Art D’Égypte is a multidisciplinary firm founded by Nadine Abdel Ghaffar to support the Egyptian arts and culture scene. !e company organizes a yearly exhibition in a historic location in Egypt to shed light on the country’s abundant cultural heritage and to connect the art of Egypt’s past with that of the twenty-first century. Forever Is Now is the fourth edition, held at the 4500-year-old UNESCO World Heritage site, the Pyramids of Giza, and follows three highly successful exhibitions: Eternal Light at the Egyptian Museum (2017), Nothing Vanishes, Everything Transforms at the Manial Palace (2018), and Reimagined Narratives on al-Mu‘izz Street (2019). By raising awareness, Art D’Égypte’s target is to help preserve Egypt’s heritage and advance the international profile of modern and contemporary Egyptian art, presenting an alternative view of Egypt the world.
This publication coincides with the exhibition Forever Is Now, on view from 21 October 2021 to 7 November 2021, at the Pyramids of Giza, Cairo, Egypt. Curator Nadine A. Ghaffar Art D'Égypte Malak Shenouda Hana El Beblawy Nada Hassab Hanya Elghamry
Salma Al Khalidi Rawan Abdulhalim Mariam El Tagoury Alaa Elsayegh
Book Design Jorell Legaspi Copyeditor Nevine Henein Project Manager Nadine A. Ghaffar Printed in Egypt by our printing partner:
www.saharaprinting.com info@saharaprinting.com
Cover image: MO4 Network All rights reserved. No part of this publication may be reproduced in any manner without permission. Unless otherwise specified, all images are © the artists, reproduced with the kind permission of the artists and/ or their representatives.
© 2021 Art D'Égypte, Cairo, Egypt. Polygon Building 6, 2nd floor, Unit D 2 Km 38 Cairo / Alexandria Desert Road info@artdegypte.com www.artdegypte.org
FOREVER IS NOW
Every effort has been made to contact copyright holders and to ensure that all the information presented is correct. Some of the facts in this volume may be subject to debate or dispute. If proper copyright acknowledgment has not been made, or for clarifications and corrections, please contact the publishers and we will correct the information in future reprintings, if any.
CONTENTS 6
CURATORIAL STATEMENT
15
THE ARTISTS & ARTWORKS
79
CONCEPTUAL ART DOCUMENTARY
91
PARALLEL PROJECT
97
WRITINGS ON ART & HISTORY
175
CONTRIBUTORS
178
CURATING BOARD
180
ADVISORY BOARD
182
PATRONS
186
INSTITUTIONAL PATRONS
188
EDUCATION PARTNER
189
SPONSORS
193
ART D'ÉGYPTE
198
ACKNOWLEDGEMENTS
208
ARTISTS’ ACCOMPLISHMENTS ART D’ÉGYPTE
Photo: Hossam Omar on Unsplash
FOREVER IS NOW
CURATORIAL STATEMENT
FOREVER IS NOW Simon Watson & Nadine Abdel Ghaffar
The work of contemporary artists; the wonder of the ancient world Thousands of years ago, Egyptian workers built the pyramids as resting places for their revered kings. Tens of thousands of masons, artisans, labourers, and overseers devoted their lives to making sure these monuments would endure for eternity. Millennia after the ancient Egyptians stood in awe, so did the Greeks, and after them, the Romans. And millennia after that, in our time, the world still marvels at the pyramids, captive to their lore and majesty, enthralled by the technical skills and engineering genius that went into their construction.
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An international art exhibition in Egypt on the Giza plateau Forever Is Now is a contemporary art exhibition that brings together the work of artists from throughout the region and the world for the unique opportunity of contemplating the wonder of an ancient civilization through a lens created by the interests, concerns, and passions of present-day artists. Located at the 4500-year-old UNESCO World Heritage site, the Pyramids of Giza and the surrounding plateau, the exhibition seeks to question time as a continuum that both separates and unites civilizations. The juxtaposition of a treasured cultural heritage with the rich diversity of contemporary art practices is designed to trace the continuity of themes stretching from the storied past to the vibrant present and to dream — in different ways — about humanity’s future. FOREVER IS NOW
Forever Is Now takes place in tumultuous times. The world has been upended by the COVID–19 pandemic. Many of the planet’s eight billion inhabitants are in need of food, water, and decent shelter. Political conflicts are widespread; dangerous escalations proliferate. Yet insight and comfort can be drawn from the example of ancient peoples, also beset by plague, war, and famine. Humankind found ways to survive, and civilizations moved forward. Cornerstones of foundational art and knowledge have been built upon over time, with past achievements in art and architecture inspiring successive generations. Cultural heritage is the continuity of humanity. It is not exclusive to the people living in its vicinity; rather, it is our collective responsibility to protect and represent it. This exhibition showcases contrasting elements — the contemporary artworks and the ancient artefacts — creating a dialogue that explores how the same global issues were addressed across different civilizations. It also examines the socio-economic challenges and the role of public monuments and explores the value of cross-cultural exchanges and the empowerment of women in a societal context. International in scope and diverse in its offerings — incorporating painting, sculpture, multimedia works, and performance art — Forever Is Now expresses the common interests and concerns of humanity, today and eternally. The dialogue catalysed in this historical venue confronts the past with the present, underlining the seminal role of ancient cultural heritage in shaping present and future societies and highlighting the importance of its preservation. Placing contemporary art in an ancient Egyptian historical site creates a powerful curatorial pairing, liberating audiences to question long-held interpretations and examine the innovations of our contemporary times.1 Three insights Archaeology tells us that the earliest civilizations turned to the arts even while securing the basics of food, water, shelter, and safety. Our need to understand the cycles of life and the nature of the world mirrors that of our ancestors. Every culture of the contemporary world is animated by a passion for creating objects and experiences that communicate its understanding ART D’ÉGYPTE
7
of life to others. With this ongoing relationship between culture and art in mind, the curators have identified three critical insights to guide their choice of works to be included in this colloquy between ‘now’ and ‘always’: Humanity’s unfailing curiosity, even in the face of adversity or danger. The human tendency of elaboration, decoration, and profusion, whether joyous, horrifying, or simply stupefying. Our search for knowledge in the service of pleasure, power, and spiritual enlightenment. ‘Artist: The one who brings to life’ The practice of many modern and contemporary artists has referenced or been influenced by ancient Egyptian culture. Equally, many contemporary artists have produced works whose themes and concerns speak to those found in the monuments of this unique UNESCO World Heritage site. Though ancient Egyptian artisans excelled at their craft, few of their names survive; yet we value the creations of these unknown masters because they possessed the invaluable skill of breathing life into their work. In fact, the Egyptian words corresponding to the word ‘artist’ can be translated as ‘the one who brings to life’.2
8
The exhibition seeks to foster a dialogue with the history of both Egypt and the region, which has been rich in symbols and influences since the dawn of history. In ancient Egypt, we find the birthplace of writing and papyrus; the legendary fertility and biodiversity of the Nile region, which 6,000 years ago included the world’s most dazzling array of fauna and flora; the diversity of cuisine that celebrates a myriad of regional influences; and the development of science, mathematics, and astronomy, which stimulated the creation of objects and concepts we still use today such as surgical instruments and the modern calendar.
FOREVER IS NOW
All of these elements from the past are reflected in the choice of the artists participating in Forever Is Now, whose works echo the fundamental elements, creations, and discoveries of ancient Egyptian culture and reflect the modern resonance of the themes found at this incomparable site. Forever Is Now is an exhibition of contemporary art grounded in the present day. Thus, community outreach and educational engagement are an important element of the exhibition, which embraces humble but inclusive practices such as on-site stencilling and poster creation. It also celebrates neglected aspects of popular culture through workshops in partnership with local schools. Yet the exhibition also dares to dream beyond the here and now. In line with the celestial themes of ancient Egyptian artefacts, which frequently depict the sun and the cosmos, many of the artists included in Forever Is Now refer to the hope for a luminous future for humankind that encompasses extra-terrestrial activities that could scarcely be imagined as achievable realities even a hundred years ago. The wonder of humanity Forever Is Now is an international art exhibition that both reflects the profound global influence of ancient Egypt and draws on the ongoing inclusiveness of contemporary cultural practices. Whether exercised by ancient Egyptians or by contemporary artists, the making of art permits one generation to bear witness and speak to the next. It is an unrelenting undertaking that reflects humankind’s enduring talent for creating works that inspire the imagination and stir the emotions so deeply that they are called ‘wonders’ — works that reveal the marvel of humanity itself, its tenacity and, through the arts, its unity. 9
[1] Tully, G., 2017. Eternal Light Exhibition Catalogue. Cairo: Art D’Égypte, p.7. [2] Hagen, R-M. and Hagen, R., 2007. Egyptian Art. Cologne: Taschen. ART D’ÉGYPTE
ﻳﻘــﺎم ﻣﻌــﺮض "ا>ﺑﺪ ﻫﻮ ا9ن" ﻓﻲ ﻟﺤﻈــﺔ ﺗﺎرﻳﺨﻴﺔ ﻣﺮﺑﻜﺔ؛ ﻓﻬﻲ ﻟﺤﻈــﺔ ُﻗﻠﺐ ﻓﻴﻬﺎ رأﺳــﺎ ﻋﻠﻰ ﻋﻘﺐ ﺑﺴــﺒﺐ ﺟﺎﺋﺤﺔ ﻛﻮﻓﻴﺪ .١٩وﻗﻊ ﺑﺴــﺒﺒﻬﺎ اﻟﻌﺪﻳﺪ ﻣﻦ ﺳــﻜﺎن اﻟﻌﺎﻟﻢ ً ﻛﻮﻛﺒﻨــﺎ — اﻟﺒﺎﻟــﻎ ﻋﺪدﻫــﻢ ﺛﻤﺎﻧﻴﺔ ﺑﻼﻳﻴﻦ — ﺗﺤﺖ وﻃﺄة اﻟﻌﻮز إﻟــﻰ اﻟﻐﺬاء ،واﻟﻤﻴﺎه، واﻟﻤﺄوى اﻟﻤﻨﺎﺳــﺐ .ﺗﻨﺘﺸــﺮ اﻟﻨﺰاﻋﺎت اﻟﺴﻴﺎﺳــﻴﺔ وﺗﺘﻮﻟﺪ ﻣﻌﻬــﺎ ﺗﺼﻌﻴﺪات ﺧﻄﻴﺮة ﻛﻞ ﻳــﻮم ،رﻏــﻢ ﻛﻞ ذﻟــﻚ ﻣﺎ زال ﻳﻤﻜﻨﻨﺎ أن ﻧﺘﺄﻣﻞ أﻣﺜﻠﺔ ﻣﻤﺎ ﻋﺎﺷــﻪ اﻟﻘﺪﻣــﺎء وﻧﺘﺨﺬ ﻣﻨﻬﺎ وﺳــﻴﻠﺔ ﻗــﺪ ﺗﺒﻌــﺚ ﻓﻲ ﻗﻠﻮﺑﻨﺎ ﺑﻌــﺾ اﻻﻃﻤﺌﻨﺎن؛ ﻓﻬﻢ ً أﻳﻀﺎ ﻗﺪ ﻣــﺮوا ﺑﺘﺠﺎرب ﻣﻤﺎﺛﻠﺔ داﺋﻤﺎ ﻣﺎ وﺟﺪت ا|ﻧﺴــﺎﻧﻴﺔ ﻣﺜــﻞ اﺟﺘﻴــﺎح اﻟﻄﺎﻋــﻮن ،واﻧﺪﻻع اﻟﺤﺮوب ،ووﻃﺄة اﻟﻤﺠﺎﻋﺎت. ً ﺳــﺒ ًﻠﺎ ﻟﻠﻨﺠــﺎة ،وﺗﻘﺪﻣــﺖ اﻟﺤﻀﺎرات إﻟﻰ ا>ﻣﺎم رﻏﻢ اﻟﻌﻘﺒــﺎت واﻟﺼﻌﺎب .ﻣﻨﺬ ﻗﺪﻳﻢ ا>زل ،ﺗﺴــﺘﻠﻬﻢ ا>ﺟﻴــﺎل اﻟﻤﺘﻌﺎﻗﺒﺔ إﻧﺠﺎزات ا>ﺳــﻼف ﻓﻲ اﻟﻔﻨــﻮن واﻟﻌﻤﺎرة ،وﻫﻜﺬا ﺑﻨﺎء ﻋﻠﻰ ﺣﺠﺮ أﺳــﺎس اﻟﻔﻨــﻮن واﻟﻤﻌﺮﻓﺔ ﻋﺒﺮ اﻟﺰﻣﻦ. ﻳﺘــﻢ اﻟﺘﺸــﻴﻴﺪ ً إن ا|رث اﻟﺜﻘﺎﻓــﻲ ﻫــﻮ ﺟــﺰء ﻻ ﻳﺘﺠﺰأ ﻣﻦ دﻳﻤﻮﻣﺔ اﻟﺒﺸــﺮﻳﺔ؛ وﺣﻔﻈــﻪ ﻻ ﻳﻘﺘﺼﺮ ﻋﻠﻰ ﺟﻤﻴﻌــﺎ أن ﻧﺤﺎﻓﻆ ﻋﻠﻴﻪ وأن ﻣــﻦ ﻳﻌﻴﺸــﻮن ﻓــﻲ ﻛﻨﻔﻪ ﻓﻘﻂ ،ﺑﻞ ﻳﻘــﻊ ﻋﻠﻰ ﻋﺎﺗﻘﻨﺎ ً ﻧﻘﺪﻣــﻪ إﻟــﻰ اﻟﻌﺎﻟﻢ .ﻳﻘﺪم ﻫﺬا اﻟﻤﻌــﺮض ﻋﻨﺎﺻﺮ ﻣﺘﺒﺎﻳﻨــﺔ — ﺗﺘﻨﻮع ﺑﻴﻦ ا>ﻋﻤﺎل اﻟﻔﻨﻴــﺔ اﻟﻤﻌﺎﺻــﺮة وا9ﺛــﺎر اﻟﻌﺘﻴﻘﺔ — وﻳﺨﻠﻖ ﺑﺬﻟﻚ ﺣــﻮارًا ﻳﺒﺤﺚ ﻓﻲ اﻟﻌﻼﻗﺔ اﻟﻤﻤﺘــﺪة ﺑﻴــﻦ اﻟﻤﻮﺿﻮﻋﺎت اﻟﻤﺘﻨﺎوﻟــﺔ ﻋﺒﺮ ﻣﺨﺘﻠﻒ اﻟﺤﻀــﺎرات ،وﻳﻔﺤﺺ اﻟﺘﺤﺪﻳﺎت اﻻﺟﺘﻤﺎﻋﻴــﺔ واﻻﻗﺘﺼﺎدﻳــﺔ واﻟــﺪور اﻟﺜﻘﺎﻓﻲ اﻟﺬي ﺗﻠﻌﺒﻪ اﻟﻤﻌﺎﻟــﻢ ا>ﺛﺮﻳﺔ اﻟﻌﺎﻣﺔ، وﻳﺴﺘﻜﺸــﻒ ﻗﻴﻤــﺔ اﻟﺘﺒﺎدل ﺑﻴﻦ اﻟﺜﻘﺎﻓــﺎت اﻟﻤﺨﺘﻠﻔﺔ ،وأﻫﻤﻴــﺔ ﺗﻤﻜﻴﻦ اﻟﻤﺮأة ﻓﻲ اﻟﺴﻴﺎق اﻻﺟﺘﻤﺎﻋﻲ. ﻳﻘــﺪم ﻣﻌــﺮض "ا>ﺑﺪ ﻫﻮ ا9ن" ﻣﺠﻤﻮﻋــﺔ ﻛﺒﻴﺮة ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﺪوﻟﻴﻴﻦ وﻳﺸــﻤﻞ أﻋﻤــﺎ ًﻟﺎ ﻣﺘﻨﻮﻋﺔ ﻣــﻦ ﻣﺨﺘﻠﻒ اﻟﺘﺨﺼﺼــﺎت ،ﺗﺘﻀﻤﻦ اﻟﺘﺼﻮﻳﺮ اﻟﻠﻮﻧــﻲ ،واﻟﻨﺤﺖ ،وأﻋﻤﺎل اﻟﻮﺳــﺎﺋﻂ اﻟﻤﺘﻌﺪدة ،واﻟﻔﻨﻮن ا>داﺋﻴﺔ؛ وﻳﻌﺒﺮ ﻋﻦ اﻻﻫﺘﻤﺎﻣﺎت واﻟﻤﺸــﺎﻏﻞ اﻟﻤﺸــﺘﺮﻛﺔ ﻟــﺪى ﻣﺨﺘﻠﻒ اﻟﺒﺸــﺮ ﻓﻲ اﻟﺤﺎﺿــﺮ وأﺑﺪً ا .ﻳﺨﻠﻖ اﻟﻤﻌﺮض ﺣﻮارًا ﻣﺴــﺮﺣﻪ ﻫﺬا اﻟﻤﻮﻗﻊ ً وﺟﻬﺎ ﻟﻮﺟﻪ أﻣﺎم اﻟﺤﺎﺿــﺮ ﻣﺆﻛﺪً ا ﻋﻠﻰ اﻟﺪور اﻟﺘﺎرﻳﺨــﻲ اﻟﻤﺘﻔــﺮد ،وﻳﻀــﻊ اﻟﻤﺎﺿﻲ اﻟﻤﺆﺛــﺮ ﻟﻠﺘــﺮاث اﻟﺜﻘﺎﻓﻲ اﻟﻘﺪﻳﻢ ﻓﻲ ﺗﺸــﻜﻴﻞ ﻣﺠﺘﻤﻌﺎت اﻟﺤﺎﺿﺮ واﻟﻤﺴــﺘﻘﺒﻞ وﻳﺴــﻠﻂ اﻟﻀــﻮء ﻋﻠﻰ أﻫﻤﻴﺔ اﻟﺤﻔــﺎظ ﻋﻠﻴﻪ .إن إﻗﺎﻣﺔ ﻣﻌﺮض ﻟﻠﻔــﻦ اﻟﻤﻌﺎﺻﺮ ﻓﻲ ﻣﻮﻗــﻊ ﺗﺎرﻳﺨــﻲ ﻣﺼﺮي ﻗﺪﻳــﻢ ﺗﺨﻠﻖ ازدواﺟﻴﺔ ذات أﺛﺮ ﻗﻮي ،وﺗﺘﻴــﺢ ﻟﻠﺠﻤﺎﻫﻴﺮ اﻟﺘﺴــﺎؤل ﺑﺤﺮﻳــﺔ ﺣﻮل اﻟﺘﻔﺴــﻴﺮات اﻟﺘﺎرﻳﺨﻴﺔ اﻟﻤﺘﻌــﺎرف ﻋﻠﻴﻬﺎ ،واﻻﻃﻼع ﻋﻠﻰ اﻻﺑﺘﻜﺎرات اﻟﺘﻲ ﻳﻨﺘﺠﻬﺎ ﻋﺼﺮﻧﺎ اﻟﺤﺎﻟﻲ )ﺟﻴﻤﺎ ﺗﻮ ّﻟﻲ ،ﻛﺘﺎﻟﻮج ﻣﻌﺮض "اﻟﻀﻮء اﻟﺨﺎﻟﺪ" ،ص .(٧ 10
ﺛﻼﺛﺔ ﻣﺤﺎور ﺗﻤﺎﻣﺎ ﻛﻤــﺎ اﻫﺘﻤﺖ ﺑﺘﻮﻓﻴﺮ ﻳﺨﺒﺮﻧــﺎ ﻋﻠــﻢ ا9ﺛــﺎر أن اﻟﺤﻀﺎرات ا>وﻟﻰ اﻫﺘﻤــﺖ ﺑﺎﻟﻔﻨﻮن ً أﺳﺎﺳــﻴﺎت اﻟﻐــﺬاء ،واﻟﻤﻴــﺎه ،واﻟﻤﺄوى ،وا>ﻣﺎن .إن اﺣﺘﻴﺎﺟﻨﺎ إﻟــﻰ ﻓﻬﻢ دورات اﻟﺤﻴﺎة واﻟﻄﺒﻴﻌــﺔ ﻓــﻲ اﻟﻌﺎﻟﻢ ﻣﻦ ﺣﻮﻟﻨﺎ ﻻ ﻳﺨﺘﻠﻒ ﻋﻦ اﺣﺘﻴﺎج أﺳــﻼﻓﻨﺎ إﻟﻰ اﻟﺸــﻲء ذاﺗﻪ. ﻳﺪﻓــﻊ ﻛﻞ ﺣﻀــﺎرة ﻣﻦ ﺣﻀــﺎرات ﻋﺎﻟﻤﻨﺎ اﻟﻤﻌﺎﺻﺮ ﺷــﻐﻒ ﺑﺈﻧﺘﺎج ا>ﻏﺮاض وﺗﻜﻮﻳﻦ اﻟﺨﺒــﺮات اﻟﺘــﻲ ﺗﻨﻘــﻞ إﻟﻰ ا9ﺧﺮﻳﻦ رؤﻳﺘﻬــﺎ ﻟﻠﺤﻴﺎة وﺗﻌﺎﻃﻴﻬــﺎ ﻣﻌﻬﺎ .ﻣﻊ اﻟﻮﺿﻊ ﻓﻲ اﻻﻋﺘﺒــﺎر ﻫــﺬه اﻟﻌﻼﻗﺔ اﻟﻤﻤﺘﺪة ﺑﻴــﻦ اﻟﺜﻘﺎﻓﺔ واﻟﻔﻦ ،ﺣﺪد اﻟﻘﻴﻤــﻮن اﻟﻔﻨﻴﻮن ﻋﻠﻰ FOREVER IS NOW
ﻛﻠﻤﺔ ﻣﻨﺴــﻘﻲ اﻟﻤﻌﺮض
اﻟـــﺄﺑﺪ ﻫﻮ اﻟــﺂن ﺳﺎﻳﻤــــﻮن واﺗﺴــﻮن وﻧﺎدﻳــــﻦ ﻋﺒﺪ اﻟﻐﻔــﺎر
أﻋﻤــﺎل ﻓﻨﺎﻧﻴﻦ ﻣﻌﺎﺻﺮﻳﻦ ،وروﻋــﺔ اﻟﻌﺎﻟﻢ اﻟﻘﺪﻳﻢ ﻣﺜﻮى أﺧﻴـ ًﺮا ﻟﻤﻠﻮﻛﻬﻢ ﻣﻨــﺬ آﻻف اﻟﺴــﻨﻴﻦ ﺑﻨﻰ اﻟﻌﻤﺎل اﻟﻤﺼﺮﻳــﻮن ا>ﻫﺮاﻣﺎت ﻟﺘﺼﻴﺮ ً اﻟﻤﺒﺠﻠﻴــﻦ .وﻫﺐ ﻋﺸــﺮات ا9ﻻف ﻣــﻦ اﻟﺒﻨﺎﺋﻴﻦ واﻟﺤﺮﻓﻴﻴﻦ واﻟﻌﻤﺎل واﻟﻤﺸــﺮﻓﻴﻦ ﺣﻴﺎﺗﻬــﻢ ﻣــﻦ أﺟــﻞ ﺿﻤﺎن ﺻﻤﻮد ﺗﻠﻚ اﻟﺼﺮوح إﻟــﻰ ا>ﺑﺪ .وﺑﻌﺪ ﻣﺮور ﻋﺪة آﻻف ﻣﻦ اﻟﺴــﻨﻴﻦ ﻋﻠﻰ وﻗﻮف اﻟﻤﺼﺮﻳﻴﻦ ﻣﺸــﺪوﻫﻴﻦ أﻣﺎم ﻣﺎ ﺷــﻴﺪوه ،وﻗﻒ أﻣﺎﻣﻬﺎ اﻟﻴﻮﻧﺎﻧﻴــﻮن ﺑﻨﻔــﺲ اﻻﻧﺒﻬــﺎر وﻣﻦ ﺑﻌﺪﻫﻢ اﻟﺮوﻣــﺎن ،وﺑﻌﺪ ﻣﺮور ﻋﺪة آﻻف أﺧﺮى ً ﻣﻨﺪﻫﺸــﺎ ﻣــﻦ اﻟﺴــﻨﻴﻦ — أي ﻓﻲ ﻋﺼﺮﻧــﺎ اﻟﺤﺎﻟﻲ — ﻣﺎ زال اﻟﻌﺎﻟﻢ ﺑﺄﻛﻤﻠﻪ ﻳﻘﻒ أﻣــﺎم ا>ﻫﺮاﻣﺎت ،ﻣﺄﺳــﻮرًا ﺑﺘﺎرﻳﺨﻬﺎ وﻋﻈﻤﺘﻬــﺎ ،ﻣﻔﺘﻮ ًﻧﺎ ﺑﺎﻟﺒﺮاﻋﺔ اﻟﺘﻘﻨﻴــﺔ وﺑﻌﺒﻘﺮﻳﺔ اﻟﻬﻨﺪﺳــﺔ اﻟﺘﻲ اﺳــﺘﺨﺪﻣﺖ ﻓﻲ ﺑﻨﺎﺋﻬﺎ. ﻣﻌــﺮض ﻓﻨــﻲ دوﻟﻲ ﻳﻘﺎم ﻓﻲ ﻣﺼﺮ ﻓﻲ ﺳــﻔﺢ أﻫﺮاﻣﺎت اﻟﺠﻴﺰة "ا>ﺑﺪ ﻫﻮ ا9ن" ﻫﻮ ﻣﻌﺮض ﻓﻨﻲ ﻳﺠﻤﻊ ﺑﻴﻦ أﻋﻤﺎل ﻓﻨﺎﻧﻴﻦ ﻣﻌﺎﺻﺮﻳﻦ ﻣﻦ اﻟﻤﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ وﻣﻦ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ؛ وﻳﺘﻴﺢ ﻟﻬﻢ ﻓﺮﺻﺔ ﻓﺮﻳﺪة ﻣﻦ ﻧﻮﻋﻬﺎ ﺗﺴﻤﺢ ﻟﻬﻢ ﺑﺈﻣﻌﺎن اﻟﻨﻈﺮ ﻓﻲ روﻋﺔ ﻫﺬه اﻟﺤﻀﺎرة اﻟﻘﺪﻳﻤﺔ ،وﺗﺴﻤﺢ ﻟﻬﻢ ﺑﺄن ﻳﻨﻘﻠﻮا إﻟﻴﻨﺎ رؤﻳﺘﻬﻢ ﻋﺒﺮ ﻋﺪﺳﺔ ﺗﻌﻜﺲ ﻟﻨﺎ اﻫﺘﻤﺎﻣﺎﺗﻬﻢ اﻟﻤﻌﺎﺻﺮة وﻣﺎ ﻳﺸﻐﻠﻬﻢ وﻣﺼﺎدر ﺷﻐﻔﻬﻢ. 11
ﻳﻘﺎم اﻟﻤﻌﺮض ﻓﻲ ﻣﻮﻗﻊ أﻫﺮاﻣﺎت اﻟﺠﻴﺰة واﻟﺴﻔﺢ اﻟﻤﺤﻴﻂ ﺑﻬﺎ ،وﻫﻮ أﺣﺪ اﻟﻤﻌﺎﻟﻢ اﻟﻤﺼﻨﻔﺔ ﺿﻤﻦ ﻣﻮاﻗﻊ اﻟﺘﺮاث اﻟﻌﺎﻟﻤﻲ ﻟﻠﻴﻮﻧﺴﻜﻮ وﻳﺮﺟﻊ إﻧﺸﺎؤه إﻟﻰ أرﺑﻌﺔ آﻻف ﻋﺎم ﻣﻀﺖ .ﻳﺴﻌﻰ اﻟﻤﻌﺮض ﺑﺬﻟﻚ إﻟﻰ اﻟﺘﺴﺎؤل ﺣﻮل اﻟﺰﻣﻦ ﻛﺨﻴﻂ ﻣﻤﺘﺪ ﻳﻔﺼﻞ ﺑﻴﻦ اﻟﺤﻀﺎرات اﻟﻤﺨﺘﻠﻔﺔ ﻣﻦ ﻧﺎﺣﻴﺔ ،وﻳﺠﻤﻊ ﺑﻴﻨﻬﺎ ﻣﻦ ﻧﺎﺣﻴﺔ أﺧﺮى .ﻋﻦ ﻃﺮﻳﻖ اﻟﺠﻤﻊ ﺑﻴﻦ اﻟﺘﺮاث اﻟﺜﻘﺎﻓﻲ اﻟﺜﻤﻴﻦ وﺑﻴﻦ اﻟﻤﻤﺎرﺳﺎت اﻟﻔﻨﻴﺔ اﻟﻤﻌﺎﺻﺮة ﺑﺘﻨﻮﻋﻬﺎ وﻏﻨﺎﻫﺎ ،ﻳﺴﻌﻰ اﻟﻤﻌﺮض إﻟﻰ اﻗﺘﻔﺎء أﺛﺮ اﻟﻤﻮﺿﻮﻋﺎت اﻟﺘﻲ ﻳﺘﻨﺎوﻟﻬﺎ اﻟﻔﻨﺎﻧﻮن ﻣﻨﺬ اﻟﻤﺎﺿﻲ اﻟﺴﺤﻴﻖ وﺻﻮ ًﻟﺎ إﻟﻰ اﻟﺤﺎﺿﺮ اﻟﻨﺎﺑﺾ ﺑﺎﻟﺤﻴﺎة ،ﻛﻤﺎ ﻳﺴﻌﻰ إﻟﻰ ﺗﺼﻮر ﻣﺎ ﻗﺪ ﻳﻜﻮن ﻋﻠﻴﻪ ﺷﻜﻞ ﻣﺴﺘﻘﺒﻞ ا|ﻧﺴﺎﻧﻴﺔ. ART D’ÉGYPTE
"ا>ﺑــﺪ ﻫــﻮ ا9ن" ﻫﻮ ﻣﻌﺮض ﻓﻨﻲ ﻳﺘﻤﺮﻛﺰ ﻓــﻲ ﻳﻮﻣﻨﺎ اﻟﺤﺎﺿﺮ؛ وﺑﺎﻟﺘﺎﻟــﻲ ﻓﻬﻮ ﻳﻬﺘﻢ اﻫﺘﻤﺎﻣــﺎ ً ﺑﺎﻟﻐــﺎ ﺑﻀــﺮورة اﻟﺘﻮاﺻﻞ ﻣــﻊ اﻟﺠﻤﺎﻫﻴﺮ واﻻﺣﺘﻮاء ﻋﻠﻰ ﺷــﻖ ﺗﻌﻠﻴﻤﻲ .ﻳﺘﻀﻤﻦ ً اﻟﻤﻌﺮض أﻧﺸــﻄﺔ ﻣﺤﻮرﻫﺎ ﺑﻌﺾ اﻟﻤﻤﺎرﺳــﺎت اﻟﺒﺴــﻴﻄﺔ اﻟﺘﻲ ﺗﺘﻤﻴــﺰ ﺑﻘﺪرﺗﻬﺎ ﻋﻠﻰ ﺟﺬب وإﺷــﺮاك ﺷــﺘﻰ أﻧﻮاع اﻟﺠﻤﺎﻫﻴﺮ ﻣﺜﻞ ﻃﺒﺎﻋﺔ اﻟـ)ﺳﺘﻨﺴــﻞ( وﺻﻨﺎﻋﺔ اﻟﻤﻠﺼﻘﺎت، ﻛﻤــﺎ ﻳﻀــﻢ اﻟﻌﺪﻳﺪ ﻣﻦ ورش اﻟﻌﻤﻞ اﻟﺘﻲ ﺳــﺘﻘﺎم ﺑﺎﻟﺘﻌﺎون ﻣﻊ اﻟﻤــﺪارس اﻟﻤﺤﻠﻴﺔ. ﻳﺘﺨﻄــﻰ اﻟﻤﻌــﺮض ﻓﻴﻤﺎ ﻳﺘﻨﺎوﻟﻪ اﻟﻤــﻜﺎن واﻟﺰﻣﺎن اﻟﻠﺤﻈﻴَﻴــﻦ؛ ﻓﻬﻮ ﻳﻮﺟﻪ ﻧﻈﺮه ﺑﻌﻴــﺪً ا ﻣﺜﻠﻤــﺎ وﺟﻬﻪ اﻟﻤﺼﺮﻳــﻮن اﻟﻘﺪﻣﺎء ﻧﺤﻮ اﻟﻔﻠﻚ ﻟﻴﺼﻮروا ﻓﻲ آﺛﺎرﻫﻢ اﻟﺸــﻤﺲ واﻟﻜــﻮن .ﻳﺸــﻴﺮ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻤﺸــﺎرﻛﻴﻦ ﻓــﻲ ﻣﻌﺮض "ا>ﺑﺪ ﻫﻮ ا9ن" إﻟﻰ ا>ﻣﻞ ﻓﻲ ﻣﺴــﺘﻘﺒﻞ ﻣﺸــﺮق ﻟﻠﺒﺸــﺮﻳﺔ ﻳﺸﻤﻞ أﻧﺸــﻄﺔ ﻗﺪ ﺗﺘﺨﻄﻰ اﻟﺤﻴﺎة ﻋﻠﻰ ﻛﻮﻛﺒﻨــﺎ ،وﻳﻤﻜــﻦ ﺗﺼﻮرﻫﺎ ﺑﺸــﻜﻞ ﻣﻦ ا>ﺷــﻜﺎل ﻛﻮاﻗﻊ ﻳﺠﻮز ﺗﺤﻘﻴﻘــﻪ ﺣﺘﻰ وﻟﻮ ﺑﻌﺪ ﻣﺮور اﻟﻌﺪﻳﺪ ﻣــﻦ اﻟﻤﺌﺎت ﻣﻦ ا>ﻋﻮام. " ﻋﺠﺎﺋﺐ اRﻧﺴــﺎﻧﻴﺔ" "ا>ﺑــﺪ ﻫــﻮ ا9ن" ﻫﻮ ﻣﻌﺮض دوﻟﻲ ﻳﻌﻜﺲ ﻣــﻦ ﻧﺎﺣﻴﺔ ا>ﺛﺮ اﻟﻌﻤﻴــﻖ ﻟﻤﺼﺮ اﻟﻘﺪﻳﻤﺔ ﻋﻠﻰ ﻣﺴــﺘﻮى اﻟﻌﺎﻟﻢ ،وﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺷــﻤﻮﻟﻴﺔ اﻟﻤﻤﺎرﺳــﺎت اﻟﺜﻘﺎﻓﻴــﺔ اﻟﻤﻌﺎﺻﺮة ﻣﻦ ﻧﺎﺣﻴﺔ أﺧﺮى .ﺗﺴــﻤﺢ ﻣﻤﺎرﺳــﺔ اﻟﻔﻦ — ﺳــﻮاء ﻓﻲ ﻋﺼﺮ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻤﺼﺮﻳﻴﻦ اﻟﻘﺪﻣﺎء أو اﻟﻔﻨﺎﻧﻴــﻦ اﻟﻤﻌﺎﺻﺮﻳــﻦ — ﻟﺠﻴﻞ ﻣﺎ أن ﻳﻘﺪم ﺷــﻬﺎدة ﻋــﻦ زﻣﻨﻪ اﻟﻤﻌﺎش ،وأن ﻳﺨﺎﻃــﺐ ﻻﺣﻘﻪ .إﻧﻬﺎ ﻣﻤﺎرﺳــﺔ دؤوﺑــﺔ ﺗﻌﻜﺲ ﻣﻮﻫﺒﺔ ا|ﻧﺴــﺎﻧﻴﺔ ﺑﺄﻛﻤﻠﻬﺎ؛ واﻟﺘﻲ ﺗﺘﻤﺜــﻞ ﻓــﻲ ﺻﻨﺎﻋﺔ أﻋﻤﺎل ﺗﻠﻬﻢ اﻟﺨﻴﺎل وﺗﺤﺮك اﻟﻤﺸــﺎﻋﺮ ﺑﻌﻤﻖ ﺷــﺪﻳﺪ ﻟﺪرﺟﺔ ﺗﺠﻌﻠﻨــﺎ ﻧﻄﻠــﻖ ﻋﻠﻴﻬﺎ "ﻋﺠﺎﺋﺐ" ،ﻫﻲ أﻋﻤﺎل ﺗﻜﺸــﻒ ﻟﻨﺎ روﻋﺔ ا|ﻧﺴــﺎﻧﻴﺔ ذاﺗﻬﺎ، وﻣﺜﺎﺑﺮﺗﻬﺎ ،واﺗﺤﺎدﻫﺎ ﺑﻮاﺳــﻄﺔ اﻟﻔﻨﻮن.
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FOREVER IS NOW
ﻫــﺬا اﻟﻤﻌــﺮض ﺛﻼﺛﺔ ﻣﺤﺎور ﻧﻘﺪﻳﺔ ﻛﻤﺮﺟــﻊ ﻻﺧﺘﻴﺎرﻫﻢ ﻟ ﻋﻤﺎل اﻟﺘــﻲ ﻳﺘﻀﻤﻨﻬﺎ ﻫﺬا اﻟﺤــﻮار اﻟﺪاﺋﺮ ﺑﻴﻦ "ا9ن" و'ا>ﺑﺪ'؛ أﻻ وﻫﻲ: ﻓﻀــﻮل ا|ﻧﺴــﺎﻧﻴﺔ اﻟﺬي ﻻ ﻳﻨﻀﺐ؛ ﺣﺘﻰ ﻓﻲ أوﻗﺎت اﻟﺸــﺪاﺋﺪ واﻟﻤﺨﺎﻃﺮ. ﻧﺰﻋﺔ اﻟﺒﺸــﺮ إﻟﻰ ا|ﻃﻨﺎب واﻟﺘﺠﻤﻴﻞ واﻻﺳــﺘﻔﺎﺿﺔ ،ﺳــﻮاء ﻓﻲ ﺗﻨﺎول اﻟﻤﻮﺿﻮﻋــﺎت اﻟﺘــﻲ ﺗﺘﻌﻠﻖ ﺑﺎﻟﺒﻬﺠــﺔ ،أو اﻟﻘﻠﻖ ،أو ﻣﺠﺮد اﻻﻧﺪﻫﺎش. ﺳــﻌﻴﻨﺎ اﻟﺪاﺋــﻢ إﻟﻰ اﻛﺘﺴــﺎب اﻟﻤﻌﺮﻓﺔ وﺗﻮﻇﻴﻔﻬﺎ ﻓــﻲ ﺧﺪﻣﺔ اﻟﻤﺘﻌﺔ، واﻟﺴــﻠﻄﺔ ،واﻟﺘﻨﻮﻳﺮ اﻟﺮوﺣﺎﻧﻲ. "اﻟﻔﻨــﺎن؛ ﻣﻦ ﻳﺒــﺚ اﻟﺤﻴﺎة ﻓﻴﻤــﺎ ﻳﺼﻨﻌﻪ" ﺗﺄﺛﺮت ﻣﻤﺎرﺳــﺎت اﻟﻌﺪﻳــﺪ ﻣﻦ اﻟﻔﻨﺎﻧﻴــﻦ اﻟﺤﺪاﺛﻴﻴﻦ واﻟﻤﻌﺎﺻﺮﻳــﻦ ﺑﺎﻟﺜﻘﺎﻓﺔ اﻟﻤﺼﺮﻳﺔ ﻣﺮﺟﻌﺎ ﻟﻬﺎ ﻓﻲ أﺣﻴﺎن أﺧــﺮى .وﺑﺎﻟﻤﺜﻞ ،ﻓﺈن اﻟﻘﺪﻳﻤــﺔ ﻓــﻲ ﺑﻌﺾ ا>ﺣﻴــﺎن ،أو اﺗﺨﺬﺗﻬﺎ ً اﻟﻌﺪﻳــﺪ ﻣــﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻤﻌﺎﺻﺮﻳﻦ ﻗــﺪ ﺗﻨﺎوﻟﻮا ﻓﻲ أﻋﻤﺎﻟﻬــﻢ ﻣﻮﺿﻮﻋﺎت ﺗﺤﺎﻛﻲ ﻣﺎ ﺗﺜﻴــﺮه ﻣــﻦ أﻓــﻜﺎر ﻫﺬه اﻟﺼﺮوح اﻟﻌﺘﻴﻘــﺔ اﻟﺘﻲ ﻳﺤﺘﻀﻨﻬﺎ ﻫــﺬا اﻟﻤﻮﻗﻊ ا>ﺛﺮي اﻟﻔﺮﻳﺪ، واﻟــﺬي ﻳﻨــﺪرج ﺿﻤﻦ ﻣﻮاﻗﻊ اﻟﻴﻮﻧﺴــﻜﻮ ﻟﻠﺘﺮاث اﻟﻌﺎﻟﻤﻲ .رﻏﻢ اﻟﻤﻬــﺎرة اﻟﻔﺎﺋﻘﺔ اﻟﺘﻲ ﺗﻤﺘــﻊ ﺑﻬــﺎ اﻟﺤﺮﻓﻴــﻮن اﻟﻤﺼﺮﻳﻮن اﻟﻘﺪﻣــﺎء ،ﻟﻢ ﺗﺼﻞ إﻟﻴﻨﺎ ﻣﻦ أﺳــﻤﺎﺋﻬﻢ إﻻ اﻟﻘﻠﻴﻞ، إﻻ أﻧﻨــﺎ ﻧﻘﺪر إﺑﺪاﻋﺎﺗﻬﻢ ﺗﻘﺪﻳ ًﺮا ﺷــﺪﻳﺪً ا وﻧﻌﺘﺒﺮﻫﻢ أﺳــﺎﺗﺬة ﻻ ﺗﻘــﺪر ﻣﻬﺎراﺗﻬﻢ ﺑﺜﻤﻦ؛ إﻧﻬــﺎ ﻣﻬــﺎرة ﺑﺚ اﻟــﺮوح ﻓﻴﻤﺎ ﺻﻨﻌﻮه .إن اﻟﻜﻠﻤــﺎت اﻟﻤﺼﺮﻳﺔ اﻟﻘﺪﻳﻤــﺔ اﻟﻤﺮادﻓﺔ ﻟﻜﻠﻤﺔ "ﻓﻨــﺎن" ﻳﻤﻜــﻦ ﺗﺮﺟﻤﺘﻬــﺎ "ﻣﻦ ﻳﺒﺚ اﻟﺤﻴــﺎة ﻓﻴﻤﺎ ﻳﺼﻨﻌﻪ" )روزﻣﺎري وراﻳﻨــﺮ ﻫﻴﺠﻦ ،ﻛﺘﺎب
اﻟﻔﻦ اﻟﻤﺼﺮي(. ﻳﺴــﻌﻰ اﻟﻤﻌــﺮض إﻟﻰ ﺧﻠﻖ ﺣﻮار ﻣﻊ ﺗﺎرﻳﺦ ﻣﺼﺮ واﻟﻤﻨﻄﻘــﺔ ﺑﺄﻛﻤﻠﻬﺎ ،وﻫﻲ ﻣﻨﻄﻘﺔ ﺗﺘﻤﻴــﺰ ﺑﻐﻨــﻰ ﻣﻌﺎﻟﻤﻬﺎ وﻋﻤﻖ ﺗﺄﺛﻴﺮﻫﺎ ﻣﻨﺬ ﻓﺠﺮ اﻟﺘﺎرﻳــﺦ .ﻫﻨﺎ ﻓﻲ ﻣﺼﺮ اﻟﻘﺪﻳﻤﺔ ،ﻧﺠﺪ ﻣﻨﺸــﺄ اﻟﻜﺘﺎﺑﺔ وأوراق اﻟﺒﺮدي ،وﻣﺼﺪر ﺧﺼﻮﺑﺔ ا>رض ا>ﺳــﻄﻮرﻳﺔ واﻟﺘﻨﻮع اﻟﺒﻴﻮﻟﻮﺟﻲ ﻟﻤﻨﻄﻘــﺔ ﻧﻬﺮ اﻟﻨﻴﻞ اﻟﺘﻲ ﺿﻤﺖ ﻣﻨﺬ ﺳــﺘﺔ آﻻف ﻋــﺎم ﻣﺠﻤﻮﻋﺔ ﻣﻦ أﻛﺜﺮ اﻟﺤﻴﻮاﻧﺎت واﻟﻨﺒﺎﺗــﺎت ﺗﻤﻴـ ًﺰا ﻓﻲ اﻟﻌﺎﻟﻢ ،وﺗﻌﺪد اﻟﻤﺆﺛــﺮات ا|ﻗﻠﻴﻤﻴﺔ اﻟﺘﻲ أدت إﻟﻰ ﺗﻨﻮع اﻟﻤﺄﻛﻮﻻت ﺑﻬــﺎ ،ﺑﺎ|ﺿﺎﻓــﺔ إﻟﻰ اﻻﺑﺘﻜﺎرات ﻓﻲ ﻣﺠﺎﻻت اﻟﻌﻠــﻮم واﻟﺮﻳﺎﺿﻴﺎت واﻟﻔﻠﻚ واﻟﺘﻲ أﺛﺮت ﻓــﻲ ﺧﻠــﻖ أﻏﺮاض وﻣﻔﺎﻫﻴﻢ ﻣﺎ زﻟﻨﺎ ﻧﺴــﺘﺨﺪﻣﻬﺎ إﻟﻰ ﻳﻮﻣﻨﺎ ﻫﺬا -ﻣﺜﻞ ﺑﻌﺾ ا>دوات 13
اﻟﺠﺮاﺣﻴﺔ واﻟﺮزﻧﺎﻣﺔ اﻟﺤﺪﻳﺜﺔ. ﺗﻨﻌﻜــﺲ ﻛﻞ ﻫــﺬه اﻟﻌﻨﺎﺻﺮ اﻟﺘــﻲ ﺗﻨﺘﻤﻲ إﻟﻰ اﻟﻤﺎﺿﻲ ﻋﻠﻰ اﺧﺘﻴــﺎرات اﻟﻔﻨﺎﻧﻴﻦ اﻟﻤﺸــﺎرﻛﻴﻦ ﻓــﻲ ﻣﻌــﺮض "ا>ﺑﺪ ﻫﻮ ا9ن" ،واﻟﺬﻳﻦ ﺗﺮدد أﻋﻤﺎﻟﻬــﻢ أﺻﺪاء اﻟﻌﻨﺎﺻﺮ ا>ﺳﺎﺳــﻴﺔ ﻟﻠﺜﻘﺎﻓــﺔ اﻟﻤﺼﺮﻳﺔ اﻟﻘﺪﻳﻤــﺔ وإﺑﺪاﻋﺎﺗﻬﺎ واﻛﺘﺸــﺎﻓﺎﺗﻬﺎ ،وﺗﺨﺎﻃﺐ ا>ﻓﻜﺎر اﻟﺘــﻲ ﺗﺜﻴﺮﻫــﺎ ﻫﺬه اﻟﺼﺮوح اﻟﺘــﻲ ﻳﺤﺘﻀﻨﻬﺎ ﻫﺬا اﻟﻤﻮﻗــﻊ ﻣﻨﻘﻄﻊ اﻟﻨﻈﻴﺮ.
ART D’ÉGYPTE
Photo: Agata Create on Unsplash
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FOREVER IS NOW
ن ن �ن THEال��ا ون ARTISTS و & نن ة ARTWORKS ��ال�� ي 15
ART D’ÉGYPTE
INTRODUCTION
THE FUTURE IS NOW Neville Wakefield
It is the conversations we have with the past that shape our futures. These conversations take many forms and adopt many scales. They are embedded in our literature and monuments. They are as much in the ephemeral exchanges we struggle to recollect as in the apparently immutable histories memorialized in objects seemingly too vast to be forgotten. Often, they are mediated by art, which plays a role in understanding the temporal cosmology of history. These objects and ideas that serve us as culture bring before us not just the manifestation of achievement, but also of failure; the skins of pasts that must be sloughed off; the laying to rest of bodies and thoughts whose relevance has been superseded by other, perhaps newer, versions of these older selves; narratives that must be continually retold and revised to avoid stasis; and the historical entropy that we’ve come to recognize as one of many symptoms of civilizations in decline. 16
How we memorialize ourselves — who and what is being remembered — has rarely been more present in our minds. Whether thinking about national monuments or the smaller civic spaces in countries across the globe where statues and other memorials whose claims to enshrine history are being contested, it is clear that the struggle to interpret a shared past is fraught with entitlements created around claims to permanence and power. Artists have often been the ones leading the FOREVER IS NOW
contestation of heritage and what it means to a changing world. Their voices have been instrumental in the shaping of this dialogue. The history that is written in books, like the art stored in the vaults of our cultural institutions, is the sanctioned archive of a past that has already been laid to rest. Artists are archaeologists of the present. They seek to uncover and unearth positions outside of official histories and the institutions that contain and propagate them. While it could be argued that the history of land art is as old as art itself, its recent manifestations can be traced to a moment in the late 1960s and early 1970s, when a group of artists left the sanctioned spaces of New York museums and galleries for the deserts of the American Southwest. Their motives were both anti-institutional and anti-material. They were anti-institutional in their desire to break the social and architectural confines of the art world in favour of the apparently unbound spaces of a world beyond, and they were anti-material in the sense that they challenged traditional ideas of ownership by prioritising the lived ephemerality of experience over possession. Michael Heizer, who had grown up accompanying his father to archaeological sites in Nevada, encouraged Robert Smithson, Nancy Holt, and Walter de Maria to use what was then seen as readily available open space for building large-scale land art projects. Their renowned artworks, such as Smithson’s Spiral Jetty, De Maria’s The Lightning Field, and Heizer’s Double Negative and City, pioneered a practice and vocabulary that would be adopted by subsequent artists, as did the naked-eye observatories Roden Crater by James Turrell and Star Axis by Charles Ross. The conversations these works established were often with an idea of land as being open, uncontained, and without history or previous imprint. This early phase of land art was characterized by gestures often involving acts of marking and surveying, leading to criticism that this tertiary moment was one of men and bulldozers, mile-long lines, and giant spirals. And, as much as these gestures may have invoked a pre-historical moment whose forms we inherited as both remote and abstract, often they did so in a way that ignored the movement of people and culture that had characterized moments other than their own. Both impulses were fetishized. By conflating distance — both geographical and historical — with abstraction, there emerged an idea of land, and more specifically of the American West, as an empty space to be colonized ART D’ÉGYPTE
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by the imagination. In this sense, the early phases of the so-called land art movement were built on paradox. Even as the walls of containment were broken and art democratized within public space, the places it gravitated towards were often accessible only to the mind’s eye. To make those journeys in both space and time required not only that you travelled great distance but that you also stayed attentive to histories whose imprint was often faint and obscure. And so, for most, these early works existed in the mythological sphere, in the vast open space not of the West but of the imagination.
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The last decade has been witness to another approach to land art. A body of recent interventions in the landscape that have taken form in places as different and disparate as Cartagena, Columbia; the Coachella Valley in Southern California; AlUla in Saudi Arabia; and now the Pyramids of Giza in Egypt propose a different relationship with both space and time. While shows such as these draw on the foundational principles of canonical works from the late 1960s and early 1970s, they expand the definition of landscape beyond that of the immediate environment to include the social, historical, political, and mercantile histories that have become embedded within it through human interaction. Within the vertical axis of these works, we discover the transactional histories of land as it has been disenfranchised through acts of violence and colonization and demarcated by the migratory passage of trade, culture, and commerce. Thus, for example, works such as Nicholas Galanin’s Never Forget or Zahrah AlGhamdi’s Glimpses of the Past track the histories of the land in different ways as they have been passed through the nation building efforts of settlers and Hollywood’s reflection of their unfounded claims, to the rivers of trade that flowed in and out, irrigating the already fertile land with goods and cultures other than its own. Like the geologies which encase them, history is made up of strata whose layering is revealed through the actions of artists and others seeking to claim visibility to an oft obscured past. At the same time, shows such as these have also changed the spatial axis of land art. Where the tertiary phase of the movement invoked FOREVER IS NOW
ideas of pilgrimage in its fetishization of the remote, recent iterations have tended to gravitate towards sites of social, cultural, and historical interest. The deserts they tend to inhabit are in fact far from barren. The erroneously named blank canvas sought by the pioneers of the early days seemed to provide opportunity for grand gestures conjured out of nowhere. Places such as Catron County, New Mexico, the site of De Maria’s Lightening Field; the Rodin Crater, 50 miles north of Flagstaff, Arizona; or Garden Valley, Nevada, the site of Heizer’s City were sought out precisely for an inaccessibility that took them not just beyond the bounds of an art world they sought to escape, but to the very edge of history and culture. Built into their experience was a gradual decommissioning of the sense and sensibility bound to the defined space of the coastal metropolis to find in its place an openness that was as literal as it was metaphorical. Recently some of the same foundational principles have been finding their way into exhibitions that tend to forgo the remote and the isolation of the work from the contexts broader than the landscape itself in favour of work that is in direct dialogue with its historical and cultural surroundings. In doing so, the artists activate rather than memorialize the past. In its promise to place contemporary art and vision alongside monuments of a culture that dates back more than four and a half thousand years, Forever Is Now is Art D’Égypte’s latest and perhaps its most ambitious iteration to date. Alongside the ineffable experience of the works themselves, what this exhibition shows the world is that the leadership role of the arts in the conversations that have shaped our world view — and continue to do so — is here to stay.
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ART D’ÉGYPTE
ALEXANDER PONOMAREV OUROBOROS Steel, ceramic, glass, sand 4.3 m x 16.7 m x 2.5 m 2021
The pyramids are connected to the cosmos where the globe of the earth flies and where the River Kronos closes in the Okeanos and the serpent Ouroboros consumes its tail! After the discovery of blood circulation by William Harvey in 1628 — and within each person the river of time closes — it is the blood that gives rise to the idea of a substance that turns within itself. Water, the blood of the planet that makes up Okeanos, circulates everywhere. ‘The serpent, called Okeanos or Kronos, which surrounds us from all sides, is the image and guarantee of the psychological existence of man. As Jung has repeatedly pointed out, we are in the cocoon of the soul, the psyche that surrounds us on all sides, and this is the nature of what encloses us — the nature of the soul. The same idea is well known in antiquity. When Pythagoras was asked who the serpent Cronus was, he replied — the psyche of the universe.‘ — Wolfgang Giegerich
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This project is sponsored by international manufacturers of ceramic tiles and . Specifically for the installation, Surface Laboratory customized and produced ceramic slabs with the print of the artist’s work. The installation is manufactured by
Mapso.
The artist would like to personally thank Larisa Novikova (KERAMA MARAZZI), Akhmet Kagirov (Surface Laboratory) and Philippe Maari (Mapso) for their support in the realization of the project. FOREVER IS NOW
اﻟﻜﺴــــﺎﻧﺪر ﺑﻮﻧﻮﻣــﺎرﻳـــﻒ اورﺑـــﻮروس ﺣﺪﻳــﺪ ،ﺧﺰف ،زﺟﺎج ،رﻣﻞ ٤،٣م × ١٦،٧م × ٢،٥م ٢٠٢١
ﺗﺮﺗﺒــﻂ ا>ﻫﺮاﻣــﺎت ﺑﺎﻟﻜــﻮن ﺣﻴﺚ ﺗﺤﻠﻖ اﻟﻜــﺮة ا>رﺿﻴﺔ وﺣﻴﺚ ﻳﺼــﺐ اﻟﻨﻬﺮ "ﻛﺮوﻧﻮس" ﻓــﻲ "أوﻗﻴﺎﻧﻮس" وﻳــﺄﻛﻞ اﻟﺜﻌﺒﺎن "أورﺑﻮروس" ذﻳﻠﻪ! اﻛﺘﺸــﻒ وﻳﻠﻴــﺎم ﻫﺎرﻓــﻲ اﻟﺪورة اﻟﺪﻣﻮﻳﺔ ﻋــﺎم – ١٦٢٨ﺣﻴﺚ ﻧﻬﺮ اﻟﺰﻣــﻦ ﻳُﻐﻠﻖ ﻓﻲ
أﻋﻤــﺎق ﻛﻞ ﺷــﺨﺺ – ﻓﺎﻟــﺪم ﻫﻮ اﻟﺬي ﻳﻨﺸــﺊ ﻓﻜﺮة اﻟﻤﺎدة اﻟﺘــﻲ ﺗﺪور داﺧﻞ ذاﺗﻬﺎ،
واﻟﻤــﺎء ﻫﻮ دﻣــﺎء اﻟﻜﻮﻛﺐ اﻟﺬي ﻳﻜــﻮّ ن "أوﻗﻴﺎﻧﻮس" وﻳﻨﺘﺸــﺮ ﻓﻲ ﻛﻞ ﻣﻜﺎن.
