Latest news with #WaelShawky
Korea Herald
03-06-2025
- Entertainment
- Korea Herald
Wael Shawky, Akram Zaatari tell political history through art
Historical incidents in Middle East, North Africa recreated as media art shown at MMCA Gwacheon History can be hard to recount when it holds sorrow and trauma or multiple interpretations. But recreated as art, such stories can resonate powerfully, sparking diverse questions and interpretations in the viewers, regardless of where they are or what language they speak. Presented by the National Museum of Modern and Contemporary Art, Korea, 'MMCA Collection Otherlands II: Wael Shawky, Akram Zaatari' showcases two media works by two leading contemporary artists who explore and reinterpret specific historical events at its Gwacheon museum in Gyeonggi Province. 'Drama 1882' by Egyptian artist Wael Shawky was previously shown at the Venice Biennale 2024. The 48-minute video work addresses the Urabi Revolution, a 19th-century nationalist resistance movement against European control over Egypt following the construction of the Suez Canal. Shawky wrote, composed and directed the media artwork in the form of an eight-part opera, raising questions such as 'Was the history of the Urabi Revolution, as written primarily from Western perspectives, truly objective?' Akram Zaatari's 36-minute video work, 'Letter to a Refusing Pilot,' is based on the 1982 Israeli invasion of Lebanon. The Lebanese artist was inspired by a rumor in his hometown of Saida, which turned out to be true according to the artist, that an Israeli pilot had refused an order to bomb a boy's secondary school where Zaatari's father was a principal at the time. The question 'Why did the Israeli pilot refuse the order?' has remained a central theme in Zaatari's artistic career. In 2012, he published a book about the incident that contains an interview with the pilot. Drawing inspiration from historical theater, the installation of the works incorporates elements such as stage curtains, lighting and theater seating to evoke the feeling of attending a live opera or film screening. The state museum acquired 'Drama 1882' last year through a donation by the MMCA Director's Council, a group of CEOs established in 2011 to support the museum's exhibitions and growth in collection, according to the museum. 'MMCA Collection Otherlands II: Wael Shawky, Akram Zaatari' runs through Aug. 17.
Arab News
11-04-2025
- Entertainment
- Arab News
Highlights from Art Week Riyadh
Wael Shawky For the latest updates, follow us on Instagram @ 'The Gulf Project Camp' This work is part of the award-winning Egyptian artist's ongoing titular series. Its full title is 'The Gulf Project Camp (after 'Hajj (Panoramic Overview of Makkah)' by Andreas Magnus Hunglinger, 1803)' — a nod to its inspiration from the Austrian orientalist's rare early-19th-century drawing of Islam's holiest city. The project as a whole 'investigates the Arabian Peninsula and its modern history through the lenses of migration, trade, petropolitics, religion and tribal alliances' and 'sheds light on specific regional and historical moments: the Utub migration; the establishment of the Emirate of Diriyah, the first Saudi state; and the rise of Wahhabism,' according to a guidebook for the 2019 Sharjah Biennale. 'Historical treaties, conferences, speeches and experiences of war are rendered in the artwork through imagery and the use of various industrial materials, such as tarmac, graphite and metal dust.' Anahita Razmi 'No National Flag Uses a Gradient #1' Razmi is a German-born artist of Iranian and German descent whose practice, she has written, draws on her background to explore 'contextual, geographical, and ideological shifts — with a focus on shifts between an 'East' and a 'West.'' She added that she is interested in 'a fluid, transcultural approach to contemporary art and its histories and references,' as well as 'in work that is producing testing grounds for possibilities of import/export, hybrid identities, and the constructions and ambiguities of cultural representation.' This work was created in 2022 and is a perfect representation of those interests, seemingly representing the lack of room for nuance in nationalist symbols and rhetoric. Safwan Dahoul 'Dream 42' This work forms part of the Syrian artist's ongoing 'Dream' series, which Dahoul began back in the 1980s. According to Ayyam Gallery, the series explores 'the physical and psychological effects of alienation, solitude, and longing that punctuate the human experience at various stages in life.' 