ExhBey5
    Harfouche for scientific purposes of documentation It was first published by the Revue du Leban online edition Nicole MALHAMÉ HARFOUCHE Les Racines du Monde Exposition à la Lebanese American University Les uvres illustrent dans leur variété des techniques et courants artistiques divers allant de l académisme à l installation en passant par l expressionnisme le symbolisme la figuration libre etc Chacune de ces femmes peintres ayant trouvé son mode d expression leurs uvres ne présentant aucune parenté entre elles Rim Al Jundi Rima Amiouny Souleima Zad Afaf Zurayk Houry Chekerdjian Anita Toutikian et Odile Mazloum ne se contentent pas de représenter les thèmes et les corps dans leur apparence matérielle mais les représentent et les composent dans l espace à peindre en les organisant entre eux afin de créer une sorte de mise en scène scénographique au service de leurs divers langages plastiques car l art exige une réinterprétation constante En tant que science il demeure une question sans réponse L ART A T IL UN SEXE Ici une question se pose l art a t il un sexe Nous le savons bien jusqu à présent dans le domaine des arts plastiques et sur le plan mondial le sommet de la gloire est hors d atteinte pour les femmes à cause de certains préjugés bien enracinés dans les esprits même chez les critiques d art Les grands génies du XXème siècle reconnus comme tels sont presque exclusivement des hommes Au Liban où les préjugés sont aussi vivaces la situation ne se présente guère mieux Beaucoup sont convaincus que parce que les femmes sont plus sentimentales que les hommes plus émotives et plus sensibles leurs uvres sont à leur image minutieuses rassurantes agréables réfléchies séduisantes parce qu inconsciemment la femme aime séduire à travers son art Mais il faut préciser que

    Original URL path: http://www.art-in-society.de/AS1/ExhBey7.html (2016-04-25)
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  • Logos a controlling principle of the universe regulates the underlying struggle between the elements Hortus Eystettensis 2007 6 min 19 sec One glances through an audiovisual book of the seasons The essence of each season is pronounced by a geometrical figure a particular colour palette and a specific set of musical sounds The Gardener s Cabinet 2008 6 min 25 sec In our contemporary urbanized circumstances green and peaceful surroundings

    Original URL path: http://www.art-in-society.de/AS8/Eichst2008.shtml (2016-04-25)
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    Paravasu taking oath Dipankar Dutta as Paravasu Photo by Kallol Majumder Go to next page

    Original URL path: http://www.art-in-society.de/AS15/FireRain/firerain2.html (2016-04-25)
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  • A. Jadis, Yao Yi-wei's 'A Suitcase' - --------------------------------------------------
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    Original URL path: http://www.art-in-society.de/AS15/YAO/Yao-Jadis2.html (2016-04-25)
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