>> اﻟﺜﻌﺒــﺎن ،اﻟــﺬي ﻳﺪﻋــﻰ "أوﻗﻴﺎﻧﻮس" أو "ﻛﺮوﻧﻮس" ،واﻟﺬي ﻳﺤﻴــﻂ ﺑﻨــﺎ ﻣﻦ ﺟﻤﻴــﻊ اﻟﺠﻬﺎت ،ﻫﻮ ﺻــﻮرة وﺿﻤﺎﻧﺔ اﻟﻮﺟﻮد اﻟﻨﻔﺴــﻲ ﻟ¢ﻧﺴــﺎن .وﻗﺪ أﺷــﺎر ﻳﻮﻧﻎ ﻣﺮا رًا وﺗﻜﺮا رًا إﻟﻰ إﻧﻨﺎ ﻓﻲ ﺷــﺮﻧﻘﺔ اﻟــﺮوح ،وأن اﻟﻨﻔﺲ اﻟﺘــﻲ ﺗﺤﻴﻂ ﺑﻨﺎ ﻣــﻦ ﺟﻤﻴﻊ اﻟﺠﻬﺎت
ﺗﻤﺜــﻞ ﻃﺒﻴﻌــﺔ ﻣــﺎ ﻳﺤﺘﻮﻳﻨﺎ – ﻃﺒﻴﻌﺔ اﻟــﺮوح ،وﻗﺪ ﻋﺮﻓﺖ ﻫﺬه
ﺳــﺌﻞ ﻓﻴﺜﺎﻏﻮرث ﻣﻦ اﻟﻔﻜــﺮة ﻓــﻲ اﻟﻌﺼﻮر اﻟﻘﺪﻳﻤــﺔ ،ﻓﻌﻨﺪﻣﺎ ُ ﻫــﻮ اﻟﺜﻌﺒــﺎن "ﻛﺮوﻧﻮس" ،أﺟﺎب – ﻧﻔﺴــﻴﺔ اﻟﻜﻮن<< .
— ووﻟﻔﺠﺎﻧــﺞ ﺟﻴﺠﺮﻳﺘﺶ
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ﻫــﺬا اﻟﻤﺸــﺮوع ﺑﺮﻋﺎﻳــﺔ "ﻛﻴﺮاﻣــﺎ ﻣــﺎرازي" ﻟﺼﻨﺎﻋــﺔ اﻟﺒــﻼط ،و"ﺳــﻴﺮﻓﺲ ﻻﺑﻮراﺗــﻮري" اﻟﺘــﻲ ﻗﺎﻣــﺖ ﺑﺈﻧﺘــﺎج أﻟــﻮاح ﺳــﻴﺮاﻣﻴﻚ ﺧﺎﺻــﺔ ﻣﻄﺒــﻮع ﻋﻠﻴﻬــﺎ أﻋﻤــﺎل اﻟﻔﻨــﺎن ،وﻗﺎﻣــﺖ ﺷــﺮﻛﺔ "ﻣﺎﺑﺴــﻮ" ﺑﺎﻟﺘﺮﻛﻴﺒــﺎت. ﻳــﻮد اﻟﻔﻨــﺎن أن ﻳﺸــﻜﺮ ﺷــﺨﺼﻴًﺎ ﻻرﻳﺴــﺎ ﻧﻮﻓﻴﻜﻮﻓــﺎ )ﻛﻴﺮاﻣــﺎ ﻣــﺎرازي( ،أﺣﻤــﺪ ﻛﺎﺟﻴــﺮوف )ﺳــﻴﺮﻓﺲ ﻻﺑﻮراﺗــﻮري( ،وﻓﻴﻠﻴــﺐ ﻣﻌــﺮي )ﻣﺎﺑﺴــﻮ( ﻋﻠــﻰ دﻋﻤﻬــﻢ ﻓــﻲ ﺗﺤﻘﻴــﻖ اﻟﻤﺸــﺮوع. ART D’ÉGYPTE
ALEXANDER PONOMAREV OUROBOROS
Photo: MO4 Network
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FOREVER IS NOW
اﻟﻜﺴــــﺎﻧﺪر ﺑﻮﻧﻮﻣــﺎرﻳـــﻒ اورﺑـــﻮروس
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ART D’ÉGYPTE
Alexander Ponomarev (b. 1957, Dnepropetrovsk, Ukraine, USSR) graduated from the Art School of Orel in 1973 and from the Nautical Engineering College in Odessa in 1979. He spent years as a sailing crew officer on different ships of the Russian Navy before embarking on a career as an artist.
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Over the past thirty years, he has staged over a hundred art projects, exhibitions, and events, many of which took place in the oceans and deserts of the world such as the Arctic Ocean, the Antarctic, and the Sahara. In 2007, he represented Russia at the 52nd Venice Biennale of Contemporary Art. In 2009, he docked his artistic submarine at Ca’ Foscari University on the Grand Canal as a project of the 53rd Venice Biennale. Since 2000, he has taken part in a number of expeditions to the Antarctic and the Arctic aboard scientific research vessels of the Russian Academy of Sciences. He is credited with the idea of holding a contemporary art biennale in the Antarctic and with the first supranational pavilion of the Antarctic in Venice. In 2014, Foreign Policy magazine named him among the top global thinkers, and in 2017, the first ever Antarctic Biennale of Contemporary Art sailed off under the patronage of UNESCO on the research vessel Akademik Sergei Vavilov with Ponomarev as commissar. He is a member of the Russian Academy of Arts and was awarded Officier des arts et des lettres by the French Ministry of Culture. His works are in the world's leading private and public art collections. FOREVER IS NOW
اﻟﻜﺴــﺎﻧﺪر ﺑﻮﻧﻮﻣﺎرﻳــﻒ وﻟــﺪ ﻋﺎم ١٩٥٧ﻓﻲ أوﻛﺮاﻧﻴــﺎ ﺑﺎﻻﺗﺤﺎد اﻟﺴــﻮﻓﻴﻴﺘﻲ ،وﺗﺨﺮج ﻣــﻦ ﻣﺪرﺳــﺔ اﻟﻔﻨــﻮن ﻓﻲ أورﻳﻞ ﻋﺎم ،١٩٧٣وﻣــﻦ ﻛﻠﻴﺔ اﻟﻬﻨﺪﺳــﺔ اﻟﺒﺤﺮﻳﺔ ﻓﻲ أودﻳﺴــﺎ ﻋــﺎم .١٩٧٩ﻋﻤــﻞ ﺿﺎﺑﻂ ﻓﻲ اﻟﺒﺤﺮﻳﺔ اﻟﺮوﺳــﻴﺔ ﻟﻌﺪة ﺳــﻨﻮات ﻋﻠﻰ ﻣﺘﻦ ﺳــﻔﻦ ﻣﺨﺘﻠﻔــﺔ ﻗﺒﻞ أن ﻳﺒﺎﺷــﺮ ﻋﻤﻠﻪ ﻛﻔﻨﺎن. ﻋﺎﻣــﺎ اﻟﻤﺎﺿﻴﺔ أﻛﺜﺮ ﻣﻦ ﻣﺌﺔ ﻣﺸــﺮوع ﻓﻨﻲ وﻣﻌــﺮض وﻓﻌﺎﻟﻴﺔ، أﻗــﺎم ﺧــﻼل اﻟﺜﻼﺛﻴــﻦ ً ﺗــﻢ اﻟﻌﺪﻳــﺪ ﻣﻨﻬــﺎ ﻓﻲ ﻣﺤﻴﻄــﺎت اﻟﻌﺎﻟﻢ ﻣﺜــﻞ اﻟﻤﺤﻴﻂ اﻟﻤﺘﺠﻤﺪ اﻟﺸــﻤﺎﻟﻲ ﻣﻌﺎرﺿــﺎ ﻓﻲ اﻟﺼﺤﺮاءّ . ً ﻣﺜﻞ روﺳــﻴﺎ ﻋﺎم ٢٠٠٧ﻓﻲ واﻟﻘﻄــﺐ اﻟﺠﻨﻮﺑــﻲ ﻛﻤــﺎ أﻗﺎم ﺑﻴﻨﺎﻟــﻲ ﻓﻴﻨﻴﺴــﻴﺎ اﻟﺜﺎﻧــﻲ واﻟﺨﻤﺴــﻴﻦ ﻟﻠﻔــﻦ اﻟﻤﻌﺎﺻﺮ ،وﻓﻲ ﻋﺎم ٢٠٠٩أرﺳــﻰ ﻏﻮاﺻﺘﻪ اﻟﻔﻨﻴــﺔ ﻓــﻲ ﺟﺎﻣﻌــﺔ "ﻛﺎ ﻓﻮﺳــﻜﺎري" اﻟﺘﻲ ﺗﻘﻊ ﻋﻠــﻰ اﻟﻘﻨﺎة اﻟﻜﺒــﺮى ﻛﻌﻤﻞ ﻓﻨﻲ ﻓــﻲ ﺑﻴﻨﺎﻟﻲ ﻓﻴﻨﻴﺴــﻴﺎ اﻟﺜﺎﻟﺚ واﻟﺨﻤﺴــﻴﻦ .ﺷــﺎرك ﻣﻨــﺬ ﻋﺎم ٢٠٠٠ﻓﻲ ﻋﺪد ﻣﻦ اﻟﺮﺣــﻼت اﻻﺳﺘﻜﺸــﺎﻓﻴﺔ إﻟــﻰ اﻟﻘﻄــﺐ اﻟﺠﻨﻮﺑﻲ واﻟﻘﻄﺐ اﻟﺸــﻤﺎﻟﻲ ﻋﻠﻰ ﻣﺘﻦ ﺳــﻔﻦ اﻟﺒﺤــﺚ اﻟﻌﻠﻤــﻲ اﻟﺘﺎﺑﻌــﺔ >ﻛﺎدﻳﻤﻴــﺔ اﻟﻌﻠﻮم اﻟﺮوﺳــﻴﺔ ،ﺣﻴﺚ ﻳﻌــﻮد اﻟﻔﻀﻞ إﻟﻴﻪ ﻓــﻲ ﻓﻜــﺮة إﻗﺎﻣــﺔ ﺑﻴﻨﺎﻟــﻲ ﻟﻠﻔﻦ اﻟﻤﻌﺎﺻﺮ ﻓــﻲ اﻟﻘﻄﺐ اﻟﺠﻨﻮﺑــﻲ وإﻗﺎﻣﺔ أول ﺟﻨﺎح ﻋﺎﺑــﺮ ﻟﻠﻘﻮﻣﻴــﺎت ﻟﻠﻘﻄــﺐ اﻟﺠﻨﻮﺑــﻲ ﻓﻲ ﻓﻴﻨﻴﺴــﻴﺎ .أﺑﺤﺮ ﻋــﺎم ٢٠١٧أول ﺑﻴﻨﺎﻟﻲ ﻟﻠﻔﻦ اﻟﻤﻌﺎﺻــﺮ ﻟﻠﻘﻄــﺐ اﻟﺠﻨﻮﺑــﻲ ﺗﺤــﺖ رﻋﺎﻳﺔ اﻟﻴﻮﻧﺴــﻜﻮ ﻋﻠﻰ ﻣﺘﻦ ﺳــﻔﻴﻨﺔ ا>ﺑﺤﺎث ا>ﻛﺎدﻳﻤﻴــﺔ "ﺳــﻴﺮﺟﻲ ﻓﺎﻓﻴﻠــﻮف" ﺗﺤﺖ ﻗﻴــﺎدة ﺑﻮﻧﻮﻣﺎرﻳﻒ .وﻛﺎﻧــﺖ ﺻﺤﻴﻔﺔ "ﻓﻮرﻳﻦ ﺑﻮﻟﻴﺴــﻲ" ﻗــﺪ ﺻﻨﻔﺘــﻪ ﻣــﻦ ﺑﻴﻦ أﻫﻢ اﻟﻤﻔﻜﺮﻳــﻦ ﻓﻲ اﻟﻌﺎﻟﻢ ﻟﻌﺎم ٢٠١٤اﺳــﺘﻨﺎدا إﻟﻰ اﻟﻤﺸــﺮوﻋﺎت اﻟﺘﻲ ﻗﺎم ﺑﻬﺎ. ﺣﺼــﻞ ﺑﻮﻧﻮﻣﺎرﻳــﻒ ﻋﻠــﻰ ﻟﻘﺐ ﺿﺎﺑــﻂ اﻟﻔﻨﻮن وا9داب ﻣﻦ ﻗﺒــﻞ وزارة اﻟﺜﻘﺎﻓﺔ اﻟﻔﺮﻧﺴــﻴﺔ ،وﻫــﻮ ﻋﻀــﻮ ﻓــﻲ ا>ﻛﺎدﻳﻤﻴﺔ اﻟﺮوﺳــﻴﺔ ﻟﻠﻔﻨﻮن .ﺗﻮﺟــﺪ أﻋﻤﺎﻟﻪ ﺿﻤﻦ أﻫﻢ اﻟﻤﺠﻤﻮﻋــﺎت اﻟﻔﻨﻴــﺔ اﻟﺨﺎﺻﺔ واﻟﻌﺎﻣــﺔ ﻓﻲ اﻟﻌﺎﻟﻢ.
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ART D’ÉGYPTE
GISELA COLÓN ETERNITY NOW Engineered aerospace carbon fibre with gold particles 2.43 m x 9.14 m x 1.82 m 2021
The site-specific installation, Eternity Now, embodies a timeless moment, where past, present, and future merge on the historic 4500-year-old UNESCO site of the Great Pyramids of Giza. The 30-footlong golden elliptical dome pays tribute to the deep historic legacy of ancient Egypt, known as a birthing site or ‘cradle’ of ancient culture. The monumental sculpture is informed by the astounding volumes of knowledge acquired by the ancient Egyptians spanning the fields of astronomy, science, mythology, art, architecture, and sacred geometries. The installation’s formal geometric aspects embody the mythical shape of the sun god Ra’s glowing orb: the venerable chroma of gold being omnipresent in Egyptian symbolism and ritualism. The dome’s elliptical curvatures reference the Eye of Horus, the mystical mind’s eye or third oculus, a form of mythological geometry symbolizing healing, protection, and rebirth. Speaking a fundamental and universal language, Eternity Now envisions a future of humanistic solidarity, reconciliation, and interconnectedness.
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The artist would like to thank the team at Los Angeles for their assistance in realizing this project. FOREVER IS NOW
ﺟﻴــﺰﻳـــﻼ ﻛـﻮﻟـﻮن اﻟـﺄﺑﺪﻳــــﺔ اﻟـﺂن أﻟﻴــﺎف اﻟﻜﺮﺑــﻮن اﻟﻤﺴــﺘﺨﺪﻣﺔ ﻓﻲ ﺻﻨﺎﻋﺔ اﻟﻄﺎﺋﺮات ﻣــﻊ ﺟﺰﻳﺌﺎت اﻟﺬﻫﺐ ٢،٤٣م × ٩،١٤م × ١،٨٢م ٢٠٢١ ﻳﺠﺴــﺪ اﻟﺘﺸــﻜﻴﻞ ﻓﻲ اﻟﻔــﺮاغ ﺑﻌﻨﻮان "ا>ﺑﺪﻳــﺔ ا9ن" ﻟﺤﻈﺔ ﺧﺎﻟﺪة، ﺣﻴــﺚ ﻳﻨﺪﻣــﺞ اﻟﻤﺎﺿــﻲ واﻟﺤﺎﺿــﺮ واﻟﻤﺴــﺘﻘﺒﻞ ﻓــﻲ ﻣﻮﻗﻊ اﻟﻴﻮﻧﺴــﻜﻮ اﻟﺘﺎرﻳﺨــﻲ اﻟــﺬي ﻳﺒﻠــﻎ ﻋﻤﺮه ٤٥٠٠ﻋــﺎم ،ﻣﻮﻗﻊ أﻫﺮاﻣﺎت اﻟﺠﻴــﺰة .ﺗﻌﺘﺒﺮ ﺗﻜﺮﻳﻤﺎ ﻟ¢رث ﻗﺪﻣــﺎ اﻟﻘﺒــﺔ اﻟﺒﻴﻀﺎوﻳــﺔ اﻟﺬﻫﺒﻴــﺔ اﻟﺘﻲ ﻳﺒﻠــﻎ ﻃﻮﻟﻬﺎ ٣٠ ً ً اﻟﺘﺎرﻳﺨــﻲ اﻟﻌﻤﻴــﻖ ﻟﻤﺼــﺮ اﻟﻘﺪﻳﻤﺔ ،واﻟﺘﻲ ﻋﺮﻓــﺖ ً أﻳﻀﺎ ﺑـ"ﻣﻬﺪ" اﻟﺜﻘﺎﻓــﺔ اﻟﻘﺪﻳﻤــﺔ .اﺳــﺘﻨﺪ اﻟﻌﻤﻞ اﻟﻨﺤﺘــﻲ اﻟﻀﺨﻢ إﻟﻰ ﻛﻤﻴــﺔ اﻟﻤﻌﺮﻓﺔ اﻟﻬﺎﺋﻠــﺔ واﻟﻤﺬﻫﻠــﺔ اﻟﺘــﻲ اﻣﺘﻠﻜﻬــﺎ اﻟﻤﺼﺮﻳﻮن اﻟﻘﺪﻣﺎء واﻟﺘﻲ ﺗﺸــﻤﻞ ﻣﺠــﺎﻻت ﻋﻠــﻢ اﻟﻔﻠﻚ واﻟﻌﻠﻮم وا>ﺳــﺎﻃﻴﺮ واﻟﻔﻦ واﻟﻌﻤﺎرة واﻟﻬﻨﺪﺳــﺔ اﻟﻤﻘﺪﺳــﺔ .ﺗﺮﻣﺰ اﻟﺠﻮاﻧﺐ اﻟﻬﻨﺪﺳــﻴﺔ ا>ﺳﺎﺳــﻴﺔ ﻟﻠﻌﻤﻞ إﻟﻰ اﻟﺸــﻜﻞ ا>ﺳــﻄﻮري ﻟﻠﺪاﺋــﺮة اﻟﻤﺘﻮﻫﺠــﺔ اﻟﺨﺎﺻﺔ ﺑﺈﻟﻪ اﻟﺸــﻤﺲ رع ،:ﺣﻴﺚ أن اﻟﻠــﻮن اﻟﺬﻫﺒــﻲ ﻣﻨﺘﺸــﺮ ﻣﻦ ﺧﻼل ﻛﻞ اﻟﺮﻣــﻮز واﻟﻄﻘﻮس اﻟﻤﺼﺮﻳﺔ .ﺗﺸــﻴﺮ اﻻﻧﺤﻨــﺎءات اﻟﺒﻴﻀﺎوﻳــﺔ ﻟﻠﻘﺒــﺔ إﻟﻰ ﻋﻴــﻦ ﺣﻮرس ،أو ﻋﻴﻦ اﻟﻌﻘــﻞ اﻟﺒﺎﻃﻨﻲ أو اﻟﻌﻴﻦ اﻟﺜﺎﻟﺜﺔ ،وﻫﻲ ﺗﻌﺘﺒﺮ ﺷــﻜﻞ ﻣﻦ أﺷــﻜﺎل اﻟﻬﻨﺪﺳــﺔ ا>ﺳــﻄﻮرﻳﺔ اﻟﺘــﻲ ﺗﺮﻣــﺰ إﻟﻰ اﻟﺸــﻔﺎء واﻟﺤﻤﺎﻳــﺔ واﻟﺒﻌﺚ .ﻳﻌ ّﺒــﺮ اﻟﻌﻤﻞ "ا>ﺑﺪﻳﺔ ا9ن" وﺑﻠﻐــﺔ واﻗﻌﻴــﺔ وﻋﺎﻟﻤﻴــﺔ ﻋﻦ ﺗﺼﻮر ﻣﺴــﺘﻘﺒ ًﻠﺎ ﻣﻦ اﻟﺘﻀﺎﻣﻦ ا|ﻧﺴــﺎﻧﻲ واﻟﻤﺼﺎﻟﺤــﺔ واﻟﺘﺮاﺑﻂ.
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ﺗــﻮد اﻟﻔﻨﺎﻧــﺔ أن ﺗﺸــﻜﺮ اﻟﻔﺮﻳــﻖ ﻓــﻲ "إﻳــﻪ دي إم وورﻛــﺲ" ﺑﻠــﻮس أﻧﺠﻠــﻮس ﻋﻠــﻰ ﻣﺴــﺎﻋﺪﺗﻬﻢ ﻓــﻲ ﺗﺤﻘﻴــﻖ ﻫــﺬا اﻟﻤﺸــﺮوع. ART D’ÉGYPTE
GISELA COLÓN ETERNITY NOW
Photo: MO4 Network
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FOREVER IS NOW
ﺟﻴــﺰﻳـــﻼ ﻛـﻮﻟـﻮن اﻟـﺄﺑﺪﻳــﺔ اﻟـﺂن
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ART D’ÉGYPTE
Gisela Colón (b. 1966, Vancouver, Canada; raised from 1967 in San Juan, Puerto Rico) is an American contemporary artist who has developed a unique sculptural language of Organic Minimalism, breathing lifelike qualities into reductive forms. Operating at the intersection of art and science, Colón’s pristine light-activated sculptures are created with innovative materials of the 21st century, such as optical acrylics and high-technology aerospace carbon fibre. Colón’s practice challenges, deconstructs, and expands on the minimalist canon. Her language of organic forms and anthropomorphic geometries embodies a sense of energy, movement, transformation, and growth that stems, in a broader sense, from the laws of physics (gravity, time, energy, and matter), a connection to the vital energy of the Earth, and the infinite forces of the cosmological realm.
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Colón has exhibited internationally throughout the United States, Europe, and the Middle East. Her large-scale work, Quantum Shift, is currently on view at Frieze Sculpture 2021, Regent’s Park, London. Her monumental sculpture, The Future is Now, was part of the Land Art Biennale, Desert X AlUla, KSA (2020). Upcoming institutional exhibitions include Light, Space, Surface: Southern California Art from LACMA’s Collection at Addison Gallery of American Art, Andover, Massachusetts (2021–2022), travelling to the Frist Art Museum, Nashville, Tennessee (2022). Colón’s work resides in the permanent collections of the Los Angeles County Museum of Art, Museum of Contemporary Art San Diego, Perez Art Museum Miami, Mint Museum, and Palm Springs Art Museum, amongst others. Originally from San Juan, Puerto Rico, Colón lives and works in Los Angeles, California. FOREVER IS NOW
ﺟﻴﺰﻳــﻼ ﻛﻮﻟــﻮن وﻟــﺪت ﻋﺎم ١٩٦٦ﻓــﻲ ﻓﺎﻧﻜﻮﻓﺮ ﺑﻜﻨﺪا ،وﻧﺸــﺄت ﻣﻨﺬ ،١٩٦٧ﻓﻲ ﺳــﺎن ﺧــﻮان ﺑﺒﻮرﺗﻮرﻳﻜﻮ .وﻫــﻲ ﻓﻨﺎﻧﺔ أﻣﺮﻳﻜﻴــﺔ ﻣﻌﺎﺻﺮة ﻃﻮرت ﻟﻐــﺔ ﻧﺤﺘﻴﺔ ﻓﺮﻳﺪة ﻣــﻦ ﻧﻮﻋﻬــﺎ ﻓــﻲ اﻟﺘﻘﻠﻴﻠﻴﺔ اﻟﻌﻀﻮﻳــﺔ ،أي ﺗﻨﻔﺲ اﻟﺼﻔــﺎت اﻟﻨﺎﺑﻀﺔ ﺑﺎﻟﺤﻴﺎة ﺑﺄﺷــﻜﺎل ﻣﺨﺘﺰﻟــﺔ .ﺗﻌﻤــﻞ ﻛﻮﻟــﻮن ﻋﻠﻰ ﻧﻘﺎط ﺗﻘﺎﻃــﻊ اﻟﻔﻦ واﻟﻌﻠــﻢ ،ﻓﺘﺨﻠﻖ ﻗﻄﻌﻬــﺎ اﻟﻨﺤﺘﻴﺔ اﻟﻔﻄﺮﻳــﺔ اﻟﺘــﻲ ﻳﺘــﻢ ﺗﻔﻌﻴﻠﻬــﺎ ﺑﺎﻟﻀﻮء ﻣﻦ ﻣــﻮاد ﻣﺒﺘﻜﺮة ﺧﺎﺻــﺔ ﺑﺎﻟﻘﺮن اﻟﺤﺎدي واﻟﻌﺸــﺮﻳﻦ ،ﻣﺜــﻞ ا>ﻛﺮﻳﻠﻴــﻚ اﻟﺒﺼﺮي ،وأﻟﻴﺎف اﻟﻜﺮﺑﻮن اﻟﻤﺴــﺘﺨﺪم ﻓﻲ اﻟﻬﻨﺪﺳــﺔ اﻟﻔﻀﺎﺋﻴــﺔ ﻋﺎﻟﻴــﺔ اﻟﺘﻘﻨﻴــﺔ .ﺗﺨــﻮض ﻛﻮﻟــﻮن ﺗﺤﺪﻳﺎت ﻋﺪة ،ﻓﺘﻔﻜﻚ وﺗﺘﻮﺳــﻊ ﻓﻲ ﻣﻌﺎﻳﻴــﺮ اﻟﺘﺒﺴــﻴﻄﻴﺔ ،ﺣﻴــﺚ ﺗﺠﺴــﺪ ﻟﻐﺘﻬﺎ اﻟﺨﺎﺻﺔ ﺑﺎ>ﺷــﻜﺎل اﻟﻌﻀﻮﻳﺔ واﻟﻬﻨﺪﺳــﺔ إﺣﺴﺎﺳــﺎ ﺑﺎﻟﻄﺎﻗــﺔ واﻟﺤﺮﻛﺔ واﻟﺘﺤــﻮل واﻟﻨﻤﻮ اﻟﺬي ﻳﻨﺒﺜــﻖ ،ﺑﻤﻔﻬﻮم اﻟﻤﺠﺴــﻤﺔ ً أوﺳــﻊ ،ﻣــﻦ اﻟﻘﻮاﻧﻴــﻦ اﻟﻔﻴﺰﻳﺎﺋﻴﺔ )اﻟﺠﺎذﺑﻴﺔ واﻟﻮﻗــﺖ واﻟﻄﺎﻗﺔ واﻟﻤــﺎدة( ،ﻣﻤﺎ ﻳﻤﺜﻞ ً ارﺗﺒﺎﻃــﺎ ﺑﻄﺎﻗــﺔ ا>رض اﻟﺤﻴﻮﻳﺔ واﻟﻘــﻮى اﻟﻼﻧﻬﺎﺋﻴــﺔ ﻟﻠﺤﻴّﺰ اﻟﻜﻮﻧﻲ. ﻋﺮﺿــﺖ ﻛﻮﻟــﻮن أﻋﻤﺎﻟﻬــﺎ ﻓﻲ ﻣﻌﺎرض دوﻟﻴــﺔ ﺑﺠﻤﻴﻊ أﻧﺤﺎء اﻟﻮﻻﻳــﺎت اﻟﻤﺘﺤﺪة وأوروﺑﺎ واﻟﺸــﺮق ا>وﺳــﻂ ،وﺗﻌــﺮض ﺣﺎﻟﻴﺎ أﻋﻤﺎﻟﻬــﺎ ذات اﻟﺤﺠــﻢ اﻟﻜﺒﻴﺮ" ،ﻛﻮاﻧﺘﻢ ﺷــﻴﻔﺖ" ﻓــﻲ ﻣﻨﺤﻮﺗﺎت ﻓﺮﻳــﺰ ٢٠٢١ﺑﺮﻳﺠﻨﺖ ﺑﺎرك ،ﻟﻨــﺪن .ﻛﻤﺎ ﺷــﺎرﻛﺖ ﺑﻤﻨﺤﻮﺗﻬﺎ اﻟﻀﺨــﻢ" ،اﻟﻤﺴــﺘﻘﺒﻞ ﻫــﻮ ا9ن" ،ﻓﻲ "ﺑﻴﻨﺎﻟﻲ ﻻﻧــﺪ آرت ،دﻳﺰرت إﻛﺲ" ،اﻟﻌــﻼ ﺑﺎﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴــﺔ اﻟﺴــﻌﻮدﻳﺔ ) .(٢٠٢٠ﺗﺸــﻤﻞ ﻣﻌﺎرﺿﻬﺎ اﻟﻘﺎدﻣﺔ؛ "اﻟﻀﻮء ،واﻟﻤﺴــﺎﺣﺔ، واﻟﺴــﻄﺢ ﻓــﻲ :ﻓﻦ ﺟﻨــﻮب ﻛﺎﻟﻴﻔﻮرﻧﻴﺎ ﻣــﻦ ﻣﺠﻤﻮﻋﺔ ﻻﻛﻤﺎ" ﺑﻤﻌﺮض أدﻳﺴــﻮن ﻟﻠﻔﻨــﻮن ا>ﻣﺮﻳﻜﻴــﺔ )أﻧﺪوﻓﺮ ،ﻣﺎﺳﺎﺗﺸﻮﺳــﺘﺲ ،(٢٠٢٢–٢٠٢١،ﺛﻢ ﻣﺘﺤﻒ ﻓﺮﻳﺴــﺖ ﻟﻠﻔﻨــﻮن )ﻧﺎﺷــﻔﻴﻞ ،ﺗﻴﻨﻴﺴــﻲ .(٢٠٢٢،ﺗﻮﺟﺪ أﻋﻤــﺎل ﻛﻮﻟﻮن ﻓــﻲ اﻟﻤﺠﻤﻮﻋﺎت اﻟﺪاﺋﻤﺔ ﻟﻤﺘﺤــﻒ ﻣﻘﺎﻃﻌــﺔ ﻟــﻮس أﻧﺠﻠﻮس ﻟﻠﻔﻨــﻮن ،وﻣﺘﺤﻒ اﻟﻔﻦ اﻟﻤﻌﺎﺻﺮ ﻓﻲ ﺳــﺎن دﻳﻴﻐــﻮ ،وﻣﺘﺤــﻒ ﺑﻴﺮﻳــﺰ ﻟﻠﻔﻨﻮن ﻓــﻲ ﻣﻴﺎﻣﻲ ،وﻣﺘﺤﻒ ﻣﻴﻨــﺖ ،وﻣﺘﺤﻒ ﺑﺎﻟﻢ ﺳــﺒﺮﻳﻨﻐﺰ ﻟﻠﻔﻨــﻮن ،وﻏﻴﺮﻫــﺎ .ﺗﻌﻴــﺶ وﺗﻌﻤﻞ ﻛﻮﻟﻮن ﻓﻲ ﻟــﻮس أﻧﺠﻠــﻮس ﺑﻜﺎﻟﻴﻔﻮرﻧﻴﺎ.
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Los Angeles and Palm Beach.
Represented by
اﻟﻔﻨﺎﻧــﺔ ﻳﻤﺜﻠﻬــﺎ ﺟﺎﻟﻴﺮي "ﺟﺎﻓﻼك" ﺑﻠﻮس أﻧﺠﻠــﻮس وﺑﺎﻟﻢ ﺑﻴﺘﺶ. ART D’ÉGYPTE
JOÃO TREVISAN BODY THAT RISES 74 pieces of wood 7mx2mx2m 2021
Body That Rises is a 7m-high sculpture built from 74 wood beams stacked to form a rising, square grid. ‘The piece is designed for the Giza plateau, and I’d like viewers to imagine that the shape echoes the framework of a large obelisk pointing skyward.’ The project includes a vertically mounted structure that points to the Egyptian sky, a sculpture for viewing on the Giza Plateau in Forever Is Now. The material used is Trevisan's signature material: wood railroad sleepers, and in doing so, engages Egypt's immediate past — the train tracks laid down in the nineteenth century. And in their pure vertical form the vertical columns of both proposals directly reference skyward-pointing obelisks of the ancient past.
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The artist would like to acknowledge and thank
for their support in the realization of the project. FOREVER IS NOW
ﺟﻮاو ﺗﺮﻳﻔﻴــﺴــــﺎن اﻟﺠﺴــﺪ اﻟﺬي ﻳﻨﻬﺾ ٧٤ﻗﻄﻌﺔ ﻣﻦ اﻟﺨﺸــﺐ ٧م × ٢م × ٢م ٢٠٢١
ً ﻣﺆﻟﻔﺎ ﻣﻦ ٧٤ﻋﺎرﺿﺔ "اﻟﺠﺴــﺪ اﻟــﺬي ﻳﻨﻬﺾ"ﻋﺒــﺎرة ﻋــﻦ ﺗﻤﺜﺎل ﻳﺒﻠــﻎ ارﺗﻔﺎﻋﻪ ٧ﻣﺘـ ًﺮا ﺧﺸــﺒﻴﺔ ﻣﺜﺒﺘﺔ ﻟﺘﺸــﻜﻞ ﺷــﺒﻜﺔ ﻣﺮﺑﻌــﺔ ﻣﺮﺗﻔﻌﺔ .ﻳﻘــﻮل اﻟﻔﻨﺎن" ،ﻗﻤــﺖ ﺑﺘﺼﻤﻴﻤﻪ ﻟﻬﻀﺒــﺔ اﻟﺠﻴــﺰة ،وأود أن ﻳﺘﺨﻴﻞ اﻟﻤﺸــﺎﻫﺪون أن اﻟﺸــﻜﻞ ﻳﻌﻜﺲ إﻃﺎر ﻣﺴــﻠﺔ ﻛﺒﻴﺮة ﺗﺸــﻴﺮ إﻟﻰ اﻟﺴــﻤﺎء". ﻛﻤــﺎ ﻳﺘﻀﻤــﻦ اﻟﻤﺸــﺮوع ﻫﻴﻜ ًﻠﺎ ﻣﺮﻛﺒًﺎ ﺑﺸــﻜﻞ ﻋﻤﻮدي وﻣﺸــﻴﺮا إﻟﻰ ﺳــﻤﺎء ﻣﺼﺮ، وﻫــﻮ ﻣﻨﺤﻮﺗــﺔ ﻳﺘــﻢ ﻋﺮﺿﻬﺎ ﻟﻠﻤﺸــﺎﻫﺪﻳﻦ ﻋﻠــﻰ ﻫﻀﺒﺔ اﻟﺠﻴﺰة ﺿﻤﻦ اﻟﻤﺸــﺮوع اﻟﻔﻨــﻲ "ا>ﺑــﺪ ﻫﻮ ا9ن" .ﺗﻤﺜــﻞ اﻟﻤﻮاد اﻟﻤﺴــﺘﺨﺪﻣﺔ اﻟﺒﺼﻤــﺔ اﻟﺨﺎﺻﺔ ﺑﺄﻋﻤﺎل ﺗﺮﻳﻔﻴﺴــﺎن وﻫــﻲ ﻓﻠﻨــﻜﺎت اﻟﺴــﻜﻚ اﻟﺤﺪﻳﺪﻳﺔ اﻟﺨﺸــﺒﻴﺔ ،وﺑﺬﻟﻚ ﻓﻬــﻮ ﻳﺮﺑﻂ اﻟﻌﻤﻞ ﺑﻤﺎﺿــﻲ ﻣﺼــﺮ اﻟﻘﺮﻳــﺐ ،وﻫﻲ اﻟﺴــﻜﻚ اﻟﺤﺪﻳﺪﻳﺔ اﻟﺘﻲ ﺗﻢ إﻧﺸــﺎؤﻫﺎ ﻓﻲ اﻟﻘﺮن اﻟﺘﺎﺳــﻊ ﻋﺸــﺮ ﻓﻲ ﻣﺼﺮ .وﺗﺸــﻴﺮ ا>ﻋﻤﺪة اﻟﺮأﺳــﻴﺔ ﻓﻲ ﺷــﻜﻠﻬﺎ اﻟﺘﺠﺮﻳﺪي ﻓﻲ اﻟﻌﻤــﻞ إﻟﻰ اﻟﻤﺴــﻼت ﻓــﻲ ﻣﺼﺮ اﻟﻘﺪﻳﻤﺔ واﻟﺘﻲ ﺗﺘﺠﻪ رؤوﺳــﻬﺎ إﻟﻰ اﻟﺴــﻤﺎء.
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ﻳــﻮد اﻟﻔﻨــﺎن أن ﻳﺸــﻜﺮ ﺷــﺮﻛﺔ "ﻣﻮﺑــﻞ اﻟﺸــﺮق" وﺳــﻔﺎرة ﺟﻤﻬﻮرﻳــﺔ اﻟﺒﺮازﻳــﻞ ﻋﻠــﻰ دﻋﻤﻬﻤــﺎ ﻓــﻲ ﺗﺤﻘﻴــﻖ اﻟﻤﺸــﺮوع. ART D’ÉGYPTE
JOÃO TREVISAN BODY THAT RISES
Photo: MO4 Network
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FOREVER IS NOW
ﺟﻮاو ﺗﺮﻳﻔﻴــﺴــــﺎن اﻟﺠﺴــﺪ اﻟﺬي ﻳﻨﻬﺾ
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ART D’ÉGYPTE
João Trevisan (b. 1986, Brasília, Brazil) is a São Paulo-based painter and sculptor who has been exhibiting steadily since 2014. Trevisan’s works explore issues of found value in waste material: the articulation of weight and lightness, tension and balance. The core of his artistic practice is performance. He sees himself as a walker who observes and collects objects. Early in his career, the starting point was the railroad track near his home in Brasília where he collected discarded railroad ties and iron scrap including bolts and plates which were later assembled as sculptures. Elements found on the railroad margins were then used, grouped, and ordered in different ways to produce new bodies, created and designed in accordance with spatial dynamics. ‘... João walks along the rails next to his road. Between worn wooden sleepers, tracks and pieces of abandonment, worn out and rusted ... The passage of time brings poetic structures that illuminate and hold on to his senses in a voracious search that is not only aesthetic. In truth, it is so much more! 36
In his notebook, visual and textual annotations are very well woven into the drawings and concepts, as well as presenting us the knowledge of the dense strength of wood and iron that he collects in his curious walks to welcome the “tension between two points”: balance vs imbalance; the bendable vs the unbendable, in infinite dispositions between visible and invisible beings.’ — Bene Fonteles, 2018 FOREVER IS NOW
ﺟــﻮاو ﺗﺮﻳﻔﻴﺴــﺎن وﻟــﺪ ﻋﺎم ١٩٨٦ﻓﻲ ﺑﺮازﻳﻠﻴــﺎ ﺑﺎﻟﺒﺮازﻳﻞ ،ﻫﻮ رﺳــﺎم وﻧﺤﺎت ﻣﻘﻴﻢ ﻓــﻲ ﺳــﺎو ﺑﺎوﻟﻮ ،ﻳﻌــﺮض أﻋﻤﺎﻟﻪ ﺑﺸــﻜﻞ ﻣﺘﻮاﺻﻞ ﻣﻨﺬ .٢٠١٤ﺗﺴﺘﻜﺸــﻒ أﻋﻤﺎل ﺗﺮﻳﻔﻴﺴــﺎن وﺟــﻮد ﻣــﻮاد ﻗﻴّﻤﺔ ﻓــﻲ اﻟﻨﻔﺎﻳﺎت :اﻟﺘﻌﺒﻴــﺮ ﻋﻦ اﻟﺜﻘــﻞ واﻟﺨﻔﺔ ،واﻟﺘﻮﺗﺮ واﻟﺘــﻮازن .ﻳﻜﻤــﻦ ﺟﻮﻫﺮ ﻣﻤﺎرﺳــﺘﻪ اﻟﻔﻨﻴــﺔ ﻓﻲ ﻓﻦ ا>داء ،ﻓﻬﻮ ﻳﺮى ﻧﻔﺴــﻪ ﺟﻮا ًﻟﺎ ﻳﺮاﻗــﺐ ا>ﺷــﻴﺎء وﻳﺠﻤﻌﻬــﺎ .ﻛﺎﻧــﺖ ﻗﻀﺒﺎن اﻟﻘﻄــﺎر اﻟﻘﺮﻳﺒﺔ ﻣﻦ ﻣﻨﺰﻟﻪ ﻓــﻲ ﺑﺮازﻳﻠﻴﺎ ﻧﻘﻄــﺔ اﻟﺒﺪاﻳــﺔ ﻟــﻪ ﻓﻲ وﻗﺖ ﻣﺒﻜــﺮ ﻣﻦ ﺣﻴﺎﺗــﻪ اﻟﻤﻬﻨﻴﺔ ،ﺣﻴﺚ ﺟﻤــﻊ ﻗﻄﻊ اﻟﺮﺑﻂ اﻟﺨﺎﺻــﺔ ﺑﺎﻟﺴــﻜﺔ اﻟﺤﺪﻳﺪﻳــﺔ اﻟﻤﻬﻤﻠــﺔ واﻟﺨــﺮدة اﻟﻤﻌﺪﻧﻴﺔ ﺑﻤــﺎ ﻓﻴﻬﺎ اﻟﺒﺮاﻏﻲ ً ﻻﺣﻘــﺎ ﻓﻲ أﻋﻤﺎﻟﻪ ﻛﻘﻄــﻊ ﻧﺤﺘﻴﺔ .ﻛﻤــﺎ ﻗﺎم ﺑﺠﻤﻊ وا>ﻟــﻮاح اﻟﺘﻲ اﺳــﺘﺨﺪﻣﻬﺎ ﻋﻨﺎﺻــﺮ أﺧــﺮى ﻣﻮﺟﻮدة ﻋﻠﻰ اﻟﺴــﻜﺔ وﺗﺼﻨﻴﻔﻬــﺎ ﺑﻄﺮق ﻣﺨﺘﻠﻔــﺔ |ﻧﺘﺎج أﻋﻤﺎل ً وﻓﻘــﺎ ﻟﺪﻳﻨﺎﻣﻴﻜﻴﺎت اﻟﻤﻜﺎن. ﺟﺪﻳــﺪة ﺗــﻢ ﺗﻜﻮﻳﻨﻬــﺎ وﺗﺼﻤﻴﻤﻬــﺎ >> ﻳﺴــﻴﺮ ﺟــﻮاو ﺑﻤﺤــﺎذاة اﻟﻘﻀﺒﺎن اﻟﻤﻮازﻳــﺔ ﻟﻄﺮﻳﻘﻪ ﺑﻴﻦ ﻓﻠﻨــﻜﺎت ﺧﺸــﺒﻴﺔ ﺑﺎﻟﻴﺔ وﺟﻨﺎزﻳــﺮ وﻗﻄﻊ ﻣﻌﺪﻧﻴــﺔ ﻣﻬﺘﺮﺋﺔ ﺻﺪﺋــﺔ وﻣﻬﻤﻠــﺔ ...ﻓﻴﺸــﻜﻞ ﻣﺮور اﻟﻮﻗﺖ ﺗﻜﻮﻳﻨﺎت ﺷــﻌﺮﻳﺔ ﺗﻀــﻲء ﺣﻮاﺳــﻪ وﺗﺘﻤﺴــﻚ ﺑﻬﺎ ﻓﻲ ﺑﺤــﺚ ﺟﻤﺎﻟﻲ ﻧﻬﻢ ،ﺑﻞ ﻓــﻲ اﻟﺤﻘﻴﻘــﺔ أﻛﺜﺮ ﻣﻦ ذﻟــﻚ ﺑﻜﺜﻴﺮ. ـﻴﺠﺎ ﻣﺘﺪاﺧ ًﻠﺎ ﻣﻦ ﻓــﻲ دﻓﺘــﺮ ﻣﻼﺣﻈﺎﺗﻪ ،ﻗــﺎم ﺑﺨﻠﻖ ﻧﺴـ ً اﻟﺘﻌﻠﻴﻘــﺎت اﻟﻤﻜﺘﻮﺑــﺔ ﻣﻊ اﻟﺮﺳــﻮﻣﺎت واﻟﻤﻔﺎﻫﻴﻢ ﺑﺸــﻜﻞ ﺟﻴــﺪ ﺟﺪً ا ،إﺿﺎﻓﺔ إﻟــﻰ ﺗﻌﺮﻳﻔﻨــﺎ ﺑﺎﻟﻘﻮة اﻟﻜﺜﻴﻔﺔ ﻟﻠﺨﺸــﺐ واﻟﺤﺪﻳــﺪ اﻟﺘــﻲ ﻳﺠﻤﻌﻬﺎ ﻓﻲ ﺟﻮﻻﺗــﻪ اﻟﻔﻀﻮﻟﻴــﺔ ﻟﻘﺒﻮل "اﻟﺘﻮﺗﺮ ﺑﻴــﻦ ﻧﻘﻄﺘﻴــﻦ" :اﻟﺘــﻮازن ﻣﻘﺎﺑﻞ اﻟﻼﺗﻮازن ،اﻟﻘﺎﺑــﻞ ﻟﻼﻧﺤﻨﺎء ﻣﻘﺎﺑــﻞ ﻏﻴــﺮ اﻟﻘﺎﺑــﻞ ﻟﻼﻧﺤﻨﺎء ،ﻓﻲ ﻋﻼﻗــﺎت ﻻ ﻧﻬﺎﺋﻴﺔ ﺑﻴﻦ اﻟﻜﺎﺋﻨــﺎت اﻟﻤﺮﺋﻴــﺔ وﻏﻴــﺮ اﻟﻤﺮﺋﻴﺔ<< . — ﺑﻴﻨــﻲ ﻓﻮﻧﺘﻴﻠﻴﺲ٢٠١٨ ،
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ART D’ÉGYPTE
JR GREETINGS FROM GIZA Scaffolding, mesh 5.58 m x 3.6 m 2021
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JR exhibits freely in the streets of the world, from the suburbs of Paris to the slums of Brazil and the streets of New York, catching the attention of people who are not typical museum visitors and pasting huge portraits of anonymous people, from Kibera to Istanbul and from Los Angeles to Shanghai. In 2011, he received the TED Prize, after which he launched Inside Out, an international participatory art project that allows people worldwide to get their picture taken and paste it to support an idea and share their experience – as of June 2021, over 420,000 people from more than 138 countries have participated, through mail or gigantic photobooths. His recent projects include a large-scale pasting in a maximum security prison in California; a TIME Magazine cover about COVID-19; a video mural including 1,200 people presented at SFMOMA; a collaboration with New York City Ballet; an Academy Award nominated feature documentary co-directed with Nouvelle Vague legend Agnès Varda; the pasting of a container ship; the pyramid of the Louvre; giant scaffolding installations at the 2016 Rio Olympics; an exhibition on the abandoned hospital of Ellis Island; a social restaurant for refugees and the homeless in Paris; and a gigantic installation at the US-Mexico border fence. As he remains anonymous and doesn’t explain his huge full-frame portraits of people making faces, JR leaves the space empty for an encounter between the subject/protagonist and the passer-by/interpreter. That is what JR's work is about: raising questions ... FOREVER IS NOW
ﺟﻴﻪ آر ﺗﺤﻴــــﺎت ﻣﻦ اﻟﺠﻴـــﺰة ﺳﻘﺎﻻت ،ﺷــﺒﻜﺔ ﻣﻌﺪﻧﻴﺔ ٥،٥٨م × ٣،٦م ٢٠٢١
ﺟﻴــﻪ آر ﻳﻌــﺮض أﻋﻤﺎﻟــﻪ ﺑﺤﺮﻳﺔ ﻓﻲ ﺷــﻮارع اﻟﻌﺎﻟﻢ ﺟﺎذﺑــﺎ اﻧﺘﺒﺎه ا>ﺷــﺨﺎص اﻟﻌﺎﺑﺮﻳﻦ وﻟﻴﺲ زوار اﻟﻤﺘﺤــﻒ اﻟﺘﻘﻠﻴﺪﻳﻴــﻦ ،ﻓﻬــﻮ ﻳﺠــﻮب اﻟﻌﺎﻟﻢ ﻣــﻦ ﺿﻮاﺣﻲ ﺑﺎرﻳﺲ إﻟﻰ ا>ﺣﻴــﺎء اﻟﻔﻘﻴﺮة ﻓــﻲ اﻟﺒﺮازﻳــﻞ ،ﺷــﻮارع ﻧﻴﻮﻳﻮرك وﻳﻠﺼــﻖ ﺻﻮ رًا ﺿﺨﻤﺔ >ﺷــﺨﺎص ﻣﺠﻬﻮﻟﻴﻦ ،ﻣــﻦ ﻛﻴﺒﻴﺮا إﻟﻰ
إﺳــﻄﻨﺒﻮل ،وﻣــﻦ ﻟــﻮس أﻧﺠﻠﻮس إﻟﻰ ﺷــﻨﻐﻬﺎي .ﺣﺼﻞ ﻓﻲ ،٢٠١١ﻋﻠــﻰ ﺟﺎﺋﺰة ،TEDوأﻃﻠﻖ
ﺑﻌﺪﻫــﺎ ﻣﺒــﺎدرة "ﻣــﻦ اﻟﺪاﺧﻞ إﻟﻰ اﻟﺨﺎرج" ،وﻫﻮ ﻣﺸــﺮوع ﻓﻨﻲ ﺗﺸــﺎرﻛﻲ ﻋﻠﻰ اﻟﻤﺴــﺘﻮى اﻟﺪوﻟﻲ ﻳﻌﻄــﻲ اﻟﻔﺮﺻــﺔ ﻟ ﺷــﺨﺎص ﻣﻦ ﺟﻤﻴﻊ أﻧﺤــﺎء اﻟﻌﺎﻟﻢ ﺑﺎﻟﺘﻘــﺎط ﺻﻮرﻫﻢ اﻟﺸــﺨﺼﻴﺔ وﻟﺼﻘﻬﺎ ﻟﺪﻋــﻢ ﻓﻜــﺮة ﻣــﺎ وﻣﺸــﺎرﻛﺔ ﺗﺠﺮﺑﺘﻬﻢ ،وذﻟﻚ اﻋﺘﺒﺎ رًا ﻣﻦ ﻳﻮﻧﻴﻮ .٢٠٢١ﺷــﺎرك ﻓﻲ اﻟﻤﺸــﺮوع ﻣﺎ ﻳﺰﻳــﺪ ﻋــﻦ ٤٢٠أﻟــﻒ ﺷــﺨﺺ ﻣﻦ أﻛﺜﺮ ﻣﻦ ١٣٨دوﻟﺔ ،إﻣﺎ ﻣــﻦ ﺧﻼل اﻟﺒﺮﻳﺪ أو أﻛﺸــﺎك اﻟﺘﺼﻮﻳﺮ اﻟﻌﻤﻼﻗﺔ .ﺗﺸــﻤﻞ ﻣﺸــﺎرﻳﻌﻪ ا>ﺧﻴﺮة؛ ﻟﺼﻖ ﺻﻮرا ﻋﻠﻰ ﻧﻄﺎق واﺳــﻊ ﻓﻲ ﺳــﺠﻦ ﺷــﺪﻳﺪ اﻟﺤﺮاﺳــﺔ ﻓــﻲ ﻛﺎﻟﻴﻔﻮرﻧﻴــﺎ ،وﻏﻼف ﻣﺠﻠــﺔ "ﺗﺎﻳﻢ" ﺣﻮل ﺟﺎﺋﺤــﺔ ﻛﻮروﻧﺎ ،وﻟﻮﺣﺔ ﺟﺪارﻳــﺔ ﺑﺎﻟﻔﻴﺪﻳﻮ ﺗﻀــﻢ ١٢٠٠ﺷــﺨﺺ ﺗــﻢ ﺗﻘﺪﻳﻤﻬﺎ ﻓﻲ ﻣﺘﺤﻒ ﺳــﺎن ﻓﺮاﻧﺴﻴﺴــﻜﻮ ﻟﻠﻔــﻦ اﻟﺤﺪﻳﺚ ،وﺗﻌﺎون ﻣﻊ ﻓﺮﻗــﺔ ﺑﺎﻟﻴــﻪ ﻣﺪﻳﻨــﺔ ﻧﻴﻮﻳﻮرك ،وﻓﻴﻠﻢ وﺛﺎﺋﻘﻲ ﺗﻢ ﺗﺮﺷــﻴﺤﻪ ﻟﺠﺎﺋﺰة ا>وﺳــﻜﺎر واﻟﺬي ﺷــﺎرك ﺑﺈﺧﺮاﺟــﻪ ا>ﺳــﻄﻮرة أﺟﻨــﺲ ﻓــﺎردا اﻟﻤﻨﺘﻤﻴﺔ إﻟﻰ ﺣﺮﻛﺔ اﻟﻤﻮﺟــﺔ اﻟﺠﺪﻳﺪة ﻟﻠﺴــﻴﻨﻤﺎ ﻓﻲ ﻓﺮﻧﺴــﺎ ،وﻟﺼــﻖ ﺻــﻮرة ﺳــﻔﻴﻨﺔ ﺣﺎوﻳﺎت ،وﻫﺮم اﻟﻠﻮﻓﺮ ،وﺗﺸــﻜﻴﻞ ﺿﺨﻢ ﻓﻲ اﻟﻔﺮاغ ﻟﺴــﻘﺎﻻت ﻋﻤﻼﻗــﺔ ﻓــﻲ أوﻟﻤﺒﻴــﺎد رﻳﻮ ،٢٠١٦وﻣﻌﺮض ﻋــﻦ ﻣﺴﺘﺸــﻔﻰ ﻣﻬﺠﻮر ﻓﻲ ﺟﺰﻳﺮة إﻟﻴــﺲ ﺑﻨﻴﻮﻳﻮرك، وﻣﻄﻌــﻢ اﺟﺘﻤﺎﻋــﻲ ﻟﻼﺟﺌﻴــﻦ واﻟﻤﺸــﺮدﻳﻦ ﻓﻲ ﺑﺎرﻳﺲ ،وﻣﻨﺸــﺄة ﻋﻤﻼﻗﺔ ﻋﻨﺪ اﻟﺴــﻴﺎج اﻟﺤــﺪودي ﺑﻴــﻦ اﻟﻮﻻﻳــﺎت اﻟﻤﺘﺤﺪة واﻟﻤﻜﺴــﻴﻚ .ﻧﻈـ ًﺮا >ن ﺟﻴﻪ آر ﻳﻮد أن ﻳﻈــﻞ ﻣﺠﻬﻮ ً ﻻ ،وﻻ ﻳﺮﻳﺪ أن ﻳﺸــﺮح ﻣﺸــﺮوع اﻟﺼــﻮر اﻟﺸــﺨﺼﻴﺔ اﻟﻀﺨﻤﺔ اﻟﻤﺆﻃــﺮة ﺑﺎﻟﻜﺎﻣﻞ ،ﻓﺄﻧﻪ ﺑﺘﺮك ﻣﺴــﺎﺣﺔ ﺧﺎوﻳﺔ ﻟﻠﻘــﺎء ﻣــﺎ ﺑﻴــﻦ اﻟﻤﻮﺿــﻮع أي اﻟﺒﻄﻞ ،وﺑﻴــﻦ اﻟﻤﺎرة أي اﻟﻤﺘﻠﻘﻮن ،ﻣﻔﺴــﺮو اﻟﻌﻤــﻞ اﻟﻔﻨﻲ ،ﺣﻴﺚ ﺗﻘــﻮم أﻋﻤــﺎل ﺟﻴﻪ آر ﻋﻠﻰ ﻃﺮح ا>ﺳــﺌﻠﺔ ...
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Represented by Perrotin, Pace, Galleria Continua, and Galeria Nara Roesler. اﻟﻔﻨــﺎن ﻳﻤﺜﻠــﻪ "ﺑﻴﺮوﺗﺎن"" ،ﺑﺎﺳــﻲ"" ،ﺟﺎﻟﻴﺮﻳﺎ ﻛﻮﻧﺘﻴﻨﻴــﻮا" ،و"ﺟﺎﻟﻴﺮﻳﺎ ﻧﺎرا روزﻟﺮ". ART D’ÉGYPTE
JR GREETINGS FROM GIZA
Photo: MO4 Network
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FOREVER IS NOW
ﺟﻴﻪ آر ﺗﺤﻴــــﺎت ﻣﻦ اﻟﺠﻴـــﺰة
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ART D’ÉGYPTE
LORENZO QUINN TOGETHER Stainless steel rods 6 m x 10.33 m x 5.754 m (excl. base) 2021
‘One of the reasons I chose to be a sculptor is for its longevity. The idea of possibly being able to communicate with future generations through the art I leave behind has always mesmerized me. Art has the ability to cheat death and to make you immortal. When I was approached with the possibility of exhibiting one of my sculptures in front of humanity’s most glorious timeless creations, it was a dream come true. I also realized it was a daunting task because no artist on earth today can equal the beauty and perfection of the magnificent ancient Egyptian pyramids. I decided to create a site-specific sculpture that would hopefully not interfere with the surroundings but somehow support their majestic timeless beauty, a sculpture that would outline the human connection throughout time.’
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Humans are obsessed with time and yet there are places on earth where time stands still. COVID-19 has frozen time temporarily in the way we interact with each other. This relationship between human-time and earth-time is made even more relative at the site of the Great Pyramids of Giza where time is frozen. There is a strong desire to unfreeze our time during which we have longed for that human touch while the world came together under a single umbrella. We missed an essential part of what makes us human. Together wishes to represent that timeless human emotional journey in the place on earth where time has become relative as a testimonial to living the moment.