'Dream 42,' however, is a notable departure from the earlier works in the series, which always featured a female protagonist, who often 'takes on the form of a despairing woman in isolated interiors.' Her disappearance from this particular work 'could be understood as her final transcendence of a stifling world,' the gallery wrote, noting that in later paintings she is depicted as 'a sort of angel.' Neïl Beloufa 'Double Standard — canyon' The French-Algerian artist and filmmaker's works, according to Francois Ghebaly Gallery, address 'themes of geopolitics, technology, urbanism, and ideology through layered projects that combine video, sculpture, social participation, and often dynamic processes like sensor activation or algorithmic control.' This particular piece, as the title suggests, is illustrative of Beloufa's interest in dichotomies, such as reality and fiction, or presence and absence. 'Combining dichotomies allows him to deconstruct our belief systems and presconceived ideas,' We Art Partners have written of Beloufa's work. 'He tries to confront his audience with his own stereotypes to demonstrate their unbelief.' The work is part of the artist's 'Double Standard' series, which forms, according to a catalogue from his solo exhibition in Basel's Kunsthalle, 'an aesthetic world expressed through gaming-inspired forms and the language of digital imagery.' Lamya Gargash 'Arches Light, Old Jubail Market, Sharjah, UAE' The Emirati artist has long been inspired by inhabited and/or abandoned spaces, 'as well as cultural heritage in a time of rapid change,' according to Dubai gallery The Third Line. In her photo series 'Kun' (which translates as 'To Be'), from which this work is taken, Gargash 'connects the cities of Sharjah, Dubai, London and Bath through carefully curated gold draping gestures captured within each frame to create a unique bond,' Maraya Art Center's catalogue for her solo exhibition there stated. 'This draping, golden fabric is placed into various spaces, guided by the Qibla, a modified compass indicating the direction of prayer. Gargash uses the Qibla to symbolize direction, spirituality and unity. The gold fabric covers and conceals elements in its path; this inclusion breaks the silence of the still frame, drawing attention to focal points and bridging the gap between what is considered sacred and secular.
Bahrain News Gazette
26-03-2025
- Entertainment
- Bahrain News Gazette
Inaugural Art Week Riyadh to Debut With 45+ Galleries, Invited Collections, Public Program Of Talks & Citywide Participating Exhibitions
Inaugural Art Week Riyadh to Debut With 45+ Galleries, Invited Collections, Public Program Of Talks & Citywide Participating Exhibitions. (L-R) | Bashaer Hawsawi, Warm Space 1, 2018, Red Broom with African Cloth, 49 x 43 x 44 cm. Courtesy of Hafez Gallery and the artist. | Nefeli Papadimouli, Dream Coat, 2024, Cotton and wooden structure, 150 x 160 cm. Courtesy of the artist and THE PILL®. | Wael Shawky, The Gulf Project Camp: Sculpture # 3, 2019, Bronze, 50.8 x 120.7 x 61 cm, 20 x 47 1/2 x 24 in. © Wael Shawky, Courtesy Lisson Gallery. | Kader Attia, Le grand miroir du monde, 2017, mirrors, site specific dimension, Galleria Continua San Gimignano. Courtesy the artist and GALLERIA CONTINUA. Photograph by Ela Bialkowska. | Lulwah AlHomoud, 100 Names of ALLAH, 2018, Silkscreen on archival paper, 40 x 30 cm. Courtesy of Lulwah AlHomoud and LAHAF_SA. | Maha Malluh, September in Paris (from the series: Tradition & Modernity), 2010, C-print in Light box John Jones London, 122 x 156 cm. Courtesy of Galerie Krinzinger and Maha Malluh RIYADH, Saudi Arabia, March 26, 2025 (GLOBE NEWSWIRE) — Saudi Arabia's Visual Arts Commission unveils the program and participants for its inaugural edition of Art Week Riyadh , 6–13 April 2025 . The event takes place across