This installation was kindly supported by Beretta and Ashmand. FOREVER IS NOW
ﻟــــﻮرﻧﺰو ﻛــﻮﻳــﻦ ﻣـﻌﺎ ً ﻗﻀﺒﺎن اﻟﻔــﻮﻻذ اﻟﻤﻘﺎوم ﻟﻠﺼﺪأ ٦م × ١٠،٣٣م × ٥،٧٥٤م )ﺑــﺪون اﻟﻘﺎﻋﺪة( ٢٠٢١
>> أﺣــﺪ ا>ﺳــﺒﺎب اﻟﺘــﻲ دﻓﻌﺘﻨﻲ >ن أﻛــﻮن ﻧﺤﺎ ًﺗﺎ ﻫﻮ ﻃﻮل أﺟــﻞ اﻟﻌﻤــﻞ ،ﻓﻠﻄﺎﻟﻤــﺎ ﻓﺘﻨﺘﻨﻲ ﻓﻜــﺮة اﻟﺘﻮاﺻﻞ ﻣﻊ ا>ﺟﻴﺎل اﻟﻘﺎدﻣــﺔ ﻣﻦ ﺧــﻼل اﻟﻔﻦ اﻟﺬي أﺗﺮﻛﻪ >ن اﻟﻔــﻦ ﻳﻤﺘﻠﻚ اﻟﻘــﺪرة ﻋﻠــﻰ ﺧﺪاع اﻟﻤــﻮت وﺟﻌﻠﻚ ﺧﺎﻟﺪً ا .ﻋﻨﺪﻣــﺎ ﻋﻠﻤﺖ ﻋﻦ إﻣﻜﺎﻧﻴــﺔ ﻋﺮض إﺣــﺪى ﻣﻨﺤﻮﺗﺎﺗﻲ أﻣﺎم أروع إﺑﺪاﻋﺎت اﻟﺒﺸــﺮﻳﺔ اﻟﺨﺎﻟــﺪة ،ﻛﺎن ذﻟــﻚ ﺑﻤﺜﺎﺑــﺔ ﺣﻠﻢ ﻳﺘﺤﻘــﻖ .وأدرﻛﺖ ﻓﻲ ﻧﻔﺲ اﻟﻮﻗــﺖ أﻧﻬــﺎ ﻣﻬﻤﺔ ﺷــﺎﻗﺔ ﺣﻴﺚ ﻻ ﻳﻮﺟــﺪ ﻓﻨﺎن ﻋﻠﻰ وﺟﻪ ا>رض اﻟﻴــﻮم ﻳﻤﻜﻨــﻪ ﻣﻀﺎﻫﺎة ﺟﻤــﺎل وﻛﻤﺎل ا>ﻫﺮاﻣﺎت اﻟﻤﺼﺮﻳــﺔ اﻟﻘﺪﻳﻤــﺔ اﻟﺮاﺋﻌﺔ. ﻗــﺮرت ﻧﺤــﺖ ﻋﻤﻞ ﻣﺴــﺘﻨﺪ إﻟﻰ ﺟﻐﺮاﻓﻴــﺔ اﻟﻤﻜﺎن ،آﻣﻼ أﻻ ﻳﺘﻄﻔــﻞ ﻋﻠــﻰ اﻟﺒﻴﺌــﺔ اﻟﻤﺤﻴﻄﺔ ،وﻟﻜــﻦ ﺑﻄﺮﻳﻘﺔ ﻣﺎ ﻳﺪﻋﻢ ﺟﻤﺎﻟﻬــﺎ اﻟﻤﻬﻴــﺐ اﻟﺨﺎﻟــﺪ ،وﻫﻮ ﻋﻤﻞ ﻧﺤﺘﻲ ﻣﻦ ﺷــﺄﻧﻪ أن ﻳﺆﻃــﺮ اﻟﻌﻼﻗــﺔ ا|ﻧﺴــﺎﻧﻴﺔ ﻋﻠﻰ ﻣﺮ اﻟﺰﻣﻦ<< . اﻟﺒﺸــﺮ ﻣﻬﻮوﺳــﻮن ﺑﺎﻟﻮﻗﺖ ،وﻣﻊ ذﻟــﻚ ،ﻣﺎزاﻟﺖ ﻫﻨﺎك أﻣﺎﻛــﻦ ﻋﻠﻰ ا>رض ﻳﻘﻒ ﺟﻤــﺪت ﺟﺎﺋﺤﺔ ﻛﻮروﻧﺎ اﻟﺰﻣــﻦ ﻣﺆﻗ ًﺘﺎ ﻓﻲ ﻃــﺮق ﺗﻔﺎﻋﻠﻨﺎ ﻓﻴﻬــﺎ اﻟﻮﻗــﺖ ﺳــﺎﻛﻨﺎ .ﻟﻘﺪ ّ ﻣــﻊ ﺑﻌﻀﻨــﺎ اﻟﺒﻌــﺾ ،ﺑﻴﻨﻤﺎ أﺻﺒﺤــﺖ اﻟﻌﻼﻗﺔ ﺑﻴﻦ زﻣﻦ ا|ﻧﺴــﺎن وزﻣﻦ ا>رض أﻛﺜﺮ ﻧﺴــﺒﻴًﺔ ﻓــﻲ ﻣﻮﻗــﻊ أﻫﺮاﻣﺎت اﻟﺠﻴــﺰة اﻟﻌﻈﻴﻤﺔ ﺣﻴﺚ ﻗــﺪ ُﺟ ّﻤﺪ اﻟﺰﻣــﻦ ﺑﺎﻟﻔﻌﻞ .ﻫﻨﺎك رﻏﺒــﺔ ﻗﻮﻳــﺔ ﻓــﻲ إزاﺣﺔ اﻟﺘﺠﻤﺪ ﻣــﻦ زﻣﻨﻨﺎ اﻟﺬي اﺷــﺘﻘﻨﺎ ﺧﻼﻟﻪ إﻟﻰ ﺗﻠﻚ اﻟﻠﻤﺴــﺔ ﺟﺰءا أﺳﺎﺳـﻴًﺎ ﻣﻤﺎ ﺗﺠﻤــﻊ اﻟﻌﺎﻟــﻢ ﻛﻠﻪ ﺗﺤﺖ ﻣﻈﻠــﺔ واﺣﺪة وﻓﻘﺪﻧﺎ ا|ﻧﺴــﺎﻧﻴﺔ ،وﻗــﺪ ّ ً 43
ﻣﻌﺎ"ﻫــﻮ ﻋﻤﻞ ﻳﺠﺴــﺪ ﺗﻠﻚ اﻟﺮﺣﻠــﺔ اﻟﻌﺎﻃﻔﻴﺔ ا|ﻧﺴــﺎﻧﻴﺔ ا>زﻟﻴﺔ ﻓﻲ ﻳﺠﻌﻠﻨــﺎ ﺑﺸـ ًﺮاً " . اﻟﻤــﻜﺎن اﻟــﺬي أﺻﺒﺢ ﻓﻴﻪ اﻟﺰﻣﻦ ﻧﺴــﺒﻴًﺎ ﻋﻠﻰ ا>رض ﻛﺸــﻬﺎدة ﻋﻠــﻰ أﻫﻤﻴﺔ ﻋﻴﺶ اﻟﻠﺤﻈﺔ.
ﻗﺎﻣﺖ ﺷــﺮﻛﺎت "ﺑﻴﺮﻳﺘﺎ" و"أﺷــﻤﻨﺪ" ﻣﺸــﻜﻮرة ﺑﺪﻋﻢ ﻫﺬا اﻟﻌﻤﻞ. ART D’ÉGYPTE
LORENZO QUINN TOGETHER
Photo: MO4 Network
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FOREVER IS NOW
ﻟــــﻮرﻧﺰو ﻛــﻮﻳــﻦ ﻣـﻌﺎ ً
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ART D’ÉGYPTE
Lorenzo Quinn (b. 1966, Rome, Italy) is a leading figurative sculptor noted for his depiction of human emotions such as love and faith, both on a monumental and on a more intimate scale. He is best known for expressive recreations of human hands. After growing up between Italy and the United States, Quinn studied at the American Academy of Fine Arts in New York. In 1988, he left New York to settle in Spain, which better suited his creative process. His work appears in many private collections throughout the world and has been exhibited internationally throughout the past two decades.
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In 2017, Quinn installed the monumental sculpture Support in the Grand Canal of Venice to coincide with the Venice Biennale. Composed of a child’s hands reaching up from the depths of the Grand Canal to bolster the antique façade of the palace, it engaged boldly with the historical and ecological issues that confront the city today and is one the most shared public temporary installations ever. In 2019, during the 58th International Art Exhibition of the Venice Biennale, he installed the monumental sculpture Building Bridges, composed of six pairs of monumental hands, individually titled ‘Friendship’, ‘Faith’, ‘Help’, ‘Love’, ‘Hope’ and ‘Wisdom’. It aligns with Quinn’s message of world unity and engagement with the history of Venice as a meeting point of international history and culture. Concurrently, the exhibition Possibilità opened at Halcyon Gallery, featuring brand-new work in which Quinn revisited his most fundamental motif – the human figure. FOREVER IS NOW
ﻟﻮرﻧــﺰو ﻛﻮﻳــﻦ وﻟﺪ ﻋﺎم ١٩٦٦ﻓﻲ روﻣــﺎ ﺑﺈﻳﻄﺎﻟﻴﺎ ،وﻫﻮ ﻧﺤﺎت ﺗﺼﻮﻳﺮي راﺋﺪ اﺷــﺘﻬﺮ ﺑﺎﻟﺘﻘﺎﻃــﻪ ﻟﻠﻌﻮاﻃﻒ ا|ﻧﺴــﺎﻧﻴﺔ ﻣﺜــﻞ اﻟﺤﺐ وا|ﻳﻤﺎن ﻋﻠﻰ اﻟﻤﺴــﺘﻮﻳﻴﻦ ،اﻟﻀﺨﻢ اﻟﻤﺒﺎﺷــﺮ ،وا>ﻛﺜﺮ ﺣﻤﻴﻤﻴﺔ ،وﻗﺪ ُأﺷــﺘﻬﺮ ﺑﺎﻟﺘﻔﺎﻋﻼت اﻟﺘﻌﺒﻴﺮﻳﺔ ﻟ ﻳﺪي اﻟﺒﺸــﺮﻳﺔ .ﻧﺸــﺄ ﻛﻮﻳــﻦ ﺑﻴــﻦ إﻳﻄﺎﻟﻴﺎ واﻟﻮﻻﻳــﺎت اﻟﻤﺘﺤﺪة ،ودرس ﻓﻲ ا>ﻛﺎدﻳﻤﻴــﺔ ا>ﻣﺮﻳﻜﻴﺔ ﻟﻠﻔﻨﻮن اﻟﺠﻤﻴﻠــﺔ ﻓــﻲ ﻧﻴﻮﻳﻮرك ،ﺛﻢ ﺗﺮك اﻟﻤﺪﻳﻨﺔ ﻋﺎم ١٩٨٨ﻟﻴﺴــﺘﻘﺮ ﻓﻲ إﺳــﺒﺎﻧﻴﺎ ،وﻛﺎن ذﻟﻚ ﻣﻨﺎﺳـﺒًﺎ أﻛﺜــﺮ ﻟﻌﻤﻠﻪ ا|ﺑﺪاﻋﻲ .ﺗﻮﺟــﺪ أﻋﻤﺎﻟﻪ ﺿﻤﻦ اﻟﻌﺪﻳﺪ ﻣــﻦ اﻟﻤﺠﻤﻮﻋﺎت اﻟﺨﺎﺻﺔ ﻓــﻲ ﺟﻤﻴــﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ ،وﻗﺪ ﺗــﻢ ﻋﺮﺿﻬﺎ دوﻟﻴًﺎ ﻋﻠﻰ ﻣﺪار اﻟﻌﻘﺪﻳــﻦ اﻟﻤﺎﺿﻴﻴﻦ. ﻓــﻲ ﻋــﺎم ،٢٠١٧ﻗﺎم ﻛﻮﻳــﻦ ﺑﺘﺮﻛﻴﺐ اﻟﻌﻤــﻞ اﻟﻨﺤﺘﻲ اﻟﻀﺨــﻢ "دﻋﻢ" ﻓﻲ ﻗﻨﺎة ﻓﻴﻨﻴﺴــﻴﺎ اﻟﻜﺒــﺮى ﻟﻴﺘﺰاﻣــﻦ ﻣــﻊ ﺑﻴﻨﺎﻟــﻲ ﻓﻴﻨﻴﺴــﻴﺎ .ﻳﺘﺄﻟﻒ اﻟﻌﻤﻞ ﻣــﻦ ﻳﺪﻳﻦ ﻃﻔﻞ ﺗﻤﺘــﺪ ﻣــﻦ أﻋﻤــﺎق اﻟﻘﻨﺎة اﻟﻜﺒــﺮى ﻟﺘﻌﺰﻳﺰ اﻟﻮاﺟﻬــﺔ اﻟﻌﺘﻴﻘﺔ ﻟﻘﺼﺮ ﻣــﻦ اﻟﻘﺼﻮر ،وﻗﺪ اﺷــﺘﺒﻚ اﻟﻌﻤــﻞ ﺑﺠﺮأة ﻣــﻊ اﻟﻘﻀﺎﻳــﺎ اﻟﺘﺎرﻳﺨﻴﺔ واﻟﺒﻴﺌﻴــﺔ اﻟﺘﻲ ﺗﻮاﺟــﻪ اﻟﻤﺪﻳﻨﺔ اﻟﻴﻮم وأﺻﺒــﺢ ﻣﻦ أﺷــﻬﺮ ا>ﻋﻤﺎل اﻟﺘﺸــﻜﻴﻠﻴﺔ ﻓﻲ اﻟﻔﺮاغ ﺷــﻬ ًﺮة ﻓــﻲ اﻟﻌﺎﻟﻢ .ﻗﺎم ﻋﺎم ،٢٠١٩وأﺛﻨــﺎء ﻣﻌــﺮض اﻟﻔــﻦ اﻟﺪوﻟﻲ اﻟﺜﺎﻣﻦ واﻟﺨﻤﺴــﻴﻦ ﻟﺒﻴﻨﺎﻟــﻲ ﻓﻴﻨﻴﺴــﻴﺎ ،ﺑﺘﺮﻛﻴﺐ اﻟﻤﻨﺤﻮﺗــﺔ اﻟﻀﺨﻤــﺔ "ﺑﻨﺎء اﻟﺠﺴــﻮر" واﻟﻤﻜﻮﻧﺔ ﻣﻦ ﺳــﺘﺔ أزواج ﻣﻦ ا>ﻳــﺪي اﻟﻀﺨﻤﺔ ﺗﺤﻤــﻞ ﻛﻞ واﺣــﺪة ﻣﻨﻬﺎ ﻋﻨــﻮان ﻣﺨﺘﻠﻒ" :اﻟﺼﺪاﻗﺔ" و"ا|ﻳﻤﺎن" و"اﻟﻤﺴــﺎﻋﺪة" و"اﻟﺤــﺐ" و"ا>ﻣــﻞ" و"اﻟﺤﻜﻤﺔ" ،ﺣﻴــﺚ ﻳﺘﻮاﻛﺐ ذﻟﻚ ﻣﻊ رﺳــﺎﻟﺔ ﻛﻮﻳﻦ اﻟﺨﺎﺻﺔ ﺑﻮﺣــﺪة اﻟﻌﺎﻟــﻢ وﻳﺘﻘﺎﻃﻊ ﻣــﻊ ﺗﺎرﻳﺦ ﻓﻴﻨﻴﺴــﻴﺎ ﻛﻨﻘﻄﺔ ﻟﻘــﺎء ﻟﻠﺘﺎرﻳــﺦ واﻟﺜﻘﺎﻓﺔ ﻋﻠﻰ ﻣﺴــﺘﻮى اﻟﻌﺎﻟــﻢ .واﻓﺘﺘــﺢ ،ﻓﻲ اﻟﻮﻗﺖ ﻧﻔﺴــﻪ ،ﻣﻌﺮض "إﻣﻜﺎﻧﻴــﺔ" ﻓﻲ ﺟﺎﻟﻴﺮي ﻫﺎﻟﺴــﻴﻮن ﺑﻠﻨــﺪن ،ﻣﺠﺴــﺪا ﻋﻤـ ً ﺗﻤﺎﻣﺎ ﺣﻴــﺚ ﻳﻌﻴﺪ ﻛﻮﻳــﻦ اﻟﻨﻈﺮ ﻓﻲ أﻓﻜﺎره ﻼ ﺟﺪﻳﺪً ا ً ا>ﺳﺎﺳــﻴﺔ – وﻫﻲ اﻟﺒﻨﻴﺔ اﻟﺒﺸــﺮﻳﺔ.
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Represented worldwide by ﻋﺎﻟﻤﻴﺎ "ﻫﺎﻟﺴــﻴﻮن أرت إﻧﺘﺮﻧﺎﺷــﻴﻮﻧﺎل". اﻟﻔﻨــﺎن ﻳﻤﺜﻠﻪ ً ART D’ÉGYPTE
MOATAZ NASR BARZAKH Wood and metal 14 m x 4 m 2021
Not built to navigate earthly waters, the sun boat, or solar barque, was carefully constructed to carry the soul of the pharaoh and the justified through to the heavens. It was the vessel gliding between two worlds, able to pass through the liminal space dividing, yet connecting two modes of existence. The barque took the human soul into the realm of the gods through the same divide the gods themselves use to travel back and forth from the world of the living. This oneness between two realms, divided, yet connected through a liminal space, is not dissimilar from what Ibn Arabi would later describe as the barzakh. The barzakh, or the divide, is a mental construct, an intangible entity that is understood but not witnessed, known but not realized. It is a presence between two platforms that resides intellectually, not physically, pertaining to its unique nature. The barzakh is susceptible to all manner of paradoxical traits, assembling contradictory pairs. Given that Ibn Arabi believed in a primary duality between the deity and the universe; the only median capable of receiving both sides within itself is the illusion of the barzakh.
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The connection between them is not that of separation, but rather one that represents two sides to one truth/reality; what connects them is the connected part of the disconnected whole.
Special thanks to FOREVER IS NOW
ﻣﻌﺘﺰ ﻧﺼﺮ ﺑــﺮزخ ﺧﺸﺐ وﻣﻌﺪن ١٤م × ٤م ٢٠٢١ ُﻨﻲ ﻟــﻢ ﻳﺘــﻢ ﺑﻨــﺎءه ﻟ¢ﺑﺤﺎر ﻓﻲ ﻣﻴﺎه ا>رض ،ﻓﻘﺎرب اﻟﺸــﻤﺲ أو اﻟﻘﺎرب اﻟﺸﻤﺴــﻲ ﺑ َ ﺑﻌﻨﺎﻳــﺔ ﻟﻨﻘــﻞ روح اﻟﻔﺮﻋــﻮن وﻣﺮاﻓﻘﻮه إﻟﻰ اﻟﺴــﻤﺎء .إﻧﻬﺎ اﻟﺴــﻔﻴﻨﺔ اﻟﺘــﻲ ﺗﻨﺰﻟﻖ ﺑﻴﻦ ﻋﺎﻟﻤﻴــﻦ وﻗــﺎدرة ﻋﻠــﻰ اﻟﻤﺮور ﻋﺒــﺮ ﻋﺘﺒﺔ اﻟﻔﻀﺎء اﻟﺘــﻲ ﺗﻔﺼﻞ وﻓﻲ ﻧﻔــﺲ اﻟﻮﻗﺖ ﺗﺮﺑﻂ ﺑﻴــﻦ ﻧﻤﻄﻴــﻦ ﻣــﻦ اﻟﻮﺟــﻮد .ﻳﺄﺧﺬ اﻟﻤﺮﻛﺐ اﻟﺮوح اﻟﺒﺸــﺮﻳﺔ إﻟﻰ ﻋﺎﻟــﻢ ا9ﻟﻬﺔ ﻋﻦ ﻃﺮﻳﻖ ﻧﻔــﺲ اﻟﺨــﻂ اﻟﻔﺎﺻﻞ اﻟــﺬي ﺗﻨﺘﻘﻞ ﻣﻦ ﺧﻼﻟــﻪ ا9ﻟﻬﺔ ذﻫﺎ ﺑًﺎ وإﻳﺎ ًﺑــﺎ إﻟﻰ وﻣﻦ ﻋﺎﻟﻢ ا>ﺣﻴــﺎء .ﻫــﺬه اﻟﻮﺣــﺪة ﺑﻴﻦ ﻋﺎﻟﻤﻴــﻦ ﻣﻨﻘﺴــﻤﻴﻦ وﻣﺘﺼﻠﻴﻦ ﻓﻲ ﻧﻔــﺲ اﻟﻮﻗﺖ ﻋﺒﺮ ً ﻻﺣﻘﺎ ﺑﺎﻟﺒﺮزخ. ﻋﺘﺒــﺔ أو ﻣﻨﻄﻘــﺔ ﺑﻴﻨﻴــﺔ ﻓــﻲ اﻟﻔﻀــﺎء ،ﻻ ﺗﺨﺘﻠﻒ ﻋﻤــﺎ وﺻﻔﻪ اﺑﻦ ﻋﺮﺑــﻲ اﻟﺒــﺮزخ ،أو اﻟﺨــﻂ اﻟﻔﺎﺻــﻞ ﻫﻮ ﻫﻴــﻜﻞ ﻋﻘﻠﻲ ،ﻛﻴــﺎن ﻏﻴﺮ ﻣﻠﻤــﻮس ﻳﻤﻜﻦ ﻓﻬﻤﻪ وﻻ ﻳﻤﻜــﻦ ﻣﺸــﺎﻫﺪﺗﻪ ،ﻣﻌــﺮوف ،وﻟﻜﻨــﻪ ﻏﻴﺮ ُﻣﺪرك ،إﻧﻪ ﻛﻴﺎن ﺑﻴــﻦ ﺣﺎﻟﺘﻴــﻦ ﻳﺒﻴﺖ ﻓﻜﺮ ﻳًﺎ وﻟﻴــﺲ ﻣﺠﺴــﺪً ا ﻟﻤﺎ ﻳﺘﻌﻠــﻖ ﺑﻄﺒﻴﻌﺘــﻪ اﻟﻤﺘﻔﺮدة. واﻟﺒــﺮزخ ﺳــﺮﻳﻊ اﻟﺘﺄﺛــﺮ ﺑﺠﻤﻴﻊ أﻧــﻮاع اﻟﺼﻔﺎت اﻟﻤﺘﻨﺎﻗﻀــﺔ اﻟﺘﻲ ﺗﻜﻮّ ن أزواﺟــﺎ ﻣﺘﺒﺎﻳﻨﺔ، وﻧﻈــﺮا إﻟــﻰ أن اﺑــﻦ ﻋﺮﺑﻲ ﻳﺆﻣﻦ ﺑﺎﻻزدواﺟﻴــﺔ ا>وﻟﻴﺔ ﺑﻴﻦ ا|ﻟﻪ واﻟﻜﻮن ،ﻓﺈن اﻟﻮﺳــﻴﻂ اﻟﻮﺣﻴــﺪ اﻟﻘــﺎدر ﻋﻠــﻰ اﺳــﺘﻘﺒﺎل ﻛﻼ اﻟﺠﺎﻧﺒﻴﻦ ﻫﻮ وﻫﻢ اﻟﺒــﺮزخ .اﻟﻌﻼﻗﺔ ﺑﻴﻨﻬﻤﺎ ﻟﻴﺴــﺖ ﻋﻼﻗــﺔ اﻧﻔﺼــﺎل ،ﺑﻞ ﻋﻼﻗــﺔ ﺗﻤﺜﻞ وﺟﻬﻴــﻦ ﻟﺤﻘﻴﻘﺔ/ﻟﻮاﻗــﻊ واﺣﺪ ،واﻟﺬي ﻳﺮﺑﻂ ﺑﻴﻨﻬﻤــﺎ ﻫــﻮ اﻟﺠــﺰء اﻟﻤﺘﺼﻞ ﻣﻦ اﻟــﻜﻞ اﻟﻤﻨﻔﺼﻞ.
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ﻳﺘﻘــﺪم اﻟﻔﻨﺎن ﺑﺸــﻜﺮ ﺧﺎص ﻟﺪرب .١٧١٨ ART D’ÉGYPTE
MOATAZ NASR BARZAKH
Photo: MO4 Network
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FOREVER IS NOW
ﻣﻌﺘﺰ ﻧﺼﺮ ﺑــﺮزخ
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ART D’ÉGYPTE
Moataz Nasr (b. 1961, Alexandria, Egypt) lives and works in Cairo. After studying economics, he decided to change direction and took a studio in Old Cairo. This self-taught artist gained local recognition marked by many prizes before breaking into the international art scene in 2001, notably winning the Grand Prix at the 8th International Cairo Biennale. Since then, he has participated in numerous large international gatherings, such as the Venice, Seoul, Sao Paulo, and Bogota biennales, and exhibited in many prestigious contemporary art venues. Today he is considered one of the greatest representatives of pan-Arab contemporary art.
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Showing complex cultural processes currently underway in the Islamic world, Nasr’s work surpasses idiosyncrasies and geographical limits and voices the worries and torments of the African continent. The feeling of belonging to a specific geopolitical and cultural context and the need to maintain a link with his homeland are key elements of the artist's life and work. Art and life are inseparable for him. His childhood memories, frustrations, and the society in which he is evolving seem to fuel his paintings, sculptures, videos, and installations. His work addresses Egypt with its traditions, people, and colours without ever slipping into exoticism or creating distance. It appears, on the contrary, close to everyone's preoccupations. In fact, Egypt is just a background, a territory inhabited by human beings whose fragility is universal, just as indifference, powerlessness, and solitude are weaknesses inherent in human nature.
FOREVER IS NOW
ﻣﻌﺘــﺰ ﻧﺼــﺮ وﻟﺪ ﻋﺎم ١٩٦١ﺑﺎ|ﺳــﻜﻨﺪرﻳﺔ وﻫــﻮ ﻳﻌﻴﺶ وﻳﻌﻤﻞ ﻓــﻲ اﻟﻘﺎﻫﺮة .ﺑﻌﺪ دراﺳــﺘﻪ ﻟﻼﻗﺘﺼــﺎد ،ﻗــﺮر ﺗﻐﻴﻴﺮ اﺗﺠﺎه ﺣﻴﺎﺗﻪ وأﺳــﺲ ﺳــﺘﻮدﻳﻮ ﻓﻲ اﻟﻘﺎﻫــﺮة اﻟﻘﺪﻳﻤﺔ. ﺳــﺮﻋﺎن ﻣــﺎ ﺣــﺎز ﻫﺬا اﻟﻔﻨﺎن اﻟﺬي ﻋﻠﻢ ﻧﻔﺴــﻪ ﺑﻨﻔﺴــﻪ ﻋﻠﻰ ﺷــﻬﺮة ﻣﺤﻠﻴﺔ ،وﺣﺼﻞ ﻋﻠــﻰ اﻟﻌﺪﻳــﺪ ﻣــﻦ اﻟﺠﻮاﺋﺰ ﻗﺒﻞ اﻗﺘﺤﺎم اﻟﻤﺸــﻬﺪ اﻟﻔﻨــﻲ اﻟﺪوﻟﻲ ﻓﻲ ﻋﺎم ،٢٠٠١ ﻋﻨﺪﻣــﺎ ﻓــﺎز ﺑﺎﻟﺠﺎﺋــﺰة اﻟﻜﺒﺮى ﻓــﻲ ﺑﻴﻨﺎﻟﻲ اﻟﻘﺎﻫــﺮة اﻟﺪوﻟﻲ اﻟﺜﺎﻣﻦ .ﻣﻨــﺬ ذﻟﻚ اﻟﺤﻴﻦ، ﺷــﺎرك ﻓــﻲ اﻟﻌﺪﻳﺪ ﻣــﻦ اﻟﺘﺠﻤﻌﺎت اﻟﺪوﻟﻴــﺔ اﻟﻜﺒﻴﺮة ﻣﺜــﻞ ﺑﻴﻨﺎﻟﻲ اﻟﺒﻨﺪﻗﻴﺔ وﺳــﻴﻮل وﺳــﺎو ﺑﺎوﻟــﻮ وﺑﻮﻏﻮﺗﺎ ،وﻋــﺮض ﻓﻲ اﻟﻌﺪﻳﺪ ﻣﻦ ﻣﻌــﺎرض اﻟﻔﻦ اﻟﻤﻌﺎﺻــﺮ اﻟﻤﺮﻣﻮﻗﺔ. وﻳﻌﺘﺒــﺮ ﻧﺼــﺮ اﻟﻴــﻮم أﺣﺪ أﻋﻈــﻢ ﻣﻤﺜﻠﻲ اﻟﻔﻦ اﻟﻌﺮﺑــﻲ اﻟﻤﻌﺎﺻﺮ. ﻋﻤــﻞ ﻧﺼــﺮ ﻳﺘﺠــﺎوز اﻟﺨﺼﻮﺻﻴﺎت واﻟﺤــﺪود اﻟﺠﻐﺮاﻓﻴــﺔ ﻟﻠﺤﺎﻟﺔ اﻟﺜﻘﺎﻓﻴــﺔ اﻟﻤﻌﻘﺪة اﻟﺮاﻫﻨــﺔ ﺑﺎﻟﻌﺎﻟــﻢ ا|ﺳــﻼﻣﻲ ،وﻳﻌﺒﺮ ﻋﻦ ﻫﻤــﻮم وﻋﺬاب اﻟﻘﺎرة ا>ﻓﺮﻳﻘﻴﺔ .إن اﻟﺸــﻌﻮر ﺑﺎﻻﻧﺘﻤــﺎء إﻟــﻰ ﺳــﻴﺎق ﺟﻐﺮاﻓﻲ وﺳﻴﺎﺳــﻲ وﺛﻘﺎﻓﻲ ﻣﻌﻴﻦ ،وﺿــﺮورة اﻟﺤﻔﺎظ ﻋﻠﻰ اﻻرﺗﺒــﺎط ﺑﻮﻃﻨــﻪ ﻣــﻦ اﻟﻌﻨﺎﺻﺮ ا>ﺳﺎﺳــﻴﺔ ﻓﻲ ﺣﻴﺎة ﻧﺼــﺮ وﻋﻤﻠﻪ .ﺑﺎﻟﻨﺴــﺒﺔ ﻟﻪ اﻟﻔﻦ واﻟﺤﻴــﺎة ﻻ ﻳﻨﻔﺼــﻼن .ذﻛﺮﻳــﺎت ﻃﻔﻮﻟﺘﻪ وإﺣﺒﺎﻃﺎﺗــﻪ واﻟﻤﺠﺘﻤﻊ اﻟــﺬي ﻳﺘﻄﻮر ﻓﻴﻪ ﻛﻠﻬــﺎ ﻋﻨﺎﺻــﺮ ﺗﻐــﺬي ﻟﻮﺣﺎﺗــﻪ ،وﻣﻨﺤﻮﺗﺎﺗﻪ ،وأﻓﻼﻣــﻪ ،وﺗﺮﻛﻴﺒﺎﺗﻪ ﻓــﻲ اﻟﻔﺮاغ .ﺗﺘﻨﺎول أﻋﻤﺎﻟــﻪ ﻣﺼــﺮ ﺑﺘﻘﺎﻟﻴﺪﻫــﺎ وﺷــﻌﺒﻬﺎ وأﻟﻮاﻧﻬﺎ دون اﻻﻧﺰﻻق إﻟــﻰ اﻟﻐﺮاﺑﺔ أو ﺧﻠﻖ ﻣﺴــﺎﻓﺔ ،ﻓﻴﺒــﺪو اﻟﻌﻤــﻞ ﻗﺮﻳ ًﺒــﺎ ﻣﻦ اﻫﺘﻤﺎﻣــﺎت ﺟﻤﻴﻊ اﻟﻨﺎس .ﻓﻔــﻲ اﻟﻮاﻗﻊ ،ﻣﺼﺮ ﻓﻲ أﻋﻤﺎﻟــﻪ ﻣﺠــﺮد ﺧﻠﻔﻴﺔ ،ﻣﻜﺎن ﻳﺴــﻜﻨﻪ ﺑﺸــﺮ ﻫﺸﺎﺷــﺘﻬﻢ ﺗﻤﺜﻞ ﺣﺎﻟﺔ إﻧﺴــﺎﻧﻴﺔ ﻋﺎﻣﺔ، ﻣﺜﻠﻬــﺎ ﻣﺜــﻞ ﺻﻔــﺎت اﻟﻼﻣﺒﺎﻻة واﻟﻌﺠــﺰ واﻟﻌﺰﻟﺔ ،اﻟﺘــﻲ ﺗﻌﺘﺒﺮ ﻧﻘﺎط ﺿﻌــﻒ ﻣﺘﺄﺻﻠﺔ ﻓﻲ اﻟﻄﺒﻴﻌﺔ اﻟﺒﺸــﺮﻳﺔ.
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Represented by اﻟﻔﻨــﺎن ﺗﻤﺜﻠﻪ "ﺟﺎﻟﻴﺮﻳــﺎ ﻛﻮﻧﺘﻴﻨﻮا". ART D’ÉGYPTE
SHERIN GUIRGUIS HERE I HAVE RETURNED Wood, paint, gold leaf, metal 9.8 m x 3.6 m x 0.61 m 2021
Here I Have Returned is a large-scale, site-specific, sculptural monument and homage to the long history of women who have lifted and supported Egyptian society and culture over time. The sculpture’s form is inspired by that of an ancient sistrum, a sacred musical instrument used by the priestesses of Isis during healing and cleansing rituals and processions. Engraved with pharaonic-inspired patterns and excerpts from a poem by Egyptian poet Doria Shafik1, the piece rises from the sand, calling upon us to recall the power and labour of these women. Visitors will be invited to activate the cymbals on the sculpture creating a sense of call and response from the present to the past and back. An echo through time, a remembrance of this history and an invitation to connect those narratives to our present. The sculpture will be embedded with the scent of Jasmine oil sourced from local Egyptian farms and celebrating the work of the women who harvest the delicate flowers. The sculpture is both shelter and monument – a site of interaction with the pyramids, the community, and the visitors from all over the world. The sound and fragrance will act as an ethereal echo of rituals performed here many centuries ago. Serving as both a remembrance of history and an invitation to connect these narratives to the present, the work sets out to make the invisible work of historically under-recognized women visible once more.
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This project was made possible in part by support from the James H. Zumberge Faculty Research and Innovation Fund and the Office of the Provost and Advancing Scholarship in the Humanities and Social Sciences grant program at the University of Southern California. Additional thanks and appreciation to Aziza Ellozy and Jehane Ragai for continued permission to work with the Doria Shafik archive. Special thanks to Grisella M. Martinez for continued support and inspiration. The artist would like to acknowledge and thank for their support in the realization of the project. FOREVER IS NOW
[1] O, my homeland Here I have returned Will you welcome me This time with A little more love?
ﺷﻴـــﺮﻳــــﻦ ﺟﺮﺟﺲ ﻫـــﺎ أﻧـﺎ ﻗﺪ ُﻋﺪت ﺧﺸــﺐ ،أﺻﺒﺎغ ،أوراق ذﻫﺒﻴﺔ ،ﻣﻌﺪن ٩،٨م × ٣،٦م × ٠٫٦١م ٢٠٢١
"ﻫــﺎ أﻧــﺎ ﻗﺪ ﻋُ ﺪت" ،ﻫﻮ ﻧﺼﺐ ﺗــﺬﻛﺎري ﺿﺨﻢ ﻣﺼﻤــﻢ اﺳــﺘﻨﺎدا ﻟﺠﻐﺮاﻓﻴﺔ اﻟﻤﻜﺎن ﻟﺘﻜﺮﻳــﻢ اﻟﺘﺎرﻳــﺦ اﻟﻄﻮﻳــﻞ ﻟﻠﻤﺮأة اﻟﻤﺼﺮﻳﺔ اﻟﺘﻲ ﺳــﺎﻧﺪت ودﻋﻤــﺖ اﻟﻤﺠﺘﻤﻊ واﻟﺜﻘﺎﻓــﺔ اﻟﻤﺼﺮﻳــﺔ ﻋﻠﻰ ﻣﺮ اﻟﺰﻣﺎنُ .أﺳــﺘﻠﻬﻢ ﺷــﻜﻞ اﻟﻤﻨﺤﻮﺗﺔ ﻣﻦ ﺷــﻜﻞ اﻟﺼﻼﺻــﻞ أو )اﻟﺴﻴﺴــﺘﺮوم( وﻫﻲ آﻟﺔ ﻣﻮﺳــﻴﻘﻴﺔ ﻗﺪﻳﻤﺔ وﻣﻘﺪﺳــﺔ ﻛﺎﻧﺖ ﺗﺴــﺘﺨﺪﻣﻬﺎ ﻛﺎﻫﻨــﺎت إﻳﺰﻳــﺲ أﺛﻨﺎء ﻃﻘﻮس اﻟﺸــﻔﺎء واﻟﺘﻄﻬﻴــﺮ واﻟﻤﻮاﻛﺐُ .ﺣﻔﺮ ﻋﻠﻴﻬــﺎ أﺷــﻜﺎل ﻓﺮﻋﻮﻧﻴــﺔ وﻣﻘﺘﻄﻔﺎت ﻣــﻦ ﻗﺼﻴﺪة ﻟﻠﺸــﺎﻋﺮة اﻟﻤﺼﺮﻳﺔ درﻳﺔ ﺷــﻔﻴﻖ ،١وﺗﺮﺗﻔــﻊ اﻟﻘﻄﻌــﺔ ﻣﻦ اﻟﺮﻣــﺎل ﻓﺘﺪﻋﻮﻧﺎ إﻟﻰ ﺗﺬﻛــﺮ ﻗﻮة وﺟﻬﺪ ﻫﺆﻻء اﻟﻨﺴــﺎء .ﺳــﻮف ﺗﺘﻢ دﻋﻮة اﻟــﺰوار ﻟﺘﻔﻌﻴﻞ اﻟﺼﻨــﺞ اﻟﻤﻮﺟﻮدة ﻋﻠــﻰ اﻟﻤﻨﺤﻮﺗﺔ ﻟﺨﻠــﻖ إﺣﺴــﺎس ﺑﺎﻟﻨﺪاء واﻻﺳــﺘﺠﺎﺑﺔ ﻣــﻦ اﻟﺤﺎﺿﺮ إﻟﻰ اﻟﻤﺎﺿــﻲ واﻟﻌﻜﺲ| ،ﻃﻼق ﺻــﺪى ﻋﺒــﺮ اﻟﺰﻣﻦ وإﺣﻴﺎء ذﻛــﺮى ﻫﺬا اﻟﺘﺎرﻳﺦ ﻟﺮﺑــﻂ ﺗﻠﻚ اﻟﺮواﻳﺎت ﺑﺤﺎﺿﺮﻧﺎ .ﺳــﻴﺘﻢ ﻏﻤــﺮ اﻟﺘﻤﺜــﺎل ﺑﺰﻳﺖ اﻟﻴﺎﺳــﻤﻴﻦ اﻟﻤﺴــﺘﺨﺮج ﻣﻦ اﻟﻤــﺰارع اﻟﻤﺼﺮﻳــﺔ اﻟﻤﺤﻠﻴﺔ وذﻟﻚ ﻟﻼﺣﺘﻔــﺎل ﺑﻌﻤــﻞ اﻟﻨﺴــﺎء اﻟﻼﺋﻲ ﻳﺤﺼﺪن ا>زﻫــﺎر اﻟﺮﻗﻴﻘﺔ. اﻟﻤﻨﺤﻮﺗــﺔ ﻫــﻲ ﻣــﺄوى وﻧﺼﺐ ﺗﺬﻛﺎري ﻓﻲ ﻧﻔــﺲ اﻟﻮﻗﺖ – ﻣﻮﻗــﻊ ﻟﻠﺘﻔﺎﻋﻞ ﻣﻊ ا>ﻫﺮاﻣــﺎت واﻟﻤﺠﺘﻤــﻊ واﻟﺰاﺋﺮﻳــﻦ ﻣﻦ ﺟﻤﻴــﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ .ﺳــﻴﻜﻮن اﻟﺼﻮت واﻟﺮﺣﻴــﻖ ﺑﻤﺜﺎﺑــﺔ ﺻــﺪى أﺛﻴــﺮي ﻟﻠﻄﻘﻮس اﻟﺘــﻲ ﺗﻤﺖ ﻫﻨﺎ ﻣﻨﺬ ﻋــﺪة ﻗﺮون .ﻳﻤﺜﻞ ﻫــﺬا اﻟﻌﻤــﻞ ذﻛــﺮى ﻟﻠﺘﺎرﻳﺦ ودﻋﻮة ﻟﺮﺑﻂ ﻫــﺬه اﻟﺮواﻳﺎت ﺑﺎﻟﺤﺎﺿــﺮ ،ﺣﻴﺚ ﻳﻬﺪف إﻟــﻰ ﺟﻌــﻞ اﻟﻌﻤــﻞ اﻟﻼﻣﺮﺋﻲ ﻟﻨﺴــﺎء ﻏﻴﺮ ﻣﻌﺘــﺮف ﺑﻬﻦ ﺗﺎرﻳﺨ ًﻴــﺎ ﻣﺮﺋﻴًﺎ ﻣﺮة أﺧﺮى.
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أﺻﺒــﺢ ﻫــﺬا اﻟﻤﺸــﺮوع ﻣﻤﻜ ًﻨــﺎ ﺟﺰﺋﻴًــﺎ ﺑﻔﻀــﻞ اﻟﺪﻋــﻢ اﻟﺠﺰﺋــﻲ اﻟﻤﻘــﺪم ﻣــﻦ ﺻﻨــﺪوق "ﺟﻴﻤــﺲ ﻫـــ زوﻣﺒــﺮج" ﻟ ﺑﺤــﺎث واﻻﺑﺘــﻜﺎر، وﻣﻜﺘــﺐ اﻟﻌﻤﻴــﺪ ﻟﻠﻤﻨــﺢ اﻟﻤﺘﻄــﻮرة ﻓــﻲ ﺑﺮﻧﺎﻣــﺞ اﻟﺪراﺳــﺎت ا|ﻧﺴــﺎﻧﻴﺔ واﻻﺟﺘﻤﺎﻋﻴــﺔ ﻓــﻲ ﺟﺎﻣﻌــﺔ ﺟﻨــﻮب ﻛﺎﻟﻴﻔﻮرﻧﻴــﺎ .ﺗــﻮد اﻟﻔﻨﺎﻧــﺔ أن ﺗﻌــﺮب
] [١ﻳﺎ وﻃﻨﻲ،
ً أﻳﻀــﺎ ﻋــﻦ ﺷــﻜﺮﻫﺎ ﻟـ"ﺑــﺎردو أل أﻳــﻪ" ،و"ﻣﻮﺑــﻞ اﻟﺸــﺮق" ﻋﻠــﻰ دﻋﻤﻬﻤــﺎ
ﻫــﺎ أﻧــﺎ ﻗﺪ ﻋﺪت
ﻓــﻲ ﺗﺤﻘﻴــﻖ اﻟﻤﺸــﺮوع .ﺷــﻜﺮ وﺗﻘﺪﻳــﺮ ﺧــﺎص ﻟﻌﺰﻳــﺰة اﻟﻠــﻮزي وﺟﻴﻬــﺎن
ﻓﻬــﻞ ﺗﺮﺣــﺐ ﺑﻲ
رﺟﺎﺋــﻲ ﻋﻠــﻰ إذﻧﻬﻤــﺎ ﻟــﻲ ﺑﺎﻟﺒﺤــﺚ ﻓــﻲ أرﺷــﻴﻒ درﻳــﺔ ﺷــﻔﻴﻖ .ﻛﺬﻟــﻚ
ﻫــﺬه اﻟﻤــﺮة
ﺗﺨــﺺ ﺑﺎﻟﺸــﻜﺮ ﺟﺮﻳﺰﻳــﻼ م .ﻣﺎرﺗﻴﻨﻴــﺰ ﻋﻠــﻰ اﻟﺪﻋــﻢ اﻟﻤﺴــﺘﻤﺮ وا|ﻟﻬــﺎم.
ﺑﻤﺰﻳــﺪ ﻣــﻦ اﻟﺤــﺐ؟
ART D’ÉGYPTE
SHERIN GUIRGUIS HERE I HAVE RETURNED
Photo: Hesham Al Sayfi
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FOREVER IS NOW
ﺷﻴـــﺮﻳــــﻦ ﺟﺮﺟﺲ ﻫـــﺎ أﻧـﺎ ﻗﺪ ُﻋﺪت
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ART D’ÉGYPTE
Sherin Guirguis (b. 1974, Luxor, Egypt) is an artist who audits the symphony of difference and the complexity present in the politics of place. Using site, text, and recovered histories as the core of each series, she develops projects that engage audiences in a dialogue about power, agency, and social transformation through art. Her researchbased practice is a means to heighten the understanding of marginalized and contested histories, in particular those of women. The work engages both formal and social concerns by juxtaposing the reductive Western language of minimalist aesthetics with that of Eastern ornamentation.
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Recent solo museum exhibitions include the Craft Contemporary Museum in Los Angeles and the American University in Cairo. Her work was featured in Desert X 2017 and 2020 and has been shown internationally. Guirguis’s artworks are in the permanent collections of the Los Angeles County Museum of Art and the Minnesota Museum of American Art, among others. Currently living in Los Angeles, CA, Guirguis received her BA from the College of Creative Studies, University of California, Santa Barbara and her MFA from the University of Nevada, Las Vegas.
FOREVER IS NOW
ﺷــﻴﺮﻳﻦ ﺟﺮﺟــﺲ وﻟﺪت ﻓــﻲ ا>ﻗﺼﺮ ﻋﺎم ،١٩٧٤وﻫــﻲ ﻓﻨﺎﻧﺔ ﺗﺒﺤﺚ ﻓــﻲ ﺳــﻴﻤﻔﻮﻧﻴﺔ اﻻﺧﺘﻼف واﻟﺘﻌﻘﻴــﺪ اﻟﻤﻮﺟﻮد ﻓﻲ ﺳﻴﺎﺳــﺎت اﻟﻤﻜﺎن. ﺗﺴــﺘﺨﺪم اﻟﻤﻮﻗــﻊ واﻟﻨــﺺ واﻟﺘﺎرﻳــﺦ ﺑﺎﻋﺘﺒﺎره ﺟﻮﻫﺮ ﻛﻞ ﺳﻠﺴــﻠﺔ ﻣﻦ أﻋﻤﺎﻟﻬــﺎ ،وﺗﻘــﻮم ﺑﺘﻄﻮﻳﺮ اﻟﻤﺸــﺎرﻳﻊ اﻟﺘﻲ ﺗﺸــﺎرك اﻟﺠﻤﺎﻫﻴﺮ ﻋــﻦ ﻃﺮﻳﻘﻬﺎ ﻓــﻲ ﺣﻮار ﺣﻮل اﻟﺴــﻠﻄﺔ واﻟﻘــﻮة واﻟﺘﺤﻮل اﻻﺟﺘﻤﺎﻋــﻲ ﻣﻦ ﺧﻼل اﻟﻔﻦ. ﺗﻌــﺪ أﻓﻜﺎرﻫــﺎ اﻟﻘﺎﺋﻤــﺔ ﻋﻠﻰ اﻟﺒﺤﺚ ﻛﻮﺳــﻴﻠﺔ ﻟﺰﻳــﺎدة ﻓﻬﻢ اﻟﺘﻮارﻳﺦ اﻟﻤﻬﻤﺸــﺔ واﻟﻤﺜﻴــﺮة ﻟﻠﺘﺴــﺎؤل ،وﻻ ﺳــﻴﻤﺎ ﺗﻮارﻳﺦ اﻟﻨﺴــﺎء اﻟﺘــﻲ ﻏﺎﻟﺒًﺎ ﻣﺎ ﻳﺘﻢ ﻧﺴــﻴﺎﻧﻬﺎ و/أو ﻣﺤﻮﻫــﺎ .ﺗﻬــﺪف إﻟﻰ ﺟﻌــﻞ اﻟﻌﻤﻞ اﻟــﺬي ﻏﺎﻟﺒًﺎ ﻣﺎ ﻳﻜﻮن ُﻣﺨﺘﻔــﻲ واﻟﺨــﺎص ﺑﺎﻟﻨﺴــﺎء ﻏﻴﺮ اﻟﻤﻌﺘــﺮف ﺑﻬﻦ ﺗﺎرﻳﺨ ًﻴــﺎ ﻣﺮﺋﻴًﺎ ﻣﺮة أﺧﺮى، ﻛﻤــﺎ ﺗﻨﻄــﻮي أﻋﻤﺎﻟﻬــﺎ ﻋﻠﻰ اﻟﻤﺨــﺎوف اﻟﺮﺳــﻤﻴﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ ﻣﻦ ﺧﻼل اﻟﺠﻤــﻊ ﺑﻴــﻦ اﻟﻠﻐــﺔ اﻟﻐﺮﺑﻴﺔ اﻟﻤﺨﺘﺰﻟــﺔ ﻟﺠﻤﺎﻟﻴﺎت اﻟﺤــﺪ ا>دﻧﻰ ﻣﻊ ﻟﻐﺔ اﻟﺰﺧﺮﻓﺔ اﻟﺸــﺮﻗﻴﺔ. ﺗﺸــﻤﻞ اﻟﻤﻌــﺎرض اﻟﻤﺘﺤﻔﻴــﺔ اﻟﻔﺮدﻳﺔ ﻟﻬﺎ ﻣﺆﺧــﺮا ﻣﺘﺤﻒ اﻟﺤﺮف اﻟﻤﻌﺎﺻــﺮ ﻓــﻲ ﻟﻮس أﻧﺠﻠــﻮس واﻟﺠﺎﻣﻌﺔ ا>ﻣﺮﻳﻜﻴــﺔ ﻓﻲ اﻟﻘﺎﻫﺮة.
ﻋﺮﺿــﺖ أﻋﻤﺎﻟﻬــﺎ ﻓــﻲ "ﺻﺤﺮاء "Xﻓﻲ ٢٠١٧و ،٢٠٢٠ﻛﻤــﺎ ﻋُ ﺮﺿﺖ ﻋﻠﻰ اﻟﻤﺴــﺘﻮى اﻟﺪوﻟــﻲ .ﺗﻮﺟﺪ أﻋﻤﺎل ﺟﺮﺟــﺲ اﻟﻔﻨﻴﺔ ﻓــﻲ اﻟﻤﺠﻤﻮﻋﺎت اﻟﺪاﺋﻤــﺔ ﻟﻤﺘﺤــﻒ ﻣﻘﺎﻃﻌــﺔ ﻟﻮس أﻧﺠﻠــﻮس ﻟﻠﻔﻨﻮن وﻣﺘﺤﻒ ﻣﻴﻨﻴﺴــﻮﺗﺎ ﻟﻠﻔــﻦ ا>ﻣﺮﻳﻜﻲ ،إﺿﺎﻓــﺔ إﻟﻰ أﻣﺎﻛﻦ أﺧﺮى. ﺗﻌﻴــﺶ ﺟﺮﺟــﺲ ﺣﺎﻟﻴًﺎ ﻓﻲ ﻟــﻮس أﻧﺠﻠﻮس ﺑﻮﻻﻳــﺔ ﻛﺎﻟﻴﻔﻮرﻧﻴﺎ ،وﻗﺪ ﺣﺼﻠــﺖ ﻋﻠــﻰ درﺟــﺔ اﻟﺒﻜﺎﻟﻮرﻳﻮس ﻣﻦ ﻛﻠﻴﺔ اﻟﺪراﺳــﺎت ا|ﺑﺪاﻋﻴﺔ ﺑﺠﺎﻣﻌــﺔ ﻛﺎﻟﻴﻔﻮرﻧﻴــﺎ ﻓﻲ ﺳــﺎﻧﺘﺎ ﺑﺎرﺑﺮا وﺷــﻬﺎدة اﻟﻤﺎﺟﺴــﺘﻴﺮ ﻓﻲ إدارة ا>ﻋﻤــﺎل ﻣــﻦ ﺟﺎﻣﻌﺔ ﻧﻴﻔــﺎدا ﻓﻲ ﻻس ﻓﻴﺠﺎس.
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ART D’ÉGYPTE
SHUSTER + MOSELEY (PLAN OF THE PATH OF LIGHT) IN THE HOUSE OF THE HIDDEN PLACES Hand-bonded optical glass, steel base Glyph 1 – 1.618 m x 2.591 m x 0.809 m Glyph 2 – 2.094 m x 3.667 m x 1.777 m Glyph 3 – 1.753 m x 1.570 m x 1.468 m Glyph 4 – 1.000 m x 1.618 m x 1.175 m 2021
The work counterbalances expressions of geometric form and measure that are aligned to celestial points and stellar horizons, creating a kind of optical clockwork that reveals itself in an ever-shifting paradigm of illuminated planes. It interfaces between the viewer and the cosmos, with shapes counterpoised to create glyphic expressions of im/materiality, balanced on the terrestrial horizon but activated by the path of the sun and stars.
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Behind the abstract simplicity of the forms is a matrix of symbolic angles, measures and orientations, each carefully encoded with significations inspired by the optico-geometric magic of the Great Pyramid. The glass itself, whilst reflecting a future oriented aesthetic reminiscent of technological interfaces and contemporary architectures, in fact becomes like a timeless spiritual medium, suspended between materiality and transparency; the visible and the invisible. The work intends to create a kind of interdimensionality by opening up these screenic interfaces, linking the experience of the present to both the ancient world and our future technological landscape.
The artists have partnered with FOREVER IS NOW
for this project.
ﺷــــﻮﺳﺘﺮ +ﻣـــﻮزﻟﻲ )ﺧﻄﺔ درب اﻟﻨــــﻮر( ﻓﻲ ﺑــﻴﺖ ا ﻣـــﺎﻛﻦ اﻟﺨﻔــﻴﺔ زﺟــﺎج ﻣﺮﺋﻲ ﻣﻠﺼﻖ ﻳﺪو ًﻳــﺎ ،ﻗﺎﻋﺪة ﻣﻌﺪﻧﻴﺔ اﻟﻜﻴــﺎن ١،٦١٨ :١م × ٢،٥٩١م × ٠،٨٠٩م اﻟﻜﻴــﺎن ٢،٠٩٤ :٢م × ٣،٦٦٧م × ١،٧٧٧م اﻟﻜﻴــﺎن ١،٧٥٣ :٣م × ١،٥٧٠م × ١،٤٦٨م اﻟﻜﻴــﺎن ١،٠ :٤م × ١،٦١٨م × ١،١٧٥م ٢٠٢١
ﻳــﻮازن اﻟﻌﻤﻞ ﺑﻴﻦ ﺗﻌﺒﻴﺮات اﻟﺸــﻜﻞ اﻟﻬﻨﺪﺳــﻲ واﻟﻘﻴﺎﺳــﺎت اﻟﺘــﻲ ﺗﺘﻮاﺋــﻢ ﻣﻊ اﻟﻨﻘﺎط اﻟﺴــﻤﺎوﻳﺔ وا9ﻓــﺎق اﻟﻜﻮﻛﺒﻴﺔ ،ﻣﻤﺎ ﻳﺨﻠــﻖ ﻧﻮﻋً ــﺎ ﻣﻦ آﻟﻴﺔ ﺑﺼﺮﻳــﺔ ﺗﺘﻀﺢ ﻓﻲ ﻧﻤﻮذج داﺋــﻢ اﻟﺘﻐﻴﺮ ﻟﻠﻄﺎﺋــﺮات اﻟﻤﻀﻴﺌــﺔ ،ﻓﻬــﻲ ﺗﺘﺪاﺧﻞ ﻣﺎ ﺑﻴﻦ اﻟﻤﺸــﺎﻫﺪ واﻟﻜﻮن ﻣــﻊ أﺷــﻜﺎل ﻣﺘﺴــﺎوﻳﺔ ﻟﺨﻠﻖ ﺗﻌﺒﻴــﺮات رﻣﺰﻳﺔ ﻋﻦ اﻟﺼﻮرة /اﻟﻤﺎدﻳــﺔ اﻟﺘــﻲ ﺗﻜﻮن ﻣﺘﺰﻧﺔ ﻋﻠــﻰ ا>ﻓﻖ ا>رﺿﻲ وﻳﺘﻢ ﺗﻨﺸــﻴﻄﻬﺎ ﺑﻮاﺳــﻄﺔ ﻣﺴﺎر اﻟﺸــﻤﺲ واﻟﻨﺠﻮم. ﺗﻮﺟــﺪ ﻣﺼﻔﻮﻓــﺔ ﻣﻦ اﻟﺰواﻳــﺎ واﻟﻤﻘﺎﻳﻴــﺲ واﻟﺘﻮﺟﻬﺎت اﻟﺮﻣﺰﻳﺔ ﺧﻠــﻒ اﻟﺒﺴــﺎﻃﺔ اﻟﻤﺠﺮدة ﻟ ﺷــﻜﺎل ،ﻛﻞ ﻣﻨﻬﺎ ﻣﺸــﻔﺮ ﺑﻌﻨﺎﻳﺔ ﻣﻊ دﻻﻻت ﻣﺴــﺘﻮﺣﺎة ﻣﻦ اﻟﺴــﺤﺮ اﻟﺒﺼﺮي اﻟﻬﻨﺪﺳــﻲ ﻟﻠﻬﺮم ا>ﻛﺒــﺮ ،ﻓﻴﺬﻛﺮﻧــﺎ اﻟﺰﺟﺎج اﻟــﺬي ﻳﻌﻜﺲ ﺟﻤﺎﻟﻴــﺎت ﻣﻮﺟﻬﺔ ﻧﺤﻮ اﻟﻤﺴــﺘﻘﺒﻞ ﺑﺎﻟﻮاﺟﻬــﺎت اﻟﺘﻜﻨﻮﻟﻮﺟﻴــﺔ واﻟﻬﻨﺪﺳــﺔ اﻟﻤﻌﻤﺎرﻳﺔ ً اﻟﻤﻌﺎﺻــﺮة وﺳـ ً ﻣﻌﻠﻘــﺎ ﺑﻴﻦ اﻟﻤﺎدﻳﺔ ﺧﺎﻟﺼﺎ ـﻴﻄﺎ روﺣ ًﻴــﺎ ً 61
واﻟﺸــﻔﺎﻓﻴﺔ ،اﻟﻤﺮﺋــﻲ واﻟﻼﻣﺮﺋﻲ. ﻳﻬــﺪف اﻟﻌﻤــﻞ إﻟﻰ ﺧﻠﻖ ﻧــﻮع ﻣﻦ ا>ﺑﻌــﺎد اﻟﺒﻴﻨﻴﺔ ﻣﻦ ﺧﻼل ﻓﺘــﺢ واﺟﻬﺎت اﻟﺸﺎﺷــﺔ ،ورﺑــﻂ ﺗﺠﺮﺑﺔ اﻟﺤﺎﺿﺮ ﺑــﻜﻞ ﻣﻦ اﻟﻌﺎﻟﻢ اﻟﻘﺪﻳــﻢ وﻣﺸــﻬﺪﻧﺎ اﻟﺘﻜﻨﻮﻟﻮﺟﻲ اﻟﻤﺴــﺘﻘﺒﻠﻲ.
اﺷــﺘﺮك اﻟﻔﻨﺎﻧﺎن ﻣﻊ "إﺳــﺒﺎس " ﻓﻲ ﻫﺬا اﻟﻤﺸﺮوع. ART D’ÉGYPTE
SHUSTER + MOSELEY (PLAN OF THE PATH OF LIGHT) IN THE HOUSE OF THE HIDDEN PLACES
Photo: Hesham Al Sayfi
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FOREVER IS NOW
ﺷــــﻮﺳﺘﺮ +ﻣـــﻮزﻟﻲ )ﺧﻄﺔ درب اﻟﻨــﻮر( ﻓﻲ ﺑــﻴﺖ ا>ﻣـــﺎﻛﻦ اﻟﺨﻔــﻴﺔ
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ART D’ÉGYPTE
Shuster + Moseley is the conceptual art studio of Claudia Moseley (b.1984) and Edward Shuster (b. 1986). The artists create light-mobiles, sculptural installation, and immersive, meditative environments reflecting on the nature of consciousness and technology. Their work encompasses both temporary and permanent works for public spaces, commercial projects, private collections, and international exhibitions. They are represented by ESPACE in the Middle East, with whom they have partnered for Forever Is Now. Working with optics, geometry, light, and glass, and underpinned by a spirit of collaboration, the artists have developed projects with world-renowned scientists working in neuroscience, cosmology, and imaging technologies, as well as architects, engineers, and technicians. Claudia Moseley, MRBS, holds a degree in Fine Art and Textiles (Goldsmiths University) and an MA in Environmental Anthropology. Edward Shuster, PhD FRSA MRBS, is a Doctor of Philosophy (European Graduate School) and a researcher in Eastern and Western esoteric philosophies.
Photo: Roman Scott
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In 2020, Shuster + Moseley realized Horizon of Day and Night, a permanent large-scale artwork commissioned for the UNESCO World Heritage site of AlUla. The duo was also selected for the 2019 Oxford Nano Imaging Artist in Residence Program resulting in Brain Gazing, a virtual artwork representing a neural web, in collaboration with scientists at Cambridge University and UCL. Other commissions include What Matters: The Scattering, an immersive 16m-long suspended glass and light work for Lumiere Festival, created in collaboration with the Institute for Computational Cosmology and awarded merit winner at the CODAawards. FOREVER IS NOW
ﺷﻮﺳــﺘﺮ +ﻣﻮزﻟﻲ ﻫﻮ ﺳــﺘﻮدﻳﻮ ﻟﻠﻔﻦ اﻟﻤﻔﺎﻫﻴﻤﻲ اﻟﺨﺎص ﺑﻜﻠﻮدﻳﺎ ﻣﻮﺳــﻠﻲ )وﻟﺪت ،(١٩٨٤وإدوارد ﺷﻮﺳــﺘﺮ )وﻟﺪ .(١٩٨٦ﻳﺼﻤﻢ اﻟﻔﻨﺎﻧﺎن ﻣﺠﺴــﻤﺎت ﻣﺘﺤﺮﻛﺔ ﺧﻔﻴﻔﺔ وﺗﺸــﻜﻴﻼت ﻧﺤﺘﻴﺔ ﻓﻲ اﻟﻔﺮاغ وﺑﻴﺌﺎت ﺗﺄﻣﻠﻴــﺔ ﻏﺎﻣﺮة ﺗﺮﻛﺰ ﻋﻠﻰ ﻃﺒﻴﻌﺔ اﻟﻮﻋــﻲ واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ .ﺗﻀﻢ أﻋﻤﺎﻟﻬﻢ ـﺎرﻳﻌﺎ ﻣﺆﻗﺘﺔ وأﺧﺮى داﺋﻤﺔ ﻟ ﻣﺎﻛﻦ اﻟﻌﺎﻣﺔ واﻟﻤﺸــﺮوﻋﺎت اﻟﺘﺠﺎرﻳﺔ ﻣﺸـ ً واﻟﻤﺠﻤﻮﻋــﺎت اﻟﺨﺎﺻﺔ واﻟﻤﻌﺎرض اﻟﺪوﻟﻴﺔ .ﻳﻤﺜﻠﻬﻢ "ﺟﺎﻟﻴﺮي إﺳــﺒﺎس" ﻓﻲ اﻟﺸــﺮق ا>وﺳــﻂ واﻟﺬي ﻳﺸﺎرﻛﻬﻤﺎ ﻓﻲ ﻣﺸﺮوع "ا>ﺑﺪ ﻫﻮ ا9ن". ﻣﻦ ﺧﻼل ﻋﻤﻠﻬﻤﺎ ﺑﺎﻟﻌﺪﺳــﺎت واﻟﻬﻨﺪﺳــﺔ واﻟﻀﻮء واﻟﺰﺟﺎج ،وﺑﺮوح ـﺎرﻳﻌﺎ ﻣﻊ ﻋﻠﻤﺎء اﻟﺘﻌﺎون اﻟﺴــﺎﺋﺪة ﺑﻴﻨﻬﻤﺎ ،ﺗﻤﻜﻦ اﻟﻔﻨﺎﻧﺎن ﻣﻦ ﺗﻄﻮﻳﺮ ﻣﺸـ ً ﻣﺸــﻬﻮرﻳﻦ ﻋﻠﻰ اﻟﻤﺴــﺘﻮى اﻟﺪوﻟﻲ ﻳﻌﻤﻠﻮن ﻓﻲ ﻣﺠﺎل ﻋﻠﻢ ا>ﻋﺼﺎب وﻋﻠــﻢ اﻟﻜﻮﻧﻴﺎت وﺗﻘﻨﻴﺎت ﺧﻠﻖ اﻟﺼــﻮرة ،ﺑﺎ|ﺿﺎﻓﺔ إﻟﻰ اﻟﻤﻌﻤﺎرﻳﻴﻦ واﻟﻤﻬﻨﺪﺳــﻴﻦ واﻟﻔﻨﻴﻴﻦ .ﻛﻠﻮدﻳﺎ ﻣﻮﺳــﻠﻲ ،ﺣﺎﺻﻠﺔ ﻋﻠﻰ ﺷﻬﺎدة ﻓﻲ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ واﻟﻤﻨﺴــﻮﺟﺎت )ﺟﺎﻣﻌﺔ "ﺟﻮﻟﺪﺳــﻤﻴﺘﺲ"( ،وﻣﺎﺟﺴﺘﻴﺮ ﻓﻲ ا>ﻧﺜﺮوﺑﻮﻟﻮﺟﻴﺎ اﻟﺒﻴﺌﻴﺔ .أﻣﺎ إدوارد ﺷﻮﺳــﺘﺮ ،ﻓﻬﻮ ﻋﻀــﻮ اﻟﺠﻤﻌﻴﺔ اﻟﻤﻠﻜﻴﺔ ﻟﻠﻔﻨﻮن ،وﺣﺎﺻﻞ ﻋﻠﻰ دﻛﺘﻮراه ﻓﻲ اﻟﻔﻠﺴــﻔﺔ ﻣﻦ ﻣﺪرﺳــﺔ اﻟﺪراﺳﺎت اﻟﻌﻠﻴﺎ ا>وروﺑﻴﺔ ،وﻫﻮ ﺑﺎﺣﺚ ﻓﻲ ﻓﻠﺴــﻔﺎت اﻟﻌﺎﻟﻢ اﻟﺸــﺮﻗﻲ واﻟﻐﺮﺑﻲ. ﻓﻲ ﻋﺎم ،٢٠٢٠أﻧﺠﺰ ﺷﻮﺳــﺘﺮ +ﻣﻮزﻟﻲ "أﻓﻖ اﻟﻨﻬﺎر واﻟﻠﻴﻞ" ،وﻫﻮ ﻋﻤﻞ ﻓﻨــﻲ داﺋــﻢ ﺗﻢ ﺗﻜﻠﻴﻔﻬﻢ ﺑﻪ ﻓﻲ ﻣﻮﻗﻊ اﻟﻴﻮﻧﺴــﻜﻮ ﻟﻠﺘﺮاث اﻟﻌﺎﻟﻤﻲ ﻓﻲ اﻟﻌــﻼ .ﻛﺬﻟﻚ ﺗﻢ اﺧﺘﻴﺎر اﻟﺜﻨﺎﺋﻲ "ﻟﺒﺮﻧﺎﻣﺞ ﻧﺎﻧﻮ ﻟﻠﺘﺼﻮﻳﺮ ﺑﺎوﻛﺴــﻔﻮرد – ﻓﻨــﺎن اﻟﻤﻘﻴــﻢ" ﻟﻌﺎم ٢٠١٩ﻣﻤﺎ أﺛﻤﺮ ﻋــﻦ "ﺗﺤﺪﻳﻖ اﻟﻌﻘﻞ" ،وﻫﻮ ﻋﻤﻞ ﻓﻨﻲ اﻓﺘﺮاﺿﻲ ﻳﻤﺜﻞ ﺷــﺒﻜﺔ ﻋﺼﺒﻴﺔ ،وذﻟــﻚ ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﻋﻠﻤﺎء ﻓﻲ ﺟﺎﻣﻌﺔ ﻛﺎﻣﺒﺮﻳــﺪج وﺟﺎﻣﻌﺔ ﻛﺎﻟﻴﻔﻮرﻧﻴﺎ ﻓﻲ ﻟﻮس أﻧﺠﻠﻮس .ﺗﺸــﻤﻞ ا>ﻋﻤﺎل ا>ﺧﺮى اﻟﺘــﻲ ﺗــﻢ ﺗﻜﻠﻴﻔﻬﻢ ﺑﻬﺎ "ﻛﻞ ﻣﺎ ﻳﻬــﻢ :اﻟﺘﻄﺎﻳﺮ" ،وﻫﻮ زﺟﺎج وأﻋﻤﺎ ًﻟﺎ ﺿﻮﺋﻴﺔ ﻣﻌﻠﻘــﺔ ﺑﻄــﻮل ١٦ﻣﺘﺮًا ﻟﻤﻬﺮﺟﺎن "ﻟﻮﻣﻴﻴﺮ" ُ ،أﻗﻴــﻢ ﺑﺎﻟﺘﻌﺎون ﻣﻊ ﻣﻌﻬﺪ ﻋﻠﻢ اﻟﻜﻮﻧﻴﺎت اﻟﺤﺎﺳــﻮﺑﻴﺔ ،وﻗﺪ ُﻣﻨﺢ اﻟﻌﻤــﻞ ﺟﺎﺋﺰة "ﻛﻮدا" ﻟﻠﻌﻤﻞ اﻟﻤﻤﻴﺰ.
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ART D’ÉGYPTE
STEPHEN COX RA INTERIOR SPACE: KHAFRE Granite 2 m x 4.8 m x 2.4 m 2021
‘A theme in my sculpture for many years was inspired by the Tombs of the Apis Bulls at Saqqara. These massive monolithic granite boxes fitted in with my ‘minimalist’ aesthetic, however, their power was layered with highly evocative meaning. Contemporary industrial processing enabled me, here in Cairo, to devise a method of producing sarcophagal forms of great size that exhibited the magnificence of Egyptian stone initially from the Eastern Mountains that were the source of rare porphyry and breccia. This new work directed at an engagement with Chephren that began some 15 years ago in a quest for the source of the stone of his famous funerary statue. The work realized here is not made with that material but with the material of his sarcophagus – granite from Aswan – found within his pyramid. My sculpture for Forever Is Now is a personal homage that reaches for the majesty of a sarcophagus of a scale and uniqueness appropriate to this great builder.’ 66
The artist would like to acknowledge and thank support in the realization of the project. FOREVER IS NOW
for their
ﺳﺘـﻴـــﻔﻦ ﻛـﻮﻛﺲ ﻓﻀﺎء داﺧﻠﻲ: ﺧﻔﺮع ﺟﺮاﻧﻴﺖ ٢م × ٤،٨م × ٢،٤م ٢٠٢١ "اﺳــﺘﻠﻬﻤﺖ ﻣﻮﺿﻮﻋــﺎت أﻋﻤﺎﻟــﻲ اﻟﻨﺤﺘﻴﺔ ﻣــﻦ ﻣﻘﺎﺑﺮ ﺛﻴﺮان آﺑﻴﺲ ﺑﺴــﻘﺎرة ﻟﺴــﻨﻮات ﻋﺪﻳــﺪة .ﺗﺘﻼءم ﻫﺬه اﻟﺼﻨﺎدﻳــﻖ اﻟﺠﺮاﻧﻴﺘﻴــﺔ اﻟﻀﺨﻤﺔ ﻣﻊ اﻟﺠﻤﺎﻟﻴــﺎت اﻟﺒﺴــﻴﻄﺔ "اﻟﻤﻴﻨﻴﻤﺎﻟﻴﺴــﺖ" اﻟﺘــﻲ أﺗﺒﻌﻬــﺎ ﻓﻲ أﻋﻤﺎﻟــﻲ ،ﺑﻴﻨﻤﺎ ُﻏﻤــﺮت ﻗﻮﺗﻬــﺎ ﺑﻄﺒﻘﺎت ﻣﺘﻌــﺪدة ﻣﻦ ﻣﻌﺎن ﺷــﺪﻳﺪة اﻟﻌﻤﻖ وا|ﻳﺤﺎء. ﻣﻜﻨﺘﻨــﻲ اﻟﻤﻌﺎﻟﺠــﺔ اﻟﺼﻨﺎﻋﻴــﺔ اﻟﻤﻌﺎﺻــﺮة ﻫﻨﺎ ﻓﻲ اﻟﻘﺎﻫــﺮة ﻣﻦ اﺑﺘﻜﺎر ﻃﺮﻳﻘــﺔ |ﻧﺘــﺎج ﺗﻮاﺑﻴ ًﺘــﺎ ذات أﺣﺠــﺎم ﻛﺒﻴﺮة أﻇﻬﺮت روﻋــﺔ اﻟﺤﺠﺮ اﻟﻤﺼﺮي اﻟﻤﻮﺟــﻮد أﺻــﻼ ﻓﻲ اﻟﺠﺒﺎل اﻟﺸــﺮﻗﻴﺔ واﻟﺘﻲ ﻛﺎﻧــﺖ ﻣﺼﺪر اﻟﺤﺠﺮ اﻟﺴــﻤﺎﻗﻲ وأﺣﺠﺎر اﻟﺒﺮﻳﺸــﻴﺎ اﻟﻨﺎدرة. ﺑــﺪأ اﻟﻌﻤــﻞ ﻓﻲ ﻫﺬا اﻟﻤﺸــﺮوع اﻟﺠﺪﻳﺪ اﻟــﺬي ﻳﺮﺗﺒﻂ ﺑﺎﻟﻤﻠــﻚ ﺧﻔﺮع ﻣﻨﺬ ﻣﺎ ﻋﺎﻣــﺎ ،وذﻟﻚ ﻣــﻦ ﺧﻼل اﻟﺒﺤﺚ ﻋﻦ ﻣﺼــﺪر ﺣﺠﺮ ﺗﻤﺜﺎﻟــﻪ اﻟﺠﻨﺎﺋﺰي ﻳﻘــﺮب ً ١٥ اﻟﺸــﻬﻴﺮ .ﻟــﻢ ﻳُﺼﻨــﻊ اﻟﻌﻤﻞ اﻟﺬي ﺗــﻢ إﻧﺠﺎزه ﻫﻨﺎ ﻣﻦ ﺗﻠــﻚ اﻟﻤﺎدة ،ﺑﻞ ﻣﻦ ﻣــﺎدة ﺗﺎﺑﻮﺗــﻪ اﻟﺤﺠﺮي – ﺟﺮاﻧﻴﺖ ﻣﻦ أﺳــﻮان – واﻟــﺬي وُ ﺟﺪ داﺧﻞ ﻫﺮﻣﻪ. اﻟﻌﻤــﻞ اﻟــﺬي أﺷــﺎرك ﺑﻪ ﻓﻲ "ا>ﺑﺪ ﻫﻮ ا9ن" ،ﻫــﻲ ﺑﻤﺜﺎﺑﺔ ﺗﻜﺮﻳﻢ ﺷــﺨﺼﻲ ﻟﺨﻔــﺮع ،ﻳﺘﻨــﺎول ﻋﻈﻤــﺔ ﺗﺎﺑﻮﺗﻪ ،وﻳﻘﺪم ﻣﻨﺤﻮﺗــﺔ ﺑﺤﺠﻢ وﺗﻔﺮد ﻣﻨﺎﺳــﺒﻴﻦ ﻟﻬﺬا اﻟﻤﻌﻤــﺎري اﻟﻌﻈﻴﻢ".
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ﻳﻮد اﻟﻔﻨﺎن أن ﻳﺸــﻜﺮ ﺷــﺮﻛﺔ ﻣﺎرﻣﻮﻧﻴﻞ ﻋﻠﻰ دﻋﻤﻬﺎ ﻓﻲ ﺗﺤﻘﻴﻖ اﻟﻤﺸــﺮوع. ART D’ÉGYPTE
STEPHEN COX RA INTERIOR SPACE: KHAFRE
Photo: MO4 Network
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FOREVER IS NOW
ﺳﺘـﻴـــﻔﻦ ﻛـﻮﻛﺲ ﻓﻀﺎء داﺧﻠﻲ: ﺧﻔﺮع
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ART D’ÉGYPTE
Stephen Cox RA (b. 1946, Bristol, UK) first made his reputation as a maker of minimalist ’Surface’ sculptures. Austere yet shimmering, these works could not have been more ‘abstract’ and revealed his breadth of interest in sculpture, painting and architecture. In 1979, he left for Italy where he began carving in stone, producing reliefs with architectural references. His piece, Tondo: We Must Always Turn South in red Verona marble, was acquired by the Tate Gallery. Cox continued to work in Italy for the next 5 years using as a guide the Renaissance artist and diarist Vasari’s book on ‘Technique’ which led him to explore Italian quarries. However, one stone listed by Vasari had no known source: Imperial Porphyry, a reddish-purple stone that was the private preserve of the Roman emperors
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In 1988, Cox was commissioned by the British Foreign and Commonwealth Office to produce a sculpture for the New Cairo Opera House. Knowing that the source of Imperial Porphyry was in the Eastern Mountains of Egypt, he set up a studio in Hurghada and proceeded with an expedition to procure stone for the project which was completed in 1989. He has continued to acquire stone from obscure Egyptian sources including Chephren Diorite from beyond Abu Simbel. Cox has also worked in India amongst the temple carvers of Tamil Nadu for 35 years. The carving techniques there are still very much those of Egyptian antiquity but are changing quickly with increasing modernization. He lives deep in the English countryside of South Shropshire with his wife Judith. FOREVER IS NOW
ﺳــﺘﻴﻔﻦ ﻛﻮﻛــﺲ وﻟﺪ ﻋﺎم ١٩٤٦ﻓﻲ ﺑﺮﻳﺴــﺘﻮل ،واﺷــﺘﻬﺮ ﻓﻲ اﻟﺒﺪاﻳﺔ ﺑﺄﻋﻤــﺎل ﻧﺤﺘﻴــﺔ ﺗﻨﺘﻤﻲ إﻟــﻰ اﻟﺤﺮﻛــﺔ اﻟﺘﻘﻠﻴﻠﻴﺔ )"ﻣﻴﻨﺎﻣﺎﻟﺴــﺖ"( ﺑﻌﻨﻮان "اﻟﺴــﻄﺢ" ،وﻛﺎﻧﺖ ﺗﻠــﻚ ا>ﻋﻤﺎل ﻣﺘﻘﻨــﺔ وﻣﺘ ﻟﺌﺔ وﺷــﺪﻳﺪة "اﻟﺘﺠﺮﻳﺪﻳﺔ"، وﻛﺸــﻔﺖ ﻋــﻦ اﻫﺘﻤﺎﻣﻪ اﻟﺒﺎﻟــﻎ ﺑﺎﻟﻨﺤﺖ واﻟﺮﺳــﻢ واﻟﻌﻤﺎرة .ﻏﺎدر إﻟﻰ ً ﻧﻘﻮﺷــﺎ ذات إﻳﻄﺎﻟﻴــﺎ ﻋــﺎم ،١٩٧٩ﺣﻴﺚ ﺑﺪأ اﻟﻨﺤــﺖ ﻋﻠﻰ اﻟﺤﺠﺮ وأﻧﺘﺞ ﻣﺮﺟﻌﻴــﺔ ﻣﻌﻤﺎرﻳــﺔ .ﺣﺼﻞ ﺟﺎﻟﻴــﺮي "ﺗﻴﺖ" ﻋﻠــﻰ ﻗﻄﻌﺘﻪ ﻣﻦ رﺧﺎم ﻓﻴﺮوﻧــﺎ ا>ﺣﻤــﺮ ﺑﻌﻨــﻮان "ﺗﻮﻧﺪو :ﻳﺠــﺐ أن ﻧﺘﺠﻪ دوﻣﺎ إﻟﻰ اﻟﺠﻨﻮب" .اﺳــﺘﻤﺮ ﻛﻮﻛــﺲ ﺑﺎﻟﻌﻤــﻞ ﻓــﻲ إﻳﻄﺎﻟﻴﺎ ﻋﻠﻰ ﻣﺪى اﻟﺴــﻨﻮات اﻟﺨﻤــﺲ اﻟﺘﺎﻟﻴﺔ ـﺘﺨﺪﻣﺎ ﻛﺘــﺎب ﻓﻨــﺎن ﻋﺼﺮ اﻟﻨﻬﻀﺔ واﻟﻤﺪوّ ن "ﻓﺎﺳــﺎري" ﻋــﻦ "اﻟﺘﻘﻨﻴﺔ" ﻣﺴـ ً واﻟــﺬي ﻛﺎن دﻟﻴﻠــﻪ إﻟــﻰ ﺟﻤﻴﻊ اﻟﻤﺤﺎﺟــﺮ اﻟﻤﺪرﺟﺔ ﻓــﻲ إﻳﻄﺎﻟﻴﺎ .وﻣﻊ ذﻟﻚ، ﻓــﺈن ﺣﺠــﺮ اﻟﺮﺧﺎم اﻟﺴــﻤﺎﻗﻲ ا|ﻣﺒﺮاﻃﻮري ،وﻫﻮ ﺣﺠــﺮ أرﺟﻮاﻧﻲ اﻟﻠﻮن ﻣــﻦ ﻣﻘﺘﻨﻴــﺎت ا>ﺑﺎﻃﺮة اﻟﺮوﻣــﺎن ،وﻛﺎن ﻣﺪرﺟﺎ ﺿﻤﻦ ﻗﺎﺋﻤﺔ ﻓﺎﺳــﺎري ،ﻟﻢ ً ﻣﻌﺮوﻓﺎ. ﻳﺠﺪ ﻟــﻪ ﻣﺼﺪ رًا ﺗــﻢ ﺗﻜﻠﻴــﻒ ﻛﻮﻛﺲ ﻋﺎم ،١٩٨٨ﻣﻦ ﻗﺒــﻞ وزارة اﻟﺨﺎرﺟﻴــﺔ اﻟﺒﺮﻳﻄﺎﻧﻴﺔ وﺷــﺆون اﻟﻜﻮﻣﻨﻮﻟــﺚ |ﻧﺘﺎج ﻋﻤــﻞ ﻧﺤﺘﻲ ﻟﺪار ا>وﺑﺮا اﻟﺠﺪﻳــﺪة ﺑﺎﻟﻘﺎﻫﺮة، وﺑﻤــﺎ أن ﻣﺼــﺪر اﻟﺤﺠﺮ اﻟﺴــﻤﺎﻗﻲ ا|ﻣﺒﺮاﻃــﻮري ﻛﺎن ﻓﻲ اﻟﺠﺒﺎل اﻟﺸــﺮﻗﻴﺔ ﻟﻤﺼــﺮ ،ﻓﻘﺪ أﻗﺎم ﻛﻮﻛﺲ ﺳــﺘﻮدﻳﻮ ﻓــﻲ اﻟﻐﺮدﻗﺔ وﺑﺪأ رﺣﻠﺔ اﺳﺘﻜﺸــﺎﻓﻴﺔ ﻟﻠﻮﺻــﻮل إﻟﻰ اﻟﺤﺠﺮ ﻟﻠﻤﺸــﺮوع اﻟــﺬي اﻛﺘﻤﻞ ﻓﻲ ﻋﺎم .١٩٨٩واﺳــﺘﻤﺮ ﻓــﻲ اﻟﺤﺼــﻮل ﻋﻠﻰ أﻧــﻮاع ﻣﺨﺘﻠﻔﺔ ﻣــﻦ اﻟﺤﺠﺮ ﻣﻦ ﻣﺼﺎدر ﻣﺼﺮﻳــﺔ ﻟــﻢ ﺗﻜــﻦ ﻣﻌﺮوﻓﺔ ﻓﻲ ذﻟــﻚ اﻟﺤﻴﻦ ﺑﻤﺎ ﻓﻲ ذﻟــﻚ دﻳﻮرﻳﺖ ﺧﻔﺮع، وﻣﺼــﺪره ﺟﻨــﻮب أﺑﻮ ﺳــﻤﺒﻞ .ﻋﻤﻞ ﻛﻮﻛــﺲ ً أﻳﻀﺎ ﻓﻲ اﻟﻬﻨــﺪ ﺑﻴﻦ ﻧﺤﺎﺗﻲ ﻋﺎﻣــﺎ .ﻻ ﺗﺰال ﺗﻘﻨﻴــﺎت اﻟﻨﺤﺖ ﻫﻨﺎك اﻟﻤﻌﺎﺑــﺪ ﻓــﻲ ﺗﺎﻣﻴــﻞ ﻧﺎدو ﻟﻤﺪة ً ٣٥ ﺗﺸــﺒﻪ ﻛﺜﻴـ ًﺮا اﻟﻤﻨﺤﻮﺗــﺎت اﻟﻘﺪﻳﻤﺔ اﻟﻤﻮﺟﻮدة ﻓــﻲ ﻣﺼﺮ ،وﻟﻜﻨﻬــﺎ ﺗﺘﻐﻴﺮ ﺑﺴــﺮﻋﺔ ﻣــﻊ زﻳــﺎدة اﻟﺘﺤﺪﻳﺚ .ﻳﻌﻴــﺶ ﻛﻮﻛﺲ ﻓﻲ ﻋﻤﻖ اﻟﺮﻳــﻒ ا|ﻧﺠﻠﻴﺰي ﻣــﻊ زوﺟﺘﻪ ﺟﻮدﻳﺚ.
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ART D’ÉGYPTE
SULTAN BIN FAHAD R III Galala classic marble, copper 10.5 m x 6.3 m 2021
Saudi archaeologists discovered a hieroglyphic inscription belonging to King Ramses III, one of the kings of ancient Egypt, in the Zaydania area of Tayma Governorate in northern Saudi Arabia. This inscription is the first hieroglyphic inscription found in the Arabian Peninsula; it is on a fixed rock and bears the royal signature. The path to the discovery is marked with cartouches (royal signatures) of King Ramses III, and its presence near Tayma raised the question of civilizational context that could explain a cartouche deep in the northwest of the Arabian Peninsula. The concept is to construct a maze of cubes with the inscription of Ramses III engraved on the surface. Copper will be used, which was acquired through missions to the Arabian Peninsula. This project will constitute a turning point in studying the roots of the civilizational relations between Egypt and Arabia.
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This artwork is supported by the
of the Kingdom of Saudi Arabia. FOREVER IS NOW
ﺳﻠﻄـــــﺎن ﺑﻦ ﻓﻬﺪ رﻣﺴﻴﺲ اﻟﺜــــﺎﻟﺚ رﺧــﺎم اﻟﺠﻼﻟﺔ ،ﻧﺤﺎس ١٠،٥م × ٦،٣م ٢٠٢١ أﻛﺘﺸــﻒ ﻋﻠﻤــﺎء ا9ﺛﺎر اﻟﺴــﻌﻮدﻳﻮن ﻧﻘﺸــ® ﻫﻴﺮوﻏﻠﻴﻔﻴًﺎ ﻳﻨﺘﻤــﻲ ﻟﻠﻤﻠﻚ رﻣﺴــﻴﺲ اﻟﺜﺎﻟــﺚ ،أﺣــﺪ ﻣﻠﻮك ﻣﺼــﺮ اﻟﻘﺪﻳﻤﺔ ﻓﻲ ﻣﻨﻄﻘــﺔ اﻟﺰﻳﺪاﻧﻴﺔ ﺑﻤﺤﺎﻓﻈــﺔ ﺗﻴﻤــﺎء ﺷــﻤﺎل اﻟﻤﻤﻠﻜــﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴــﻌﻮدﻳﺔ ،وﻫﻮ أول ﻧﻘﺶ ﻫﻴﺮوﻏﻠﻴﻔــﻲ ﻳُﻌﺜــﺮ ﻋﻠﻴــﻪ ﻓﻲ ﺷــﺒﻪ اﻟﺠﺰﻳــﺮة اﻟﻌﺮﺑﻴﺔ ،وﻫﻮ ﻣﻮﺟﻮد ﻋﻠــﻰ ﺻﺨــﺮة ﺛﺎﺑﺘﺔ وﻳﺤﻤــﻞ اﻟﺘﻮﻗﻴﻊ اﻟﻤﻠﻜــﻲ .وُ ﺿﻌﺖ ﺧﺮاﻃﻴﺶ )ﺗﻮﻗﻴﻌــﺎت ﻣﻠﻜﻴــﺔ( ﻟﻠﻤﻠــﻚ رﻣﺴــﻴﺲ اﻟﺜﺎﻟﺚ ﻋﻠــﻰ اﻟﻄﺮﻳﻖ اﻟﻤﺆدي ﻟﻤــﻜﺎن اﻻﻛﺘﺸــﺎف ،وﻗــﺪ أﺛﺎر وﺟﻮدﻫﺎ ﺑﺎﻟﻘﺮب ﻣﻦ ﺗﻴﻤﺎء ﻣﺴــﺄﻟﺔ اﻟﺴــﻴﺎق ً ﺧﺮﻃﻮﺷــﺎ ﻓﻲ ﻋﻤﻖ ﺷــﻤﺎل ﻏﺮب ﺷــﺒﻪ اﻟﺤﻀﺎري اﻟﺬي ﻳﻤﻜﻦ أن ﻳﻔﺴــﺮ اﻟﺠﺰﻳــﺮة اﻟﻌﺮﺑﻴﺔ. ً ﻧﻘﺸــﺎ اﻟﻌﻤــﻞ اﻟﻤﻘــﺪم ﻳﺸــﻤﻞ ﺑﻨﺎء ﻣﺘﺎﻫﺔ ﻣــﻦ اﻟﻤﻜﻌﺒﺎت ﺗﺤﻤﻞ ﻟﺘﻮﻗﻴــﻊ رﻣﺴــﻴﺲ اﻟﺜﺎﻟــﺚ ﻣﺤﻔﻮر ﻋﻠﻰ اﻟﺴــﻄﺢ .ﻳُﺴــﺘﺨﺪم اﻟﻨﺤﺎس اﻟﺬي ﺗــﻢ اﻗﺘﻨــﺎؤه ﺧﻼل ﺣﻤﻼت ﻓﻲ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ ،وﺳــﻮف ﻳﺸــﻜﻞ ﻫﺬا اﻟﻤﺸــﺮوع ﻧﻘﻄﺔ ﺗﺤﻮل ﻓﻲ دراﺳــﺔ ﺟــﺬور اﻟﻌﻼﻗﺎت اﻟﺤﻀﺎرﻳــﺔ ﺑﻴﻦ ﻣﺼﺮ واﻟﺠﺰﻳــﺮة اﻟﻌﺮﺑﻴﺔ.
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ﻫــﺬا اﻟﻤﺸــﺮوع ﻣﺪﻋﻮم ﻣﻦ ﻫﻴﺌــﺔ اﻟﺘﺮاث ﺑﺎﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴــﻌﻮدﻳﺔ. ART D’ÉGYPTE
SULTAN BIN FAHAD R III
Photo: Hesham Al Sayfi
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FOREVER IS NOW
ﺳﻠﻄـــــﺎن ﺑﻦ ﻓﻬﺪ رﻣﺴﻴﺲ اﻟﺜــﺎﻟﺚ
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ART D’ÉGYPTE
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Sultan Bin Fahad (b. 1971, Riyadh, KSA) considers art a journey between intangible memories and tangible cultures. Throughout his abstract drawings, paintings, sculptures, and installations, bin Fahad’s central theme and object of concern remains material culture in his native Saudi Arabia. In his practice, he reinterprets history, stories, and narratives using material culture; he transposes these narratives to contemporary means as a reassessment and personal take on Saudi Arabia. Themes central to his practice focus on reimagining found objects, Islam, and Saudi history and identity. Connecting past to present, his stories evoke multi-layered journeys between the latent relationship of what is remembered and what remains silently contained within the corporeal. Bin Fahad was the subject of a solo exhibition at the Fondazione Alda Fendi, Rome, Italy (2020–21), and his exhibition, The Red Palace, curated by Reem Fadda, toured in Riyadh, Jeddah, and Abu Dhabi. He has participated in several group exhibitions including The View from There, Sadie Coles HQ, London; Mara’ina, Ithra Museum; Winter at Tantora, AlUla, KSA; the 45th Bahrain Annual Fine Arts Exhibition, Manama, Bahrain (2019); Vantage Point, Sharjah Art Foundation, UAE; Contemporary Photography from the Arab World, American University Museum Katzen Art Center, Washington, DC; Sharjah Islamic Arts Festival, UAE (2018); Dreams and Memory, Athr Gallery, Jeddah, KSA (2016). Bin Fahad has also presented a solo exhibition, Qounot, at Alāan, KSA (2016). His work has been acquired by the Guggenheim Abu Dhabi, Palestine Museum, and the Ithra Museum. He lives and works in Los Angeles. FOREVER IS NOW
ﺳــﻠﻄﺎن ﺑــﻦ ﻓﻬﺪ وﻟﺪ ﻋﺎم ١٩٧١ﻓــﻲ اﻟﺮﻳــﺎض ﺑﺎﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴــﻌﻮدﻳﺔ ،وﻫﻮ ﻳﻌﺘﺒــﺮ اﻟﻔــﻦ رﺣﻠــﺔ ﻣﺎ ﺑﻴﻦ اﻟﺬﻛﺮﻳــﺎت ﻏﻴﺮ اﻟﻤﻠﻤﻮﺳــﺔ واﻟﺜﻘﺎﻓﺎت اﻟﻤﻠﻤﻮﺳــﺔ ،وﻣﻦ ﺧــﻼل أﻋﻤﺎﻟــﻪ اﻟﺘﻲ ﺗﻀﻢ رﺳــﻮم ﺗﺠﺮﻳﺪﻳــﺔ وﻟﻮﺣﺎت وﻗﻄﻊ ﻧﺤﺖ وﺗﺸــﻜﻴﻞ ﻓﻲ اﻟﻔــﺮاغ ،ﻳﺒﻘــﻰ ﻣﻮﺿــﻮع ﺑﻦ ﻓﻬﺪ اﻟﺮﺋﻴﺴــﻲ واﻟﺬي ﻳﻬﻴﻤــﻦ ﻋﻠﻰ اﻫﺘﻤﺎﻣﻪ ﻫــﻮ اﻟﺜﻘﺎﻓﺔ اﻟﻤﺎدﻳــﺔ ﻓــﻲ وﻃﻨــﻪ ،اﻟﻤﻤﻠﻜــﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴــﻌﻮدﻳﺔ .ﻳﻌﻴﺪ ﺑﻦ ﻓﻬﺪ ﻓﻲ ﻣﻤﺎرﺳــﺘﻪ اﻟﻔﻨﻴــﺔ ﺗﻔﺴــﻴﺮ اﻟﺘﺎرﻳــﺦ واﻟﻘﺼــﺺ واﻟﺮواﻳﺎت ﺑﺎﺳــﺘﺨﺪام اﻟﺜﻘﺎﻓﺔ اﻟﻤﺎدﻳﺔ ،ﻓﻴﺴــﺘﺒﺪل ﻫــﺬه اﻟﺮواﻳــﺎت ﺑﺄدوات ﻣﻌﺎﺻــﺮة ﻛﺈﻋﺎدة ﻟﻠﺘﻘﻴﻴــﻢ وا|دراك اﻟﺸــﺨﺼﻲ ﺑﺎﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴــﻌﻮدﻳﺔ .ﺗﺪور اﻟﺴــﻤﺎت ا>ﺳﺎﺳــﻴﺔ ﻓــﻲ ﻋﻤﻠﻪ اﻟﻔﻨﻲ ﺣــﻮل إﻋﺎدة ﺗﺨﻴﻞ اﻟﻤﻮﺿﻮﻋــﺎت اﻟﺜﺎﺑﺘﺔ واﻟﺮاﺳــﺨﺔ ،وا|ﺳــﻼم ،وﺗﺎرﻳﺦ اﻟﺴــﻌﻮدﻳﺔ ،واﻟﻬﻮﻳﺔ .وﻟﺮﺑﻂ اﻟﻤﺎﺿــﻲ ﺑﺎﻟﺤﺎﺿــﺮ ،ﺗﺴــﺘﺤﻀﺮ ﻗﺼﺼــﻪ رﺣﻼت ﻣﺘﻌــﺪدة اﻟﻄﺒﻘﺎت ﻟﻠﻌﻼﻗــﺔ اﻟﻜﺎﻣﻨﺔ ﺑﻴــﻦ ﻣﺎ ﻳﺘــﻢ ﺗﺬﻛﺮه وﻣﺎ ﻳﺒﻘــﻰ ﻣﺤﺘﺠ ًﺰا ﺑﺼﻤﺖ ﻓﻲ اﻟﺠﺴــﺪ. أﻗــﺎم ﺑــﻦ ﻓﻬﺪ ﻣﻌﺮﺿﺎ ﻓﺮدﻳﺎ ﻓﻲ ﻣﺆﺳﺴــﺔ "أﻟــﺪا ﻓﻴﻨﺪي" ﻓﻲ روﻣــﺎ ﺑﺈﻳﻄﺎﻟﻴﺎ ) ،(٢٠٢١–٢٠٢٠ﻛﻤــﺎ ﺟــﺎل ﻣﻌﺮﺿﻪ "اﻟﻘﺼﺮا>ﺣﻤﺮ" ﺑﺘﻨﺴــﻴﻖ رﻳــﻢ ﻓﻀﺔ ،اﻟﺮﻳﺎض وﺟﺪة وأﺑــﻮ ﻇﺒــﻲ .ﺷــﺎرك ً أﻳﻀﺎ ﻓﻲ اﻟﻌﺪﻳﺪ ﻣــﻦ اﻟﻤﻌــﺎرض اﻟﺠﻤﺎﻋﻴﺔ ﻣﻦ ﺿﻤﻨﻬﺎ "اﻟﻤﺸــﻬﺪ ﻣــﻦ ﻫﻨــﺎك" ،ﻓﻲ ﺟﺎﻟﻴﺮي "ﺳــﺎدي ﻛﻮﻟﺰ" ﺑﻠﻨﺪن ،ﺛــﻢ ﻣﻌﺮض "ﻣﺮاﺋﻴﻨــﺎ" ﻓﻲ ﻣﺘﺤﻒ اﻟﻌــﻼ ﺑﺎﻟﻤﻤﻠﻜــﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴــﻌﻮدﻳﺔ ،وﻛﺬﻟﻚ ﻣﻌﺮض إﺛــﺮاء ،و"ﺷــﺘﺎء ﻃﻨﻄﻮرة" ،ﻓﻲ ُ اﻟﺒﺤﺮﻳــﻦ اﻟﺴــﻨﻮي اﻟﺨﺎﻣــﺲ وا>رﺑﻌﻮن ﻟﻠﻔﻨــﻮن اﻟﺘﺸــﻜﻴﻠﻴﺔ ﻓﻲ اﻟﻤﻨﺎﻣــﺔ ﺑﺎﻟﺒﺤﺮﻳﻦ ) ،(٢٠١٩ﺛــﻢ ﻓــﻲ "ﻓﺎﻧﺘﻴﺞ ﺑﻮﻳﻨﺖ" ﺑﻤﺆﺳﺴــﺔ اﻟﺸــﺎرﻗﺔ ﻟﻠﻔﻨﻮن ،دوﻟﺔ ا|ﻣــﺎرات اﻟﻌﺮﺑﻴﺔ، وﻓــﻲ ﻣﻌــﺮض "اﻟﺘﺼﻮﻳــﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ اﻟﻤﻌﺎﺻﺮ ﻣــﻦ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑــﻲ" ﺑﻤﺘﺤﻒ اﻟﺠﺎﻣﻌــﺔ ا>ﻣﺮﻳﻜﻴــﺔ ﺑﻮاﺷــﻨﻄﻦ اﻟﻌﺎﺻﻤــﺔ ،ﻣﺮﻛﺰ "ﻛﺎﺗــﺰن" ﻟﻠﻔﻨﻮن ،وﻣﻬﺮﺟﺎن اﻟﺸــﺎرﻗﺔ ﻟﻠﻔﻨﻮن ا|ﺳــﻼﻣﻴﺔ ،ﺑﺎ|ﻣــﺎرات اﻟﻌﺮﺑﻴــﺔ اﻟﻤﺘﺤﺪة )" ،(٢٠١٨ا>ﺣﻼم واﻟﺬاﻛﺮة" ﺑﺠﺎﻟﻴــﺮي أﺛــﺮ ﻓــﻲ ﺟــﺪة ﺑﺎﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴــﻌﻮدﻳﺔ ) .(٢٠١٦ﻛﻤــﺎ ﻗﺪم ﺑﻦ ﻓﻬﺪ ﻣﻌﺮﺿــ® ﻣﻨﻔــﺮدً ا ﺑﻌﻨــﻮان "ﻗﻨﻮت" ﻓﻲ ﺻﺎﻟﺔ "ا9ن" ﻓﻲ اﻟﺮﻳــﺎض ﺑﺎﻟﻤﻤﻠﻜــﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴــﻌﻮدﻳﺔ ) .(٢٠١٦اﻗﺘﻨــﻰ ﻣﺘﺤــﻒ "ﻏﻮﻏﻨﻬﺎﻳﻢ" أﺑــﻮ ﻇﺒﻲ وﻣﺘﺤﻒ ﻓﻠﺴــﻄﻴﻦ وﻣﺘﺤــﻒ إﺛــﺮاء أﻋﻤﺎﻟﻪ ،وﻫﻮ ﻳﻌﻴــﺶ وﻳﻌﻤﻞ ﻓﻲ ﻟــﻮس أﻧﺠﻠﻮس ﺑﺎﻟﻮﻻﻳﺎت اﻟﻤﺘﺤــﺪة ا>ﻣﺮﻳﻜﻴﺔ.
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Represented by ﻳﻤﺜــﻞ اﻟﻔﻨﺎن ﻣﻌﺮض أﺛﺮ. ART D’ÉGYPTE
Photo: Mostafa El Shershaby on Unsplash
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FOREVER IS NOW
ع ن��ن �مل ي CONCEPTUALة ص ART �ور � ي ئة DOCUMENTARY � ث � �و�ا ي 79
ART D’ÉGYPTE
CONCEPTUAL ART DOCUMENTARY
PAST FUTURES -YOU ARE HERE Karim El Hayawan, 2021 Music by Mohamed Nawara Vocals by Fatma Said
The present, in its constant state of perpetuality, draws itself from pasts that were former futures as well as times to come. Pasts that are delicately woven into the present, existing in an intricately subjective layer of intention, introspecting a gaze of multiple horizons, eras, and cultural dimensions, and simultaneously constructing a present and a future consciously and subconsciously founded on our collective interpretations of former futures, of pasts, and of our own moments in the now. Artists, true conveyors of transcending phenomena, of notions of interpretation versus translation, abolish the contour of time – each with their own perspective, philosophy, and practice, influenced by the collective now, constructed in turn by pasts and presents. This conceptual work pays homage to artists who transcended the linear passage of time, intertwining past futures and presents as seen through the discourse of Egyptian artists, interpreting and merging the visible with the invisible to reveal the meaning of now. It is a glimpse into milestone works of intergenerational artists, assembled in no order other than a spontaneous, diverse, experiential journey.
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‘...Time remains the same because the past is a former future and a recent present... The present an impending past and a recent future. The future a present and even a past to come.’ — Maurice Merleau Ponty Featuring the works of: Abdel Hadi Al Gazzar – Adam Henein – Ahmed Askalany – Effat Naghi – Ghada Amer – Hany Rashed – Hamed Abdalla – Hazem El Mestikawy – Huda Lutfi – Ibrahim Khatab - Inji Efflatoun – Mahmoud Saïd – Mohamed Naghi – Seif Wanly FOREVER IS NOW
ﻋﻤﻞ ﻓﻨــﻲ ﺗﺼﻮري وﺛﺎﺋﻘﻲ
ﻣﺴﺘﻘﺒﻞ ﻣـــﺎض–أﻧﺖ ﻫﻨــﺎ ﻛﺮﻳـــﻢ اﻟﺤﻴـﻮان٢٠٢١ ، ﻣﻮﺳﻴﻘﻰ :ﻣﺤﻤﺪ ﻧـــﻮارة ﻏﻨﺎء :ﻓـــﺎﻃﻤﺔ ﺳﻌـﻴﺪ
ﻳﺴــﺘﻘﻲ اﻟﺤﺎﺿــﺮ ﻧﻔﺴــﻪ ،ﻓﻲ ﺣﺎﻟﺘــﻪ اﻟﺪاﺋﻤﺔ ﻣﻦ ا>ﺑﺪﻳﺔ ،ﻣــﻦ اﻟﻤﺎﺿﻲ اﻟﺬي ﻳﻜﻤــﻦ اﻟﻤﺎﺿﻲ اﻟﺬي ﺷــﻜﻞ ﻣﺴــﺘﻘﺒ ًﻠﺎ ﻓﻲ اﻟﺴــﺎﺑﻖ وﻣﻦ ا>زﻣﻨــﺔ اﻟﻘﺎدﻣﺔ. ُ ً ﻣﺤﺪﻗﺎ ُﻧﺴــﺞ ﺑﺮﻗــﺔ ﻓﻲ اﻟﺤﺎﺿــﺮ ﻓﻲ ﻃﻴّﺔ ذاﺗﻴﺔ ﻣﺘﺸــﺎﺑﻜﺔ ﻣﻦ اﻟﺴــﺮﻳﺮة ﺑﺘﻔﺤــﺺ ﻓــﻲ آﻓﺎق وﺣﻘﺒﺎت وأﺑﻌــﺎد ﺛﻘﺎﻓﻴﺔ ﻣﺘﻌــﺪدة ،ﺑﻴﻨﻤــﺎ ﻳﺒﻨﻲ ﺑﺎﻟﺘﻮازي ﺣﺎﺿـ ًﺮا وﻣﺴــﺘﻘﺒ ًﻠﺎ ﻓــﻲ اﻟﻮﻋﻲ واﻟﻼوﻋﻲ ﻣﺴــﺘﻨﺪً ا إﻟﻰ ﺗﺄوﻳﻼﺗﻨــﺎ اﻟﺠﻤﺎﻋﻴﺔ ﻟﻠﻤﺴــﺘﻘﺒﻞ اﻟﺴــﺎﺑﻖ ،وﻟﻠﻤﺎﺿــﻲ ،وﻟﻠﺤﻈﺎﺗﻨــﺎ اﻟﺨﺎﺻــﺔ ﻓﻲ اﻟﺰﻣﻦ ا9ﻧﻲ. اﻟﻔﻨﺎﻧــﻮن ،ﻫــﻢ اﻟﻨﺎﻗﻠــﻮن اﻟﺤﻘﻴﻘﻴﻮن ﻟﻠﻈﻮاﻫــﺮ اﻟﻤﺘﺠــﺎوزة ﻟﻤﻔﺎﻫﻴﻢ اﻟﺘﺄوﻳﻞ ﻣﻘﺎﺑــﻞ اﻟﺘﺮﺟﻤــﺔ ،ﺣﻴــﺚ ﻳﻠﻐﻮن ﻣﺤﻴــﻂ اﻟﺰﻣﻦ ،ﻛﻞ ﻣﻨﻬــﻢ ﺑﻮﺟﻬﺔ ﻧﻈﺮه اﻟﺨﺎﺻــﺔ وﻓﻠﺴــﻔﺘﻪ وﻣﻤﺎرﺳــﺘﻪ ،ﻣﺘﺄﺛ ًﺮا ﺑﺎﻟﻤﺸــﺘﺮك ا9ﻧــﻲ ،واﻟﺬي ﺑُﻨﻲ ﺑﺪوره ﻣﻦ ﺧــﻼل اﻟﻤﺎﺿﻲ واﻟﺤﺎﺿﺮ. ﻳُﺸــﻴﺪ ﻫــﺬا اﻟﻌﻤــﻞ اﻟﻤﻔﺎﻫﻴﻤــﻲ ﺑﺎﻟﻔﻨﺎﻧﻴﻦ اﻟﺬﻳــﻦ ﺗﺠﺎوزوا ﻣﺮور اﻟﻮﻗﺖ اﻟﺨﻄــﻲ ،وﻧﺴــﺠﻮا اﻟﻤﺴــﺘﻘﺒﻞ اﻟﻤﻨﻘــﺾ ﺑﺎﻟﺤﺎﺿﺮ ﻛﻤــﺎ ﻳﻈﻬﺮ ﻣﻦ ﺧﻼل ﺧﻄــﺎب اﻟﻔﻨﺎﻧﻴــﻦ اﻟﻤﺼﺮﻳﻴــﻦ ،وﻗﺎﻣــﻮا ﺑﺘﺄوﻳﻞ ودﻣﺞ اﻟﻤﺮﺋــﻲ ﻣﻊ اﻟﻼﻣﺮﺋﻲ ﻟﻠﻜﺸــﻒ ﻋﻦ ﻣﻌﻨﻰ ا9ن. إﻧﻬــﺎ ﻟﻤﺤــﺔ ﻋــﻦ ا>ﻋﻤﺎل اﻟﺒــﺎرزة ﻟﻔﻨﺎﻧﻴﻦ ﻣﻦ أﺟﻴــﺎل ﻣﺨﺘﻠﻔﺔ ﺗــﻢ ﺗﺠﻤﻴﻌﻬﻢ ﺑــﻼ ﺗﺮﺗﻴﺐ ﻣﻌﻴﻦ ،ﺳــﻮى رﺣﻠــﺔ ﻋﻔﻮﻳﺔ وﻣﺘﻨﻮﻋــﺔ وﺗﺠﺮﻳﺒﻴﺔ. " ...ﻳﺒﻘــﻰ اﻟﻮﻗــﺖ ﻋﻠــﻰ ﺣﺎﻟﻪ >ن اﻟﻤﺎﺿﻲ ﻫﻮ ﻣﺴــﺘﻘﺒﻞ ﺳــﺎﺑﻖ وﺣﺎﺿﺮ ﺣﺪﻳﺚ ... اﻟﺤﺎﺿــﺮ ﻫﻮ ﻣﺎض وﺷــﻴﻚ وﻣﺴــﺘﻘﺒﻞ ﻗﺮﻳﺐ. 81
ﻣﺎض ﻗﺎدم" اﻟﻤﺴــﺘﻘﺒﻞ ﻫــﻮ ﺣﺎﺿﺮ ،ﺑﻞ ٍ — ﻣﻮرﻳــﺲ ﻣﻴﺮﻟﻮ ﺑﻮﻧﺘﻲ ﻋﺮض >ﻋﻤﺎل ﻛﻞ ﻣﻦ: ﻋﺒــﺪ اﻟﻬــﺎدي اﻟﺠــﺰار – آدم ﺣﻨﻴــﻦ – أﺣﻤــﺪ ﻋﺴــﻘﻼﻧﻲ – ﻋﻔــﺖ ﻧﺎﺟــﻲ – ﻏــﺎدة ﻋﺎﻣــﺮ – ﻫﺎﻧــﻲ راﺷــﺪ – ﺣﺎﻣــﺪ ﻋﺒــﺪ ا – °ﺣــﺎزم اﻟﻤﺴــﺘﻜﺎوي – ﻫــﺪى ﻟﻄﻔــﻲ – إﺑﺮاﻫﻴــﻢ ﺧﻄــﺎب – إﻧﺠــﻲ أﻓﻼﻃــﻮن – ﻣﺤﻤــﻮد ﺳــﻌﻴﺪ – ﻣﺤﻤــﺪ ﻧﺎﺟــﻲ – ﺳــﻴﻒ واﻧﻠــﻲ ART D’ÉGYPTE
CONCEPTUAL ART DOCUMENTARY Karim El Hayawan is a Cairo-based visual artist and interior architect. After founding Design Point Studio in Cairo in 2002, he began to develop his photography under the mentorship of Alaa Abdel Naby of Reuters. He is continuously inspired by his hometown Cairo, relentlessly seeking visual vocabulary that defines the complexities of the everexpanding urban metropolis. Ultimately, photography serves as his narrative tool to reveal commonalities in collective life experiences and explore the concept of universal metaphors. His work has been exhibited at the Contemporary Arab Photography Biennale at the Institut Du Monde Arabe in Paris, France; the Grid Cape Town Biennale in South Africa; Abu Dhabi Art at Hafez Gallery; and the O-Biennale titled Something Else, the al-Ahram Salon for Fine Arts, and Darb1718, all in Cairo, Egypt, in addition to the Egyptian pavilion at Dak’art Biennale. His work has been featured in numerous publications throughout the region. He is also the founder of Cairo Saturday Walks, an initiative that invites participants to explore different neighbourhoods in Egypt through street photography, with proceeds of an annual group show, going back to one of the frequently visited areas Mohamed Nawara is an award-winning music composer and producer. He studied orchestration, film scoring, and sound engineering at Berklee College of Music in Boston, USA and attended the Hollywood Music Workshop in Baden, Austria. He has composed music and produced songs for movies, musicals, events, and TV programs, including the opening songs for the Alexandria International Festival of Song (2018) and the annual Dear Guest… awards show (2018) as well as the theme music for Egypt’s Channel 1, the official national television channel. He has also composed the music for Hasseb Tehlam, a short movie soon to be released, and for a tribute to Adam Henein produced by Art D’Égypte (2020). Nawara has received awards from different entities such as the National Theatre of Egypt, Dear Guest Publications, and the Egyptian Ministry of Culture. He is the founder of Nawara Music, a full music production house and scoring studio.
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Fatma Said has not only distinguished herself as one of the most exciting young sopranos of her generation, but also in a humanitarian capacity. After receiving her Bachelor of Music from the Hanns Eisler School of Music in Berlin, Said was awarded a scholarship for the Accademia del Teatro alla Scala in Milan, becoming the first Egyptian soprano to perform on that iconic stage. Highlights of Said’s 2021/22 season include concert appearances with the Cleveland Orchestra, with Deutsches SymphonieOrchester Berlin, a production of The Magic Flute at Opera de Rouen as well as recitals at the Concertgebouw in Amsterdam and Wigmore Hall in London. Said has represented Egypt twice at the United Nations to highlight children’s right to education and dignity through music and was part of the 2018 Silk Road Concert at the Temple of Luxor. In 2016, she received an honorary award from Egypt's National Council for Women and became the first opera singer ever to be awarded the state’s Creativity Award for her outstanding artistic achievement. She was recently named BBC Music Magazine’s Newcomer of the Year and won the Opus Klassik Young Artist of the Year award for El Nour, her debut album with Warner Classics.