key cultural sites, including JAX District (JAX) and Al Mousa Center among other locations across Riyadh, bringing together leading local, regional, and international galleries, cultural institutions, artists, patrons, collectors, and art enthusiasts. It is a non-commercial initiative that builds on the foundations of a dynamic art community to cultivate a collaborative landscape where the visual arts will continue to flourish for generations to come. Held under the theme At The Edge and helmed by a curatorial team including Vittoria Matarrese , Artistic Director and Curator; Basma Harasani and Victoria Gandit Lelandais , Associate Curators; and Shumon Basar , Curator – Public Program, the event delves into the dynamic essence of Riyadh, highlighting its vibrant cultural landscape and growing presence on the global art stage. Art Week Riyadh is headquartered in JAX, where the flagship exhibition At The Edge brings together 45+ local, regional, and international galleries, each presenting curated selections that collectively explore the evolving cultural dialogues between Saudi Arabia, the MENA region, and the global contemporary art scene: A. Gorgi Gallery (Tunisia) Ahlam Gallery (Saudi Arabia) Albareh Art Gallery (Bahrain) Al Markhiya Gallery (Qatar) L'Art Pur Foundation (Saudi Arabia) AV Gallery (Saudi Arabia) Ayyam Gallery (UAE, UK) Carbon 12 (UAE) Efie Gallery (UAE) Experimenter (India) Galerie Krinzinger (Austria) Gallery Misr (Egypt) Galerie La La Lande (France) Galleria Continua (Brazil, China, Cuba, France, Italy, UAE) Green Art Gallery (UAE) Hewar Art Gallery (Saudi Arabia) Hunna Art (Kuwait) Lawrie Shabibi (UAE) Layan Culture (Saudi Arabia) Le LAB (Egypt) Leila Heller Gallery (UAE, USA) Lisson Gallery (China, UK, USA) Mennour (France, UK) Nature Morte (India) Perrotin (China, France, Hong Kong, Japan, South Korea, USA) Sabrina Amrani (Spain) Selma Feriani (Tunisia) The Pill® (France, Turkey) The Third Line (UAE) Tabari Artspace (UAE) Wadi Finan Art Gallery (Jordan) At Riyadh's Al Mousa Center , 15+ galleries will present exhibitions specially conceived for Art Week Riyadh, highlighting pioneering artists and emerging talents from the region and abroad: Abdullah Hammas Studio Abstract Art Gallery Ahlam Gallery Alajilan Gallery Alestudio AMA Art Venue Art Arif Gallery Art Connection AV Gallery China Saudi Cultural Art Association ERRM Art Gallery Frame Art Gallery Kadi Art Gallery Kenz Gallery Mahd Alfnon Gallery Marsami Art Gallery Ola Art Gallery Takeib For Arts Tequin Art Gallery WHJ ALLON Wrd Art Gallery JAX will host three exhibitions under the title Collections in Dialogue by invited collections from Ithra , Art Jameel and the Saudi Research and Media Group , offering a rare and expansive insight into Saudi's evolving cultural identity, while emphasizing the critical role of collecting in shaping and preserving visual culture. A series of high-profile talks and workshops at JAX will reflect on themes and questions facing the visual arts in Riyadh, Saudi Arabia, and around the world today. Curated by Shumon Basar and entitled How to Art World? Lessons in Value , the program will include contributions from partners such as Christie's , Sotheby's and Gagosian . A Moving Image program will highlight the medium's capacity to explore personal, cultural and social narratives, featuring works by Theaster Gates , Zineb Sedira , Hicham Berrada , Bani Abidi , Laurent Grasso , Afra Al Dhaheri , Mohamed Bourouissa , Sarah Brahim , Farideh Lashai and Hashel Al Lamki . At JAX, Ahmed Mater , Ayman Zedani , Marwah AlMugait , and Muhannad Shono , amongst other artists, will open the doors to their studios, while resident galleries Athr , Hafez and Lift will present exhibitions, panel discussions, and workshops. The Saudi Arabia Museum of Contemporary Art will present two exhibitions, Art of the Kingdom and Adaptability Ceramics , workshops and pop-ups. Across the city, Riyadh's newest museums and art hubs will welcome visitors for special programming – The Royal Institute of Traditional Arts , Shamalat. , Hewar Gallery , and the studios of artists Ali Al Ruzaiza , Lulwah Al Homoud , Abdullah AlOthman and others – offering an opportunity to reflect on how Riyadh's past and present converge, shedding light on the dynamic transformation of the city. Press Enquiries: Rania Habib / Zara Doshi: [email protected] / [email protected] A photo accompanying this announcement is available at GlobeNewswire Distribution ID 9411305