FOREVER IS NOW
ﻋﻤﻞ ﻓﻨــﻲ ﺗﺼﻮري وﺛﺎﺋﻘﻲ ﻛﺮﻳــﻢ اﻟﺤﻴــﻮان ﻫــﻮ ﻓﻨﺎن ﺑﺼــﺮي وﻣﻬﻨﺪس ﻟﻠﻤﺴــﺎﺣﺎت اﻟﺪاﺧﻠﻴﺔ ﻣﻘﻴــﻢ ﻓﻲ اﻟﻘﺎﻫﺮة. أﺳــﺲ "دﻳﺰاﻳــﻦ ﺑﻮﻳﻨﺖ ﺳــﺘﻮدﻳﻮ" ﻋﺎم ٢٠٠٢ﺑﺎﻟﻘﺎﻫﺮة ،وﺑــﺪأ ﺑﻌﺪﻫﺎ ﻓﻲ ﺗﻄﻮﻳــﺮ اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓــﻲ اﻟﺨــﺎص ﺑﻪ ﺗﺤﺖ إﺷــﺮاف ﻋﻼء ﻋﺒــﺪ اﻟﻨﺒﻲ ﻣﻦ روﻳﺘﺮز .ﻳﺴــﺘﻤﺪ إﻟﻬﺎﻣﻪ ﺑﺎﺳــﺘﻤﺮار ﻣﻦ ﻣﺴــﻘﻂ رأﺳــﻪ اﻟﻘﺎﻫــﺮة ،وﻳﺒﺤﺚ ﺑﻼ ﻫﻮادة ﻋــﻦ ﻣﻔﺮدات ﺑﺼﺮﻳﺔ ﺗﻮﺿــﺢ ﺗﻌﻘﻴﺪات اﻟﻤﺪﻳﻨــﺔ اﻟﺤﻀﺮﻳــﺔ ا9ﺧﺬة ﻓﻲ اﻻﺗﺴــﺎع .ﻓــﻲ ﻧﻬﺎﻳﺔ اﻟﻤﻄــﺎف ،ﻳﻌﺘﺒﺮ اﻟﺘﺼﻮﻳــﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ أداﺗﻪ اﻟﺴــﺮدﻳﺔ اﻟﺘﻲ ﻳﻜﺸــﻒ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﻘﻮاﺳــﻢ اﻟﻤﺸــﺘﺮﻛﺔ ﻓــﻲ ﺗﺠﺎرب اﻟﺤﻴﺎة اﻟﺠﻤﺎﻋﻴــﺔ وﻳﺴﺘﻜﺸــﻒ ﻣﻔﻬــﻮم اﻻﺳــﺘﻌﺎرات اﻟﻌﺎﻟﻤﻴﺔ .ﻋُ ﺮﺿــﺖ أﻋﻤﺎﻟﻪ ﻓﻲ ﺑﻴﻨﺎﻟــﻲ اﻟﺘﺼﻮﻳﺮ اﻟﻌﺮﺑــﻲ اﻟﻤﻌﺎﺻــﺮ ﻓــﻲ ﻣﻌﻬﺪ اﻟﻌﺎﻟــﻢ اﻟﻌﺮﺑﻲ ﻓﻲ ﺑﺎرﻳﺲ ،ﻓﺮﻧﺴــﺎ ،وﺑﻴﻨﺎﻟــﻲ "ﺟﺮﻳﺪ ﻛﻴﺐ ﺗــﺎون" ﻓــﻲ ﺟﻨــﻮب إﻓﺮﻳﻘﻴﺎ ،وﻓــﻦ أﺑﻮ ﻇﺒﻲ ﻓﻲ ﺟﺎﻟﻴــﺮي ﺣﺎﻓﻆ ،وﺑﻴﻨﺎﻟــﻲ "أوو" ﺗﺤﺖ ﻋﻨﻮان "ﺷــﻲء آﺧــﺮ" ،وﺻﺎﻟﻮن ا>ﻫــﺮام ﻟﻠﻔﻦ اﻟﺘﺸــﻜﻴﻠﻲ ،ودرب ،١٨ ١٧وﻛﻠﻬﺎ ﻓــﻲ اﻟﻘﺎﻫﺮة ،ﺑﺎ|ﺿﺎﻓﺔ إﻟــﻰ اﻟﺠﻨــﺎح اﻟﻤﺼــﺮي ﻓﻲ ﺑﻴﻨﺎﻟﻲ "داﻛﺎ آرت" ﻓﻲ اﻟﺴــﻨﻐﺎل .ﻧﺸــﺮت أﻋﻤﺎﻟــﻪ ﻓﻲ اﻟﻌﺪﻳﺪ ﻣــﻦ اﻟﻤﻄﺒﻮﻋــﺎت ﻓــﻲ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻤﻨﻄﻘﺔ .ﻛﻤﺎ أﺳــﺲ ﻣﺒﺎدرة "ﺗﻤﺸــﻴﺎت ﻳﻮم اﻟﺴــﺒﺖ"، وﻫــﻲ ﻣﺒــﺎدرة ﺗﺪﻋﻮ اﻟﻤﺸــﺎرﻛﻴﻦ إﻟﻰ اﺳﺘﻜﺸــﺎف أﺣﻴﺎء ﻣﺼــﺮ اﻟﻤﺨﺘﻠﻔﺔ ﻣﻦ ﺧــﻼل اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓــﻲ ﻟﻠﺸــﻮارع ،.ﻣــﻊ ﺗﻨﻈﻴــﻢ ﻋﺮض ﺟﻤﺎﻋﻲ ﺳــﻨﻮي ﻋﺎﺋﺪه ﻳﺨﺼــﺺ ﻟﺘﻄﻮﻳﺮ إﺣﺪى اﻟﻤﻨﺎﻃــﻖ اﻟﺘــﻲ ﺗﻤﺖ زﻳﺎرﺗﻬﺎ. ﻣﺤﻤــﺪ ﻧــﻮارة ﻫﻮ ﻣﺆﻟﻒ وﻣﻨﺘﺞ ﻣﻮﺳــﻴﻘﻲ ﺣﺎﺋــﺰ ﻋﻠﻰ ﺟﻮاﺋــﺰ ﻣﺘﻌﺪدة .درس اﻟﺘﻮزﻳﻊ اﻟﻤﻮﺳــﻴﻘﻲ واﻟﻤﻮﺳــﻴﻘﻰ اﻟﺘﺼﻮﻳﺮﻳــﺔ وﻫﻨﺪﺳــﺔ اﻟﺼﻮت ﻓﻲ ﻛﻠﻴــﺔ ﺑﻴﺮﻛﻠﻲ ﻟﻠﻤﻮﺳــﻴﻘﻰ ﻓــﻲ ﺑﻮﺳــﻄﻦ ﺑﺎﻟﻮﻻﻳﺎت اﻟﻤﺘﺤــﺪة ا>ﻣﺮﻳﻜﻴﺔ ،وﺣﻀﺮ ورﺷــﺔ ﻫﻮﻟﻴﻮود ﻟﻠﻤﻮﺳــﻴﻘﻰ ﻓﻲ ﺑــﺎدن ،اﻟﻨﻤﺴــﺎ .ﻗــﺎم ﺑﺘﺄﻟﻴﻒ اﻟﻤﻮﺳــﻴﻘﻰ وإﻧﺘﺎج ا>ﻏﺎﻧﻲ ﻟ ﻓﻼم واﻟﻤﺴــﺮﺣﻴﺎت اﻟﻤﻮﺳــﻴﻘﻴﺔ واﻟﻔﻌﺎﻟﻴــﺎت واﻟﺒﺮاﻣــﺞ اﻟﺘﻠﻴﻔﺰﻳﻮﻧﻴــﺔ ،ﺑﻤــﺎ ﻓﻲ ذﻟﻚ أﻏﺎﻧــﻲ اﻓﺘﺘﺎﺣﻴﺔ ﻣﻬﺮﺟﺎن ا|ﺳــﻜﻨﺪرﻳﺔ اﻟﺪوﻟــﻲ ﻟ ﻏﻨﻴــﺔ ) ،(٢٠١٨وﺣﻔــﻞ ﺗﻮزﻳﻊ ﺟﻮاﺋﺰ "دﻳﺮ ﺟﻴﺴــﺖ" اﻟﺴــﻨﻮي ) ،(٢٠١٨ﺑﺎ|ﺿﺎﻓﺔ إﻟﻰ اﻟﻤﻮﺳــﻴﻘﻰ اﻟﺨﺎﺻــﺔ ﺑﺎﻟﻘﻨــﺎة ا>وﻟﻰ وﻫــﻲ اﻟﻘﻨﺎة اﻟﺮﺳــﻤﻴﺔ ﻟﻠﺘﻠﻔﺰﻳــﻮن اﻟﻤﺼﺮي .ﻗﺎم ً أﻳﻀﺎ ﺑﺘﺄﻟﻴــﻒ اﻟﻤﻮﺳــﻴﻘﻰ ﻟـــﻔﻴﻠﻢ "ﺣﺎﺳــﺐ ﺗﺤﻠﻢ" ،وﻫﻮ ﻓﻴﻠــﻢ ﻗﺼﻴﺮ ﺳــﻴﺼﺪر ﻗﺮﻳﺒًﺎ ،ﻛﺬﻟﻚ ﻣﻮﺳــﻴﻘﻰ ﻓﻴﻠــﻢ ﻣــﻦ إﻧﺘــﺎج آرت دي أﺟﻴﺒــﺖ ﻟﺘﻜﺮﻳﻢ آدم ﺣﻨﻴــﻦ ) .(٢٠٢٠ﺣﺼﻞ ﻧﻮارة ﻋﻠﻰ ﺟﻮاﺋــﺰ ﻣــﻦ ﻛﻴﺎﻧــﺎت ﻣﺨﺘﻠﻔﺔ ﻣﺜﻞ اﻟﻤﺴــﺮح اﻟﻘﻮﻣﻲ ﻓــﻲ ﻣﺼﺮ ،وﻣﻄﺒﻮﻋﺎت "دﻳﺮ ﺟﻴﺴــﺖ"، ووزارة اﻟﺜﻘﺎﻓــﺔ اﻟﻤﺼﺮﻳــﺔ .وﻗﺪ أﺳــﺲ ﻧﻮارة ﻟﻠﻤﻮﺳــﻴﻘﻰ ،وﻫﻲ دار إﻧﺘــﺎج ﻣﺘﻜﺎﻣﻠﺔ ﻟﻠﻤﻮﺳــﻴﻘﻲ وﺳــﺘﻮدﻳﻮ ﺗﺴﺠﻴﻞ. ﻓﺎﻃﻤــﺔ ﺳــﻌﻴﺪ ﻟﻴﺴــﺖ ﻓﻘــﻂ ﻣﻦ أﻛﺜﺮ ﻣﻐﻨﻴﺎت اﻟﺴــﻮﺑﺮاﻧﻮ اﻟﺸــﺎﺑﺔ ﻓﻲ ﺟﻴﻠﻬــﺎ أﻫﻤﻴًﺔ ،ﺑﻞ ﺗﻤﻴــﺰت أﻳﻀــﺎ ﺑﺈﻧﺴــﺎﻧﻴﺘﻬﺎ ،ﻓﺒﻌــﺪ ﺣﺼﻮﻟﻬــﺎ ﻋﻠﻰ ﺑﻜﺎﻟﻮرﻳﻮس اﻟﻤﻮﺳــﻴﻘﻰ ﻣﻦ ﻣﺪرﺳــﺔ "ﻫﺎﻧﺰ إﻳﺴــﻠﺮ" ﻟﻠﻤﻮﺳــﻴﻘﻰ ﻓــﻲ ﺑﺮﻟﻴــﻦ ،ﺣﺼﻠــﺖ ﻋﻠﻰ ﻣﻨﺤﺔ دراﺳــﻴﺔ ﻓﻲ أﻛﺎدﻳﻤﻴﺔ "ﺗﻴﺎﺗﺮو أﻻ ﺳــﻜﺎﻻ" أداء ﻋﻠﻰ ذﻟﻚ اﻟﻤﺴــﺮح اﻟﺸــﻬﻴﺮ. ﻓــﻲ ﻣﻴﻼﻧــﻮ ،ﻟﺘﺼﺒــﺢ أول ﻣﻐﻨﻴﺔ ﺳــﻮﺑﺮاﻧﻮ ﻣﺼﺮﻳﺔ ﺗﻘﺪم ً ﺗﺸــﻤﻞ أﺑﺮز أﺣﺪاث ﻣﻮﺳــﻢ ٢٢/٢٠٢١ﻟﺴــﻌﻴﺪ ﻇﻬﻮرﻫﺎ ﻓﻲ ﺣﻔﻠﺔ ﻣﻮﺳــﻴﻘﻴﺔ ﻣﻊ أورﻛﺴــﺘﺮا ﻛﻠﻴﻔﻼﻧــﺪ ،ﺛــﻢ ﻣﻊ أورﻛﺴــﺘﺮا أﻟﻤﺎﻧﻴﺎ اﻟﺴــﻴﻤﻔﻮﻧﻲ ﻓــﻲ ﺑﺮﻟﻴﻦ ،وﻋﺮض "اﻟﻔﻠﻮت اﻟﺴــﺤﺮي" ﻓﻲ "أوﺑــﺮا دي روان" ،ﺑﺎ|ﺿﺎﻓــﺔ إﻟﻰ ﺣﻔﻼت ﻣﻮﺳــﻴﻘﻴﺔ ﻓﻲ "ﻛﻮﻧﺴــﻴﺮت ﺟﻴﺒﺎو" ﻓﻲ أﻣﺴــﺘﺮدام
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وﻗﺎﻋــﺔ "وﻳﺠﻤــﻮر" ﻓــﻲ ﻟﻨﺪن .ﻣﺜﻠــﺖ ﻓﺎﻃﻤﺔ ﺳــﻌﻴﺪ ﻣﺼﺮ ﻣﺮﺗﻴﻦ ﻓﻲ ا>ﻣــﻢ اﻟﻤﺘﺤﺪة ﻟﺘﺴــﻠﻴﻂ اﻟﻀــﻮء ﻋﻠــﻰ ﺣﻖ ا>ﻃﻔــﺎل ﻓﻲ اﻟﺘﻌﻠﻴﻢ واﻟﻜﺮاﻣﺔ ﻣﻦ ﺧﻼل اﻟﻤﻮﺳــﻴﻘﻰ ،وﺷــﺎرﻛﺖ ﻓــﻲ ﺣﻔــﻞ "ﻃﺮﻳــﻖ اﻟﺤﺮﻳﺮ" ٢٠١٨ﻓــﻲ ﻣﻌﺒﺪ ا>ﻗﺼــﺮ .ﺣﺼﻠﺖ ﻓﻲ ،٢٠١٦ﻋﻠﻰ ﺟﺎﺋــﺰة ﻓﺨﺮﻳﺔ ﻣﻦ اﻟﻤﺠﻠــﺲ اﻟﻘﻮﻣــﻲ ﻟﻠﻤــﺮأة ﻓــﻲ ﻣﺼﺮ ،وأﺻﺒﺤــﺖ أول ﻣﻐﻨﻴﺔ أوﺑﺮا ﻋﻠﻰ ا|ﻃــﻼق ﺗﺤﺼﻞ ﻋﻠﻰ ﺟﺎﺋــﺰة اﻟﺪوﻟــﺔ ﻟ¢ﺑــﺪاع ﺗﻘﺪﻳ ًﺮا |ﻧﺠﺎزﻫﺎ اﻟﻔﻨــﻲ اﻟﻤﺘﻤﻴﺰ .ﻛﻤــﺎ اﺧﺘﻴﺮت ﻣﺆﺧـ ًﺮا ﻛﺄﻓﻀﻞ ﻧﺠﻢ ﺟﺪﻳــﺪ ﻓــﻲ ﻣﺠﻠﺔ "ﺑﻲ ﺑﻲ ﺳــﻲ" ﻟﻠﻤﻮﺳــﻴﻘﻰ ،وﻓﺎزت ﺑﺠﺎﺋﺰة "أوﺑﺲ ﻛﻼﺳــﻴﻚ" اﻟﺴــﻨﻮﻳﺔ ﻟﺸــﺒﺎب اﻟﻔﻨﺎﻧﻴــﻦ ﻋــﻦ أﻟﺒﻮم "اﻟﻨﻮر" ،وﻫــﻮ أﻟﺒﻮﻣﻬﺎ ا>ول ﻣﻊ "وارﻧﺮ ﻛﻼﺳــﻴﻜﺲ".
ART D’ÉGYPTE
CONCEPTUAL ART DOCUMENTARY
FEATURED ARTISTS
Abdel Hadi Al Gazzar (1925–1966) is considered one of the most important Egyptian artists of the post-war period. Born in Alexandria, he grew up in Historic Cairo surrounded by urban religious traditions and mystical imagery which profoundly influenced his work. In 1946, he joined the Contemporary Art Group founded by Egyptian intellectual Hussein Youssef Amin, and in 1964, received the Medal of Arts and Sciences and the National Encouragement Prize for his painting The High Dam. In spite of his short life, his distinctive style continues to influence new artists and his works have been acquired by prominent international museums. Adam Henein (1929–2020) is considered one of the most prominent contemporary sculptors of the Arab world, contributing greatly to Egypt’s cultural landscape over seven decades and winning many international accolades. He was eight years old when he discovered the Egyptian Museum, an event he would later describe as a turning point in his life. Even as a child, he immediately saw a way to transform concepts of the ancient past into timeless totems for the current age – beginning with a sculpture of the pharaoh Ramses II that he reproduced in clay. He established the annual Aswan International Sculpture Symposium, and in 2014, his eponymous museum was inaugurated in Giza. Ahmed Askalany (b. 1978) is a sculptor whose work shows an explicit connection with traditional materials and craft methods associated with the ancient cultures of Egypt. By doing so, his work challenges the very boundaries associated with the notion of what is perceived as arts and crafts and manages to respond and contribute to the complexity of contemporary artistic practice. Over his career, he has taken part in several international exhibitions in Egypt, France, Italy, and the Netherlands. His work was displayed at the 4th Rome and Mediterranean Countries Biennale, Sarajevo, Bosnia in 2011, and he also represented Egypt at the 2009 Venice Biennale. 84
Effat Naghi (1905–1994) is considered a pioneer among Egyptian female artists. Initially self-taught, she later studied painting at the Academy of Fine Arts in Rome. Her art came of age after the 1952 revolution, and the progression of various influences on her style can be seen in her work over the decades of her activity. She experimented with material, wood, collage, and leather, often incorporating amulets and found items. She was preoccupied with the idea that an object loses its cultural significance once removed from its original location, and in much of her work, relied on the mystical symbolism in ancient Egyptian, Coptic, and folk art.
FOREVER IS NOW
ﻋﻤﻞ ﻓﻨــﻲ ﺗﺼﻮري وﺛﺎﺋﻘﻲ
ﻋﺮض أﻋﻤﺎل
ﻋﺒــﺪ اﻟﻬــﺎدي اﻟﺠــﺰار ) (١٩٦٦-١٩٢٥ﻳﻌﺘﺒﺮ ﻣﻦ أﻫــﻢ اﻟﻔﻨﺎﻧﻴــﻦ اﻟﻤﺼﺮﻳﻴﻦ ﻓﻲ ً ﻣﺤﺎﻃﺎ ﻓﺘــﺮة ﻣــﺎ ﺑﻌﺪ اﻟﺤﺮب .وﻟﺪ ﻓﻲ ا|ﺳــﻜﻨﺪرﻳﺔ ،وﻧﺸــﺄ ﻓــﻲ اﻟﻘﺎﻫــﺮة اﻟﺘﺎرﻳﺨﻴﺔ ﺑﺎﻟﺘﻘﺎﻟﻴــﺪ اﻟﺪﻳﻨﻴــﺔ واﻟﺼــﻮر اﻟﺼﻮﻓﻴــﺔ اﻟﺘﻲ أﺛــﺮت ﺑﻌﻤﻖ ﻋﻠــﻰ أﻋﻤﺎﻟﻪ .ﻓﻲ ﻋﺎم ،١٩٤٦ اﻧﻀــﻢ إﻟــﻰ ﺟﻤﺎﻋــﺔ اﻟﻔﻦ اﻟﻤﻌﺎﺻﺮ اﻟﺘﻲ أﺳﺴــﻬﺎ اﻟﻤﻔﻜﺮ اﻟﻤﺼﺮي ﺣﺴــﻴﻦ ﻳﻮﺳــﻒ أﻣﻴــﻦ ،وﺣﺼــﻞ ﻓﻲ ﻋﺎم ١٩٦٤ﻋﻠﻰ وﺳــﺎم اﻟﻔﻨﻮن واﻟﻌﻠــﻮم وﺟﺎﺋﺰة اﻟﺪوﻟﺔ اﻟﺘﺸــﺠﻴﻌﻴﺔ ﻋــﻦ ﻟﻮﺣﺘــﻪ "اﻟﺴــﺪ اﻟﻌﺎﻟﻲ" .وﻋﻠــﻰ اﻟﺮﻏﻢ ﻣﻦ ﺣﻴﺎﺗــﻪ اﻟﻘﺼﻴﺮة ،إﻻ أن أﺳــﻠﻮﺑﻪ اﻟﻤﻤﻴــﺰ ﻣــﺎ زال ﻳﺆﺛﺮ ﻓــﻲ أﻋﻤﺎل اﻟﻔﻨﺎﻧﻴــﻦ اﻟﺠﺪد .وﻗﺪ ﺗــﻢ اﻗﺘﻨﺎء أﻋﻤﺎﻟﻪ ﻣﻦ ﻗﺒــﻞ اﻟﻤﺘﺎﺣــﻒ اﻟﻌﺎﻟﻤﻴﺔ اﻟﺒﺎرزة. آدم ﺣﻨﻴــﻦ ) (٢٠٢٠-١٩٢٩ﻳﻌﺘﺒــﺮ أﺣــﺪ أﺑــﺮز اﻟﻨﺤﺎﺗﻴــﻦ اﻟﻤﻌﺎﺻﺮﻳﻦ ﻓــﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑــﻲ ،وﻗــﺪ ﺳــﺎﻫﻢ ﺑﺸــﻜﻞ ﻛﺒﻴﺮ ﻓــﻲ اﻟﻤﺸــﻬﺪ اﻟﺜﻘﺎﻓﻲ اﻟﻤﺼــﺮي ﻋﻠﻰ ﻣﺪى ﺳــﺒﻌﺔ ﻋﻘــﻮد ،وﻓــﺎز ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ ا>وﺳــﻤﺔ اﻟﺪوﻟﻴﺔ .اﻛﺘﺸــﻒ اﻟﻤﺘﺤــﻒ اﻟﻤﺼﺮي ً ﻻﺣﻘﺎ ﺑﺄﻧــﻪ ﻧﻘﻄﺔ ﺗﺤﻮل ﺣﻴــﻦ ﻛﺎن ﻓــﻲ اﻟﺜﺎﻣﻨــﺔ ﻣــﻦ ﻋﻤــﺮه ،وﻫﻮ ﺣﺪث وﺻﻔــﻪ ﻓــﻲ ﺣﻴﺎﺗــﻪ .ﻓﻘــﺪ رأى ﻋﻠــﻰ اﻟﻔﻮر ﺣﺘــﻰ وﻫﻮ ﻃﻔــﻞ ﺻﻐﻴﺮ ﻃﺮﻳﻘــﺔ ﻟﺘﺤﻮﻳﻞ ﺑﺪء ا ﻣــﻦ ﺗﻤﺜﺎل ﻣﻔﺎﻫﻴــﻢ اﻟﻤﺎﺿــﻲ اﻟﻘﺪﻳــﻢ إﻟــﻰ رﻣــﻮز ﺧﺎﻟﺪة ﻟﻠﻌﺼــﺮ اﻟﺤﺎﻟﻲً ، اﻟﻤﻠــﻚ رﻣﺴــﻴﺲ اﻟﺜﺎﻧــﻲ اﻟﺬي أﻋــﺎد ﺻﻨﺎﻋﺘﻪ ﻣﻦ اﻟﻄﻴﻦ .أﺳــﺲ ﺳــﻤﺒﻮزﻳﻮم أﺳــﻮان اﻟﺪوﻟــﻲ ﻟﻠﻨﺤــﺖ اﻟﺬي ﻳﻘﺎم ﺳــﻨﻮ ﻳًﺎ ،وﻋﺎم ٢٠١٤ﺗــﻢ اﻓﺘﺘﺎح ﻣﺘﺤــﻒ ﻳﺤﻤﻞ أﺳــﻤﻪ ﺑﺎﻟﺠﻴﺰة. واﺿﺤﺔ ﺑﺎﻟﻤﻮاد أﺣﻤــﺪ ﻋﺴــﻘﻼﻧﻲ )ﻣﻮاﻟﻴــﺪ (١٩٧٨ﻧﺤﺎت ُﺗﻈﻬــﺮ أﻋﻤﺎﻟﻪ ﺻﻠــﺔ ً وا>ﺳــﺎﻟﻴﺐ اﻟﺤﺮﻓﻴــﺔ اﻟﺘﻘﻠﻴﺪﻳــﺔ اﻟﻤﺮﺗﺒﻄــﺔ ﺑﺎﻟﺜﻘﺎﻓــﺎت اﻟﻤﺼﺮﻳــﺔ اﻟﻘﺪﻳﻤﺔ .وﺑﺬﻟﻚ، ﺗﺘﺤــﺪى أﻋﻤﺎﻟــﻪ ﺗﻠــﻚ اﻟﺤــﺪود اﻟﻤﺮﺗﺒﻄﺔ ﺑﻤﻔﻬﻮم ﻣــﺎ ﻳُﻨﻈﺮ إﻟﻴــﻪ ﻋﻠﻰ أﻧﻪ ﻓﻨﻮن وﺣــﺮف ،وﻳﺘﻤﻜﻦ ﻣﻦ اﻻﺳــﺘﺠﺎﺑﺔ واﻟﻤﺴــﺎﻫﻤﺔ ﻓﻲ اﻟﻤﻤﺎرﺳــﺎت اﻟﻔﻨﻴــﺔ اﻟﻤﻌﺎﺻﺮة. ﺷــﺎرك ﺧــﻼل ﻣﺴــﻴﺮﺗﻪ اﻟﻤﻬﻨﻴﺔ ﻓﻲ اﻟﻌﺪﻳــﺪ ﻣﻦ اﻟﻤﻌــﺎرض اﻟﺪوﻟﻴﺔ ﻓﻲ ﻣﺼﺮ، وﻓﺮﻧﺴــﺎ ،وإﻳﻄﺎﻟﻴــﺎ ،وﻫﻮﻟﻨــﺪا ،وﻋُ ﺮﺿــﺖ أﻋﻤﺎﻟﻪ ﻓــﻲ ﺑﻴﻨﺎﻟﻲ روﻣــﺎ وﺑﻴﻨﺎﻟﻲ دول اﻟﺒﺤﺮ ا>ﺑﻴــﺾ اﻟﻤﺘﻮﺳــﻂ اﻟﺮاﺑﻊ ،وﻛﺬﻟﻚ ﺳــﺮاﻳﻴﻔﻮ ﺑﺎﻟﺒﻮﺳــﻨﺔ ﻋﺎم ،٢٠١١ﻛﻤــﺎ ﻣﺜﻞ ﻣﺼﺮ ﻓــﻲ ﺑﻴﻨﺎﻟــﻲ اﻟﺒﻨﺪﻗﻴﺔ .٢٠٠٩
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ﻋﻔــﺖ ﻧﺎﺟــﻲ ) (١٩٩٤-١٩٠٥ﺗﻌﺘﺒﺮ ﻣــﻦ اﻟﻔﻨﺎﻧــﺎت اﻟﻤﺼﺮﻳﺎت اﻟﺮاﺋــﺪات .ﻋﻠﻤﺖ ﻧﻔﺴــﻬﺎ ﺑﻨﻔﺴــﻬﺎ ﻓــﻲ اﻟﺒﺪاﻳﺔ ،ﺛﻢ درﺳــﺖ اﻟﺮﺳــﻢ ﻓﻲ أﻛﺎدﻳﻤﻴــﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠــﺔ ﺑﺮوﻣــﺎ .ﻧﻀــﺞ ﻓﻨﻬــﺎ ﺑﻌــﺪ ﺛﻮرة ،١٩٥٢ﺣﻴــﺚ ﻳﻤﻜــﻦ ﻣﻼﺣﻈﺔ ﺗﻄﻮر اﻟﺘﺄﺛﻴــﺮات اﻟﻤﺨﺘﻠﻔــﺔ ﻋﻠــﻰ أﺳــﻠﻮب أﻋﻤﺎﻟﻬــﺎ ﻋﻠﻰ ﻣــﺪى ﻋﻘﻮد ﻣﻦ ﻧﺸــﺎﻃﻬﺎ .ﻟﻘﺪ ﺟﺮﺑــﺖ ﻣــﻮادً ا ﻣﺨﺘﻠﻔــﺔ ﻣﺜﻞ اﻟﺨﺸــﺐ ،واﻟﻜــﻮﻻج ،واﻟﺠﻠﺪ ،واﻧﺸــﻐﻠﺖ ﺑﻔﻜﺮة أن اﻟﺸــﻲء ﻳﻔﻘــﺪ أﻫﻤﻴﺘــﻪ اﻟﺜﻘﺎﻓﻴــﺔ ﺑﻤﺠــﺮد إزاﻟﺘﻪ ﻣــﻦ ﻣﻮﻗﻌﻪ ا>ﺻﻠــﻲ ،واﻋﺘﻤﺪت ﻓــﻲ اﻟﻜﺜﻴــﺮ ﻣــﻦ أﻋﻤﺎﻟﻬــﺎ ﻋﻠﻰ اﻟﺮﻣﺰﻳــﺔ اﻟﺼﻮﻓﻴﺔ ﻓــﻲ اﻟﻔﻦ اﻟﻤﺼــﺮي واﻟﻘﺒﻄﻲ واﻟﻔﻠﻜﻠــﻮري اﻟﻘﺪﻳﻢ.
ART D’ÉGYPTE
CONCEPTUAL ART DOCUMENTARY Ghada Amer (b. 1963) is a contemporary artist who is redefining the medium of painting, long the province of men and from which women have traditionally been excluded. Her practice addresses questions of the masculine and the feminine, East and West, art and craft. She is especially known for her highly layered embroidered paintings of women's bodies. In addition to her signature embroidered painted canvases, Ghada Amer has expanded her artistic practice to include large outdoor garden installations, ceramics, and bronze sculpture. She currently lives and works between New York, France, and Egypt and has exhibited at many international biennales, exhibitions, and museums. Hany Rashed (b. 1975) is a self-taught artist currently living and working in Cairo. By experimenting with a wide range of techniques, such as collage, monotype, painting, and sculpture, he continuously reinvents himself and his work. His predilection for the use of media images in his earlier work has pushed the audience to recognize the banality and the damage caused by excessive exposure to Western media, highlighting the depersonalization of the individual. He explores with much irony the multiple facets of Egyptian life, and his gypsum vehicles re-enact the jumbled chaos of Cairo, the hubbub of the city, and thus the voices of the people. Hamed Abdalla (1917–1985) is a pioneer of Egyptian and Arab modernism. A self-taught artist from a modest Upper-Egyptian family, his work centred on the development of what he called the ‘Creative Word’, written words expressed in paint, blending abstraction and human forms. After a solo show at Cairo's Museum of Modern Art (1949), critics considered his work as falling under a new school of Egyptian art. From the mid-1950s onwards, he exhibited throughout Europe, the US, the Arab region, and Asia, including a group show at the Metropolitan Museum in New York (1956). Today, his works hang in many of the world’s leading museums. Hazem El Mestikawy (b. 1965) is a Swiss-Egyptian artist. He received his BA in Art Education from Minya University and worked in Egypt until he was awarded an art residency in Switzerland in 1994. Since then, he has been travelling and showing his works in Europe and all over the world. Between 1998 and 2014, he split his time between Switzerland and Austria before finally moving back to Egypt. He currently lives and works between Cairo and Alexandria and has participated in numerous group and solo shows since 1989 in countries including Egypt, Switzerland, Austria, Germany, Japan, Qatar, and the UAE. 86
Huda Lutfi (b. 1947) is a cultural historian and a self-taught artist. An Associate Professor at the American University, Cairo, she holds a PhD in Islamic Culture and History. Her artistic practice is closely aligned with her research, both of which reflect upon history and traditions as they exist in the contemporary world. In considering the present-day interpretations and misinterpretations of the past, she investigates the human psyche as it relates to remembrance. The human figure has always been an essential part of her language, and her practice has always been in conversation with a larger political context – by Sara Eladl. FOREVER IS NOW
ﻋﻤﻞ ﻓﻨــﻲ ﺗﺼﻮري وﺛﺎﺋﻘﻲ ﻏــﺎدة ﻋﺎﻣــﺮ )ﻣﻮاﻟﻴــﺪ (١٩٦٣ﻓﻨﺎﻧــﺔ ﻣﻌﺎﺻﺮة ﺗﻌﻴﺪ ﺗﻌﺮﻳﻒ وﺳــﻴﻂ اﻟﺮﺳــﻢ واﻟﺬي ﻃﺎﻟﻤــﺎ ﻛﺎن ﻣﻘﺼــﻮ رًا ﻋﻠــﻰ اﻟﺮﺟــﺎل ،وﺗﻢ اﺳــﺘﺒﻌﺎد اﻟﻨﺴــﺎء ﻣﻨــﻪ ﻟﻔﺘﺮة ﻃﻮﻳﻠــﺔ .ﺗﺘﻨﺎول أﻋﻤﺎﻟﻬــﺎ ﻣﺴــﺎﺋﻞ اﻟﻤﺬﻛــﺮ واﻟﻤﺆﻧــﺚ ،واﻟﺸــﺮق واﻟﻐﺮب ،واﻟﻔــﻦ واﻟﺤﺮﻓﺔ .وﻫﻲ ﻣﻌﺮوﻓــﺔ ﺑﺸــﻜﻞ ﺧــﺎص ﺑﻠﻮﺣﺎﺗﻬــﺎ اﻟﻤﻄــﺮزة ذات اﻟﻄﺒﻘﺎت اﻟﻤﺘﻌﺪدة >ﺟﺴــﺎد اﻟﻨﺴــﺎء .وﻗــﺪ وﺳــﻌﺖ ﻏﺎدة ﻋﺎﻣــﺮ ﻣﻤﺎرﺳــﺎﺗﻬﺎ اﻟﻔﻨﻴﺔ ﻟﺘﺸــﻤﻞ ﺗﺸــﻜﻴﻼت ﻛﺒﻴﺮة اﻟﺤﺠــﻢ ﻓــﻲ اﻟﻔــﺮاغ ﻓــﻲ اﻟﺤﺪاﺋﻖ ،وﻣﻨﺤﻮﺗــﺎت ﺧﺰﻓﻴــﺔ ،وﺗﻤﺎﺛﻴﻞ ﺑﺮوﻧﺰﻳــﺔ ﺑﺎ|ﺿﺎﻓﺔ إﻟــﻰ اﻟﻠﻮﺣــﺎت اﻟﻤﻄــﺮزة واﻟﻤﻤﻴــﺰة |ﻋﻤﺎﻟﻬــﺎ .ﺗﻌﻴﺶ وﺗﻌﻤــﻞ ﺣﺎﻟﻴًﺎ ﺑﻴــﻦ ﻧﻴﻮﻳﻮرك وﻓﺮﻧﺴــﺎ وﻣﺼــﺮ ،وﻗﺪ ﻋﺮﺿــﺖ أﻋﻤﺎﻟﻬﺎ ﻓــﻲ اﻟﻌﺪﻳﺪ ﻣــﻦ اﻟﺒﻴﻨﺎﻟﻴــﺎت واﻟﻤﻌﺎرض واﻟﻤﺘﺎﺣــﻒ اﻟﺪوﻟﻴﺔ. ﻫﺎﻧــﻲ راﺷــﺪ )ﻣﻮاﻟﻴﺪ (١٩٧٥ﻓﻨﺎن ﻋﻠﻢ ﻧﻔﺴــﻪ ﺑﻨﻔﺴــﻪ ،ﻳﻌﻴــﺶ وﻳﻌﻤﻞ ﺣﺎﻟﻴًﺎ ﺑﺎﻟﻘﺎﻫــﺮة .ﻳﻌﻴــﺪ راﺷــﺪ اﺑﺘــﻜﺎر ذاﺗﻪ وﻋﻤﻠﻪ ﺑﺎﺳــﺘﻤﺮار ﻣﻦ ﺧﻼل ﺗﺠﺮﺑــﺔ ﻣﺠﻤﻮﻋﺔ واﺳــﻌﺔ ﻣــﻦ اﻟﺘﻘﻨﻴــﺎت ،ﻣﺜﻞ اﻟﻜﻮﻻج ،واﻟﻤﻮﻧﻮﺗﺎﻳﺐ ،واﻟﺮﺳــﻢ ،واﻟﻨﺤﺖ .اﺳــﺘﺨﺪم اﻟﺼــﻮر ا|ﻋﻼﻣﻴــﺔ ﻓﻲ أﻋﻤﺎﻟــﻪ اﻟﻤﺒﻜﺮة ،ﻣﻤﺎ دﻓــﻊ اﻟﺠﻤﻬﻮر إﻟــﻰ اﻟﺘﻌﺮف ﻋﻠﻰ اﻟﺘﻔﺎﻫــﺔ واﻟﻀــﺮر اﻟﻨﺎﺟﻢ ﻋــﻦ اﻟﺘﻌﺮض اﻟﻤﻔﺮط ﻟﻮﺳــﺎﺋﻞ ا|ﻋﻼم اﻟﻐﺮﺑﻴﺔ وﺗﺴــﻠﻴﻂ اﻟﻀــﻮء ﻋﻠــﻰ ﺗﺒﺪد ﺷــﺨﺼﻴﺔ اﻟﻔﺮد .ﻳﺴﺘﻜﺸــﻒ ﺑﺴــﺨﺮﻳﺔ ا>وﺟﻪ اﻟﻤﺘﻌــﺪدة ﻟﻠﺤﻴﺎة اﻟﻤﺼﺮﻳــﺔ ،وﺗﻌﻴــﺪ ﻣﺮﻛﺒﺎﺗــﻪ اﻟﺠﺒﺴــﻴﺔ ﺗﻤﺜﻴﻞ اﻟﻔﻮﺿﻰ ﻏﻴــﺮ اﻟﻤﺘﻨﺎﻏﻤــﺔ ﻓﻲ اﻟﻘﺎﻫﺮة، وﺻﺨــﺐ اﻟﻤﺪﻳﻨــﺔ ،وﺑﺎﻟﺘﺎﻟﻲ أﺻﻮات اﻟﻨﺎس. ﺣﺎﻣﺪ ﻋﺒﺪ ا ،(١٩٨٥-١٩١٧) hوﻫﻮ ﻣﻦ رواد ﺣﺮﻛﺔ اﻟﺤﺪاﺛﺔ اﻟﻤﺼﺮﻳﺔ واﻟﻌﺮﺑﻴﺔ ،ﻣﻦ ﻋﺎﺋﻠﺔ ﻣﺘﻮاﺿﻌﺔ ﻓﻲ ﺻﻌﻴﺪ ﻣﺼﺮ وﻗﺪ ﻋﻠﻢ ﻧﻔﺴﻪ ﺑﻨﻔﺴﻪّ . ﺗﺮﻛﺰ ﻋﻤﻠﻪ ﻋﻠﻰ ﺗﻄﻮﻳﺮ ﻣﺎ أﺳﻤﺎه وﻣﺎزﺟﺎ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﺘﺠﺮﻳﺪ ﺑﺎ>ﺷﻜﺎل "اﻟﻜﻠﻤﺔ ا|ﺑﺪاﻋﻴﺔ" ،ﻛﻠﻤﺎت ﻣﻜﺘﻮﺑﺔ ﺑﺎ>ﺻﺒﺎغ، ً اﻟﺒﺸﺮﻳﺔ .اﻋﺘﺒﺮ اﻟﻨﻘﺎد أﻋﻤﺎﻟﻪ ﺑﺈﻧﻬﺎ ﺗﻨﺪرج ﺗﺤﺖ ﻣﺪرﺳﺔ ﺟﺪﻳﺪة ﻣﻦ اﻟﻔﻦ اﻟﻤﺼﺮي وذﻟﻚ ﺑﻌﺪ ﻣﻌﺮض ﻓﺮدي ﻓﻲ ﻣﺘﺤﻒ اﻟﻔﻦ اﻟﺤﺪﻳﺚ ﺑﺎﻟﻘﺎﻫﺮة ﻋﺎم .١٩٤٩ﻋﺮﺿﺖ أﻋﻤﺎﻟﻪ ﻣﻦ ﻣﻨﺘﺼﻒ اﻟﺨﻤﺴﻴﻨﻴﺎت ﻓﺼﺎﻋﺪً ا ﻓﻲ ﺟﻤﻴﻊ أﻧﺤﺎء أوروﺑﺎ واﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة واﻟﻤﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ وآﺳﻴﺎ ،ﺑﻤﺎ ﻓﻲ ذﻟﻚ ﻣﻌﺮض ﺟﻤﺎﻋﻲ ﻓﻲ ﻣﺘﺤﻒ ﻣﺘﺮوﺑﻮﻟﻴﺘﺎن ﺑﻨﻴﻮﻳﻮرك ﻋﺎم ،١٩٥٦وﺗﻌﺮض أﻋﻤﺎﻟﻪ اﻟﻴﻮم ﻓﻲ اﻟﻌﺪﻳﺪ ﻣﻦ ﻣﺘﺎﺣﻒ اﻟﻌﺎﻟﻢ اﻟﻬﺎﻣﺔ. ﺣــﺎزم اﻟﻤﺴــﺘﻜﺎوي )ﻣﻮاﻟﻴــﺪ (١٩٦٥ﻓﻨــﺎن ﻣﺼﺮي – ﺳﻮﻳﺴــﺮي ،ﺣﺼﻞ ﻋﻠﻰ درﺟﺔ اﻟﺒﻜﺎﻟﻮرﻳــﻮس ﻓــﻲ اﻟﺘﺮﺑﻴــﺔ اﻟﻔﻨﻴــﺔ ﻣﻦ ﺟﺎﻣﻌــﺔ اﻟﻤﻨﻴﺎ وﻋﻤﻞ ﻓﻲ ﻣﺼــﺮ ﺣﺘﻰ ﺣﺼﻞ ﻋﻠــﻰ إﻗﺎﻣــﺔ ﻓﻨﻴﺔ ﻓﻲ ﺳﻮﻳﺴــﺮا ﻋﺎم .١٩٩٤ﺳــﺎﻓﺮ ﻣﻦ ذﻟﻚ اﻟﺤﻴــﻦ وﻋﺮض أﻋﻤﺎﻟﻪ ﻓــﻲ أوروﺑــﺎ وﺟﻤﻴﻊ أﻧﺤــﺎء اﻟﻌﺎﻟﻢ .ﻗﺎم ﺑﻴــﻦ ﻋﺎﻣﻲ ١٩٩٨و ،٢٠١٤ﺑﺘﻘﺴــﻴﻢ وﻗﺘﻪ ﺑﻴﻦ ﺳﻮﻳﺴــﺮا واﻟﻨﻤﺴــﺎ ﻗﺒــﻞ أن ﻳﻌﻮد أﺧﻴـ ًﺮا إﻟﻰ ﻣﺼﺮ .ﻳﻌﻴــﺶ وﻳﻌﻤﻞ ﺣﺎﻟ ًﻴــﺎ ﺑﻴﻦ اﻟﻘﺎﻫﺮة وا|ﺳــﻜﻨﺪرﻳﺔ ،وﻗﺪ ﺷــﺎرك ﻓــﻲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻌــﺎرض اﻟﺠﻤﺎﻋﻴــﺔ واﻟﻔﺮدﻳﺔ ﻣﻨﺬ ﻋــﺎم ١٩٨٩ﻓــﻲ دول ﻣﺨﺘﻠﻔــﺔ ﻣﺜﻞ ﻣﺼﺮ وﺳﻮﻳﺴــﺮا واﻟﻨﻤﺴــﺎ وأﻟﻤﺎﻧﻴــﺎ واﻟﻴﺎﺑﺎن وﻗﻄﺮ وا|ﻣﺎرات اﻟﻌﺮﺑﻴــﺔ اﻟﻤﺘﺤﺪة.
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ﻫــﺪى ﻟﻄﻔــﻲ )ﻣﻮاﻟﻴــﺪ ،(١٩٤٧وﻫﻲ ﻣﺆرﺧــﺔ ﺛﻘﺎﻓﻴﺔ وﻓﻨﺎﻧﺔ ﻋﻠﻤﺖ ﻧﻔﺴــﻬﺎ ﺑﻨﻔﺴــﻬﺎ، وﻫﻲ ﺗﻌﻤﻞ أﺳــﺘﺎذة ﻣﺸــﺎرﻛﺔ ﻓــﻲ اﻟﺠﺎﻣﻌــﺔ ا>ﻣﺮﻳﻜﻴﺔ ﺑﺎﻟﻘﺎﻫــﺮة ،وﺣﺎﺻﻠﺔ ﻋﻠﻰ ً ارﺗﺒﺎﻃﺎ درﺟــﺔ اﻟﺪﻛﺘــﻮراه ﻓــﻲ اﻟﺜﻘﺎﻓﺔ ا|ﺳــﻼﻣﻴﺔ واﻟﺘﺎرﻳﺦ .ﺗﺮﺗﺒــﻂ ﻣﻤﺎرﺳــﺘﻬﺎ اﻟﻔﻨﻴﺔ ً وﺛﻴﻘــﺎ ﺑﺄﺑﺤﺎﺛﻬــﺎ ،وﻛﻼﻫﻤــﺎ ﻳﻨﻌﻜﺴــﺎن ﻋﻠﻰ اﻟﺘﺎرﻳــﺦ واﻟﺘﻘﺎﻟﻴــﺪ ﻛﻤﺎ ﻳﻮﺟﺪان ﻓﻲ اﻟﻌﺎﻟــﻢ اﻟﻤﻌﺎﺻــﺮ .ﺗﺒﺤــﺚ ﻓــﻲ اﻟﻨﻔﺲ اﻟﺒﺸــﺮﻳﺔ وﺻﻠﺘﻬﺎ ﺑﺎﻟﺘﺬﻛــﺮ ،وذﻟﻚ ﻋﻨﺪ ا>ﺧﺬ ﻓــﻲ اﻻﻋﺘﺒــﺎر ﺗﺄوﻳــﻼت اﻟﻮﻗﺖ اﻟﺤﺎﺿﺮ وإﺳــﺎءة ﺗﻔﺴــﻴﺮ اﻟﻤﺎﺿﻲ ،ﻓﻠﻄﺎﻟﻤﺎ ﻛﺎن اﻟﺸــﻜﻞ ـﺰءا أﺳﺎﺳـﻴًﺎ ﻣﻦ ﻟﻐﺘﻬــﺎ ،ﻛﻤﺎ ﻛﺎﻧﺖ ﻣﻤﺎرﺳــﺘﻬﺎ اﻟﻔﻨﻴــﺔ ﻓﻲ ﺣﻮار داﺋﻢ ﻣﻊ ا9دﻣــﻲ ﺟـ ً ﺳــﻴﺎق ﺳﻴﺎﺳــﻲ أﻛﺒﺮ – ﺑﻘﻠﻢ ﺳــﺎرة اﻟﻌﺪل.
ART D’ÉGYPTE
CONCEPTUAL ART DOCUMENTARY Ibrahim Khatab (b. 1984) is an Egyptian artist living and working in Cairo. His main interest lies in mixing between painting, video art, and installation. He started his career at the age of 12 as a street billboard painter and later developed a passion for Arabic calligraphy, which has been a significant element of his work ever since. He received a PhD in calligraphy from Cairo University in 2018. Inji Efflatoun (1924–1989) was born in Cairo into a wealthy family. She started painting very early on and, from the age of fifteen, took classes with Kamel elTelmissany, who introduced her to the ‘Art et Liberté’ (Art and Freedom) movement, a group of artists and intellectuals who pioneered the surrealist creative process in Egypt. Her paintings were strongly inspired by the social reality of the people of the Egyptian working class, with a special focus on women and their daily struggle. Her works can be found in her permanent collection at Amir Taz Palace in Historic Cairo and in prominent museum collections abroad. Mahmoud Saïd (1897–1964) is regarded as the father of Egyptian modern art. Born into an aristocratic family in Alexandria, he studied law at the behest of his family but eventually gave up his career to become a full-time artist. He received training from Italian artists Amelia Casonato Da Forno and Arturo Zaniere in Alexandria, before continuing his training in France. Over the course of his career, he forged his own unique style deeply rooted in the true Egyptian character and daily life he observed around him. He received both local and global acclaim, exhibiting his paintings in Cairo, Paris and at several instalments of the Venice Biennale. Mohamed Naghi (1888–1956) is a key pioneer of Egyptian modern art. He initially studied law in Lyon and then trained at the Academy of Fine Arts in Florence. He worked as a cultural attaché in Rome and later managed the Egyptian Academy of Fine Arts there. He also directed Egypt’s Museum of Modern Art and established Alexandria’s first modern painting school. In 1968, an eponymous museum dedicated to his artwork was inaugurated in the Giza district of Cairo. He believed in the social mission of art; in his paintings he portrayed Egyptians with all their ethnic variety and continuously tried to bridge the gap with his ancestors. 88
Seif Wanly (1906–1979) was an Egyptian painter born into an aristocratic family of Turkish origin in Alexandria, Egypt. After studying at the studio of the Italian artist Ottorino Bicchi, he set up his own studio with his brother Adham Wanly in 1942. Together they participated in more than 17 exhibitions, notably the biennales of Venice and São Paulo. Today an entire floor of the Mahmoud Saïd Museum in Alexandria is dedicated to their work, and it has also been acquired by numerous international museums, most notably Mathaf: Arab Museum of Modern Art in Doha and Darat Al Funoon in Amman.
FOREVER IS NOW
ﻋﻤﻞ ﻓﻨــﻲ ﺗﺼﻮري وﺛﺎﺋﻘﻲ إﺑﺮاﻫﻴــﻢ ﺧﻄــﺎب )ﻣﻮاﻟﻴــﺪ (١٩٨٤ﻓﻨﺎن ﻣﺼــﺮي ﻳﻌﻴﺶ وﻳﻌﻤــﻞ ﺑﺎﻟﻘﺎﻫﺮة. ﻳﻜﻤــﻦ اﻫﺘﻤﺎﻣــﻪ ا>ﺳﺎﺳــﻲ ﻓﻲ اﻟﻤﺰج ﺑﻴﻦ اﻟﺮﺳــﻢ وﻓــﻦ اﻟﻔﻴﺪﻳﻮ واﻟﺘﺸــﻜﻴﻞ ﻓــﻲ اﻟﻔــﺮاغ )اﻻﻧﺴﺘﻠﻴﺸــﻦ( .ﺑــﺪأ ﺣﻴﺎﺗﻪ اﻟﻤﻬﻨﻴﺔ ﻓﻲ ﺳــﻦ اﻟﺜﺎﻧﻴﺔ ﻋﺸــﺮة ﻛﺮﺳــﺎم ً ﻻﺣﻘــﺎ ﺑﺎﻟﺨﻂ اﻟﻌﺮﺑــﻲ اﻟﺬي أﺻﺒﺢ ﻟﻮﺣــﺎت إﻋﻼﻧﻴــﺔ ﻓﻲ اﻟﺸــﻮارع ،وﻃﻮر ﺷــﻐﻔﻪ ﻣﻬﻤــﺎ ﻓــﻲ ﻋﻤﻠــﻪ ﻣﻨــﺬ ذﻟﻚ اﻟﺤﻴــﻦ .ﺣﺼﻞ ﻋﻠﻰ درﺟــﺔ اﻟﺪﻛﺘﻮراه ﻓﻲ ﻋﻨﺼـ ًﺮ ا ً اﻟﺨــﻂ ﻣﻦ ﺟﺎﻣﻌــﺔ اﻟﻘﺎﻫﺮة ﻋﺎم .٢٠١٨ إﻧﺠــﻲ أﻓﻼﻃــﻮن ) (١٩٨٩-١٩٢٤وﻟﺪت ﻓــﻲ اﻟﻘﺎﻫﺮة ﻟﻌﺎﺋﻠــﺔ ﺛﺮﻳﺔ .ﺑﺪأت دروﺳــﺎ ﻣﻊ ﻛﺎﻣــﻞ اﻟﺘﻠﻤﺴــﺎﻧﻲ ﻣﻨﺬ اﻟﺮﺳــﻢ ﻓــﻲ وﻗــﺖ ﻣﺒﻜﺮ ﺟﺪً ا ،وأﺧﺬت ً ﺳــﻦ اﻟﺨﺎﻣﺴــﺔ ﻋﺸــﺮة .ﻗﺪﻣﻬﺎ اﻟﺘﻠﻤﺴــﺎﻧﻲ إﻟــﻰ ﺣﺮﻛﺔ اﻟﻔــﻦ واﻟﺤﺮﻳﺔ ،وﻫﻲ ﻣﺠﻤﻮﻋــﺔ ﻣــﻦ اﻟﻔﻨﺎﻧﻴــﻦ واﻟﻤﺜﻘﻔﻴــﻦ اﻟﺬﻳــﻦ ﻗﺎدوا ﺣﺮﻛﺔ ا|ﺑﺪاع اﻟﺴــﺮﻳﺎﻟﻲ ﻓــﻲ ﻣﺼــﺮ .اﺳــﺘﻮﺣﺖ ﻟﻮﺣﺎﺗﻬــﺎ ﺑﻘﻮة ﻣﻦ اﻟﻮاﻗــﻊ اﻻﺟﺘﻤﺎﻋــﻲ ﻟﻠﻄﺒﻘــﺔ اﻟﻌﺎﻣﻠﺔ اﻟﻤﺼﺮﻳــﺔ ،ﻣــﻊ اﻟﺘﺮﻛﻴــﺰ ﺑﺸــﻜﻞ ﺧــﺎص ﻋﻠﻰ اﻟﻨﺴــﺎء وﻧﻀﺎﻟﻬــﻦ اﻟﻴﻮﻣﻲ .ﺗﻀﻢ ﻣﺠﻤﻮﻋﺘﻬــﺎ اﻟﺪاﺋﻤــﺔ ﻓــﻲ ﻗﺼــﺮ ا>ﻣﻴﺮ ﻃــﺎز ﺑﺎﻟﻘﺎﻫــﺮة اﻟﺘﺎرﻳﺨﻴــﺔ أﻋﻤﺎﻟﻬﺎ ،ﻛﻤﺎ ﺗﻮﺟــﺪ أﻋﻤــﺎل أﺧﺮى ﻓــﻲ ﻣﻘﺘﻨﻴــﺎت اﻟﻤﺘﺎﺣﻒ اﻟﺒــﺎرزة ﻓﻲ اﻟﺨﺎرج. ﻣﺤﻤــﻮد ﺳــﻌﻴﺪ ) (١٩٦٤–١٨٩٧ﻳﻌﺘﺒــﺮ أﺑﻮ اﻟﻔــﻦ اﻟﻤﺼــﺮي اﻟﺤﺪﻳﺚ ،وﻗﺪ وﻟﺪ ﻟﻌﺎﺋﻠــﺔ أرﺳــﺘﻘﺮاﻃﻴﺔ ﻓــﻲ ا|ﺳــﻜﻨﺪرﻳﺔ ،ودرس اﻟﻘﺎﻧــﻮن ﻧــﺰو ًﻟﺎ ﻋﻠﻰ رﻏﺒــﺔ ﻋﺎﺋﻠﺘﻪ ً ﻣﺘﻔﺮﻏــﺎ .ﺗﻠﻘﻰ ﻟﻜﻨــﻪ ﺗﺨﻠــﻰ ﻓــﻲ اﻟﻨﻬﺎﻳــﺔ ﻋﻦ ﺣﻴﺎﺗــﻪ اﻟﻤﻬﻨﻴــﺔ ﻟﻴﺼﺒــﺢ ﻓﻨﺎ ًﻧﺎ ﺗﺪرﻳ ًﺒــﺎ ﻣــﻦ اﻟﻔﻨﺎﻧﻴــﻦ ا|ﻳﻄﺎﻟﻴﻴــﻦ أﻣﻴﻠﻴــﺎ ﻛﺎﺳــﻮﻧﺎﺗﻮ دا ﻓﻮرﻧﻮ وأرﺗــﻮرو زاﻧﻴﻴﺮي ﻓــﻲ ا|ﺳــﻜﻨﺪرﻳﺔ ﻗﺒــﻞ أن ﻳﻮاﺻــﻞ ﺗﺪرﻳﺒﻪ ﻓﻲ ﻓﺮﻧﺴــﺎ .ﺻﺎغ ،ﻋﻠﻰ ﻣــﺪار ﺣﻴﺎﺗﻪ اﻟﻤﻬﻨﻴــﺔ ،أﺳــﻠﻮﺑﻪ اﻟﻔﺮﻳــﺪ اﻟﻤﺘﺠــﺬر ﺑﻌﻤــﻖ ﻓــﻲ اﻟﺸــﺨﺼﻴﺔ اﻟﻤﺼﺮﻳــﺔ اﻟﺤﻘﻴﻘﻴﺔ واﻟﺤﻴــﺎة اﻟﻴﻮﻣﻴــﺔ اﻟﺘــﻲ ﻻﺣﻈﻬــﺎ ﻣﻦ ﺣﻮﻟﻪ .ﺣﺼــﻞ ﻋﻠﻰ ﺷــﻬﺮة ﻣﺤﻠﻴﺔ وﻋﺎﻟﻤﻴــﺔ ،ﺣﻴــﺚ ﻋــﺮض ﻟﻮﺣﺎﺗﻪ ﻓــﻲ اﻟﻘﺎﻫﺮة وﺑﺎرﻳــﺲ وﻓﻲ ﻋﺪة دورات ﻓﻲ ﺑﻴﻨﺎﻟــﻲ ﻓﻴﻨﻴﺴــﻴﺎ. ﻣﺤﻤــﺪ ﻧﺎﺟــﻲ ) (١٩٥٦–١٨٨٨ﻳﻌــﺪ أﺣﺪ اﻟــﺮواد اﻟﺮﺋﻴﺴــﻴﻴﻦ ﻓﻲ اﻟﻔﻦ اﻟﻤﺼــﺮي اﻟﺤﺪﻳــﺚ .درس اﻟﻘﺎﻧــﻮن ﻓــﻲ اﻟﺒﺪاﻳﺔ ﻓﻲ ﻟﻴــﻮن ﺛﻢ ﺗﺪرب ﻓﻲ أﻛﺎدﻳﻤﻴــﺔ اﻟﻔﻨــﻮن اﻟﺠﻤﻴﻠــﺔ ﻓــﻲ ﻓﻠﻮرﻧﺴــﺎ .ﻋﻤــﻞ ﻛﻤﻠﺤــﻖ ﺛﻘﺎﻓﻲ ﻓﻲ روﻣﺎ ﺛــﻢ أدار ا>ﻛﺎدﻳﻤﻴــﺔ اﻟﻤﺼﺮﻳــﺔ ﻟﻠﻔﻨــﻮن اﻟﺠﻤﻴﻠــﺔ ﻫﻨــﺎك .ﻛﻤــﺎ أدار ﻣﺘﺤﻒ اﻟﻔﻦ اﻟﺤﺪﻳــﺚ ﻓﻲ ﻣﺼﺮ وأﻧﺸــﺄ أول ﻣﺪرﺳــﺔ ﻟﻠﺮﺳــﻢ اﻟﺤﺪﻳﺚ ﻓﻲ ا|ﺳــﻜﻨﺪرﻳﺔ. وﻣﺨﺼﺼﺎ >ﻋﻤﺎﻟــﻪ اﻟﻔﻨﻴﺔ ﻓــﻲ ﻋــﺎم ،١٩٦٨ﺗﻢ اﻓﺘﺘــﺎح ﻣﺘﺤﻒ ﻳﺤﻤــﻞ اﺳــﻤﻪ ً ﻓــﻲ ﻣﻨﻄﻘــﺔ اﻟﺠﻴــﺰة ﺑﺎﻟﻘﺎﻫــﺮة .ﻛﺎن ﻳﺆﻣــﻦ ﺑﺎﻟﺮﺳــﺎﻟﺔ اﻻﺟﺘﻤﺎﻋﻴــﺔ ﻟﻠﻔﻦ ،وﺻﻮر اﻟﻤﺼﺮﻳﻴــﻦ ﻓــﻲ ﻟﻮﺣﺎﺗــﻪ ﺑــﻜﻞ ﺗﻨﻮﻋﻬﻢ اﻟﻌﺮﻗﻲ ،وﺣﺎول ﺑﺎﺳــﺘﻤﺮار ﺟﺴــﺮ اﻟﻔﺠﻮة ﻣﻊ أﺳــﻼﻓﻪ.