Korea Herald
02-03-2025
- Entertainment
- Korea Herald
Artists bring attention to the unnoticed
Wael Shawky and Koen van den Broek's solo exhibitions in Seoul arouse curiosity in what we often miss in ordinary life Artists reinterpret the world around them through their own visual language — whether it be everyday objects, historical events, people, or the environment. Through this process, audiences are invited to reflect on the subjects presented and the artists' intentions behind their expressions. Two newly opened exhibitions in Seoul, at Barakat Contemporary and Gallery Baton, present works by artists that the galleries have closely collaborated with since their inception. Wael Shawky at Barakat Contemporary Egyptian artist Wael Shawky is globally recognized for works based on his thorough historical research, mainly on regions in the Middle East, and blending fact and fiction across diverse media. He is currently showing some of his pivotal works from the early 2000s at Barakat Contemporary. The artist emigrated with his family to Mecca, Saudi Arabia, at an early age, when an influx of foreign professionals moved to the country following the oil boom. His digital work 'Al Aqsa Park' (2006) is a computer animation that depicts the 'Dome of the Rock' shrine adorned with marquee lights, rotating in an endless loop. The dome, established in the late 7th century, is still a highly contested site between Palestine and Israel as a sacred location in both Muslim and Judeo-Christian traditions. 'For us, the topic is endless. It does not finish,' the artist said at the press opening on Thursday. 'It is also happening today, and although this work is, I believe, 19 years old, it has the same reference.' The 14-minute video work 'The Cave (Amsterdam)' from 2005, shows the artist walking down the aisles of a supermarket in Amsterdam, reciting from memory 'Surah al-Khaf,' or 'The Cave,' from the Qur'an. It is one of three iterations of 'The Cave' series alongside versions filmed in Istanbul and Hamburg, 'The supermarket is more representing the capitalism world, because if you try to imagine that if we make the same film in different supermarkets around the world — almost most of these products are the same,' he said. Shawky represented the Egyptian Pavilion at the 2024 Venice Biennale with the film work 'Drama 1882.' Koen van den Broek at Gallery Baton Belgian artist Koen van den Broek at Gallery Baton unveiled the seven-part 'S' series that shows shadows of buildings falling over nearby roads. The artist integrates his memories and perceptions of roads in his work, embracing the materiality of industrial paints and tar. Van den Broek said he found it interesting that people take photos of shadows and send them to him, saying it reminds them of his works. 'People look at things differently (after seeing my works). They never noticed the streets, shadows or all the structures, but they suddenly appear to be different while they are traveling. It is a very funny thing,' he said on Friday at the press opening. The artist majored in architecture before completing a master's program in painting at Higher Institute for Fine Arts, Belgium. He finds the elements used in his art in cities and their surroundings, such as street signs, parking structures, grid-patterned sidewalks and piers. '(My art) is totally influenced by architecture, and as a child I wanted to construct things like bridges playing with Legos. I never painted human beings. I always blend architectural structures into art,' he said. 'Usually painters start in the middle (of a canvas) and they go to the side. I work more like an architect — it is always about the frame, so I go to the middle, instead of from the middle going to the outside.' 'Wael Shawky: Telematch and Other Stories' at Barakat Contemporary and 'Freedom of Shadow' at Gallery Baton run through April 27 and March 29, respectively.