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ﺳــﻴﻒ واﻧﻠــﻲ ) (١٩٧٩-١٩٠٦رﺳــﺎم ﻣﺼﺮي وﻟــﺪ ﻟﻌﺎﺋﻠﺔ أرﺳــﺘﻘﺮاﻃﻴﺔ ﻣﻦ أﺻﻞ ﺗﺮﻛــﻲ ﻓــﻲ ا|ﺳــﻜﻨﺪرﻳﺔ .درس ﻓﻲ ﺳــﺘﻮدﻳﻮ اﻟﻔﻨــﺎن ا|ﻳﻄﺎﻟﻲ أوﺗﻮرﻳﻨــﻮ ﺑﻴﻜﻲ وأﻧﺸــﺄ ﺑﻌــﺪ ذﻟــﻚ ﻣﻊ ﺷــﻘﻴﻘﻪ أدﻫﻢ واﻧﻠﻲ ﺳــﺘﻮدﻳﻮ ﺧــﺎص ﺑﻬﻤﺎ ﻋﺎم .١٩٤٢ ً ﻣﻌﺮﺿﺎ ،ﻻ ﺳــﻴﻤﺎ ﺑﻴﻨﺎﻟﻲ ﻓﻴﻨﺴــﻴﺎ وﺳــﺎو ﺑﺎوﻟﻮ. ﻣﻌــﺎ ﻓــﻲ أﻛﺜﺮ ﻣــﻦ ١٧ ﺷــﺎرﻛﺎ ً وﻗــﺪ ﺗــﻢ ﺗﺨﺼﻴــﺺ ﻃﺎﺑﻖ ﻛﺎﻣﻞ ﻓــﻲ ﻣﺘﺤﻒ ﻣﺤﻤﻮد ﺳــﻌﻴﺪ ﺑﺎ|ﺳــﻜﻨﺪرﻳﺔ >ﻋﻤﺎﻟﻬﻤــﺎ .اﻗﺘﻨــﺖ اﻟﻌﺪﻳــﺪ ﻣــﻦ اﻟﻤﺘﺎﺣــﻒ اﻟﻌﺎﻟﻤﻴــﺔ أﻋﻤﻠﻬﻤــﺎ ،أﺑﺮزﻫﺎ ﻣﺘﺤــﻒ :اﻟﻤﺘﺤــﻒ اﻟﻌﺮﺑــﻲ ﻟﻠﻔــﻦ اﻟﺤﺪﻳﺚ ﻓﻲ اﻟﺪوﺣــﺔ ودارة اﻟﻔﻨﻮن ﻓﻲ ﻋﻤﺎن.
ART D’ÉGYPTE
Photo: Jeremy Zero on Unsplash
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FOREVER IS NOW
لم�ث ا روع PARALLEL PROJECT مل ن �ا وار ي 91
ART D’ÉGYPTE
PARALLEL PROJECT
AI-DA ROBOT, OXFORDIANS AI-DA: THE IMMORTAL RIDDLE Steel, glass, 3D printed plastics (various), silicone, aluminium, copper, LED lights, mixed media (oil paint, Perspex, fabric) 2 m x 2.4 m x 1.5 m 2021
Ai-Da becomes part of the artwork in this contemporary response to the Riddle of the Sphinx. She appears in sculptural form with three legs — a play on Oedipus’s reply — in a time when biotechnological interventions are starting to act directly on the physical body, rather than simply supplying us with tools (such as the cane, in the case of the riddle). Ai-Da appears with her AI-generated text messages and ‘funerary item’, created collaboratively with her AI-informed design and drawings, that evade a particular meaning or context, but evoke the idea of Ai-Da being someone who was cared for and valued in this lifetime. This unsettles, due to her actual lifelessness, as she has no biological substrate or consciousness. In this artwork, through her uncanny and awkwardly altered anatomy, Ai-Da encourages us to consider whether a world of such overt mechanical and biological intervention is something we really want. 92
A special thank you to and her team of experts called the Oxfordians led by Aidan Meller. FOREVER IS NOW
اﻟﻤﺸﺮوع اﻟﻤﻮازي
ا ﻧﺴﺎن ا ﻟﻲ آي-دا ،ا ﻛﺴﻔﻮردﻳﻮن آي-دا :اﻟﻠﻐﺰ اﻟﺨﺎﻟﺪ ﻣﻌــﺪن ،زﺟﺎج ،ﺑﻼﺳــﺘﻴﻚ ﻣﻄﺒﻮع ﻃﺒﺎﻋــﺔ ﺛﻼﺛﻴﺔ ا ﺑﻌﺎد )أﻧــﻮاع ﻣﺨﺘﻠﻔــﺔ( ،ﺳــﻴﻠﻴﻜﻮن ،أﻟﻮﻣﻨﻴــﻮم ،ﻧﺤــﺎس ،أﻧــﻮار ﻟﻴــﺪ ،وﺳــﺎﺋﻂ ﻣﺘﻌــﺪدة )اﻟــﻮان زﻳــﺖ ،زﺟــﺎج ﻋﻀــﻮي "ﺑﻴﺮﺳــﺒﻴﻜﺲ" ،ﻗﻤــﺎش( ٢م × ٢،٤م × ١،٥م ٢٠٢١
ـﺰء ا ﻣــﻦ اﻟﻌﻤﻞ اﻟﻔﻨﻲ ﻓــﻲ ﻫﺬا اﻟﺘﻔﺎﻋــﻞ اﻟﻤﻌﺎﺻﺮ ﻣﻊ ﺗﺼﺒــﺢ آي-دا ﺟـ ً ﻟﻐــﺰ أﺑــﻮ اﻟﻬــﻮل .ﺗﻈﻬﺮ ﻓﻲ ﺷــﻜﻞ ﻧﺤﺘﻲ ﺑﺜﻼث أرﺟﻞ – ﻓﻲ إﺷــﺎرة إﻟﻰ رد
أودﻳــﺐ – ﻓــﻲ وﻗﺖ ﺑﺪأت ﻓﻴــﻪ ﺗﺪﺧــﻼت اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﺤﻴﻮﻳﺔ ﻓــﻲ اﻟﺘﺄﺛﻴﺮ ﻣﺒﺎﺷــﺮة ﻋﻠﻰ اﻟﺠﺴــﺪ اﻟﻤــﺎدي ،ﺑﺪ ً ﻻ ﻣﻦ ﻣﺠــﺮد ﺗﺰوﻳﺪﻧﺎ ﺑﺎ>دوات )ﻣﺜﻞ اﻟﻌﺼﺎ ،ﻓــﻲ ﺣﺎﻟﺔ اﻟﻠﻐﺰ(. ﺗﻈﻬــﺮ آي-دا ﻣــﻊ رﺳــﺎﺋﻠﻬﺎ اﻟﻨﺼﻴــﺔ اﻟﺘﻲ أﻧﺘﺠﺘﻬــﺎ ﻣﻦ ﺧﻼل ذﻛﺎءﻫﺎ اﻻﺻﻄﻨﺎﻋــﻲ وﻣﻘﺘﻨﻴﺎﺗﻬــﺎ اﻟﺠﻨﺎﺋﺰﻳــﺔ اﻟﺘــﻲ ﺗﻢ اﺳــﺘﺤﺪاﺛﻬﺎ أﻳﻀﺎ ﻣﻦ ﺧــﻼل ذﻛﺎﺋﻬــﺎ اﻻﺻﻄﻨﺎﻋــﻲ ،وﺗﺼﻤﻴﻤﺎﺗﻬــﺎ ورﺳــﻮﻣﺎﺗﻬﺎ اﻟﻤﺘﺒﺼﺮة ،واﻟﺘﻲ ﺗﺘﺠﻨــﺐ ﻣﻌﻨــﻰ أو ﺳــﻴﺎق ﻣﻌﻴــﻦ ،وﻟﻜﻨﻬﺎ ﺗﺴــﺘﺤﻀﺮ ﻓﻜﺮة أن آي-دا ـﺨﺼﺎ ﺗــﻢ اﻻﻋﺘﻨﺎء ﺑــﻪ وﺗﻘﺪﻳﺮه ﻓﻲ ﻫــﺬه اﻟﺤﻴﺎة ،ﻣﻤﺎ ﻳﺜﻴﺮ ﺷــﻴﺌﺎ ﻣﻦ ﺷـ ً اﻻرﺗﺒــﺎك ﺑﺴــﺒﺐ ﻋــﺪم وﺟﻮد ﺣﻴﻮﻳــﺔ ﻓﻌﻠﻴﺔ ﻟﻬﺎ ،ﻓﻬــﻲ ﻻ ﺗﻤﻠﻚ وﻋﻴًﺎ أو رﻛﻴــﺰة ﺑﻴﻮﻟﻮﺟﻴــﺔ .ﻓﻲ ﻫــﺬا اﻟﻌﻤﻞ اﻟﻔﻨﻲ ،وﻣــﻦ ﺧﻼل ﻣﺠﺴــﻤﻬﺎ اﻟﻤﺜﻴﺮ ﻟﻼﺳــﺘﻐﺮاب واﻟــﺬي ﺗﻢ ﺗﺤﻮﻳﺮه ﺑﺸــﻜﻞ أﺧﺮق ،ﺗﺸــﺠﻌﻨﺎ آي-دا ﻋﻠﻰ اﻟﺘﻔﻜﻴــﺮ ﻓﻴﻤــﺎ إذا ﻛﻨــﺎ ً ﺣﻘــﺎ ﻧﺮﻳﺪ ﻣﺜﻞ ﻫــﺬا اﻟﻌﺎﻟﻢ ﺑﻜﻞ ﻣــﺎ ﻳﺤﺘﻮي ﻣﻦ ﺗﺪﺧــﻼت ﻣﻴﻜﺎﻧﻴﻜﻴــﺔ وﺑﻴﻮﻟﻮﺟﻴﺔ واﺿﺤﺔ.
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ﺷــﻜﺮ ﺧــﺎص ﻟ¢ﻧﺴــﺎن ا9ﻟــﻲ آي-دا وﻓﺮﻳﻘﻬــﺎ ﻣــﻦ اﻟﺨﺒﺮاء اﻟﻤﺴــﻤﻰ "ا>ﻛﺴــﻔﻮردﻳﻮن"، ﺑﻘﻴــﺎدة أﻳــﺪان ﻣﻴﻠﺮ. ART D’ÉGYPTE
Ai-Da is the world’s first ultra-realistic AI robot artist. As a machine, with Artificial Intelligence capabilities, her artist persona is the artwork, along with her drawings, paintings, performance art, and sculptures. As conceptual art, Ai-Da encourages us to re-consider our self-perception through the lens of a humanoid. Her persona blurs the lines between human and machine interactions, providing an acutely relevant reflection on current societal trends. Ai-Da was devised in Oxford by Aidan Meller (UK), built in Cornwall by Engineered Arts (UK), and programmed internationally by a group known as the Oxfordians. Her drawing arm and her drawing AI algorithms were designed by Salaheldin AlAbd and Ziad Abass (Egypt). Her additional AI capabilities come from students and professors at the Universities of Oxford and Birmingham.
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In 2021, Ai-Da had her first solo show at a major museum – the Design Museum in London. In 2020, she did a TEDx talk, and exhibited work at the United Nations exhibition WIPO: AI and IP, A Virtual Experience. Highlights of 2019 include her first show Unsecured Futures at the University of Oxford; participating in the European ARTificial Intelligence Lab exhibition at Ars Electronica, Linz; and a workshop at the Tate Exchange, Tate Modern, London. In December 2019, she was interviewed by Tim Marlow (artistic director of the Royal Academy) at the Sarabande (Alexander McQueen) Foundation, London. FOREVER IS NOW
آي-دا ﻫــﻲ أول روﺑــﻮت ﻓﺎﺋﻖ اﻟﻮاﻗﻌﻴﺔ ﻓﻲ ﻣﺠﺎل اﻟﻔﻦ ﺑﺎﻟﻌﺎﻟــﻢ ،وﻛﻮﻧﻬﺎ آﻟﺔ ﺗﺘﻤﺘﻊ ﺑﻘﺪرات اﻟﺬﻛﺎء اﻻﺻﻄﻨﺎﻋﻲ ،ﻓﻬﻲ ﺗﻤﺘﻠﻚ ﺻﻔﺎت ﺷــﺨﺼﻴﺔ )اﻟﺒﺮﺳــﻮﻧﺎ( ﻓﻨﻴﻪ وﻟﻬﺎ أﻋﻤﺎﻟﻬﺎ ﻣﺜﻞ؛ رﺳــﻮﻣﺎﺗﻬﺎ ،وﻟﻮﺣﺎﺗﻬﺎ، وﻓــﻦ ا>داء ،واﻟﻤﻨﺤﻮﺗــﺎت .وﻓﻲ إﻃﺎر اﻟﻔﻦ اﻟﻤﻔﺎﻫﻴﻤﻲ ،ﺗﺸــﺠﻌﻨﺎ آي-دا ﻋﻠﻰ إﻋﺎدة اﻟﻨﻈﺮ ﻓﻲ إدراﻛﻨﺎ ﻟﺬواﺗﻨﺎ ﻣﻦ ﺧﻼل ﻋﺪﺳــﺔ ﻟﻬﺎ ﻣﻮاﺻﻔﺎت إﻧﺴــﺎﻧﻴﺔ .ﺗﻄﻤﺲ ﺷــﺨﺼﻴﺔ اﻟﺮوﺑﻮت )اﻟﺒﺮﺳﻮﻧﺎ( اﻟﺨﻄﻮط واﻗﻌﺎ وﺛﻴﻖ اﻟﺼﻠﺔ ﺑﺎﻻﺗﺠﺎﻫــﺎت اﻟﻤﺠﺘﻤﻌﻴﺔ اﻟﺤﺎﻟﻴﺔ. اﻟﻔﺎﺻﻠــﺔ ﺑﻴــﻦ ﺗﻔﺎﻋﻼت ا|ﻧﺴــﺎن وا9ﻟﺔ ،ﻣﻤﺎ ﻳﻌﻜﺲ ً اﺑﺘﻜﺮ آﻳﺪن ﻣﻴﻠﺮ ﻣﻦ اﻟﻤﻤﻠﻜﺔ اﻟﻤﺘﺤﺪة آي-دا ﻓﻲ أﻛﺴــﻔﻮرد ،وﺗﻢ ﺑﻨﺎؤﻫﺎ ﻓﻲ ﻛﻮرﻧﻮال ﺑﻮاﺳــﻄﺔ "إﻧﺠﻨﻴــﺮد أرﺗــﺲ" ﺑﺎﻟﻤﻤﻠﻜﺔ اﻟﻤﺘﺤﺪة ﺛﻢ ﺑﺮﻣﺠﺘﻬﺎ دوﻟﻴًﺎ ﻣﻦ ﻗﺒﻞ ﻣﺠﻤﻮﻋﺔ ﺗﻌﺮف ﺑﺎﺳــﻢ "ا>ﻛﺴــﻔﻮردﻳﻮن" .ﻗﺎم ﺻﻼح اﻟﺪﻳﻦ اﻟﻌﺒﺪ وزﻳﺎد ﻋﺒﺎس ﻣﻦ ﻣﺼﺮ ﺑﺘﺼﻤﻴﻢ ذراع اﻟﺮﺳــﻢ وﺧﻮارزﻣﻴﺎت اﻟﺬﻛﺎء اﻻﺻﻄﻨﺎﻋﻲ اﻟﺨﺎﺻﺔ ﺑﻬﺎ ،ﻛﻤﺎ ﻣﻨﺤﻬﺎ ﻃﻼب وأﺳــﺎﺗﺬة ﺟﺎﻣﻌﺘﻲ أﻛﺴــﻔﻮرد وﺑﺮﻣﻨﻐﻬﺎم ﻗﺪراﺗﻬﺎ ا|ﺿﺎﻓﻴــﺔ ﻓﻲ ﻣﺠﺎل اﻟﺬﻛﺎء اﻻﺻﻄﻨﺎﻋﻲ. ﻓــﻲ ﻋــﺎم ،٢٠٢١أﻗﺎﻣــﺖ آي-دا أول ﻋﺮض ﻓﺮدي ﻟﻬﺎ ﻓﻲ ﻣﺘﺤﻒ ﻛﺒﻴــﺮ" ،ﻣﺘﺤﻒ اﻟﺘﺼﻤﻴﻢ" ﻓﻲ ﻟﻨﺪن ،وﻓﻲ ﻋــﺎم ،٢٠٢٠أﻟﻘــﺖ ﻣﺤﺎﺿﺮة ،TEDxوﻋﺮﺿﺖ أﻋﻤﺎﻟﻬﺎ ﻓﻲ ﻣﻌﺮض ا>ﻣﻢ اﻟﻤﺘﺤــﺪة" ،اﻟﻤﻨﻈﻤﺔ اﻟﻌﺎﻟﻤﻴﺔ ﻟﻠﻤﻠﻜﻴﺔ اﻟﻔﻜﺮﻳﺔ )وﻳﺒﻮ(؛ ﺧﺒﺮة اﻓﺘﺮاﺿﻴﺔ" .ﺗﺸــﻤﻞ أﺑﺮز أﺣﺪاث ﻋﺎم ٢٠١٩ﻋﺮﺿﻬﺎ ا>ول "ﻣﺴــﺘﻘﺒﻞ ﻏﻴﺮ ﻣﻀﻤﻮن" ﻓﻲ ﺟﺎﻣﻌﺔ أﻛﺴــﻔﻮرد ،واﻟﻤﺸــﺎرﻛﺔ ﻓﻲ ﻣﻌﺮض "ﻣﺨﺘﺒﺮ اﻟﺬﻛﺎء اﻻﺻﻄﻨﺎﻋﻲ ا>وروﺑﻲ" ﻓﻲ "آرس اﻟﻜﺘﺮوﻧﻴﻜﺎ" ﺑﻠﻴﻨﺰ ،وورﺷــﺔ ﻋﻤﻞ ﻓﻲ ﺗﻴﺖ أﻛﺴــﺪﻳﻨﺞ ﺑﻤﺘﺤﻒ "ﺗﻴﺖ ﻣﻮدرن" ﺑﻠﻨﺪن .وﻓﻲ دﻳﺴــﻤﺒﺮ ،٢٠١٩أﺟﺮى ﺗﻴﻢ ﻣﺎرﻟﻮ )اﻟﻤﺪﻳﺮ اﻟﻔﻨﻲ ﻟ ﻛﺎدﻳﻤﻴﺔ اﻟﻤﻠﻜﻴﺔ( ﻣﻘﺎﺑﻠﺔ ﻣﻌﻬﺎ ﻓﻲ "ﺳــﺎراﺑﻴﻨﺪ" ،ﻣﺆﺳﺴــﺔ "اﻟﻴﻜﺴﻨﺪر ﻣﺎﻛﻮﻳﻦ" ﺑﻠﻨﺪن. Achievements
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Group Exhibitions 2021 The Artist is Online, König Gallery, Berlin, Germany 2020 WIPO: AI and IP, A Virtual Experience, virtual exhibition, United Nations, Geneva, Switzerland 2019 Out of the Box: The Midlife Crisis of the Digital Revolution, European ARTificial Intelligence Lab exhibition, Ars Electronica, Linz, Austria 2019 Exploring Identity Through Technology: A collaborative approach with artist Sadie Clayton and A Vibe Called Tech, Tate Modern (Tate Exchange), London, UK Selected Projects 2021 Ai-Da Drawing, Istanbul Airport performance artwork – video display, Istanbul, Turkey 2020 The Intersection of Art and AI, TEDx Talk, Oxford, UK ART D’ÉGYPTE
2019 Created in Penryn, Cornwall, UK. Art Studio in Oxfordshire, UK. Education 2019 Programmed by a team of academics and students, called the Oxfordians, UK, Egypt, Canada, Italy, Spain (Universities of )Oxford, Leeds, Birmingham Solo Exhibitions 2021 Ai-Da: Portrait of the Robot, Design Museum, London, UK ?2020 Do Robots Dream of Electric Bees Annka Kultys Gallery, London, UK 2019 Ai-Da Robot at Sarabande, )Sarabande (Alexander McQueen Foundation, London, UK 2019 Unsecured Futures: The Pan Sapien Tragedy of the Competitive “Other”, Lady Margaret Hall and St John’s College, University of Oxford, UK
Photo: Thais Cordero on Unsplash
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FOREVER IS NOW
ةك ة �� با�ا WRITINGS ن� ن ON � ال�ن ي ART & ة ي� ن HISTORY � و ال�ار 97
ART D’ÉGYPTE
THE GREAT PYRAMIDS OF GIZA Zahi Hawass
Image courtesy of the author.
The Great Pyramids of ancient Egypt are perhaps the most famous manmade structures in the world. They captivate mankind on two distinct levels — the material and the spiritual. The material level inspires awe when viewing the pyramids. How could our ancestors four and five millennia ago have had the engineering genius to erect monuments that modern man would be hard pressed to duplicate? What kind of social structure made these wonders possible? 98
The spiritual aspect touches our hearts and causes us to make a plaintive, futile cry for immortality. An old Arab proverb reads, ‘Man fears time, and time fears the pyramids.’ The pyramids have made a mockery of death; they cannot be killed. Their physical presence defies the limitations of time. If there was enough intelligence to overcome the primitive conditions of the Bronze Age that produced the pyramids, then perhaps ideas can be harnassed in this advanced industrial age to provide a deathless life. FOREVER IS NOW
The Pyramids and the Sphinx: Remnants of a Lost Civilization? Some people believe that behind the greatness of ancient Egypt and the pyramids, there was a more ancient civilization, one that became lost in the mists of time. I will attempt to examine the evidence to answer these questions: Do the pyramids encode or enclose information of a lost civilization? Does the Sphinx guard records even more ancient than we believe? My colleagues and I have debated all those people who are proponents of that theory, and we have demonstrated that the supposed lost civilization is a myth with no basis in truth at all. The first such theory was published by Robert Schoch, a geologist from Boston University, and John West, who bring tours to Egypt and is also a writer. Their theory maintained that the weathering of certain layers on the Sphinx indicates that it was built between 7000 and 5000 BC. They developed a theory but neglected all the evidence that the Egyptians left during the pyramid-building age of the Old Kingdom. But the most important point here is: if what they say is true, why did the people of this lost civilization not leave one single piece of evidence about their existence? How could they simply disappear? These authors believe that the erosion on the body of the Sphinx resulted from a flood that occurred thousands of years ago. Mark Lehner and two renowned geologists, K.L. Gauri and Thomas Aigner, undertook an analysis of the Sphinx's surface and could not find any evidence to support this theory. The Sphinx in the Eyes of the ‘Pyramidiots’ The Great Sphinx is more than a national symbol of Egypt. The Sphinx is an example of how people all over the world can create stories and unbelievable theories. Many people believe that there are secrets buried under the Sphinx, and even more people believe that buried under the right paw of the Sphinx are records that contain the technology of the lost civilization of Atlantis. Beginning in 1991, Thomas Dobecki, through a project of the SDII Global Corporation, worked about five seasons using ground-penetrating radar (GPR) to look for tunnels and secret passages under the Sphinx. The work was funded by the Schor Foundation. The major problem with this work is that, though the ART D’ÉGYPTE
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GPR may show anomalies, these were interpreted as secret rooms. But it must be emphasized that the Giza Plateau is full of anomalies, and no discovery has been made by this new technique. Other attempts were made to locate secret chambers previous to this. In 1978, the Stanford Research Institute came and used radar to look for tunnels. They claimed to have identified many locations that could have passages. They also drilled near the right paw of the Sphinx and found nothing. In the same year, Waseda University used radar and indicated a possible anomaly near the Sphinx's left paw. In 1991, John Anthony West also used radar around the Sphinx, and in 1996, Florida State University used GPR to work near the Sphinx. In their report, they stated that such a tunnel did exist as well as another one that connected the pyramid of Queen Henutsen to the Great Pyramid. They asked the Egyptian Antiquities Department to drill under the Sphinx, but their request was denied. The radar reading indicating a tunnel actually revealed a crack in the stone. We tested a similar radar reading in the Valley of the Kings that was interpreted as a tomb. But when we began our excavation, it was found to be a crack.
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All of these expeditions indicated the existence of anomalies, but these were not secret rooms. All of them were searching for something hidden under the right paw of the Sphinx, but nothing has ever been found. In 2007, we discovered the rising of the water table in front of the Sphinx temple. In order to determine the level of the water table, we drilled near the Sphinx, about 3m away, three drillings in front and on the sides, and two in the back. These drillings went down to 20 m. Photographs were taken, and they proved that there was nothing underneath. Then we brought other drilling equipment to penetrate at an angle and did three additional drillings. One was begun under the left paw and went down 20m to the other side. Another two drillings were done in the middle of the Sphinx. Nothing was found. We have photos of all these drillings to show that there is nothing under the Sphinx. It is my hope that this drilling can finally debunk the mystery of the secret chambers under the Sphinx. The Secret Tunnels Inside the Sphinx I worked with my friend Mark Lehner around the Sphinx for many years. Our expedition rediscovered four tunnels inside the Sphinx. The first tunnel is located on the back of the Sphinx close to the head. This tunnel is known as the ‘Perring hole’. William Perring was a civil engineer who attempted to determine if the Sphinx was solid rock by drilling this tunnel in 1837. FOREVER IS NOW
Image courtesy of the author.
The second tunnel is located on the north side, in the middle of the Sphinx. No one can see it now because limestone blocks have covered it. We found out about this tunnel from old photograhs left by Emile Baraize which he took in 1926. The third tunnel is located behind the Dream Stela. Caviglia was searching for this tunnel but never found it. Instead, he found the Dream Stela between the two paws of the Sphinx, and behind the stela a hole about 3 m deep. The fourth tunnel is located at the back of the Sphinx. Other people have wondered about a new ‘doorway’ on the north side of the Sphinx. The lower part of the Sphinx is covered with layers of ancient and modern repair masonry. In 1926, when he cleared around the Sphinx, the French engineer Emile Baraize found that a large patch of the ancient masonry cover had fallen away from the bedrock body of the Sphinx on its north side. Baraize re-covered this area as part of his restoration; this was already known. It may be nothing more than a deep recess in the natural rock of the Sphinx, perhaps explored in ancient times during the Late Period. We had to re-open it and restore it. Khufu and the Kings of Giza Khufu was the second king of the Old Kingdom's Fourth Dynasty. We know very little about him, in spite of the fact that he built the most famous tomb in ART D’ÉGYPTE
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the ancient world, the Great Pyramid, one of the Seven Wonders of the World. He took the throne after the reign of his father, Sneferu. His full name was Khnum-Khufwy, which means ‘the god Khnum protects me’, and ‘Khufu’ was his sobriquet. There is recent new information that in Year 27 of his reign, Khufu sent an expedition to the Western Desert to procure mafet. This is the red paint that we see used to write graffiti inside and outside the pyramids. Also, his name was found by John Darnell in rock inscriptions in a quarry in the Western Desert (west of Naqada). But the most recent discovery was made near the Red Sea by a French expedition. It is a large papyrus. To summarize its inscription: Merer, the overseer of the workmen who built the pyramid, went with his crew to Sinai that same year to procure copper. He mentions that he worked under Ankh-khaf the architect, and when they returned to Giza, it took them one day to travel from the Giza Plateau, near the harbour, up to the pyramids. This papyrus is significant for two reasons: the first is that Hemiunu, the architect whom we know oversaw the building of the pyramid, had died, and Ankh-khaf had taken his place; and the second is the mention of Year 27 of Khufu's reign.
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Khufu’s most important achievement was building the Great Pyramid on the Giza Plateau. The traditional estimate of the number of stones in this pyramid, mentioned in almost every book about it, is 2,300,000 blocks. There is no scientific basis for this number, and we were not even able to track it to its original source. We now believe that the pyramid was built over a natural rock core that was about 9m high. A scientific estimate for the number of stones used in the pyramid has been made by architects of Helwan University, who suggest that there were just 1,200,000 blocks. The construction of the Great Pyramid can provide us with important insights into the reign of Khufu. Politically, it shows that Khufu controlled the wealth and the population of the country. He organized households all over Egypt into participating in the building of the pyramid, providing the king with food (grain and beer) and labourers. This organization confirms that the pyramid was the national project of the State. From the architectural point of view, the FOREVER IS NOW
pyramid shows the skills and the brilliance of the overseer of the king's works and his architects. Secret Doors Inside Khufu's Pyramid Scientific teams regularly attempt to discover new and interesting information about the Great Pyramid. I learned that the Great Pyramid had not been restored since 1836. Weak areas were clearly visible inside its chambers. Closing off the pyramid for the first time, we conducted major conservation work and installed a lighting system, as well as cameras to monitor the security of visitors. This work was completed in May 1989.
One of the robots used to explore inside the pyramids. Image courtesy of the author.
It also became necessary to install a ventilation system inside the Great Pyramid, as the humidity continued to rise. In order to achieve this, it was essential to clear out the so-called airshafts that lead from the King's Chamber to the exterior of the pyramid. In 1990–91, I contacted Rainer Stadelmann, the director of the German Archaeological Institute in Cairo at that time. I requested that he hire a German expert in robotics to help us with this project. Rudolf Gantenbrink was chosen as the robotics expert for a joint expedition of the Supreme Council of Antiquities (SCA) and the German Archaeological Institute in Cairo (DAIK). In March 1993, Gentenbrink returned to Egypt with a new robot called Upuaut 2, which travelled the 19m limit, at which point the chamber turned and the robot couldn’t continue. Then, it continued inside the southern shaft of the second chamber until it reached a stone slab fitted with two copper handles. ART D’ÉGYPTE
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In 2001, National Geographic appointed me as an explorer, and I asked them if they could develop a joint project to reveal the mystery behind the stone slab. In 2002, we manufactured a new robot in Massachusetts called Pyramid Rover connected with a controller computer by long cable and video cameras. It was able to drive up to the stone blocking the southern shaft of the Queen’s chamber as well as the northern shaft to a distance of 27 m. In phase II of the mission, in the northern shaft, Pyramid Rover discovered another blocking stone at 63 m, similar to the first one blocking the southern shaft. Inside the northern shaft, between 18 and 21 m from the entrance, is a pile of debris that contains modern artefacts. Since their discovery, many scholars have interpreted these channels or shafts as air shafts. But after the completion of our project, we proved that these can’t be airshafts as not all the channels connect to the outside and some had blocking stones. In my opinion the southern shaft of the king’s chamber was connected to the solar boats buried to the south of the pyramid, while the shafts in the second chamber were different. I think that the blocking stones might hide the real burial chamber of the king.
A cleared pathway leading to an opening on the Giza Plateau. Image courtesy of the author. 104
The Tombs of the Pyramid Builders Workers and farmers represented approximately 80 percent of the population of ancient Egypt, and while we have discovered much about kings, queens, and nobles, little was known about the common people. In April 1990, an American tourist was thrown from her horse when the animal stumbled on a previously unknown mud-brick wall located to the south of the FOREVER IS NOW
Wall of the Crow. The mud-brick wall turned out to be part of a tomb chapel, with a long, vaulted chamber and two false doors through which the dead could receive offerings. Crude hieroglyphs on the false doors identified the tomb owners as Ptah-shepsesu and his wife. At the back of the chamber were three burial shafts containing the skeletons of the man, his wife, and, probably, their son. In front of the tomb was a square courtyard with low walls of broken limestone. Though its style differed from the great stone mastaba tombs of nobles beside the pyramid, Ptah-shepsesu's tomb and courtyard are imposing in comparison to others that we uncovered around it. Pieces of granite, basalt, and diorite — types of stones used in the pyramid temples — had been integrated into the walls. This suggests that the owners of some tombs in the cemetery may have been the pyramid builders or subsequent generations of workers who used stone left over from the construction of the pyramids, temples, and tombs. Near Ptah-shepsesu's tomb were small mastabas with shaft burials of people who probably worked under him. Fact … and Fiction There is a book that, in my opinion, should never have been published, called The Orion Mystery. This book does not contain any scientific information, and the authors need to take lessons in Egyptology. The authors theorize that the pyramids were built around 10,500 BC and were designed to align with stars in the Orion constellation. They also seem to believe that merely repeating a statement often enough makes it true. We simply do not have any data – any record, artefacts, or independently verifiable evidence — that their assertions are correct, much less worthy of serious scholarly support. You can't compare entertainment with real life. The Orion Mystery is as fictional as the movie E.T. The Extra-Terrestrial, and while it may be entertaining, it has little actual foundation. Our knowledge is based on facts — provable, demonstrable facts gathered through archaeological and textual evidence. We know who built the pyramids, when they were built, how many people it took, details of their daily lives, and details of their deaths. We know what they ate and drank. We know that when they died, they were buried close to the monuments they created. They didn't mysteriously appear and just as mysteriously disappear — their descendants populate Egypt today. And that is the miracle of the pyramids. ART D’ÉGYPTE
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THE KHAFRE PYRAMID COMPLEX Peter Der Manuelian
The Khafre Pyramid was the second of the three pyramids to rise on the Giza Plateau. Khufu’s son Khafre, fourth king of Dynasty 4, built a smaller monument than his father’s Great Pyramid, but he located it on a terrace that was 10m higher. It measures 215m on each side and stands 143.5m tall. To even off the limestone terrace, he cut 10m from the original surface on the northwest side, but then had to build up the southeast area with limestone blocks. Khafre cased the lowest course in granite but used limestone for the rest of the pyramid. Although much of the fine white limestone casing blocks from Tura, across the Nile and today just south of modern Cairo, were quarried away in later times, about one-quarter of the white casing stones remain intact towards the top; this is the defining feature and easiest way to recognize Khafre’s pyramid. 106
On the south side, Khafre placed his little satellite or cult pyramid, thought to hold a symbolic burial for his statue, representing his ka or life force. Today, this pyramid is completely destroyed. Five boat pits flank the Pyramid (or ‘mortuary’) Temple on the east side, but none of them revealed any contents, unlike the two pits to the south of Khufu’s pyramid. Coming around to the north side, we find two entrances, one at ground level (used today as the tourist entrance), and the other located about 12m higher. The FOREVER IS NOW
entrance corridor leads to a lower chamber on the west side, with a vaulted roof, possibly intended for storage. The burial chamber itself, also vaulted, is in the centre of the pyramid, just above ground level, oriented east–west. Italian explorer Giovanni Belzoni entered it in 1818 and left his name in a large graffito on the wall, but Arabic graffiti indicates that he was not the first to reach this room in modern times. Khafre’s black granite sarcophagus is half-embedded in the floor, with the lid broken in two. This is the earliest royal example of a pit cut in the floor for the canopic chest meant to hold the king’s internal organs. The bones of a sacrificial bull were found in the sarcophagus but were most likely a much later addition. The Khafre Valley Temple The Khafre Valley Temple, site of the ritual funerary ceremonies for the deceased king, is similar in many ways to the front portions of his Pyramid Temple and just east of the pyramid itself. Built of gigantic limestone blocks that were cased with red granite from Aswan, the temple looked eastwards to the quay or harbour connection. It was connected by two ramps leading from the water westwards to the two temple entrances. Two tunnels are cut under these ramps on a north-south axis. The ramps take us to the temple’s east façade, where a pair of crouching sphinx statues — possibly dating later, to the New Kingdom — flanked both the massive doorways. The entrances connect to a north-south corridor or vestibule with white alabaster floor and walls cased in red granite. It was here in 1860 that French Egyptologist Auguste Mariette, the founder of the Egyptian Antiquities Service, discovered the famous seated statue of Khafre, one of the great masterpieces of Egyptian sculpture. It lay buried in the north end of this corridor. Further inside the temple, a large, pillared hall takes the form of the letter T, with 16 single-block granite pillars. Narrow slits towards the tops of the walls provided the only source of light, creating a very dramatic setting. Twenty-three rectangular statue emplacements for statues of the king lined the walls. ART D’ÉGYPTE
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Six storage magazines were placed off to the south, in two stories of three rooms each. To the northwest is the connection to the causeway, an additional chamber of unknown purpose, and a stairway to the roof. This entire magnificent building is 44.8 sqm with a preserved height of 13m. The Khafre Pyramid Temple Huge limestone blocks – locally quarried and weighing several tons – make up the front half of Khafre’s Pyramid Temple. The building is the first to contain all five of the elements that were to become standard for Old Kingdom royal pyramid temples: an entrance hall, a broad columned court, five niches, five storage chambers, and a sanctuary. This temple was cased with granite blocks from Aswan at Egypt’s southern border. As you entered the temple from the long causeway, two granite rooms appeared on the south, and a corridor led to four alabaster-lined chambers to the north. A stairway here provided access to the roof. Granite columns supported the next two halls, the first running north to south, with a series of recesses leading westwards. Perhaps very large statues of the king stood in the long east-west corridors off either side of this first pillared hall. Khafre’s statues were all recycled for other purposes in later times, so we have very few remains here; this is very different from his Valley Temple with its many statue fragments.
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The second pillared hall is oriented east to west. It opens onto a large court, cased in granite, in the centre of the temple. The alabaster floor held twelve granite statues of the king, either seated or standing (we may still have some of these, reinscribed in the New Kingdom for Ramesses II), and set into emplacements in the floor. It’s possible that inscriptions or wall scenes once decorated this part of the temple. To the west of the great court, five long niches might once have housed ritual mortuary boats of Khafre, or perhaps more statues. Five smaller magazines are visible behind the five larger niches. The sanctuary was at the very back of the temple, up against the east face FOREVER IS NOW
of the pyramid. It might have contained a false door niche. In the northwest corner of the temple, a corridor opened onto the enclosure area of the pyramid itself. The design of the inner courts of both this temple and the Sphinx Temple are nearly identical. This is additional evidence for assigning the Sphinx Temple to the reign of Khafre. The Sphinx Here is the earliest colossal statue from ancient Egypt. The great Sphinx stands 20m high, and 73m long. It was carved from a natural limestone outcrop of three geological layers, some hard and durable, some soft and fragile. A U-shaped ditch was excavated around it on three sides. This royal image, with the head of a man, and the body of a crouching lion, came to symbolize many aspects of Egyptian kingship, power, and eventually the Egyptian solar religion as well. It came to be identified with Hor-em-akhet, the ‘Horus in the horizon’. The Sphinx’s modern Arabic name, however, is Abu al-Hol, the ‘father of terror’. The limestone quarried away from around the upper part of the Sphinx’s body was probably used for Khafre’s Valley Temple, while softer limestone, from below the chest area, was used for the Sphinx Temple. For a number of reasons, the Sphinx most likely dates to Khafre, although recent arguments have assigned it to Khufu, and even to his son and successor, Djedefre. The nose was lost during the Medieval Period – and not shot off by Napoleon’s soldiers, as is often claimed. A portion of the beard is now in the British Museum, while the uraeus cobra head from the king’s brow is at this writing in the Egyptian Museum in Cairo. Traces of colour remain, but it is not completely clear if the entire Sphinx was painted, or merely the face and headcloth. The Sphinx has undergone numerous alterations and restorations, from the New Kingdom through the Roman Period, and down to the present day. During the New Kingdom, in the 15th century BC, Amenhotep II built a small temple to the northeast. His son Thutmose IV carried out extensive restorations, and erected a stela between ART D’ÉGYPTE
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the paws, recounting how the divine Sphinx appeared in a dream, promising to bestow kingship on the young prince if he would only clear the Sphinx’s body of sand. This granite stela actually comes from a lintel above a doorway of Khafre’s Pyramid Temple. It was perhaps even the entrance lintel at the western end of the causeway. During this period the Sphinx’s beard may have been added, and possibly also a standing royal statue 6–7m tall. We know this from scenes on New Kingdom stelae found around the area. The hole at the top of the Sphinx’s head may have been intended for the addition of a double crown. The Sphinx Temple Since no contemporary Old Kingdom texts refer to either the Sphinx or the Sphinx Temple, it’s difficult to know their exact role and purpose. The temple remains unfinished – it never received its exterior granite casing – and none of the tomb inscriptions of high officials at Giza mention serving in this temple; so perhaps it never functioned in full operation. The temple has two entrances, with a large central court. Twentyfour pillars create a colonnade that is almost identical to the one in Khafre’s Pyramid Temple, up on the plateau, just east of his pyramid. Ten large statues (instead of the twelve in the Pyramid Temple) rested against the red granite pillars in this central court, set into emplacements in the alabaster floor.
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A unique feature of the Sphinx Temple is its two sanctuaries, one to the east and the other to the west. The eastern sanctuary aligns with the setting sun at the equinoxes (March 21–22 and September 21–22). The sun sets to the south of Khafre’s pyramid, aligning with the Sphinx Temple axis, and perhaps even illuminating the sanctuary on the eastern side.
FOREVER IS NOW
THE ART & ARTIFICE OF THE GIZA PLATEAU Mark Lehner
Artifice, from the Latin, once meant ‘a making by art, a work of art’. A welldesigned artefact, a beautiful architectural structure, or an object of art might once have been considered a product of artifice. Over recent centuries, artifice came to mean ‘a cunning device’, ‘cleverness’, or ‘ingenuity’, and then almost the opposite of its original meaning — ‘a trick to deceive’, ‘a fake’. Let us return to the earlier meaning of artifice to see how, in the exhibit Forever Is Now, we will find art within art, the artifice of contemporary artists within the gigantic artifice of pharaohs. Let us take note of how the pyramid builders used architecture and the sun as their medium and the Giza Plateau as their palette to create ‘cunning devices’ and artistic special effects on a landscape scale. Some of these special artistic effects still work to this day. Khufu — The Great Pyramid as an Artistic Effect Some 4,600 years ago, when Khufu built the Great Pyramid, covering 5.3 hectares, 230.33 m to a side, sloping 52 degrees up to a height of 146.59 m, he certainly knew that only from afar could his gigantic objet d’art be appreciated as icon and hieroglyph. Only at a distance, and then straight-on from due north, east, west, or south, can we see the pyramid as a dark, classic, isosceles triangle with a 52-degree slope (Fig. 1). But move around to opposite the pyramid diagonally — like the view from the new Grand Egyptian Museum to the northwest — and the pyramid appears more squat because the diagonal slopes are only a little more than 42 degrees. Up close, on the northern ART D’ÉGYPTE
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esplanade where tourists disembark from their buses, however, the pyramid almost loses form. Its immensity conveys only an arching plane of stonework. An original casing of fine, white limestone from Tura rendered the pyramid a true trompe l'oeil. Its mass disappeared in a reflection of near-blinding, brilliant, ethereal sunlight. No wonder the Great Pyramid was named Akhet Khufu or the ‘Horizon of Khufu’, where king and sun merged to rise from the east and set in the west. We no longer see this reflected brilliance because the pyramid was stripped of its casing centuries ago. But, on cold mornings in January, the sun rises and burns off a veil of fog to spotlight the pyramids, and it is still breath-taking (Fig. 2). The Great Pyramid was the centrepiece of an entire ensemble that included a wall, 6 to 7 m high, enclosing a court, 10 m wide, all around the pyramid; an upper temple at the eastern base of the pyramid; and a roofed causeway that ran 850 m to the floodplain where a valley temple served as the gatehouse to the complex.
Fig. 1 The Giza Pyramids from across the Nile. Image courtesy of the author.
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Fig. 2 The sun rises over the Great Pyramid and burns off a veil of fog. Image courtesy of the author. FOREVER IS NOW
The amazing discovery in 2013 of papyrus scrolls at a port of Khufu’s on the Red Sea allows us to read the diary of an ‘inspector’ (sehedj) named Merer, who commanded a team that delivered Tura limestone by boat to the Great Pyramid project. In the Journal of Merer, we read of waterways and vast harbour basins that Khufu engineered in the Giza floodplain. Archaeological evidence that came to light in the last 30 years allows us to visualize this water transport infrastructure (Fig. 3). A harbour named the Lake of Khufu, stretched from the low southeastern base of the plateau, east of where Khafre would later carve the Sphinx. Khufu also enclosed another harbour basin, named the Lake of Akhet Khufu with dykes of limestone basalt east of his valley temple.
Fig. 3 Khufu’s water transport infrastructure at Giza when he built the Great Pyramid. Graphic: Mark Lehner and Rebekah Miracle, AERA GIS.
When Merer and his men sailed across the Lake of Akhet Khufu, they docked at the valley temple at the centre of a royal riverfront. Here, Khufu built his residential palace, archive, and granary, strung out to the south along the line of the modern Mansouriyah Street. All this belonged to a pyramid city named Ankhu Khufu or ‘Khufu Lives’. When the king died, priests took his mummified body through the valley temple and causeway up to Akhet Khufu, the pyramid city of the dead. Archaeologists have found fragments of fine relief carved ART D’ÉGYPTE
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scenes that decorated the walls of the causeway, meaning that, like later pyramid causeways, it must have been roofed with limestone slabs that left a narrow opening along the centre. At the upper end, the causeway locked onto a black, basalt threshold block, which remains in place at the entrance to the upper temple. Imagine yourself as one of the priests, attendants, or visitors ascending this tunnel, lit only by a narrow shaft of light. Your pupils dilate in the long, dark passage, until finally, a two-leaf wooden door appears in the dim light. About a metre wide, it swings open to sunlight reflecting off acres of white, polished, pyramid casing towering above an open court paved with black basalt. The light blinds your eyes. It was a gigantic special effect, wrought in stone.
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As you cross the court, an orderly forest of square, red granite pillars surrounds you, a first in Egyptian architecture. To the west, behind the pillars, the walls recede into a stepped bay. Two more rows of pillars flanked a narrow passageway down into the inner sanctuary. Statues of the king might have sat against the western walls facing east, looking out through the spaces between the pillars, illumined only by light coming in from the court or from slits at the tops of the walls. The statues would seem to emerge from the Netherworld into a liminal zone between dark and light, chthonic and celestial. At the centre of a deeper sanctuary, most probably stood a simulacrum or ‘false’ door, with an offering table at its base. The king’s ka (vital force) could come forth, partake of kau (food offerings), and project his spiritual power through the temples and causeway to the land of the living. In the northwest corner of the upper temple, a corridor gave access to the court that surrounded the pyramid. In later pyramid temples, each morning and evening, after attendants ritually washed the king’s statues and offered meals, they walked all around the pyramid, sprinkling it with sacred natron water. Circumambulations in the morning and evening would have been less intense than in the white, hot sunlight of high noon. Khufu’s unprecedented pyramid ensemble included two boat-shaped constructions flanking his upper temple north and south. They probably contained symbolic, simulacra boats for the king to travel to the sky. A third boat pit lay outside and left of the upper temple entrance, as though to park the king’s nautical limousine outside his eternal villa. Off the south-eastern corner of the Great Pyramid, Khufu built a small satellite pyramid, with its own FOREVER IS NOW
boat pit to the east. Along the south side of the pyramid, quarry workers cut two more rectangular boats that archaeologists found sealed under massive Tura roofing slabs. They contained disarticulated wooden boats that are several metres too long for the pits if fully assembled. The fact that both were so systematically dismantled suggests they functioned one time only, to bring the king’s mortal remains for burial in the pyramid. The Egyptians would never have taken them apart if they had been meant for a ritual purpose such as to carrying the king’s spirit to join the sun god in a daily journey across the sky. Fig. 4 The Giza Necropolis and its alignments, a ‘community of kas’. Ka was the ancient Egyptian word for a spirit or life force. They built the three pyramids for their king (who was ‘the ka of the living’) on a northeast to southwest diagonal, perhaps directed to Heliopolis, city of the sun, to the southwest, a traditional direction of the entrance to the Netherworld. Khafre’s alignment of the south side of his pyramid and his Sphinx Temple and valley temple forms a fulcrum for the informal balance of the Giza composition. Map: Rebekah Miracle, AERA GIS and Mark Lehner.
Perhaps most important, Khufu built his Great Pyramid as a set piece with three queens’ pyramids to the east, and mastaba (bench-shaped) tombs of his family members, courtiers, and officials all laid out in orderly streets and avenues west and east of his pyramid (Fig. 4). Each tomb featured its own chapel, a miniature version of Khufu’s pyramid temple. George Reisner, who excavated many of the mastabas, called the whole Giza Necropolis, three major pyramids and three generations of tomb builders, a ‘community of kas’, that is a community of spirits. For ancient Egyptians, the ka, was a generic and generative life force. A parent could say of their child, ‘my ka repeats itself’. The king could be called ‘the ka of the living’. This makes sense of the kings’ pyramids surrounded by cohorts’ tombs. If the king was resurrected, the entire community could be resurrected with him. In the sunshine of the pyramids, king and community members transformed into brilliant, ‘effective spirits’ called akhu, from the same root word as ‘horizon’. ART D’ÉGYPTE
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Khafre – Art on the Scale of Acres After the completion of the Great Pyramid, royal construction crews shifted several miles north to build the pyramid of Khufu’s son and immediate successor, Djedefre, on the Abu Rawash Plateau. Egyptologists used to think that Djedefre ruled some eight years, which may have something to do with the fact that his pyramid was much smaller than Khufu’s. Based on his work at Djedefre’s pyramid, Michel Valloggia suggests he may have ruled nearly a quarter of a century (23 years), but not all scholars are certain. When he returned to the Giza Plateau, Khafre certainly had his eye on Khufu’s pyramid as he named his own pyramid ‘Great is Khafre’. While his pyramid was 15 m less to a side (215 m), three metres shorter (143.5 m) and about one degree steeper (53 deg. 10 min.), Khafre built on bedrock 10 m higher than Khufu’s, so as a pair, the two appear almost equal.
Fig. 5 The sun sets midway between the Khufu and Khafre pyramids, forming the hieroglyph for ‘horizon’, akhet, used in the writing of the name given to the Great Sphinx, Hor-em-akhet or ‘Horus (god of kingship) in the horizon'. Image courtesy of the author. 116
Compelling evidence that Khafre intended an ‘artistic’ composition together with Khufu’s pyramid comes every summer solstice, between June 20 and 22 (when the Nile would begin to rise in flood at Aswan). Viewed from east of the Sphinx and the Khafre Valley Temple, the sun sets midway between the Khufu and Khafre pyramids, which flatten as silhouettes and form the hieroglyph for the ancient Egyptian word, akhet (horizon) where the sun sets and resurrects (Fig. 5). Even if this is coincidental, the ancient Egyptians must have seen the FOREVER IS NOW
akhet hieroglyph of Khufu and Khafre on the scale of acres. If intentional, it ranks as an example of architectural illusionism, an effect that appears when viewed from a specific vantage point. The ancient Egyptians drew little distinction between hieroglyphic writing, sculpture, monumental architecture, and art. As landscape architectural projects, pyramid builders used the whole of the Giza Plateau as their artistic medium. Khafre greatly elaborated his pyramid temple beyond Khufu’s open court surrounded by a peristyle. He made temple walls from cyclopean ‘core blocks’, quarried locally and weighing up to 200 tons. Such megalithic masonry is unique to the temples of Khafre and his successor Menkaure. His builders clad the exterior of the temple with Tura-quality limestone, except for the lowest course, which was encased in the red granite they used for much of the interior as well. Khafre also innovated by installing larger than life architectonic statues. After those who entered had ascended the long, dark causeway and roofed, front part of the temple, they swung open a mighty wooden door to an open court. Sunlight blazed off white alabaster pavement and acres of white limestone casing on the pyramid. Around the court stood twelve colossal, granite statues of the king. This was Khafre’s embellishment of the special effect in Khufu’s pyramid complex. Here the king, manifested in multiplicity, merged with sunlight. In the western part of the temple, Khafre added five chambers that would become standard in later pyramid temples. They probably housed statues, either of the king in his various aspects or of deities. He set off an explosion of statue making. From fragments recovered, we know that his artists sculpted hundreds of statues, life-size and smaller, in limestone, alabaster, and hard, igneous rock, not least of which is the world-renowned statue of Khafre in streaked diorite, with the Horus falcon folding his wings from around Khafre’s headscarf, a merging of identity between the god of kingship and the man. This was, perhaps, the centrepiece of a set of 23 such statues that once lined the walls of a T-shaped hall in Khafre’s Valley Temple (Fig. 6). Their existence is revealed by the surviving pits in which they once stood. Now in the Egyptian Museum, this masterpiece had been cast into a pit cut through the floor of the temple’s vestibule, where Mariette found it in 1858. A pair of emplacements flanking each of the two front doors of the valley temple suggest two statues of lions, or more probably, sphinxes, each 8 m long. They would be among the largest sphinxes known from ancient Egypt, equal in size to the New Kingdom alabaster sphinx in Mit Rahina), and second only to the Great Sphinx. ART D’ÉGYPTE
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Fig. 6 Khafre Valley Temple, Sphinx, and Sphinx Temple with eastern and western sanctuaries for the rising and setting sun that define an axis pointing over the Sphinx’s right shoulder to where the sun sets at the eastern foot of Khafre’s pyramid during the spring and autumn equinoxes (March 21–22; September 21–22). Khafre did not quite finish this impressive artifice. Evidence indicates that like a ‘turn-key project’ for a modern theme park, the sun temple of the Sphinx was never ‘turned on’. Map: Mark Lehner and Wilma Wetterstrom, AERA.
Khafre and the Sphinx: Eye on the Equinox In order for his sculptors to shape the Sphinx, Khafre’s quarrymen cut a U-shaped ditch into bedrock, leaving a raw rectangular bedrock block for the sculptors. As they quarried, they excavated blocks to build a special temple on a lower terrace immediately below the Sphinx’s paws. Ten colossal statues of Khafre, like those in his upper temple stood in an open court surrounded by a colonnade, its roof supported by 24 square granite pillars. Two sanctuaries, one on the east and another on the west, aligned on the centre axis of the temple. The granite casing (robbed in antiquity) that once defined sacred spaces was about the size of a small closet. Two additional pillars stood directly in front of each sanctuary (Fig. 6). 118
Khafre designed the Sphinx Temple to worship the sun: the eastern sanctuary for the rising sun (khepri), the western for the setting sun (atum), with each colonnade pillar representing one of the 24 hours of the day and night. As for the pairs of pillars before each sanctuary, they may have been the equivalent of the arms and legs of the goddess Nut, who is depicted on the ceilings of New Kingdom royal tombs arching over the landscape, giving birth to the sun in the morning and swallowing it in the evening. FOREVER IS NOW
The east–west axis of the temple aligns over the Sphinx’s shoulder to the south foot of the Khafre pyramid, where the sun sets at the equinoxes (March 21–22 and September 21–22). The setting sun shone over the western colonnade, across the court and into the eastern sanctuary, possibly to illuminate a cult object within. At the very same moment, the Sphinx and the second Giza pyramid — both symbols of the king as Horus — merge as one silhouette (Fig. 7). To achieve this effect, Khafre’s quarrymen and artists even took into account the apparent, visual horizon. On a map, if we extrapolate the south side of Khafre’s pyramid, the line actually falls exactly on the south wall of the Sphinx Temple, not its centre axis. Khafre’s quarry workers and landscape sculptors managed to keep this alignment, as well as the apparent alignment and the equinox effect, as they sculpted limestone bedrock 25 m deep. With the whole plateau as their palette, they created art that lasted forever, or at least until now. However, they did not quite finish this final set piece — the Sphinx Temple — before Khafre died and with him his ambitious artistic program. Great works of art are sometimes left unfinished.
Fig. 7 The sun sets over the southern foot of the Khafre Pyramid and over the Sphinx’s right shoulder during the spring equinox (March 22), observed from the east and on the Sphinx Temple centre axis. Photo: Frances Dilks.
Menkaure – Informal Balance of Three Pyramids We wonder why Menkaure, presumably the son of Khafre and grandson of Khufu, built a pyramid so much smaller. Estimated at 105.5 m to a side, rising to around 65.5 m at an angle of 51 deg. 10 min. 30 sec., it was only one-tenth the mass of Khufu’s pyramid. One explanation is that Menkaure may have been running out of space on the Giza Plateau. He had to settle for a ridge of limestone at the far southwestern end of a great Giza diagonal (Fig. 4). A line can be drawn from northeast to southwest that cuts the diagonal of Khufu’s northern queen’s pyramid (GI-a), touches the southeast corner of the Khufu pyramid, passes the southeast corner of Khafre’s pyramid, touches the ART D’ÉGYPTE
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southeast corner of the Menkaure pyramid, crosses Menkaure’s upper temple diagonally as well as the easternmost of his subsidiary pyramids (GIII-a). To so align Menkaure’s pyramid, temple, and smaller eastern pyramid, his surveyors had to come forward just a bit, leaving the southeast corner of Khafre’s pyramid a couple of metres beyond the line. Because of this alignment, when viewed from the desert to the southwest, the three kings’ pyramids together with the pyramids of three queens of Menkaure form a pleasing cluster (Fig. 8). Move east to a spot on the great Giza diagonal, and the southeast edges of Khufu, Khafre, and Menkaure close to share a common angle (Fig. 9). The ancient designers certainly foresaw this.
Fig. 8 The Giza Pyramid cluster, from the southeast looking northeast, just south of the great Giza diagonal. Image courtesy of the author.
Fig. 9 The Giza Pyramid cluster closes on a shared south-eastern angle, viewed from a knoll to the southwest. Image courtesy of the author.
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As though to make up for size, Menkaure clad the 16 lower courses with hard, red granite, possibly stockpiled at Giza from the works of Khufu and Khafre. He named his pyramid ‘Menkaure is Divine’. In building his temples, Menkaure showed the same confidence as Khafre, letting his builders lay out the walls of his pyramid temple and valley temple in colossal, multi-ton, limestone core blocks, the largest weighing 200 tons. But they had only begun to add granite casing to the upper temple when stonework stopped, probably when Menkaure died. Because he so carefully placed his pyramid at the far, southwestern end of FOREVER IS NOW
the great Giza diagonal, and by sighting the line of his causeway straight east toward the floodplain, Menkaure had to place his valley temple in a deep crater where quarry workers had already removed stone for pyramids and temples. His builders had to raise a foundation of colossal limestone blocks, but they had barely outlined the temple when work stopped, no doubt because the king died. It was left to Shepseskaf, Menkaure’s successor and presumed son — the last king of Dynasty 4 — to quickly finish the valley, upper temple, causeway, and the chapels of the three queens’ pyramids in plastered mudbrick. Shepseskaf brought the grand composition of pyramids on the Giza Plateau to an end. He moved to South Saqqara to build his tomb and memorial in the form of a gigantic mastaba. Ironically, because it is the smallest of the three Giza pyramids, its stonework left unfinished, Menkaure’s pyramid complex remained the least disturbed since the Old Kingdom. From the back magazines, came forth the most exquisite and complete of all royal sculpture from the Pyramid Age. Menkaure’s renowned sculptures include the famous triads showing Menkaure with the gods of nomes (governorates) and the mother goddess Hathor, and the dyad of Menkaure and a queen mother, its polish just about finished, but left uninscribed with hieroglyphs that would have named this queen. Like the temples, however, it was left unfinished when the king died. Menkaure spaced his pyramid a bit farther to the southwest of Khafre’s pyramid than Khafre spaced his pyramid to the southwest of Khufu’s. But mostly because it is so much smaller, when one looks at the three pyramids from the east, Menkaure’s pyramid conveys diminished visual weight to the left of a fulcrum point established by Khafre’s pyramid, causeway, and Sphinx (Fig. 4). This lends informal balance to the overall, three-generation, 80-year artistic composition of the Giza Pyramids plateau. Three pyramids of equal size and spacing would have conveyed a formal, symmetrical balance, and this would have been impressive, but more stiff, boring in a way. The smaller size and distance of Menkaure’s pyramid lends to the impression of depth toward a vanishing point in the west-southwest. For the ancient Egyptians, this was the direction of the entrance into the Netherworld, the portal of everlasting eternity, which the ancient Egyptians called djet. But they also imagined eternity, like the circuit of the sun, as a continuous cycle of death and rebirth, which they called neheh. For them, it was always true that Forever Is Now. ART D’ÉGYPTE
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REFLECTIONS ON FOREVER IS NOW Gemma Tully
In times of crisis, it is an instinctive human response to seek comfort in the past or escape through windows to other worlds such as the arts. During the COVID-19 pandemic, this has manifested itself in multiple ways. Museums, galleries, and heritage sites offer a clear example as they have experienced unprecedented demand for online access to collections while their doors have remained closed. Online engagement has, in turn, inspired an outpouring of creative, emotive, and philosophical reactions from global audiences who have been brought together, as virtual communities, to share their personal responses to sites, artworks, and artefacts. The art and culture of bygone eras — from the music of the Beatles and Umm Kulthum to millennia-old sculptures and ancient monuments — have proven vital in supporting wellbeing, innovation, and reflection in the face of current adversity.
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While art and culture have revealed their social value during the pandemic, research by UNESCO and ICCROM1 suggests that as a consequence of COVID-19 one in eight of the world’s museums and galleries may never open again. The same fate is also likely to befall a number of archaeological sites and heritage attractions. If this comes to pass, communities around the globe will have to fight to maintain access to their ‘Cultural Rights’ as recognized under Article 27 of the Universal Declaration on Human Rights. Forever Is Now, the latest artarchaeology collaboration from Art D’Égypte, which will respond to, and take place at, historic locations on the UNESCO World Heritage Site around the Great Pyramids of Giza, is therefore particularly timely. FOREVER IS NOW
Almost two decades ago, Anthony Shelton urged the cultural sector to transform exhibition spaces in ways that would ‘proactively challenge received expectations and stereotypes and encourage an active viewing public’2. At around the same time, audiences began calling for more colourful, atmospheric, and emotive exhibitions that would bring together multiple media, diverse historic eras, and cultures in ways that better represented global identities and modern life. What has emerged in the intervening years, and has been accelerated by creative responses to COVID-19, is a growing movement that captures the potential of contemporary art — inspired by the past yet interpreted for the present — to broker dialogues across time and culture. Art is so much more than the pleasuring of an idle moment. If used to its full potential, art — particularly modern and contemporary art — is a knowledge enhancer; a visually charged form of narrative fiction that attempts to make sense of experiences through subjective dialogue with the material world3. Taking place in the theatre of the imagination, the process of uniting contemporary art with heritage sites or ancient artefacts provides an experience in which both artist and audience can explore a multitude of possibilities about past times and their enduring relevance. This process is vital if we wish to rethink and reimagine the past — and our links with our forebears — in ways that minimize the bias of traditional museum curation. While numerous innovative exhibitions have combined modern and contemporary art with achievements of the past in collaborations that aim to transform the audience’s experience, I believe that Forever Is Now, the latest initiative by Art D’Égypte, is by far the most ambitious and exciting. Arguably, there is no stronger testament to the creativity, ingenuity, and endurance of humankind, nor to the importance of the art and culture of the past for our present and future needs, than the Pyramids of Giza — the Great Pyramid of Khufu being the only surviving original wonder of the ancient world. Guided by the vision of Nadine Abdel Ghaffar and the symbolic power of the Giza pyramids, Forever Is Now builds on the ground-breaking exhibition Eternal Light — Something Old, Something New, which took place in 2017 at the Egyptian Museum in Tahrir Square. Eternal Light brought together painting, sculpture, and photography works by 16 modern and contemporary Egyptian artists with some of the most iconic pieces from the museum’s collection. Each contemporary piece was carefully chosen and curated to draw parallels and provoke conversations which challenged traditional (often stereotyped and ART D’ÉGYPTE
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Orientalist) interpretations of both modern Egyptian art and ancient Egyptian culture. Re-imagining the past through a 21st-century lens, while speaking to the present and future, the approach captivated local and international audiences by breathing new life into the artworks and artefacts, and into the Egyptian Museum building itself. Four years on, Forever Is Now will take this concept to a new level by incorporating pieces by international artists inspired by Egypt’s unique culture alongside modern and contemporary Egyptian art into installations at a range of locations around the Pyramids of Giza. By disassociating art from the ‘white cube’ and maximising the potential of the landscape of the pyramids both as ‘gallery’ and as ‘artefact’, Forever Is Now has the potential to reinforce understandings of both the dynamism and utility of art and culture — past and present — to modern life. The boundaries between archaeology, art, and life are much more fluid than the musings of scholars have traditionally assumed. Thus, by uniting communities through dynamic, creative dialogues across the ages, Art D’Égypte’s latest initiative should encourage us all (individuals, philanthropists, and governments) to celebrate and support the arts, alongside Egyptian and global cultural heritage, at a time when these sectors — and us, their audiences — need it most.
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[1] UNESCO/ICCROM. 2020. UNESCO and ICCROM Analyze Museum Trends During and After the Pandemic. UNESCO News [online]. https:// en.unesco.org/news/unesco-and-iccrom-analyzemuseum-trends-during-and-after-pandemic [2] Shelton, A. 1993. ‘Re-presenting Non-Western Art and Ethnography at Brighton’. The Royal Pavilion and Museums Review, 1, pp. 1–14.
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[3] Laneri, N. 2003. ‘Is Archaeology Fiction? Some Thoughts About Experimental Ways of Communication Archaeological Processes to the External World’. In: J.H. Jameson, J.E. Ehrenhard & C.A. Finn (eds). Ancient Muses: Archaeology and the Arts. Tuscaloosa, Alabama: The University of Alabama Press, pp. 179–192; and Renfrew, C. 2003. Figuring it out: The Parallel Visions of Artists and Archaeologists. London: Thames & Hudson.
A PAST ALWAYS PRESENT Rose Issa
Egypt has captivated Western cultures for millennia. In the days of the Roman Empire, Julius Caesar and Marc Antony were spellbound by Cleopatra, a queen who would later inspire countless plays, novels, and films. Western fascination was renewed in the early nineteenth century following Napoleon Bonaparte’s invasion of Egypt in 1798; the French emperor enjoyed little military success, but the scientists who accompanied his campaign made important discoveries. This was the start of Western meddling in Egypt and the installation of Egyptian antiquities in foreign museums. Whether through plunder or uneasy diplomacy, ancient monuments ended up in cities such as London, Paris, and New York. The enchantment with Egypt was enhanced by the burgeoning technology of photography, which brought images of Egyptian art and aesthetics to a larger public. With the dramatic discovery of Tutankhamun’s tomb in 1922, ‘Egyptomania’ took over. Tourism to the region became all the rage for the well-to-do, who could be found cruising the Nile, visiting the Pyramids, and picnicking next to the Sphinx. Today, more than a century after their incorporation into the visual language of art deco, the brilliance of ancient Egyptian motifs, shapes, and colours still dazzles. The term ‘Egyptomania’, from the Greek words for Egypt and ‘mania’, meaning madness or fury, refers to enthusiasm for everything that is related to ancient Egypt. In the nineteenth and twentieth centuries ancient Egypt’s aesthetics, motifs, architecture, religious iconography, dress and societal structures informed the subject matter of Western paintings, dances, pageants, movies, and even mystery novels. And the craze refuses to fade away. ART D’ÉGYPTE
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It is worth looking in more detail at the beginnings of this obsession. In 1798, Napoleon took his troops to Egypt as part of his Mediterranean campaign to defend French trade interest. Alongside his soldiers and sailors travelled some 160 civilian scholars and scientists. In military terms, the campaign was shortlived and achieved very little for Bonaparte, but it gave rise to an extraordinary series of publications issued between 1809 and 1829, the Description de l’Égypte. Involving the participation of around 2,000 artists, technicians, scientists, and engravers, these more-than-twenty volumes ignited interest in Egypt across Europe. The aftermath of Napoleon’s invasion also resulted in Jean-François Champollion’s deciphering of Egyptian hieroglyphs – the breakthrough coming in 1822 – as a result of the discovery of the Rosetta Stone in 1799. Today in the British Museum, the stone was the modern world’s first bilingual ancient Egyptian text. The British ended Napoleon’s occupation of Egypt in 1801, and the French hoard of Egyptian antiquities was handed over as part of the surrender. When the artefacts were brought back to Europe, these archaeological treasures stimulated the European imagination and established Egyptology as a field of study in its own right. The enthusiasm spread well beyond Europe’s shores: as early as 1850, certain American scientists had begun to focus on Egypt. Conferences on the art of mummification led to a rise in popular interest and spawned the name ‘mummy fever’.
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The obelisk beside the Thames known (inaccurately) as Cleopatra’s Needle dates back to 1450 BC. It was ‘given’ to Great Britain by Mohammed Ali Pasha in 1819 and erected in 1877. It has two bronze sphinxes next to it, faux antiquities made in Victorian Britain. In 1881, New Yorkers were captivated by the arrival of their own ‘Cleopatra’s Needle’, which was gifted to the USA by Khedive Ismail. The longevity of the enthusiasm created by this fixture in Central Park can be gauged by the mounting of major exhibitions a century and more later. New York’s Metropolitan Museum of Art’s Egyptomania in 1979 was followed in 2013 by Cleopatra’s Needle. Even smaller, distant American cities have been caught up in the fascination: The Lure of Egypt: Land of the Pharaohs Revisited opened at The Museum of Fine Arts in St Petersburg, Florida in 1995. In 1912, came the discovery of an exquisite painted limestone bust of Nefertiti, consort to the 18th-dynasty king Akhenaten, by a German archaeological team FOREVER IS NOW
led by Ludwig Borchardt. Nefertiti became ancient Egypt’s first modern-day celebrity. The bust, now in Berlin’s Neues Museum, acquired so much fame through the medium of photography that her profile came to exert notable influence on new ideals of feminine beauty in the early twentieth century. Ten years later, the discovery of the undamaged tomb of Tutankhamun (1922) by British archaeologist Howard Carter introduced a new celebrity: ‘King Tut’. Unprecedented treasures and archaeological riches were revealed. The tomb with its spectacular contents and stunning ornamental arts and motifs was to massively influence the art deco vocabulary – from the design of buildings, furniture, jewellery, fashion, and cars to movie theatres, operatic costumes, painted portraits, trains, and even ocean liners. The discovery unleashed fresh new waves of Egyptomania, and adventurers of all kinds competed to strip Egypt of its heritage. Although so many wonderful artefacts and monuments were taken (or stolen) from Egypt and are now on display all over the world, the country remains endlessly rich in its own heritage. Every year, new discoveries add to its wealth of cultural history. Just as the arrival of Cleopatra’s Needle created an enduring legacy of curiosity in the USA, Britain has never fully emerged from the period of excitement that followed Carter’s discovery. In 1972, the exhibition Treasures of Tutankhamun opened in London at the British Museum, then travelled to many other Western cities. The resultant new surge of Tut-mania was catered for by local museum shops providing copious Tutankhamun souvenirs (books, T-shirts, jewellery). Only the appearance of a different kind of fever – COVID-19 – prevented the 2019 exhibition Treasures of the Golden Pharaoh at the Saatchi Gallery from bringing a fresh wave of mania to London. Curated to celebrate the centenary of Carter’s excavation, it was forced to close after only a few weeks but is poised to reopen when circumstances permit. In fact, the mythologies of Egypt, the voluptuous scenery of the Nile, and the great discoveries linked to the mysteries of its pyramids, have inspired myriad exhibitions worldwide. These include not just temporary shows but the permanent collections of the ethnographic museums or of orientalist paintings which draw crowds of eager visitors year after year. Many other exhibitions were planned for 2020–2022; some had to close early, and many others have been postponed indefinitely. They include Pharaoh’s Gold: 3000 Years of Ancient Egypt, which opened in Germany in 2020 at the Weltkulturerbe Völklinger ART D’ÉGYPTE
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Hütte, showcasing many ancient Egyptian gold artefacts from museums in Germany and Austria. Plans to extend the run were defeated by the pandemic. Many of the pieces displayed were also scheduled to appear in Ramses and the Pharaohs’ Gold, a large touring exhibition of the USA and Europe. The West’s continuing fascination with all things Egyptian has been reflected in both high and low culture with influences appearing in everything from literature and film to architecture and fashion. Over the years, there have been numerous exhibitions that have documented this enthralment such as The Inspiration of Egypt: Its Influence on British Artists, Travellers and Designers, 1700–1900 held in 1983 in Brighton and Manchester. A much bigger show followed at the Martin Gropius Bau Museum in Berlin in 1989, Europe and the Orient, 800–1900 with hundreds of illustrations in the catalogue covering Islamic art, Orientalist painting, and everything Egyptian. In 1994–1995, Egyptomania toured Paris (the Louvre Museum), Ottawa (the National Gallery of Canada), and Vienna (Kunst Historisches Museum). It examined the creative response of Western artists towards ancient Egyptian art and culture, extending to all media from painting, sculpture, and architectural projects to furniture, jewellery, theatrical sets, and costume design. In fact, anything that could possibly be given an Egyptian twist duly received it, and there are many, many examples including but certainly not limited to the ones presented here. Literature As early as 1818, the English poets Percy Bysshe Shelley and Horace Smith took part in a friendly sonnet-writing competition, a popular diversion among the literati of the day. Each of their poems was published with the title Ozymandias, drawing inspiration from the discovery in Luxor of a statue of the Egyptian king Ramses II (known in Greek as Ozymandias). A large fragment had been acquired by the British Museum the previous year. 128
Ramses II later inspired a rather more studious series of best-selling novels by the French author and Egyptologist Christian Jacq, written between 1995 and 1997, on the life of this famous king. He and his wife have also been active in creating a photographic archive with the purpose of preserving Egypt’s endangered archaeological sites. Edgar Allan Poe is among the many writers who incorporated Egypt into their works. Some Words with a Mummy (1845) and other famous tales such as Ligeia FOREVER IS NOW
(1838) and The Fall of the House of Usher (1839) not only reveal his deep awareness of popular culture but might also be characterized as attempts to preserve Egypt in literature. The country and its ancient landmarks also feature in several of Agatha Christie’s murder-mysteries. The writer first visited Egypt in 1910 and later married archaeologist Sir Max Mallowan. Many of her novels have inspired films, most notably Death on the Nile (1936), a classic of the genre that is enjoying remakes to this day. Mummies feature heavily in many novels, short stories, horror stories, adventure and mystery classics, dramas, and even comic books and graphic novels. They appear in varying degrees of ghoulish fascination in Theophile Gautier’s The Mummy’s Foot (1840); Louisa May Alcott’s Lost in a Pyramid or The Mummy’s Curse (1869); Grant Allen’s My New Year’s Eve Among the Mummies (1879); and several stories by Arthur Conan Doyle and Sax Rohmer. Henry Rider Haggard collected genuine Egyptian antiquities in addition to incorporating the region’s supposed mythology in several fantasy adventures such as King Solomon’s Mines (1885) and She (1886), which helped set the pattern for fiction combining geographical with archaeological discovery. The Belgian cartoonist Hergé began serialising the third of his famous Tintin adventures, Cigars of the Pharaoh, in 1932. Fig.1 Film poster for The Mummy, 1932, directed by Karl Freund and starring Boris Karloff. Image courtesy of the artist.
Film One of the earliest films to explore the subject of mummies was directed by Karl Freund in 1932 (Fig. 1). The Mummy finds Boris Karloff, the British actor famous for portraying Frankenstein in several horror movies, playing the reanimated mummy of high priest Imhotep, searching Cairo for the girl he thinks is his long-lost princess. It would be followed by several remakes, including one in 1999 that retained the somewhat unoriginal title. ART D’ÉGYPTE
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There are also over twenty-five films about Cleopatra alone, the earliest from 1899. The famously alluring queen has been played by star actresses such as Theda Bara (1917), Claudette Colbert (1934), Vivienne Leigh in Caesar and Cleopatra (1945), and Elizabeth Taylor (1963) in Cleopatra, the American historical epic directed by Joseph Mankiewicz. Hollywood’s depiction of ancient Egypt contributed greatly to the fantasy version of Egypt found in modern culture. The cinematic spectacle of Egypt climaxed in sequences of Cecil B. de Mille’s The Ten Commandments (1956) and was seen again in Nefertiti, Queen of the Nile (1961), an Italian sword-andsandals historical drama, made by Cinecittà Studios. In 2007, an animated film, La Reine Soleil by Philippe Leclerc, featured Akhenaten, Tutankhamun, Nefertiti, and Horemheb, the last pharaoh of Egypt, in a complex struggle pitting the priests of Amun against Akhenaten’s intolerant monotheism. But it fell to two Egyptian directors, Shadi Abdel Salam in his award winning The Night of Counting the Years (Laylat Hassad al-Sineen or al-Momya),1969 – based upon the true story of the discovery of a cache of royal mummies in 1881 in Thebes and the theft of its treasures by a local tribe – and Youssef Chahine in Adieu Bonaparte (1985) to offer a different take on history. Chahine’s Egyptian-French historical drama depicts an ordinary Egyptian family reacting to Napoleon Bonaparte’s occupation of Alexandria. In it, Patrice Chéreau, France’s leading theatre director and filmmaker, plays the lead role of Napoleon. The film was shown at the 1985 Cannes Film festival and later selected for screening as part of the Cannes Classics selection in 2016, eight years after Chahine’s death. 130 Fig. 2 DVD cover art for Guiseppe Verdi’s Aïda, starring Adina Aaron, Kate Aldrich, and Scott Piper and performed by the orchestra and choir of the Fondazione Arturo Toscanini. Image courtesy of the artist.
Music Giuseppe Verdi’s opera Aïda, set during the Old Kingdom, was commissioned by Khedive Ismail to celebrate the inauguration of Cairo’s Khedivial Opera House and had its première there on 24 December 1871. Today the work holds a central place in the operatic canon, enjoying performances around the world every year; at New York’s
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Metropolitan Opera alone, Aïda has been sung more than 1,100 times since 1886 (Fig. 2). Needless to say, Cleopatra has also inspired ballets, fashion, concert music (including Hector Berlioz’s cantata La Mort de Cléopâtre) and more than twenty operas. Among the latter are Jules Massenet’s Cleopatre, heard at the Opera of Monte-Carlo in 1914, two years after the composer’s death, and Samuel Barber’s Antony and Cleopatra, commissioned for the opening of New York’s new Metropolitan Opera House in 1966. Even jazz music was influenced by Egyptian style with 1923 bringing us Old King Tut by British band the Georgians. Design and Fashion Egyptomania swept through the decorative arts with renewed vigour after the discovery of Tutankhamun’s tomb in 1922. Some of the most memorable designs of the succeeding decades were inspired by ancient Egypt. The adoption of Egyptian-derived aesthetics was spurred by early photography, the dissemination of French fashions in the United States, and accounts of travellers’ journeys to Egypt, especially those written by women. Fig. 3 ‘Le Secret du Sphinx’, a scent by Ramsès with a Baccarat clear crystal bottle with frosted stopper, 1917 Image courtesy of the artist. Fig. 4 Art deco brooch, 'Dieu sur une fleur de lotus', ca. 1925 Faience, diamonds, emeralds, rubies, and onyxes mounted in gold. Collection Cartier Genève. Image courtesy of the artist.
Jewellers all around the globe paid tribute to the ancient Egyptian shapes and geometric motifs that enraptured the New World. All the high-end labels displayed influences: Cartier, Tiffany, Bulgari, Van Cleef & Arpels, Chanel … Louis Cartier even incorporated fragments from genuine Egyptian antiquities in his jewellery. Rings, necklaces, and bracelets became an ode to all things pharaonic, from motifs to materials. Tiffany, ART D’ÉGYPTE
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who had been a master of the sinuous art nouveau, quickly adopted the stylized art deco, with its Egyptian geometric shapes and style, usurping the organic curves of the recent past (Fig. 3 & 4). It was inevitable that the world of mummies, sphinxes, obelisks, pyramids, scarabs, and headdresses should influence clothing design. Hats, bags, shoes, even bathing costumes took on the Egyptian look, and hieroglyphs appeared on fabrics and surfaces at everything from private costume parties to lavish public events, all of them taking Egypt as a theme.
Fig. 5 Pyramide du Louvre Architect: I.M.Pei, 1989 Photo: Benh Lieu Song
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Architecture What became known in European architecture as ‘the Egyptian revival’ has its roots in construction projects going back to the Italian Renaissance. Bernini placed the Obelisk of Domitian atop the Quattro Fiumi fountain in Rome in 1651. It in turn inspired the erection of obelisks and other Egyptian-themed structures as follies in the grounds of European mansions – Ireland has several such examples, for instance. In Britain, obelisks, pyramids, and pylons began appearing in the design of public and private buildings in the seventeenth century. Nicholas Hawksmoor, architect of many London churches, made liberal use of Egyptian forms. But once again, it was the aftermath of Napoleon’s Egyptian campaign that gave the revival impetus. The style first became ubiquitous in public memorials. Pyramid mausoleums, flat-roofed mastabas, lotus columns, and sphinxes were very popular in nineteenth-century gardens and cemeteries as symbols of eternity. London’s Highgate Cemetery, founded FOREVER IS NOW
in the early nineteenth century, has an Egyptian Avenue complete with obelisks and colonnades. Architecture inspired by Egypt can still be seen on the streets of all British cities, dating back at least 200 years. The Carlton Cinema, in Islington, London (now called the Grace Point Centre) opened in 1930, when Tut-mania was still rife. An art deco palace of entertainment, it has a façade and foyer very much in the Egyptian style. One of the most outstanding and most photographed of Europe’s Egyptianinspired architectural works is a comparatively recent one: the Louvre Pyramid, completed in 1989. This large glass and metal pyramid was designed by Chinese-American architect I. M. Pei. It is surrounded by three smaller pyramids in the main courtyard (Cour Napoléon) of the Louvre Palace in Paris and serves as the entrance to the renowned art museum (Fig. 5). Leaving aside the Luxor Casino and Hotel in Las Vegas, with its sphinx, pyramid, and replica tomb of Tutankhamun, perhaps the most striking modern example of a pyramid structure is the Palace of Peace and Reconciliation in Astana, Kazakhstan. Designed by Foster and partners, it is over half the height of the Great Pyramid of Cheops (139 m tall), which for 4,000 years remained the tallest building on earth. Fig. 6 Christo and Jeanne-Claude The Mastaba, Serpentine Lake, Hyde Park, 2016–2018 Image courtesy of the artist
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The Bulgarian artist Christo (1935–2020) and his wife Jeanne-Claude (1935–2009) were known for their ambitious, large-scale works of art that altered both the physical form and visual appearance of sites for a short period of time. In 2018, London witnessed The Mastaba (Project for London, Hyde Park, Serpentine Lake), a temporary sculpture made of colourful stacked ART D’ÉGYPTE
barrels (Fig. 6). It proved to be the final outdoor project to be completed in Christo’s lifetime. To Christo and British sculptor Stephen Cox – whose style mixes Italian, Egyptian, and Indian traditions – we can add many prominent contemporary artists, including Egyptians themselves with an international profile: Hassan Fathy, Chant Avedissian, Khaled Hafez, Huda Lutfi, Fathi Hassan, or Adam Henein (Fig. 7). Together they confirm that the influence of ancient Egypt remains vividly evocative, inspiring, and alive in the aesthetics of both the West and the East.
Fig. 7 Adam Henein Dynastic Bird, 1965 Bronze, ed. 8, 185 x 35 x 30 cm Image courtesy of the artist and Karim Francis Gallery. 134
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AN ART FOR ETERNITY: ANCIENT EGYPTIAN ART — A MODERN PERSPECTIVE Fekri Hassan
Contemporary art has been drifting away from the conventional approaches to ‘modern’ art which focus on representations, expressions, impressions, and emotions embedded in a system of aesthetics independent of the world. Artworks have typically been bound with the cultural milieu from which they emanate: Greek art with its heroic realism of noble individuals and Gods in idealized human forms; Roman art with its imperial flair and magnificence; medieval European art with its allegories and spirituality; and industrial art with its concern for subjectivity, individualism, and synthesis. Today, in a globalized world, with the breakdown of the world views of the industrial era, the traditional notions and norms of art have been cast aside with boundless, ferocious freedom and with an intent to shock, enervate, and innovate. The innovations are at times purely pictorial, rooted in the aesthetic tradition, and in many other cases inspired by concepts and ideas that are at times political or critical of social norms, practices, and modes. For example, an artist like Damien Hirst is preoccupied with the idea of ‘death’. He attained fame for a series of artworks in which dead animals were preserved and displayed, best illustrated by his work, The Physical Impossibility of Death in the Mind of Someone Living (1991), a 4.3-m tiger shark preserved in formaldehyde. Another contemporary artist, Jeff Koons, glorifies throwaway objects and twists the way they are perceived as in his work Balloon Dog (1994–2000) ART D’ÉGYPTE
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based on balloons twisted into shape to make a toy dog. His work seemingly trivializes art by seeking the banal and kitsch. Julian Schnabel became known for his paintings on velvet and for canvases whose surface was built up of shattered crockery and other found materials. The broken crockery denoted the fragmentary nature of postmodern existence. On these two types of surfaces, Schnabel might mix an image appropriated from Oskar Kokoschka or Caravaggio with a comic book figure and a pair of real antlers mocking the notion of ‘fine’ art. In sharp contrast with frivolity, abstract aesthetics, and representational realism, Egyptian art was enshrined in the philosophical realization of order and permanence as a cosmic scheme that permeates all forms of life and as a means of integrating people, nature, and the world. Visual art was a key element in articulating the perfection of the world and realizing the ideal form of the hidden structure of the universe and the invisible schema behind fleeting images. In marked contrast to modern art, which is preoccupied with singular artworks and inseparable from the stamp of the individual artist and his signature, the primary focus in Egyptian art was on its core meanings and cosmic significance. Its aim was not to distort, mock, or shock. On the contrary, it was an art that put aside the personality, proclivities, and whims of the individual artist, celebrating instead what unified him with his fellow human beings, with other creatures, and even with inanimate objects. Egyptian art was not a realistic representation of mundane and commonplace happenings but rather aimed to bring together a sense of order, stability, and harmony. Even when art was engaged in creating decoration, it was amazingly serene, orderly, and free of needless embellishment.
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Art was a means of discovering and presenting our existential knowledge of the world of nature and humanity within a metaphysical universe of ideal forms and a universal design of creation and everlasting existence. It may also be stated that art was the language and medium by which Egypt maintained its identity and principles – its conceptions of the world and humanity across hundreds of generations. In its monumental wonders, including the mighty pyramids, we have many lasting testimonials to the greatness of Egypt’s achievement in art and FOREVER IS NOW
architecture. Today, as one wanders the halls of the Egyptian Museum in Cairo, the artistic brilliance of Old Kingdom art commands our attention with the eternal freshness of its colours and composition. No wonder that Paul Klee wrote after visiting the Egyptian Museum in January 1928, ‘It was necessary to prolong this visit to as long as possible’. Egyptian art with its unfaltering commitment to standards, codes, compositions, and schemes was not meant to beautify or adorn, but rather to help Egyptians sustain the principles of their civilization and world view. Art was the medium used to resurrect the Egyptian conceptualization of the world after times of stress and confusion. After the First Intermediate Period (ca. 2181–2055 BC), when the powerful and grandiose Egyptian state was undermined by dissolution and disorder precipitated by shortages of Nile flood water, Egyptian art was reinvigorated, returning to its full glory during the Middle Kingdom (2055–1650 BC). There were, undoubtedly, variations and innovations over the 5000-year-long journey of ancient Egyptian art, but it maintained its cardinal principles and remained recognizable and distinct throughout its history. We may be surprised to learn that there was no cult of the artist in Ancient Egypt. We only know the names of a few artists who with their anonymity have been enshrined in their works. The individuality we now cherish was forfeited to eliminate any subjectivity. Creativity was permitted within the bounds of norms and traditions and the standard canons of metaphysical order, rescuing Egyptian art from stale fixity and boring repetitiveness. Two-Dimensionality One of the hallmarks of modern art is the recognition that paintings are two-dimensional and that the painting exists in its own spatial realm with no need to resort to the illusion of three-dimensionality. In addition, what the eyes perceive is not what the mind construes. The pivot toward this philosophy in art started in the second half of the nineteenth century with Paul Cezanne who explored the geometrical conception of art, Émile Bernard who explored the use of monochromatic palettes, and Van Gogh who explored two-dimensionality, discarded the need for the illusion of depth, and adopted the use of large monochromatic colour areas. This transformation of European art was a belated rediscovery of one of the cardinal principles of Egyptian art. From the early beginnings, Egyptian artists embraced the two-dimensional surface and attempted to provide the most representative aspects of each ART D’ÉGYPTE
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element in the scene rather than attempting to create images that replicated the visible world. Each object or element in a scene was rendered from its most recognizable angle, and these were then grouped together to create the whole. This is why images of people show the face, waist, and limbs in profile, whereas eyes and shoulders are shown frontally. These scenes are complex composite images that provide complete information about the various elements, rather than ones designed from a single viewpoint, which would not be as comprehensive in the data conveyed. Egyptian painting was embedded in the art of drawing that began in prehistoric times in the rock art that may still be seen in many wadis of the Eastern Desert and in the cliffs of al-Gilf al-Kebir and al-‘uweinat. The outline defines the shape and serves as a boundary between entities unified by the architectural composition of images. A sketch in red was sometimes prepared before the final black outline was drawn, allowing the artist to correct the proportions of the design. In bas-relief artworks, incisions were used to define the form and enhance its identity. Elaborate engravings created remarkable, delicate reliefs as a genre between two-dimensional drawings and threedimensional statues bringing the two-dimensional surfaces to a visual field stimulating stereoscopic vision.
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Multiple Perspectives One of the most remarkable achievements of Egyptian art was the creation of entities as a composition made of parts seen from different angles. This is clearly shown by the human figure, which is normally depicted using a combination of frontal and profile viewpoints. The head is usually shown in profile but the eyes and eyebrows in a frontal position. The shoulders, except in certain situations where movement is involved, are shown in frontal view, while the waist and limbs are in profile, and although the nipples on male figures and the breasts on female figures are shown in profile, collars, pectorals, or necklaces on the chest, are shown in full frontal view. It was also traditional until Dynasty 18 to render the two feet from the outside with all the toes showing. This treatment of entities was an ingenious solution to the depiction of three-dimensional objects and figures in the two-dimensional world of a painting or a drawing. The objective is to perceive simultaneously the different views seen by the mind in a three-dimensional world. Moreover, elements and attributes of the object or figure are selected in a way that makes it instantly recognizable. The creation of such two-dimensional images FOREVER IS NOW
was not clearly just a matter of a logistical solution for rendering objects as two-dimensional images, it was a means by which the ‘essential’ properties, characteristics, attributes, or identifiers are combined to construct the essence of the ‘being’ or ‘object’ unfettered by the viewer’s point of view, independent of the viewing position, and regardless of the conditions of viewing. This was in stark contrast to the use of perspective during the Renaissance which rendered the world from the point of view of the observer. It was also unlike the work of the impressionists who attempted to chase the ephemeral state of entities under changing light conditions. This iconicity — also revealed by the integral relationship between hieroglyphic writing and visual art — is now widely used in electronic communication and was a factor in the success of Apple computers.
Fig. 1 Pablo Picasso Portrait of Marie-Thérèse Walter, 1937 Oil on canvas, 100 x 81 cm Museu Picasso, Barcelona, Spain Image courtesy of the author.
In modern art, it was Pablo Picasso who exploited this composite twodimensional principle as one of his trademarks (Fig. 1). Cubist paintings such as Picasso’s represented the composite idea of objects that we have in our mind, rather than rendering them from one point of view, at one moment in time, and in one kind of light. Georges Braque’s Pitcher and Violin (Fig. 2) appears arbitrarily distorted, but it is not. One tactic that Braque uses here is depicting objects from multiple perspectives. While most of Braque’s violin is depicted frontally, the scroll at the top of the neck is represented from the side, and the bridge that holds the strings over the neck and sound board has been flipped. ART D’ÉGYPTE
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Fig. 2 Georges Braque Pitcher and Violin, 1909–1910 Oil on canvas, 116.8 x 73.2 cm Kunstmuseum Basel, Switzerland Image courtesy of the author.
The use of multiple perspectives, a key principle in ancient Egyptian art, was revolutionary when it appeared in Europe. However, the Cubists who adopted it were not seeking ‘eternal truth’, but rather a formal solution to the depiction of three dimensions in a two-dimensional work of art, judging by their fragmentation of objects beyond recognition. As the style of Braque’s and Picasso’s cubism evolved, they shattered objects into smaller and smaller facets, until they became virtually unrecognizable pieces in a monochromatic mosaic.
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Colour Egyptian artists used colour in their search for an art faithful and truthful to eternality. They filled figure outlines with a uniform, monochromatic layer of paint. As a core cardinal principle, Egyptian art uses a limited number of basic colours that are rarely mixed. Areas within the outer outline are painted in one uniform colour without shadows or change in hues to indicate textures (Fig. 3a). Pigments were used from natural materials such as red ochre, yellow ochre, and malachite. Blue was obtained from a synthetic material made from copper ores, limestone, sand, and natron. The ancient Egyptians’ use of pure colours to depict people, gods, sky, things, and places attests to their high skills as colourists who combined foreground and background spaces in one harmonious field of colours, in the manner familiar to us in the work of Henri Matisse (Fig. 3b). FOREVER IS NOW
Jacques Rivière , artist and critic, argued that monochromatic colour is a more truthful means to depict reality than traditional naturalism. The Impressionists demonstrate how objects change radically in different states of light. Monochromatic colour eliminates the play of lighting and shadows and presents objects in their true form, as our minds know them to be, rather than how our momentary vision sees them.
Fig. 3a The Tomb of Sennedjem, an artist who lived in the reign of Sety I and Ramses II, Deir el Medina, Luxor, Dynasty 19 (ca. 1295–1186 BC), New Kingdom. Image courtesy of the author.
Fig. 3b Henri Matisse The Conversation, 1909 Oil on canvas, 177 x 217 cm The State Hermitage Museum, Saint Petersburg Image courtesy of the author.
Movement No less important in the way they attempted to use art as a pathway to eternal truth was how the ancient Egyptians tackled the problem of movement. Within the same tradition of pure monochromatic colour rendering and composite two-dimensional multi-perspective figuration, artists in the New Kingdom showed how to bring to life movement and action in a motionless space. Surprisingly, one of the most famous works of Pablo Picasso conjures in his own style the pictorial solutions used in ancient Egyptian paintings. The dancers from the tomb of Nebamun (Fig. 4a), shown mostly in profile but with traditional views of the collar, reveal movement with the way their legs are depicted. In addition, the artist used a planar perspective (figures or objects are arranged in successive planes of the same size from front to back) to show the movement of the dancers in space. The musicians facing the viewer are in a non-traditional configuration. Two of them are in a frontal view drawing the viewer to their circle completed with the traditional view of the other two ART D’ÉGYPTE
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musicians on the side. This masterpiece of composition and expressive modality is so expressive that you can almost hear the melodious sound and the clapping as you follow the circling dance of the two young girls. In Picasso’s pictorial analogy, Les Demoiselles d'Avignon (Fig. 4b), he twists the woman on the left as if to show as many aspects of her as possible. Unlike the ancient Egyptian painting, however, his work belongs not to a world of gaiety, joy, and harmony, but to a distorted world of sarcasm, fragmentation, and crudity. Nevertheless, it was the use of the visual grammar of ancient Egypt consisting of the abandonment of perspective in favour of a flat, two-dimensional picture plane and the use of monochromatic forms that marked this work of Picasso as a radical departure from traditional European painting, heralding the early development of both cubism and modern art.
Fig.4a A fragment of the painted plaster on the wall of the tomb chapel of Nebamun, a wealthy Egyptian accountant (‘scribe and counter of grain’) during the New Kingdom. The scene depicts guests, servants, musicians, and dancers at a funerary banquet, Theban Necropolis, Dynasty 18 (ca. 1550–1295 BC), New Kingdom (The British Museum, London). Image courtesy of the author.
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Fig. 4b Pablo Picasso Les Demoiselles d'Avignon, 1907 Oil on canvass, 243.9 x 233.7 cm Museum of Modern Art, New York Image courtesy of the author.
Also using the planar perspective, Nebamun depicted in his tomb-chapel cattle being paraded in front of a scribe. Here, depictions of hand movements and gestures are combined with the planar perspective to display a sense of movement across the panel from left to right (Fig. 5a). The use of this method to depict movement was used by Marcel Duchamp in his Nude Descending a Staircase (Fig. 5b), as well as in the futuristic work by Giacomo Balla, Girl Running on a Balcony (Fig. 5c). Futurism was developed in 1909 by Filippo Marinetti, an Italian poet and theorist, born and educated in Alexandria, who rejected the past and set out to celebrate speed, machinery, violence, and industry. What paradoxically links this movement to ancient Egypt is the attempt by futurists to capture abstract, kinetic energy and simultaneity on a still canvass such as this one by Balla. FOREVER IS NOW
Fig. 5a Details of a painting on plaster in the tomb chapel of Nebamun, Theban Necropolis, Dynasty 18 (ca. 1550–1295 BC), New Kingdom (The British Museum, London) Image courtesy of the author. Fig. 5b Marcel Duchamp Nude Descending a Staircase (No. 2), 1912 Oil on canvas, 151.8 x 93.3 cm Philadelphia Museum of Art Image courtesy of the author.
Fig. 5c Giacomo Balla Girl Running on a Balcony, 1912 Oil on canvas Galleria d’Arte Moderna, Milan Image courtesy of the author.
Paul Klee and Egyptian Abstraction 3500 BC More than 500 years before the dawn of formal Egyptian art and going back even further in time to more than 6000 years ago, Egyptian artists were refining what they had inherited from their prehistoric ancestors. Pottery vessels from the Gerzean (Naqada II) stage when farming villages and cattle herding became prominent features of the Egyptian landscape reveal a precocious trend toward abstraction, geometric art, and monochromatic colour schemes (Fig. 6a). Not only was this style associated with grave goods linking this world with that of eternal repose, but it also evokes the delicate and refined geometric aesthetic art of Paul Klee’s works of the 1920s (Fig. 6b). His work of the Bauhaus decade became increasingly geometric, and the ART D’ÉGYPTE
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number of forms employed in a given composition was sharply simplified. His works recall the simplicity and serenity of abstract drawings floating in the space of a cosmic background.
Fig. 6a Pottery jar from the Gerzean (Naqada II) Period (ca. 3500 BC). Image courtesy of the author.
Fig. 6b Paul Klee Legend of the Nile, 1937 Pastel on burlap and cotton, 69 x 61 cm Kunstmuseum, Bern Image courtesy of the author.
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Is it by coincidence, that this Swiss artist who did not travel much was drawn to visit Egypt in December of 1928 to fulfil his long-standing desire to see firsthand the Great Pyramids of Giza and the temples of Luxor and Aswan? Not only was he inspired by the triangular geometry of the pyramids, but also by hieroglyphs, leading him to create a figural abstract drawing that conveys to the modern viewer that ancient Egyptian cosmic link between word and image and the joy of an art that defies death, borders, and generational change. Paul Klee’s trip to Egypt led him to develop a principle that he called ‘cardinal progression’. It is manifested in the strongly geometricized forms of his stripe paintings, which were inspired by the arrangement of cultivated fields along the banks of the Nile (Fig. 7). FOREVER IS NOW
Neither cubism nor futurism lasted, but the works of Matisse and Klee harken back to those of artists who succeeded in creating a world of order and stability as they struggled to tame the vagaries of a wild Nile and to combat conflict with a moral principle of oneness in a cosmic order based on justice, goodness, and, not least, eternal beauty.
Fig. 7 Paul Klee Mount Niesen – Egyptian Night, 1915 Kunstmuseum, Bern Image courtesy of the author.
References Aarseth, A., 2001. " Peer Gynt" and Hegel's Ideas on Egyptian Art. Scandinavian Studies, 73(4), pp.535-546. Frandsen, P.J., 1997. On Categorization and Metaphorical Structuring: Some Remarks on Egyptian Art and Language1. Cambridge Archaeological Journal, 7(1), pp.71-104. Immerwahr, S., 1985. A possible influence of Egyptian art in the creation of Minoan wall painting. Bulletin de Correspondance Hellénique, 11(1), pp.41-50.
Parkinson, R.B. and Lovelock, K., 2008. The painted tomb-chapel of Nebamun: masterpieces of ancient Egyptian art in the British Museum. British Museum. Rivière, Jacques 1912. “Present Tendencies in Painting”, as translated in Edward Fry, ed., Cubism (New York and Toronto: Oxford University Press, 1966), p. 77. Schäfer, H., Brunner-Traut, E., Baines, J. and Baines, J., 1986. Principles of Egyptian art. Oxford: Griffith Institute. Zupnick, I.L., 1962. The “Paratactic” Image in Egyptian Art. Art Journal, 22(2), pp.96-98.
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STREETS OF THE DEAD Sara Ángel Guerrero-Mostafa
The cemeteries around the pyramids are organized by avenues that draw a boundary between the bustling world of the living and the silent world of the dead. Inscribed on the walls of the city of the dead are spells for underworld travel. In these invocations, the ancients chanted of star-gods, cosmic dew, and the unbolting of the doors of the horizon. Most of their words have now been worn away, like shadow books lost to the memory of earth-time. The incompleteness of the past haunts all sites of ruins; to visit them is to open the book again and begin to write our own stories over the layers of history.
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Forever Is Now places art from around the world into the arrangement of ancient streets of the dead at the edge of the largest mega-city in Africa, celebrating the universal patrimony of the Giza Necropolis. Belonging to the collective story of humankind, for centuries these streets have been suffused with music, camels, scientific expeditions, chatty tour guides, and curious pilgrims from faraway places. Introducing contemporary art thinking into this milieu brings alternative ways of understanding beyond the algorithms of science and logic. Art D’Égypte overlays site-responsive and communityresponsive art exhibitions on the map of history, enacting new rituals with old ways of being. The process begins with awareness FOREVER IS NOW
sessions created for UNESCO and neighbouring communities around the ancient site, exploring the importance and role of art, culture, and heritage. Art D’Égypte trains local youth to act as art guides, introducing the general public of pyramid visitors to new ways of thinking through contemporary art. Free educational talks and lectures build dialogue around the exhibition, examining the inter-connected roles of contemporary art education, curating, art management, and art institutions. In Forever Is Now, sculptures and installations stand in the shadow of the ancient pyramids that point to the sky; as smaller giants – fashioned from wood, polymer, stone, clay, glass, and plastic – they point to the conditions of our own humanity. Art D’Égypte’s art guides and lecturers engage the public in dialogue around these frozen creatures fixed in time. The act of reading contemporary art against a backdrop of primordial monuments becomes an act of filling in the erasures of the past. We add our knowledge of other ancient sites to the empty walls of Giza that have been worn away over time. The books of the dead found at nearby ruins in Saqqara offer hints. We know that the ancients who built these streets were pre-occupied with the relationship between earth and sky and with a return to the cosmology of the heavens through encasing bodies in the earth. Most of their world has been removed from our current consciousness, much like the constellations of lost shadow books described by theorist historian Kevin Young, who writes of Africa, diaspora, Afrofuturism, and art histories1. Taxonomies of unwritten, removed, and lost histories; these kinds of books can be artworks, music, and oral histories that we read as shadow texts provoking our current realities with their messages from the past. Like ‘a book that may haunt the very book we have in our hands’, the great shadows of Giza’s past remind us of our own incompleteness as earth dwellers inside a greater cosmos. This is a universal hunt for being, purpose, identity, and context. In the shadow books of the past and present of the ancient streets of Giza, we also find the shortcomings of our present. The city of the dead speaks to us about the indelible mark of death on collective life, a necropolitics of systemic power that exerts itself over our lived ART D’ÉGYPTE
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condition. In ‘a society in which extreme violence and death have become fashionable objects of consumption’, we are reminded by cultural theorist Sayak Valencia that collective death in our current present takes the form of romanticized gore, enslaved labour, human trafficking, narco-power, and the sale of violence. In contrast to biopolitics, she writes that: Necropolitics desacralizes biopolitics and commodifies the processes of dying. If biopolitics is understood as the art of managing people’s lives, capitalist demands have made it so that living and all of the processes associated with it are converted into commodities, which includes what we understand as necropower, since this represents the management of the final and most radical processes of living: death itself. 2 As we witness the eternal conversation of life and death, past and future, hyper-local and international, within a vision of contemporary art embedded in a territory of necropower, we are faced with the questions of the ancients. How will we bring the lessons of the past to bear upon the issues of the present, even as our own humanity is still incomplete: a book yet to be written, or a book erased from the walls of the city?
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[1] Young, K. 2012. The Grey Album: On the Blackness of Blackness. Minneapolis, Minnesota: Graywolf Press. [2] Valencia, S. 2018. Gore Capitalism. Cambridge, Massachusetts: Semiotext(e). FOREVER IS NOW
TEA WITH NEFERTITI: THE MAKING OF THE ARTWORK BY THE ARTIST, THE MUSEUM &THE PUBLIC Sam Bardaouil & Till Felltrath Published courtesy of Skira from Nofretete — Tête-à-Tête: Wie Kunst gemacht wird — Künstler, Museum und Publikum (German/English edition), edited by Sam Bardaouil and Till Fellrath, Skira Editore Milan, Italy, 2014.
Why Nefertiti… Very few artworks have been as much a question of controversy as the bust of Nefertiti. From the conspicuous circumstances surrounding its expatriation from Egypt in 1913,1 until recent claims that it is but a 100-year-old fake,2 the iconic artwork continues to be embroiled in endless debate. Sculpted circa 1350 BC by Thutmose, Akhenaton’s “favourite and master of works”,3 today the bust resides alone at the centre of a rotunda with a monumental dome: a genuine throne room worthy of a real queen. Nefertiti – her name means the beautiful one has come – now finally arrived, not in Egypt, but to the Neues Museum in Berlin. Ever since its excavation on 6 December 1912 by the German Archaeologist Ludwig Borchardt, the bust has undergone a succession of obscure destinations. It first arrived to the mission’s residence of the Deutsche Orient-Gesellschaft (German Oriental Company) at the archaeological site in Amarna. Unlike the other finds that were being kept on location at the dig, the bust’s removal from the site remains a questionable act. Nefertiti saw herself separated from her ancient companions as she was whisked away from the studio of the artist who made her. On the night of January 20th, 1913, Inspector Gustave Lefebvre sat across the table from Borchardt to decide on the division of the archaeological objects. He was sent by Gaston Maspero, the director-general of the Egyptian Antiquities ART D’ÉGYPTE
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Service. A papyrologist, Lefebvre might not have been the most suited person to discuss what many historians have come to read as an ill-willed presentation of archaeological and material facts by Borchardt. Only Nefertiti knows what truly went down between the two men that night.
Bust of Nefertiti after its discovery on 6 December 1912. Excavations of the German Orient Society. Gelatin silver print, 23 x 15 cm © Archive DOG, Berlin
Over the next decade, Nefertiti lived in Berlin at the house of the wealthy Jewish cotton magnate James Simon.4 Borchardt had explicitly advised the bust not be publicly exhibited. As Simon was one of the main financiers of the archaeological dig at Amarna, his position allowed him access to the Kaiser Wilhelm Society who were acquiring art and antiquities for state museums. There, in this collector’s house, Nefertiti mingled with the cream of Berlin’s high society and probably even the Kaiser himself.
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It was not until 1923, however, that the bust was unveiled to the public at the Egyptian Museum in Berlin. Simon had donated it to the Berlin state museums along with around 5000 other artworks in 1920. The exhibition soon followed with Borchardt’s publication Porträts der Königin Nofretete 5 in which, “He referred to divergent evaluations of its artistic value ranging from doubts about the quality of the bust to the claim that it was the highest expression of ancient Egyptian art.” 6 Nefertiti must have been appalled: “Who is this layman to dare question the beauty of a Queen?” Perhaps one of Queen Nefertiti’s most unlikely “arrivals” took place on 16 March 1945. To a far less glamorous environment than she’d previously FOREVER IS NOW
inhabited. To protect the nation’s art treasures, the Reich Minister for education had them relocated to Merkers-Kieselbach, about 400 kilometres southwest of Berlin, where they were hidden in the salt mine of Kaiseroda. Under two weeks, the Germans managed to transport a quarter of the significant holdings from fourteen of the major Prussian state museums, to Merkers. “And so after being buried for thirty-five centuries beneath the soil of Egypt, Nefertiti found herself once again buried, this time two-thousand feet under German soil.”7 The salt mine treasures were excavated shortly afterwards by the “Monuments, Fine Arts and Archives” unit (MFA&A) of the American army and the bust resurfaced on 7 April 1945. It was dispatched, along with the Hungarian crown jewels, the Hohenzollern regalia and works by Titian, Rembrandt and Dürer to name but a few, to a collection point in Wiesbaden, where the artworks were processed and reassigned to their lawful locations. Upon its arrival, “the German staff gave shouts of joy – the ‘Bunte Königin (Nefertiti) is here – she’s safe!’”.8 Nefertiti let out a sigh of relief. Walter Farmer with the bust of Nefertiti at the Wiesbaden Central Collecting Point, 1945 Gelatin silver print, 21 x 13 cm Private collection, Wiesbaden © Walter de Gruyter 2000
Just a few weeks later, she found herself amidst the inappropriate company of rowdy American soldiers on a night of drunken revelling, at the military base where she was being safeguarded. Captain Walter Farmer, who ran the base, recounts upon his return from a trip to London: “During my leave of absence Captain Patrick J. Kelleher, the MFA&A officer attached to the Military Government headquarters in Wiesbaden, had opened the case containing Queen Nefertiti. Even today I have no clear explanation of ART D’ÉGYPTE
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what happened. One story is that Joe Kelleher had arranged a dinner party and afterwards for entertainment had offered his guests a thrilling experience. They were given a private showing of the famous portrait bust of the Egyptian Queen Nefertiti.”9 This was not the first, nor would it be the last twist of fate for the displaced queen. She remained in the custody of the Americans for a decade. In that time, there were talks of exhibiting the bust at the Metropolitan Museum of Art in New York and then repatriating it to Egypt. Of course, none of this ever materialized. Throughout these contentious journeys, specifically following Nefertiti’s arrival at the Egyptian Museum in Berlin in 1923, Egyptian officials continuously demanded for the expatriation of their star queen. It was almost returned, to “mark the coronation of King Fuad in 1933, but Hitler, who is rumoured to have included the bust among his favourite pieces of art, ensured that the head remained in Berlin”.10 Almost a century has passed. And the Egyptians are still waiting. At the end of World War II, the quest for Nefertiti developed into a domestic affair. In 1955, and to the great dismay of the German Democratic Republic (GDR, or what is informally known as East Germany), the Americans ceded the bust to the Dahlem Museum in West Berlin. In 1967, the bust was housed at the Charlottenburg Castle, also in West Berlin. It wasn’t until 2005, fifteen years after the unification, that the bust was transported to the new home of the Egyptian Museum at the Altes Museum on Museum Island — in what was formerly East Berlin. Finally, in 2009, came the much-anticipated move to the newly-renovated Neues Museum. Der Spiegel declared: 152
“It’s a day that took decades to arrive. One of the jewels of Berlin’s Museum Island complex will reopen its doors. (…) The star of the show will be the limestone-and-stucco bust of Nefertiti, which has been in Germany since 1913. Reflecting her status in the world of art history, the beautiful object will reside alone in a dome-ceilinged room which overlooks the length of the museum.”11 FOREVER IS NOW
Nefertiti recognized that she had embodied so much more than what Thutmose had envisaged for her, at the moment of her creation, her very first arrival. But would this be her last? At every juncture in this complicated sequence of arrivals, the bust of Nefertiti has undergone a process of appropriation. One could argue that from the minute it left its original location, Thutmose’s studio in Amarna, it ceased from being viewed primarily as a tangible manifestation of the artist’s creative engagement with concepts and materials. Every new site to which it arrived de-contextualised its predecessor. The varying mechanisms of visual display to which the bust was subjugated, highlighted the narratives associated with it – perhaps sometimes at the expense of an appreciation of its formalistic and art-historical value. The artwork, in this case the bust of Nefertiti, has become a tool for the objectification of individual and collective identities.12 Through a cycle of identification and differentiation, it has become illustrative of how cultural identity draws as much on alterity as on similarity. The bust also reveals how the artwork, when viewed as a symbolic object, can be reconfigured as a tool or vessel for the authoring or promulgation of narratives, that were not even intended by the artist who made it. It is precisely this contested geographical and semantic trajectory that led to the adoption of Nefertiti’s example to be a symbolic illustration for the curatorial themes at hand. Tea with Nefertiti: The Making of the Artwork by the Artist, the Museum and the Public is, first and foremost, occupied with the inquiry into the appropriation, de-contextualization and re-semanticization of an artwork. The bust of Nefertiti is a striking example of that. An artist first made it. Then it became the subject of numerous exhibitions before it became an ongoing topic of discussion in the public domain. In the Artist section, the focus is on the artist’s formalistic departures and contributions as evidenced through the artworks on display. The curatorial narrative is primarily informed by the specificity of the time and location in which the artist functioned. It elaborates on the individual process of exploration and negotiation that an artist undergoes, in search for their preferred mode of expression. In the Museum section, the emphasis shifts to the context in which an artwork is presented. Both visual and written modes of presentation are deconstructed, ART D’ÉGYPTE
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in attempts to uncover how institutions appropriate a work of art — bestowing on them new meanings and functions not necessarily intended by the artist. In the Public section, the viewer is presented with a number of incidents where artworks have expanded, both physically and ideologically, beyond the artist’s studio and the walls of the museum into the public arena. These historical and current moments are mapped out to better understand how the artwork can acquire yet another semantic and agency when coerced into the writing of problematic meta-narratives.
Youssef Nabil Nefertiti, Berlin, 2003
To look at Nefertiti’s bust, first through the eyes of the artist, is to shift the discourse surrounding the troubled iterations of this artwork back to where it started: as a material object that expresses the aesthetic concerns of an individual artist.
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In Youssef Nabil’s portrait of Nefertiti, there are no monumental rotundas, no elaborate frescoes, no elevated plinths in sight, not even the expanse of empty space surrounding the pedestal on which the artwork conventionally rests. By zooming in on the portrait head, Nabil eliminates any trace of a physical location. In doing so, he nullifies the relational orders of scale usually embedded within the intimidating systems of visual display. What remains for the viewer is to actually see the portrait. One is able to observe the sensitive working of skin and bone, the meticulous carving of her face and the perfect triangle created by the meeting of the contours of the headdress, with the FOREVER IS NOW
lines of her elegant neck. Nabil reveals Nefertiti for the true artwork that she is; nothing more, nothing less. To revisit the same artwork within the context of the museum, or the construct of an exhibition, is to follow a deconstructive impulse to unpack the means by which the depiction of an artwork alters its intelligibility. “The ways things are displayed, observed or narrated, bear witness to their cultural value, to relationships between subject and object, as well as to the fundamental codes and epistemological categories of a culture.”13 Within the exhibition space — in itself a fabricated context — various modes of representation infuse the objects on display with hierarchical values with respect to each other, to the respective space, and ultimately to the individual looking at them. Real things transform into imagined art objects.
Candida Höfer Neues Museum Berlin XII, 2009 C-print, 180 x 213 cm Courtesy of the Artist and Kukje Gallery, Seoul
Candida Höfer Neues Museum Berlin IX, 2009
In Candida Höfer’s Neues Museum Berlin IX, 2009, not only is the imagined artwork revealed to us, but also the entire burdened history of the Neues Museum. Nefertiti’s endless gaze transcends her tall glass vitrine to scrutinise the half-restored frescoes, the colonnaded ceilings and the traces of the mosaic floors. The old has converged with the new. In Neues Museum Berlin XII, 2009, we see the museum through Nefertiti’s eyes as she looks “out of the same room and into the museum: a seemingly infinite series of spaces that, one thinks, the queen will be looking at forever”.14 Unlike Nabil’s, Höfer’s photographs of Nefertiti, or rather of how Nefertiti is exhibited, ART D’ÉGYPTE
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communicate a reversal in the act of looking. Traditionally, the viewer’s comprehension of the imagined artwork and the world order that it is made to represent, is relegated to the gaze. One looks at the artwork, one understands. In this incident, the viewer assumes the point of view of the displayed object and begins to comprehend the world as the object sees it. And from where Nefertiti stands, the power of display has been fully utilised for a spectacular expression of power: The beautiful one has arrived to its legitimate destination that is Berlin, not Egypt! To examine the bust through the lens of the public is to engage in a critical study on Material Culture Theory,15 of which “Determinism” is a fundamental concept, whereby “every effect observable in or induced by the object has a cause. Therefore, the way to understand the cause (some aspect of culture) is the careful and imaginative study of the effect (the object). In theory, if we could perceive all of the effects we could understand all of the causes; an entire cultural universe is in the object waiting to be discovered”.16 The assumption here is that objects, the artwork included, are the material manifestations of particular features of their respective cultures. To understand the artwork is to understand at least a certain characteristic of the culture in which it exists. Therefore, to have access to numerous artworks at once is to comprehend and reconstruct the more complete picture of the culture that they supposedly represent. Traditionally, this type of access has been confined to the museum or exhibition space. However, we have already seen how the complicated appropriations that situate an artwork in imagined contexts, can lead to the re-semanticization of the object, especially when such systems are informed by cultural prejudices. In turn, the artwork is coerced into the authoring of reductionist narratives. This is where the public modes of presentation become essential in communicating, on a massive scale, what the museum might have failed to instill in the collective mind of its visitors. 156
Ala Younis’s Nefertiti, a mixed media installation commissioned by PhotoCairo4 in 2008, is a good example of this. The work meticulously maps out the historical account of a locally made sewing machine produced right after the Nasser Revolution of 1952, as part of a grand modernization project. Both the machine and that project failed. Nefertiti, however, remains. By choosing Nefertiti’s name to brand this industrial stunt, the government consciously conjured the nationalistic associations that a significant part of the public had with a glorified Pharaonic past. FOREVER IS NOW
“Nefertiti is perfectly poised between scrutiny and poeticism. It alludes to the economic, social and political significance of the industrial product and how it remains imprinted in the collective memory. But it also stands as an icon for older generations, and for younger ones a melancholic symbol from the heyday of nationalistic sentiments.”17
Ala Younis Nefertiti, 2008
The Nefertiti sewing machine owed its success, albeit a short-lived one, to the assumption by its manufacturers that the iconic image of Nefertiti would validate the authenticity of both the quality and intent behind the product. They factored in what they perceived as a set of a priori correlations and values that local Egyptians would make with the legendary queen. What the museum couldn’t achieve, the public arena – in this case industry, did. When the artist duo Little Warsaw presented their highly debatable The Body of Nefertiti in the Hungarian Pavilion at the Venice Biennale in 2003, Nefertiti was again tangled up in public controversy. In what was perceived by many as a notorious intervention, the two artists Balint Havas and Andras Galik made a headless bronze sculpture of a body that was proportional to the bust of Nefertiti. For a short period of time on 26 May 2003, the bust was placed on the sculpture and then safely returned to its glass vitrine. “Little Warsaw’s appropriation and recontextualisation of the Bust, transforming it from an isolated icon to an integral part of a new work of art, provided an opportunity for the Bust to convey new meanings 4,000 years after Thutmose created it.”18 The Egyptians had a different opinion. Whatever “meaning” the artists had intended for the bust was in conflict with the one the Egyptians derived from ART D’ÉGYPTE
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it. Things turned political. Zahi Hawass, then Head of the Egyptian Supreme Council of Antiquities, considered Little Warsaw’s intervention degrading to the royal figure and officially retracted the license to conduct excavations from the director of the Berlin Museum and his wife. For Havas and Galik, however, the bust was a mediator through which they could communicate directly to the public specific questions related to their practice as artists. The first question had to do with what they perceived as a differentiation between the museumpreserved and thus legitimate artwork, and their nebulous, non-institutional contemporary art practice. Their second concern related to the ongoing evaluation of the artwork, according to the problematic modernist notions of aesthetics, ownership, nationality and legality. Lastly, the two artists were attempting to challenge the linearity of Western art history as a “Eurocentric imposition”.19 As Edit Andras put it: “What Little Warsaw did was completely subvert the linear reading of art history along the lines of chronology, upsetting the hierarchy of old and new art… simultaneously challenging the boundaries between art history and art criticism.”20
Little Warsaw Body of Nefertiti, 2003
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The absent/present Nefertiti being observed was no longer the same one made by the artist Thutmose. Nor was it Nefertiti as envisioned by the museums where it had been displayed until then. This was a metamorphosis into something entirely different. In this new and highly publicised context, the bust acquired yet another meaning and a more potent agency. Havas and Galik employed the bust of Nefertiti to map out “the complex discursive FOREVER IS NOW
exchanges among different participants in the current art establishment, exposing hidden exclusionary and authoritarian purposes in the very name of ‘pure’ and ‘authentic’ art”.21 For the Egyptians on the other hand, the two artists, accompanied by the officials of the Egyptian Museum in Berlin, were operating according to a set of moral and cultural codes that were in opposition to theirs, and desecrating their sanctified queen. As for Nefertiti, she had come a long way since she first laid eyes on Thutmose, and was yearning for the time when she was still living in his studio far from all these tribulations. Thutmose could have never fathomed the fame that his artwork would enjoy. Had he known, he would have probably asked Akhenaton for a higher fee...
Little Warsaw Body of Nefertiti, 2003
Another reason for incorporating Nefertiti into this exhibition’s title came out from the need to have a clear reference to Egypt, without implying that this is a survey show about contemporary Egyptian artists. Nefertiti was the most suited choice. The question that will ensue, however, is why the choice of Egypt in the first place? A more elaborate answer will follow in the remaining pages. For now, it suffices to say that the reason is twofold. Firstly, employing Egypt as an illustration for the main themes of this exhibition benefited the curatorial research with a great wealth of materials related to the history of museology, collecting and the mechanisms of visual and literary presentations of art. Limiting the scope of the art historical study underpinning the questions at hand, created a great framework for crystallising the topics that this exhibition raises. Despite the stupendous amount of research that has been conducted on everything Egyptian, there is still so much to be done. This exhibition hopes to pave the way for more. ART D’ÉGYPTE
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The second reason related to the specificity of movements toward modernity in Egypt. In parallel to the amassing of great Egyptian collections in such encyclopedic museums as the Louvre or the Egyptian Collection in Berlin, several modernist Egyptian artists were making their own contributions to the new artistic negotiations presented by modernism. However, the premeditated re-situating of such artworks in Europe’s museums, the bust of Nefertiti being a great example, was increasingly utilised as evidence to a cultural otherness, within which Egypt’s modern artists were also framed. This exhibition excavates the correlation between the act of collecting Egyptian art by non-Egyptians, and the act of producing non-Egyptian art, or what was/is perceived as non-Egyptian art by Egyptians. In doing so, the exhibition sheds a different light on the complicated correlations between two contemporaneous moments of cultural activity, that have so far been little studied side by side. It seeks to chart and unpack those critical but often forgotten trajectories.
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The year 2013 marked the centenary of Nefertiti’s first arrival to Berlin. For that occasion, her current home of the Neues Museum presented an exhibition entitled “In the Light of Amarna: 100 Years of the Find of Nefertiti”. The extensive description of what was certainly going to be a blockbuster event told us how the show would feature “never-before-seen discoveries from the collections of the Berlin museums, (…) allowing Nefertiti’s time to be understood within its cultural-historical context”.22 The name of Borchardt appeared twice. Yet, nothing was said about his nighttime meeting with Lefebvre. Nefertiti was there though. There was no mention of James Simon either. Nefertiti was also there. Nothing was said either about the 1923 exhibition, the brief foray into Merkers salt mines, the cheering German housestaff and the boisterous American soldiers at Wiesbaden, the time she spent at the Dahlem, Charlottenburg and the Altes Museums, or the day she was moved to rest on Little Warsaw’s body… Nothing! Nevertheless, through all these excursions, Nefertiti was there to witness it all. And so, here she is today, the Bunte Königin, in what has been staged as a final arrival for the beautiful one. Yet, no one seems to be interested in what she, out of all people might want to say. Of course, the museum directors, Egyptologists, curators and experts will all generously share their knowledge, but what about her? Nefertiti, would you care for a cup of tea? There may be one or two things that you might want to say…
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[1] Siehr, K. G., 2009. ‘The Beautiful One Has Come to Return: The Return of the Nefertiti Bust from Berlin to Cairo.’ Imperialism, Art and Restitution. Ed. Henry Merryman, Cambridge: Cambridge University Press; Urice, S. K., 2009. ‘The Beautiful One Gas Come to Stay.’ Imperialism, Art and Restitution. Ed. Henry Merryman, Cambridge: Cambridge University Press, 2009; El-Seddiq, W. ‘Nefertiti’s Bust: Time to Come Home?’ Al Ahram Weekly,19-25 Apr. 2012; Savoy, B., 2011. Nofretete: Eine deutsch-französische Affäre 1912-1931. Cologne: Böhlau Köln; Sontheimer, M. and Knöfel, U. ‘Sparring over Berlin’s Mona Lisa: German-hating Frenchman Sparked Nefertiti Row.’ Der Spiegel International 17 Aug. 2011. [2] See Krauss, R. ‘1913–1988: 75 Jahre Büste der Nofretete – Nefertiti in Berlin.‘ Jahrbuch Preußischer Kulturbesitz 24 (1987) pp. 87124, and 28 (1991) pp. 123-57; Krauss, R., 2009. ‘Nefertiti’s Final Secret.’ KMT Magazine 20.2.; Ercivan, E., 2009. Missing Link der Archäologie: Verheimlichte Funde, gefälschte Museumsexponate und als Betrüger entlarvte Archäologen. Rottenburg: Kopp Verlag; Stierlin, H., 2009. Le buste de Néfertiti: Une Iimposture de l’Égyptologie? Gollion : INFOLIO. Connolly, K. ‘Is this Nefertiti – Or a 100-year-old Fake?’ The Guardian, 7 May 2009. [3] Arnold, D., 1996. The Royal Women of Amarna: Images of Beauty from Ancient Egypt. New York: Metropolitan Museum of Art, p. 41. [4] For more on James Simon see Schultz, B., 2007. James Simon: Philanthropist and Patron of the Arts. Munich: Prestel Publishing. [5] Borchardt, L., 1923. Porträts der Königin Nofreteteaus den Grabungen 1912/13 in Tell el-Amarna, Leipzig: Hinrichs. [6] Breger, C., 2005. ‘Imperialist Fantasy and Displaced Memory: Twentieth-Century German Egyptologies.’ New German Critique, no. 96, p. 148. [7] Lundquist, L. and Ashton, G., 2012. ‘The Bust of Nefertiti.’ Obelisk Seven N.p. Web. [8] Farmer, W. I. and Goldman, K., 2000. The Safekeepers: A Memoir of the Arts at the End of World War II. Berlin: Walter De Gruyter, p.46. [9] Ibid. p. 84. [10] Tyldesley, J. A., 1999. Nefertiti: Unlocking the Mystery Surrounding Egypt’s Most Famous and Beautiful Queen. London: Penguin, p. 196. [11] ‘Nefertiti Gets a New Palace: Revamped Neues Museum Finally Opens in Berlin.’ Der Spiegel International, 16 Oct. 2009: n.p.
[12] For more on the artwork and the objectification of identities see Thomas, N., 1991. Entangled Objects: Exchange, Material Culture, and Colonialism in the Pacific. Cambridge: Harvard University Press; and Bracher, P., Hertech, F. and Schröder, S., 2006. Materialität auf Reisen: zur kulturellen Transformation der Dinge. Berlin: LIT Verlag. [13] Schülting, S., 2000. ‘Table Talk.’ Rev. of Umordnungen der Dinge (Kulturwissenschaftliche Gender Studies) Taschenbuch. Königstein im Taunus: Ulrike Helmer Verlag. Repository of the Georg-August Universität. [14] Bradley, K. ‘Candida Höfer at Johnen Galerie, Berlin.’ Rev. of Candida Höfer Exhibition, n.d. Artweeters. 29 Apr. 2012. http://www.art-agenda. com/reviews/candida-hofer’s-neues-museumberlin/. [15] For more on the art and study of material culture see Hauser, A., 1972. ‘Sociology of Art.’ Marxism and Art: Writings in Aesthetics and Criticism. Eds. Berel Lang and Forrest Williams. New York: David McKay Co.; Prown, J.D., 1980. ‘Style as Evidence.’ Chicago Journals 15.3, pp. 197–210; and Ecker, G. and Scholz, S. (eds.), 2000. Umordnungen der Dinge (Kulturwissenschaftliche Gender Studies) Taschenbuch. Königstein im Taunus: Ulrike Helmer Verlag. [16] Prown, J.D., 1980. ‘Style as Evidence.’ Chicago Journals 15.3. pp. 197–210. [17] Hamza, A. and Molnár, E., 2009. PhotoCairo4: The Long Shortcut – An International Visual Arts Project in Downtown Cairo. 17 Dec. 2008 – 14 Jan. 2009. Cairo: Contemporary Image Collective. p. 130. [18] Merryman, J.H., Urice, S.K. and Elsen, A.E., 2007. Law, Ethics and the Visual Arts Alphen Aan Den Rijn. The Netherlands: Kluwer Law International, p. 415. [19] Bal, M. 2003. ‘Visual Essentialism and the Object of Visual Culture.’ Journal of Visual Culture 2, 1; and Mitchell, T., 1991. Colonizing Egypt. Berkeley: University of California Press. [20] Andras, E., 2006. ‘Transgressing Boundaries (even those marked by the predecessors) in New Genre Conceptual Art.’ Art after Conceptual Art. Eds. Alexander Alberro and Sabeth Buchmann. Cambridge: M.I.T. Press, pp. 169–170. [21] Ibid. p. 169. [22] Staatliche Museen zu Berlin. ‘In the Light of Amarna. 100 Years of the Find of Nefertiti.’ Exhibition description. Egyptian Museum and Papyrus Collection. Web. 24 Oct. 2021. https:// www.smb.museum/en/exhibitions/detail/in-thelight-of-amarna/
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FRISSON ELECTRIQUE 1 Lita Albuquerque
In the realm of magic anything can happen; I can fly over the pyramids as a giant bird revealing within my wings the entire cosmos before the world comes into existence. I can fly in the space before time, in the space between time, the space in time. The sound of my wings turns to light as I deposit three magical monuments on the plateau there, there, gently for the inhabitants of the earth to see. I am the forever now, the smile on the sarcophagi, I am the vibratory quality imbedded in the stones of Egypt. I am Egypt. 162
[1] In my native language, French, frisson means shiver or shudder; like lightening. An electric frisson comes over the earth… as an enlivened awareness… FOREVER IS NOW
Egypt has a resonance for me that comes from deep within my soul and has been foundational in my thinking about art. The mapping of the timeless, the information imbedded in stone, the images that come to me when I meditate on the Giza plateau, all of that, together, has formed a cosmology at the base of my artistic practice. I am grateful and give thanks to this mother country, where ideas are birthed by her, whole, from the past, and in so doing gifts us an ancient message meant for us now.
Lita Albuquerque Sketch for Millenium Performance at the Pyramids, 1999 Pastel on blueprint paper. Image courtesy of the artist.
What I have come to realize from my sojourns into Egypt, is that time and sound are embedded in Egyptian architecture, arriving from ancient starlight, now, in the present moment. Egyptian artists, it seems to me, use an aesthetic language in their sculpture and artefacts that embody these ideas, that in so doing, reveal the notion of the Present Moment. I feel this because I have experienced it first-hand, and it has influenced my approach to art making. It has given me hope for the future. I believe we can begin to recognize, when we stand on the Giza Plateau looking at the Great Pyramids, that we are sensing an entry into our new world, now, in the year 2021, an entry into our new story, the story of us in the Cosmos, in present time. ART D’ÉGYPTE
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This is my story, my story of impressions, my thoughts on art and of who we are, influenced by my time in Egypt. I am telling this story from the perspective of multidimensionality; from the perspective of the multidimensional beings we are all becoming. As artists, as human beings, our psyches are formed by impressions from word to image and image to word; image to sound and sound to story, to narrative and from narrative to time. We are beginning to see that interconnection between word-image-sound-time and recognize that the ancient Egyptians embedded all of that, in their work, as one Forever Now. In this new story we hold time differently, we are poised in an ever present now. It is early summer in 1988, on my first trip to Egypt. I am at the Sound and Light Show by the Pyramids on the Giza Plateau. The sun has just set. A voice comes over the intercom as a poem is recited ‘is there anything sweeter than this hour? For I am with you, and you lift up my heart’. It is written by a young girl, 3,000 years ago, translated from the Pyramid Texts, a poem of love that moves me through my heart. That young girl could have been me today, and it is the young girl in me who is writing this essay, inspired by her words, inspired that words can live through time and space.
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The year is 1975, walking through the Egyptian section of the Metropolitan Museum in New York. I am swept up by the displays of mummies, the ornate sarcophagi, the rooms full of carved granite stone. I lose my way, the sound of my footsteps on the marble echoes through the halls. I turn to the left, and as I enter another room, I hear the words ‘Pay Attention to the Feet’. ‘What?’ I ask myself, ‘who said that?’ I look around, only the guard is standing stiffly by the doorway. On my left is a free-standing sarcophagus. It is made of limestone. The label says Djedhor, Royal Scribe 200–150 BC. The sculpture, feels contemporary, simple. I stand in front of it, studying its features, it is made of one stone and the sarcophagus itself becomes a wrap around the carved face, its headdress part of the limestone. It is at eye level, the lips curved in the sweetest FOREVER IS NOW
of smiles, the eyes looking right at me with a kindness that touches my heart. Did the words come from him? I look around for the guard, he has left the room. I place my backpack on the bench, kneel down to find a pen and notebook and write those words furtively before being told it is closing time. Months later, I am back in my studio in West Los Angeles, it is dusk, and the light is dim. I open my black sketchbook, it flips to the page, ‘Pay Attention to the Feet’ as I read it out loud, I ask myself, Pay Attention to the Feet? I look down at my feet, I see the concrete floor. Pay attention to the ground? Oh, Pay attention to the Earth! That is what it is telling me!
Lita Albuquerque Sol Star, 1996 99 ultramarine blue pigment circles on the Giza Plateau for the Sixth International Cairo Biennale. Image courtesy of the artist, photo by Tarek Naga.
PAY ATTENTION TO THE EARTH!! I have always been an empath when it comes to stones, or rocks, whenever I am near certain monuments, it is as if I can hear them speak. I receive information as if it were dictated to me. The way I hear the words coming out of the sarcophagus of Djedhor which makes me think about two things. One of Leonardo da Vinci’s quote, that stones are recorders of time, one day we will be able to hear what they have to say. The other, of the aesthetics of ancient Egyptians, as if through the stones themselves, the makers understood how to create an aesthetic that contains and emits information. As if their ideas were embedded in such a manner: through the simplicity in which the stone is cut, the ratio and proportion of the body, the stance of the human figure, as to leave us a key to be able to decipher them through time. As if the initial vibrations ART D’ÉGYPTE
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are still contained in the stone, as if the ideas are embedded in such a manner as to be able to be transmitted through time. Djedhor’s words to me, were the beginning of my art shifting, to going out directly on the earth, making works that were gestures, marks upon the land with colour that reflects the sky, uniting earth and sky, making us, the viewer, question who we are on this planet. I am eight years old, sitting on the crescent shaped veranda in my mother’s house in a fishing village by the sea. Three men dressed in white jellabas are in deep conversations about who we are in the cosmos. ‘Time,’ one of them says, ‘is light becoming manifest, it is an ever-present continuum’. The night is a deep dark blue. The pattern of stars reaches all the way to the horizon to form a dome, all the way down to the white marble columns surrounding us, moonlight reflecting on the marble. I wonder looking up at the Mediterranean sky, about our connection to the stars. I feel that within them still exists the resonance of the sound that brought them to earth.
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It is 1988, my first trip to Egypt. Finally. It is momentous. I arrive in Cairo at two in the morning. By 8:00 am, I am inside the Museum of Egyptian Antiquities. The darkness makes me squint. The dust on the floor, on every shelf is palpable and, in a few spots, a dim light reveals shapes underneath heavy grey tarps. The smell is of musk and old papyrus. The floor is cold, the shelves filled to the brim. Artefact after artefact take my breath away. I meander through the various displays: a mummy in a foetal pose with hair still intact, nails on the fingers, cloth still wrapped around the small body; a granite sarcophagus whose lid is displayed to reveal its interior of stars, giving the deposited dead within, a map to have while entombed in granite and starlight; Tutankhamun and the four protective divinities, their arms spread around the tomb with the gold of their sculptured folds like wings on a honeybee. After a while I come to a large, cavernous room to the right of the entrance, I am not sure if I collapsed or if time collapsed. I FOREVER IS NOW
find myself in a room filled with hundreds of sarcophagi, row upon row, laid side by side, the lids carved with the sculptural portrait of the person inside. There are dozens of sarcophagi all whose gaze look upwards from their horizontal docking, all looking straight up. At what? As I follow their diagonal gaze, I get it, their gaze leads to the stars! That moment forges itself in my memory and in my heart. How did that image lodge itself in my consciousness? Perhaps, it is the granite itself and its gravity in the museum. Perhaps, it is the stars that are carved there as a map, as a navigational tool in the afterlife. But more than anything it is their gaze. It is their collective gaze straight up to the stars, as if it forms a pathway from them to the stars, as if they are telling me something in that moment, something they want me to know… I make my way, through Cairo traffic, to the pyramids with that image still in my mind. It is my first time. To my surprise, I am instantly on a camel, having my picture taken. A little disoriented, I get off and walk slightly south to have a moment to take it all in. In silence I sit in the sand and meditate. In my mind comes an image of the earth from space and, sprinkled all over the globe are gold tipped pyramids aligned to the stars. How did I receive such an image? What was it about being out there, on the plateau, that made me see this global star map? And what was I being told by it? Previously, I had listened to the Egyptian scribe Djedhor, I had paid attention to the Earth, I had made artistic gestures on its surface pointing to certain alignments like the horizon, or the sun or the moon. This time, the image I receive is telling me to pay attention to the Earth in relation to the stars. It is as if the image is revealing an ancient star map that has been, that we have since forgotten. Perhaps, it is the image we forget. In 2003, I begin my Stellar Axis: Antarctica project: 99 of the brightest stars above in alignment to 99 ultramarine orbs placed on the Ross Ice Shelf in Antarctica to point out the Earth in relation to its surroundings. I do this so that we may have an image that we are not isolated, and that we are interconnected. ART D’ÉGYPTE
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I am ten years old and playing in the mud. The men in white jellabas are still in conversation on the marble veranda in my mother’s house by the sea. Inspired by their questioning, I feel like we are all little blades of grass. I have an inkling that we, as a whole, have an image that we have forgotten and needs to be remembered. I think the way to find it, is for each one of us to dig deep within our roots and come back up with our individual blades of grass as they become mirrored and reflect the sky. Through that reflective collective transparency, the image is seen by us once again. It is May of 1996, and I have been selected to represent the United States in the Sixth International Cairo Biennale. I see another image of Earth from space, this time the continents have become one and in the shape of a honeybee, the bee is in relationship to starlight. I propose Sol Star, an ephemeral work 3 miles south of the Pyramids. It is December 1996, and the Biennale has started. We are sprinkling the blue powder pigment in circles aligned to the stars. In preparation, students from the university are measuring the diameter of a circle with a string and a stake. Unexpectedly, the wind picks up and vibrates the string, creating with it the most glorious of sounds, its origin profound, uncanny. In the hot wind, we fall back on the sand, speechless. In the distance, the pyramids are guarding over us, smiling.
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I like to think in terms of the ‘thinning of time signatures’. We are in a moment when the fascia of time, so to speak, is thinning. We are able to see through time. The Egyptians of the Pharaonic era had an understanding of the Present Moment in alignment to the motion of the cosmos. From this perspective, time becomes a physical dimension. It is the summer of 2017, the summer of the Great American Eclipse. I go with three friends from Los Angeles to Wyoming to be on the path of the eclipse. ‘Take off your glasses at the moment of totality’, David advises. I shout back at him ‘WHAT? FOREVER IS NOW
I think we will be blinded!’ but I take his advice, as I do, I can see with my eyes the moon as a sphere in space in equal distance from where I stand on the earth, and I see the horizon of the earth at the edge of the darkness of space and in equal distance to the sun, in perfect alignment. Light becomes a colour I have never seen, like honey, viscous and material, as if I can grab it and hold it in my arms. A giant shadow comes over the earth as sound; rabbits run to their lair, birds fly home in unison, we are turned topsy turvy, Sound, light and time are in alignment, we laugh hysterically, out of pure joy and remembrance. I am brought back into the same awareness of time I feel on the Giza Plateau. We are in space. And the Egyptians knew that. We are in Present Moment.
Lita Albuquerque Study for Sol Star, 1996 Mixed media on photograph. Image courtesy of the artist.
Is it magic for us to become the giant bird carrying the cosmos within its wings? Can we beat Maa’t, the Egyptian Goddess of justice, weighing our human heart, our soul, on the scale of time against an ostrich feather? Will our heart, our soul, weigh less than the feather? As we express our sound, as we allow all in the cosmos to utter our individual sound, light becomes amplified, and sound is made manifest, an energetic, electrical frisson comes through all of us as we stand on the plateau, at the same time in one singular and collective vision, becoming light.
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BEYOND THE WHITE CUBE Sahar Behairy
There is no doubt that the global economic crisis resulting from the ongoing COVID-19 pandemic is putting a strain on all art market sectors and cultural institutions, and we’re really only beginning to see its long-term effects. The art world is an ecosystem, and in response to the current situation, this ecosystem is witnessing an inevitable shift toward digitization and online activities, giving birth to new forms of creativity and resilience that perhaps we had forgotten. Last year, I took part in a research group poject with the Nuova Accademia di Belle Arti (New Academy of Fine Arts or NABA) in Milan called The Art System in the COVID-19 Emergency, studying the impact of the pandemic on the global art scene, the digital transformation in the activities of the art and culture sector, and the economic challenges to surviving current circumstances.
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‘We were all taken aback by the COVID-19 pandemic and its consequences. However, when the cancelation of many art fairs, events, and exhibitions in 2020 was already in the air, numerous galleries, art fairs, and art operators started working on a digital platform for their community, where public and clients can virtually meet artists, curators, and get to know their projects, view artworks and read the latest news, many of art lovers attend online live events, bought artworks through e-commerce tools, and virtual tours, and interacted with various of podcasts.’ – The Art System in the COVID-19 Emergency, NABA FOREVER IS NOW
I chose to focus my research on the African art scene and artistic entities in several African countries. The Egyptian art scene was – of course – on top of my list, and this is when my research led me to study the Art D'Égypte platform and its contributions not only to the contemporary art scene in Egypt but also its impact on the country’s economy and the revitalization of cultural tourism in Egypt, especially during the post-2011 revolution period. At that time, my research was mainly to document performance and activities during the pandemic and how digitization has undoubtedly accelerated a trend of continuous growth in the online art market which amounts to 25% of the total market according to Art Basel and the UBS Global Art Market Report. ‘Art D’Égypte has proven its sustainable approach every day, the digital transformation in their activities since COVID-19 is indeed remarkable. In a series of Cultural Conversations Podcast by Art D’Égypte, Nadine Abdel Ghaffar invited key figures from the Egyptian art business as well as international players in the art world to discuss pressing issues. These talks among other innovative programs were followed by a large number of audience and art consumers and were a huge success. They were followed by an exclusive online show on Artsy entitled Representations of the Feminine Body, where a selection of portfolios of male and female Egyptian artists was presented, from the early 1900s until today.’ – The Art System in the COVID-19 Emergency, NABA To study such a successful and sustainable platform, I had to dive into the very start of Art D’Égypte, and how a business entity founded by Nadine Abdel Ghaffar in 2005 to organize local and regional exhibitions made a pivotal transformation to focus instead on deepening the interest in our heritage and shedding light on some of the most significant Egyptian contemporary artists, all with a strong and strategic artistic curatorial vision. As a result, Art D’Égypte succeeded in becoming a cultural epicenter and a platform for ideas designed to showcase the best and most innovative contemporary and modern art from Egypt and the region. There are two main outcomes to work such as that done by niche platforms like Art D’Égypte, one economic and one social. The economic outcomes are reflected in consumer spending on various art activities, employment within the private arts sector, and the development of local economies. The art sector ART D’ÉGYPTE
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as a whole, together with main actors such as Art D’Égypte, makes significant contributions to income gained from domestic and international cultural tourism, audience responses, tourism, and the visitor economy. If we look at the social outcome, we realize that art can bring about significant changes within the community and plays an important role in people’s psychological and social well-being. In this sense, art can serve as a tool for raising awareness of social issues and improving mental health and well-being. It also contributes to an increase in self-confidence and social skills through inclusion and the development of a sense of community.
Fig. 1 Andrew Grassie, The Hanging of New Hang, 2005 Tate, London ©Andrew Grassie
The ‘out of the white cube’ display Art D’Égypte launched their new series of exhibitions in 2017 in Egypt’s most renowned historical sites, attracting exhibitors, art viewers, and members of the global art scene; providing a platform for both emerging and established artists; and playing a notable role in the global art ecosystem. Today, after three successful editions, over 10,000 visitors, and a remarkable increase in tourist numbers, Art D’Égypte can certainly claim that they have been able to bring together different cultural aspects in an accessible and exciting way, making their exhibitions not-to-be-missed events on the global cultural calendar. 172
In developing their concept, Nadine and her team started to look both inward and outward, to expand the mission of historical sites to explore what is literally beyond their walls and display contemporary art, challenging the classic narrative of the ‘white cube’ display (Fig. 1), the term and concept created by art critic Brian O’Doherty in his ground-breaking series of articles first published in 1976. He emphasized the critical importance of modernist display or ‘the white cube’ as he termed it as, ‘an image that comes to mind of a white ideal space that, more than any single picture, maybe the FOREVER IS NOW
archetypal image of 20th-century art’1. Anyone who has visited a modern art museum will be familiar with the type of display evoked by O’Doherty. The notion of heritage encountering art is not new; in fact, in recent years, there has been a growth in commissioning artists to create artwork that responds to heritage sites, displaying artwork out of the ‘white cube’, and offering visitors a new perspective on both art and heritage. The question is to what extent such exhibitions fulfil the claims they make and whether they really succeed in making contemporary art accessible to a mass public. The answer needs to be understood in terms of the relationship between exhibitions and their various purposes, audiences, and locations, and this is exactly what Nadine and her team did. Art D’Égypte was the first organization in Egypt to highlight the role of contemporary art within heritage contexts, linking the present to the past through artistic dialogue and creating new perspectives for diverse audiences and telling the story of these historical areas through exhibitions, events, and encounters designed to involve and engage a wider range of audiences.
Fig. 2 Ibrahim Khatab, Fatima, 2019 Reimagined Narratives, Al-Mu‘izz Street Photo: Abdallah Dawestashy
Incorporating contemporary elements in historical sites In 2017, Art D’Égypte’s exhibitions kicked off with Eternal Light at the Egyptian Museum in the heart of Tahrir Square. This exhibition demonstrated their mission to ‘cultivate, support, and promote the works of artists and arts organizations in Egypt, as well as preserve and promote Egypt’s cultural heritage’. The genius curatorial project placed artwork pieces either around or in historic artefacts from the museum collection, showcasing contemporary Egyptian art within a historical setting and creating a dialog between the old and the new art. ART D’ÉGYPTE
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The following year witnessed yet another success, when the exhibition Nothing Vanishes, Everything Transforms took over the historic Manial Palace in 2018. The most recent exhibition, Reimagined Narratives (2019), took place in al-Mu‘izz Street under UNESCO patronage with 28 Egyptian contemporary artists showing artworks, productions, and site-specific installations designed to interact with the historical site’s interiors and exteriors (Fig. 2). The artists demonstrated an itinerary in which the juxtaposition of different materials and the powerful impact created by their use of colour and pattern gave rise to a series of cross-references and contrasts. There are many challenges to working with heritage venues with little or no experience of presenting contemporary artwork or dealing with the artists of the present. The need to assess the role of contemporary art in heritage contexts and to understand how the artwork can deepen and enrich people’s understanding of a place to perhaps reveal its forgotten stories was the impetus for Art D’Égypte to examine ways to measure and articulate the impact and value of these intersections through this year’s exhibition Forever Is Now. Forever Is Now takes place on a 4500-year-old UNESCO world-heritage site, next to some of the most famous and discussed structures in history, the Pyramids of Giza, these massive monuments that continue to amaze and captivate us with their overwhelming mass and seemingly impossible perfection. The ancient Egyptian language had no word for ‘art’, and ancient Egyptian artistic production was designed to serve an essentially functional purpose bound with religious and political objectives. However, there is no doubt that these monuments personify the eight principles of art: clarity, balance, proportionality, harmony, unity, emphasis, variety, rhythm, and movement. Today, this unparalleled beauty continues to provide inspiration for art and artists around the globe.
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The exhibition questions the concept of time as a continuum that both separates and unites civilizations. Its potential rewards far outweigh any challenges – for Art D’Égypte, for Egypt, and for art around the world – and the success that comes from taking a leap of faith outside both the literal and the figurative ‘cube’ will hopefully set in motion countless new initiatives and ideas that connect our humankind’s common past and artistic heritage with our intertwined future. [1] O’Doherty, B. 1976. ‘Inside the White Cube: Notes on the Gallery Space, Part 1’. Artforum, vol.14, no.7, p. 24. FOREVER IS NOW
CONTRIBUTORS in order of appearance in the catalogue Neville Wakefield is a curator who believes art is thought made manifest. Where it is most successful is not within white spaces and clean-cut definitions, but in spaces where experience breaks free of its containment to create new paradigms. His contribution to this process has brought art into contact with fashion in books such as Fashion: Photography of the Nineties and through collaborations with the likes of Nike, Playboy, Cartier, and Supreme. With Destricted, he shifted the standards of censorship and received awards at Sundance, Montreal, and Cannes. He has also curated site-specific shows such as Elevation1049 and Desert X that bring art into direct contact with the social, environmental, economic, and perceived landscapes of the SoCal desert and the Swiss Alps. Zahi Hawass is a world-renowned archaeologist whose dynamic personality and extensive knowledge have sparked global interest in ancient Egypt. His archeological discoveries include the Valley of the Golden Mummies and the Tombs of the Pyramid Builders, among many others. He recently announced the discovery of the Lost Golden City in Luxor and is currently excavating in the Valley of the Kings in search of the tomb of Queen Nefertiti. He received his MA and PhD from the University of Pennsylvania, where he studied as a Fulbright fellow. He has received countless awards including 9 honorary doctorates as well as an Emmy for his work in television. He began as an inspector of antiquities and rose to become the Secretary General of the Supreme Council of Antiquities as well as the first Minister of State for Antiquities. He has written more than 40 books and over 150 scholarly articles, including his most recent book, Zahi Hawass’s Secret Egypt. Peter Der Manuelian is Barbara Bell Professor of Egyptology at Harvard University, and director of the Harvard Museum of the Ancient Near East. His Giza Project at Harvard (http://giza.fas.harvard.edu) presents online past, present, and future archaeological activity at the Giza Pyramids. His interests include visualization and digital humanities approaches to the ancient world. Publications include Digital Giza. Visualizing the Pyramids; Mastabas of Nucleus Cemetery G 2100; Slab Stelae of the Giza Necropolis; Living in the Past: Studies in Archaism of the Egyptian Twenty-sixth Dynasty; and Studies in the Reign of Amenophis II. He has also written several children’s books. Mark Lehner is the Director of Ancient Egypt Research Associates, Inc. (AERA), an American non-profit organization to promote Egyptian archaeology. Lehner is also an Associate at the Oriental Institute of the University of Chicago. During forty years of archaeological work, Lehner mapped the Great Sphinx and Giza Pyramids. AERA sponsors annual excavations of Old Kingdom settlements near the Sphinx and Pyramids with an interdisciplinary and international team of archaeologists, surveyors, geochronologists, botanists, and faunal specialists with a focus on the everyday lives of ancient Egyptians. Since 2005, AERA has directed archaeological field schools to train young archaeologists working for the Ministry of Tourism and Antiquities at
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Giza, Luxor, and Memphis on behalf of the American Research Center in Egypt (ARCE). Lehner’s research interests include settlement archaeology; archaeological method and interpretation; ancient quarrying and construction; irrigation and water transport infrastructure, ancient society and economy and complexity studies applied to the social sciences. Gemma Tully is a community archaeologist and museum professional who has worked on collaborative projects to enhance mutual understandings of art, archaeology, cultural landscapes and museum collections in Europe and North Africa. Her PhD (University of Southampton, 2010) focused on innovative, community-based approaches for the representation of ancient and modern Egypt in museums. She has worked in the museum sector in the UK as well as coordinated community archaeology projects in the UK, Sudan and Egypt. She has published widely on heritage, art, community archaeology and museology. Her most recent research projects have been at Durham University and the University of Cambridge where she has developed site management strategies and public resources in collaboration with local stakeholders. Dr Tully has worked on archaeological commissions for UNESCO and the Royal Archaeological Institute and has taught museum studies and heritage management courses at Durham University, Humboldt University, the University of Bergamo, and Southampton University. Rose Issa is a curator, writer and producer who has championed visual art and film from the Middle East and North Africa in the West for more than 30 years. She lives in London since 1986, showcasing upcoming and established artists and producing exhibitions and film festivals worldwide. Founder of Beyond Arts and Rose Issa Projects she has curated exhibitions based on dozens of published catalogues and monographs. Her most recent joint publications include Signs of Our Times; From Calligraphy to Calligrafitti; and Arabicity.
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Fekri Hassan is the director of Egypt’s first higher education programme in cultural heritage management, which he established at the French University in Egypt. Now in its fifth year, the programme has produced Egypt’s first generation of heritage managers and professionals. He is also Emeritus Petrie Professor of Archaeology at the Institute of Archaeology, University College London. He obtained his PhD in Anthropology (Archaeology) from Southern Methodist University, USA (1973) and joined Washington State University in 1975, becoming full professor in 1983. In 1988–1989, he was archaeology advisor to the Egyptian Minister of Culture and senior consultant to the National Center for the Documentation of Cultural and Natural Heritage (CULTNAT). He served as vice-president of the World Archaeology Congress and president of the Water History Association. He was also editor of the African Archaeological Review and serves on the editorial board of many scientific journals. Outside his academic work, he is an essay writer, art critic, poet, graphic designer, and painter. FOREVER IS NOW
Sara Ángel Guerrero-Mostafa is a transnational arts researcher and curator who frequently leads art initiatives and writes about the intersecting fields of art, education, sociology, and participatory practice. She holds a PhD in art theory from Chelsea College of Art and Design and pioneered the New New Yorkers Program at the Queens Museum, which has served immigrant communities through the arts for fifteen years. She is the Deputy Director of Education and Community Engagement at the Museum of the Moving Image in Queens, New York City, where she designs new media projects with artists, educators, and residents from surrounding neighbourhoods. Sam Bardaouil and Till Fellrath are founders and directors of the multidisciplinary curatorial platform artReoriented in New York and Munich. They are curators of the Lyon Biennale in 2022, and affiliate curators at Gropius Bau in Berlin. From 2016 until 2020, they were chairmen of the Montblanc Cultural Foundation in Hamburg. At the Venice Biennale, they curated the national pavilions of Lebanon in 2013, the United Arab Emirates in 2019, and are curators of the French pavilion in 2022. They have curated exhibitions at and collaborated with more than 70 institutions worldwide, including Centre Pompidou, Villa Empain, Tate Liverpool, ARTER, Gwangju and Busan Museums of Art, Mathaf: Arab Museum of Modern Art Doha, Moderna Museet, and Reina Sofia. Bardaouil’s monograph on Surrealism in Egypt won the 2017 Modernist Studies Association Book Prize. Lita Albuquerque is an internationally renowned multidisciplinary artist and writer. Over four decades, she has developed a visual language that brings the realities of time and space to a human scale and is acclaimed for her ephemeral and permanent art works executed in the landscape and public sites. She was raised in Tunisia, North Africa and Paris, France. She represented the United States at the Sixth International Cairo Biennale in 1996 and was awarded the Biennale prize for her artwork Sol Star. In 2006, she received the National Science Foundation Artist Grant Program for the artwork, Stellar Axis. Recent major exhibitions include the 2018 Art Safiental Biennial, Switzerland; Desert X AlUla 2020, Saudi Arabia; and Copenhagen Contemporary in 2021. Her work is in the collections of the Metropolitan Museum of Art, and the Whitney Museum of American Art, among others. She is represented in Los Angeles by Kohn Gallery and Peter Blake Gallery. Sahar Behairy is a linguist, certified art economist, and curator who splits her time between Cairo and Milan. She holds a master’s degree in contemporary art markets from the prestigious Milan Nuova Accademia di Belle Art (NABA) and focuses on the very particular African and Middle Eastern art ecosystems and markets. She has been on the teams of several major projects including the solo show OrnAmenTum’EtKriMen for Artist Kendell Geers (South Africa) at M77 Gallery in Milan in 2020; The Bridge, Grenada’s official country participation at the 57th Venice Biennale in 2017, curated by Omar Donia; and In the Eye of the Thunderstorm, Khaled Hafez’s contribution to the 56th Venice Biennale official collateral exhibition in 2015, curated by Martina Corgnati. In 2020, she became one of the co-founders of the Egyptian-International Cairo Curatorial Collective (CCC), a body of curators who combine academia with practice in developing educational projects in curatorial arts and sciences. ART D’ÉGYPTE
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CURATING BOARD Princess Alia al-Senussi currently serves as Art Basel’s UK and MENA representative. She is also an advisor to the Milken Institute on Arts and Culture and brings with her a breadth of experience from various affiliations in the art world, including the Tate Young Patrons (chair), the Tate Modern Advisory Council, the Tate’s Acquisitions Committee for the Middle East and North Africa, the Board of Patrons of Art Dubai, the Board of 1:54 The African Art Fair, and the Middle East Circle of the Guggenheim. She has recently obtained her PhD in Politics from the School of Oriental and African Studies (SOAS, University of London). She also holds an MA in Political Science from Brown and an MSc in Law, Anthropology, and Society from LSE. Amina Diab is an art historian currently completing her PhD at the University of York in partnership with Tate Modern. Her doctoral project, funded by the Arts and Humanities Research Council (AHRC) and titled A Transnational History of Modern Art in Egypt: Flâneuses et flâneurs des deux mondes, focuses on Egyptian modernism in the first half of the twentieth century and adopts a transcultural lens to investigate the history of Egyptian modernism and the cosmopolitan artistic and cultural milieu of Cairo. She holds a BA in History from the American University in Cairo and a MPhil in Modern Middle Eastern Studies from the University of Oxford. Lucía Sollinger is an international curator who focuses on creating cultural bonds between nations. After studying archaeology, she studied fine arts in Paris, and in 201617, collaborated with the INBA (Mexican Institute for Fine Arts). In 2019, she organized and curated a special pavilion, Spain and South America, at the National Art Museum of China as part of the 2019 Beijing International Art Biennale. In the same year, she collaborated with the Cuban National Art Museum for the 2019 Havana Biennale. She is currently chief curator of the EU Pavilion at the 9th Beijing Biennale which is due to take place in early 2022. She is also working on a project of sculptural exchange between Madrid and Beijing.
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Maxa Zoller is the artistic director of the International Women’s Film Festival Dortmund|Cologne. She also works as a film curator for Art Basel and has taught experimental film history and theory at diverse universities including the American University in Cairo, Goldsmiths College, and Sotheby’s Institute of Art, London. She has presented various experimental film screenings in London and beyond. In her writings for MIT, IB Tauris, JRP-Ringier, and Hatje Verlag she has covered topics ranging from post-socialist identity discourse and feminism to the history of Western avant-garde and experimental film, its contexts of exhibition, and its historiography. Neville Wakefield is a curator who believes art is thought made manifest. Where it is most successful is not within white spaces and clean-cut definitions, but in spaces where experience breaks free of its containment to create new paradigms.For an extended bio, please refer to the Contributors section (p.175).
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Noura Abla is a Zurich-based curator, theorist, and art mediator. She earned her MA in Curatorial Studies and Art Mediation from the Zurich University of the Arts. Abla is active in the arts and culture field in Switzerland as well as in Egypt where she managed the Fayoum Art Center’s Winter Academy, amongst other projects. Her research focuses on cross-cultural dialogue and exchange, post-colonialism, and contemporary museological practices as well as alternative art histories and narratives. She has held the position of curatorial assistant at the Kunstmuseum Thun in Switzerland where she managed, organised, and co-curated numerous exhibitions and was also artistic director of the Fayoum Art Center in Egypt. Currently she works for Pro Helvetia the Swiss Arts Council. Rose Issa is a curator, writer, and producer who has championed visual art and film from the Middle East for more than 30 years. For an extended bio, please refer to the Contributors section (p.176). Sam Bardaouil and Till Fellrath are founders and directors of artReoriented, a multidisciplinary curatorial platform that aims to rethink traditional models of cultural engagement. For an extended bio, please refer to the Contributors section (p. 177). Simon Watson is an independent curator and art advisor based in New York and São Paulo. A thirty-five-year veteran of the cultural scene on three continents, Watson has curated and organised more than 250 art exhibitions for galleries and museums, advised art collecting programs for institutions and private individuals, as well as assisted more than a hundred major brands in creating unique, art-based outreach programs. Over the past three decades, he has worked with emerging and underrecognized artists and brought them to the attention of new audiences. His area of curatorial expertise is in spotting visual artists with outstanding potential, many of whom are now seen internationally in the blue-chip category. Currently, Watson directs LUZ Contemporânea for the Museum of Sacred Art in São Paulo where he annually curates three contemporary art exhibitions. Valérie Didier-Hess is an art historian and writer with invaluable experience in both museums and auction houses. Together with Hussam Rashwan, she has co-authored a catalogue raisonné of the entire oeuvre of Mahmoud Saïd, one of the catalysts of Modern Arab Art, and is currently working on a second one for Abdel Hadi Al Gazzar. She is director of business development at the Christie's Middle East office in Dubai. Before joining Christie's, she was involved in projects with many major institutions, including the Louvre in Paris, the Centre of Restoration of the Paintings in Museums of France (C2RMF), and the Princely Collections of the Liechtenstein Museum in Vienna, Austria. She holds a BA in Art History from Cambridge University and an MA from the Courtauld Institute of Art, London.
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ADVISORY BOARD
Ali Khadra is the founder and publisher of Canvas and Sorbet magazines. A keen collector of contemporary art, in 2003, the French-Lebanese Khadra founded the boutique publishing house Mixed Media Publishing and launched its flagship title, Canvas, the premier art and culture magazine in the Middle East and Arab world and a major catalyst on the global art scene. Its sister magazine, Sorbet, is a themed quarterly exploring the interface of culture, lifestyle, fashion, and affluence. Khadra has served as the regional consultant for Christie's, as a patron of Tate Modern, and has sat on the committees of various art organizations, including the Prix Pictet, the Magic of Persia, Nuqat, the Beirut Art Residency, and the V&A's Jameel Prize. Basel Dalloul founded the Dalloul Art Foundation in 2017 to manage and promote his father Dr Ramzi Dalloul’s vast collection of modern and contemporary Arab art, the largest collection of its kind in private hands. Today, he is considered one of the foremost art patrons in the Arab world. In 2000, he founded NOOR Group, bringing the first region-wide, fullservice IT development program to the area. He holds a BSc in Finance from American University and a Juris Doctor and MBA from Georgetown University, both in Washington, DC. He is a frequent speaker and seminar leader at IT conferences worldwide and sits on the board of numerous educational and philanthropic organizations. Christiane Abdalla is one of Egypt’s foremost art patrons and co-owner of MARMONIL, an Egyptian industry leader in the supply of marble and granite. For an extended bio, please refer to the Patrons section (p.183).
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Hussam Rashwan is one of Egypt’s foremost collectors of Egyptian modern art. He is also a scholar who plays a vital role in preserving its history by undertaking and supporting research projects and helping researchers around the world. His outstanding collection of literary references related to Egyptian modern art and his unparalleled knowledge have placed him at the pinnacle of Egypt's elite academic art circle, and he is considered an invaluable resource by art collectors, leading academics, major institutions, and curators the world over. Together with Valérie Didier-Hess, he has co-authored a catalogue raisonné of the entire oeuvre of Mahmoud Saïd, one of the catalysts of Arab modern art. Karim El Chiaty is the vice chairman of Travco Group, a travel and hospitality conglomerate with presence in Europe, the Middle East, and Asia. For an extended bio, please refer to the Patrons section (p.184). FOREVER IS NOW
Mounir Neamatalla is a man who is passionate about his dreams, pursuing them with single-minded devotion until they become reality. He started his professional life driven by a mission to succeed in creating environmentally and socially sensitive enterprises. The result was Environmental Quality International (EQI), the first consulting enterprise of its nature in the Middle East and North Africa region, founded in 1981. He remains deeply committed to the guiding principles of the company he founded more than 30 years ago and believes that it is the spirit of entrepreneurship at the smallest scale that has preserved the cities of the region for centuries as thriving centres of world trade, finance, and culture. Peter Der Manuelian is Barbara Bell Professor of Egyptology at Harvard University and director of the Harvard Museum of the Ancient Near East. For an extended bio, please refer to the Contributors section (p. 175). Rasheed Kamel is a partner in Al Kamel Law Firm, one of Egypt’s leading independent law firms, and has been an avid art collector for over 20 years. For an extended bio, please refer to the Patrons section (p. 184). Yannick Lintz holds a PhD in Achaemenid History and has been director of the Islamic Art Department in the Louvre Museum since 2013. She is also a visiting professor at the Sorbonne University (Paris, France) and Senghor University (Alexandria, Egypt). As a member of the Scientific Council-Agence FranceMuseums in charge of the Louvre Abu Dhabi Museum project, she trained French curators on the idea of a global history museum from the point of view of the Islamic world. She is also an international expert on Islamic art museums and the art market for classical Islamic art. Recently, she created the PAPSI programme focused on safeguarding endangered cultural heritage in Syria and Iraq and established the Islamic Art French Network. Zahi Hawass is a world-renowned archaeologist whose dynamic personality and extensive knowledge have sparked global interest in ancient Egypt. For an extended bio, please refer to the Contributors section (p. 175).
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TITANIUM Art D’Égypte would like to thank Mrs Paula Cusi for her generous patronage. Joumana Mourad is a famous actress and producer who has been working in the Arab world for the past 20 years . She is married to Dr Rabie Bsieso. They have two children, Mohamad and Ali, and live between London, Cairo, and Dubai. Born in Syria, she obtained a degree in English literature before moving to the United Kingdom where she graduated from the Actors Centre in London. She has appeared in over 34 television series and produced four. She has also acted in eight films, with her first role as star in North of the Ten in 2021. She has also headed and participated in numerous international film festival juries including Algeria, Belgium, and Oman and has received multiple awards from various festivals, press agencies, magazines, and other media organizations. She is very active in the humanitarian field and supports many agencies in different sectors and particularly in the field of women’s empowerment. Joumana’s passion for art and collecting started over 20 years ago while studying at university where all her friends were famous artists, art collectors, and gallery owners. Her passion for art has become part of her life, and together with her husband, she has become one of the foremost collectors of modern and contemporary art in the Middle East, particularly Egyptian and Syrian art. Her favourite artists are Abdel Hadi Al Gazzar from Egypt and Luai Kayyali from Syria for whom she owns one of the biggest art collections in the world.
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Rabie Bsieso is a Jordanian/ Palestinian born in Beirut in 1971. He holds an LLB in law, two diplomas and an LLM in law, and two PhDs, one in international commercial law from Egypt and a second in international business administration from the USA. He worked as a law and business professor in Al-Quds university for three years. As a Palestinian diplomat, he has represented the State of Palestine in the Organisation of the Islamic Conference and held the position of permanent observer to the Arab league and the United Nations for eight years. He is also the CEO of Bsieso Consulting Group, an international law group with eight offices around the world. He represents many international EPC companies in the oil and gas field in the Middle East. He is a passionate collector, most notably of watches and sports cars of which he has an impressive collection. His love of art developed thanks to his wife Joumana Mourad. As a couple, they have been collecting art ever since they got married. In the past few years, they have focussed on Syrian and Egyptian art, amassing a very important collection with over 500 pieces including many rare masterpieces.
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PLATINUM Alexia and Khaled Nosseir both come from artistic backgrounds and are keen to support young Egyptian artists through their collaboration with Art D’Égypte. This is an extension of their philanthropic work with children, particularly those with disabilities. Mr Nosseir is the chairman of Alkan Holding, one of Egypt’s leading conglomerates with businesses in many key sectors including CIT, automotive, distribution, and manufacturing. His mother was an artist, and his father was a prominent collector of Egyptian modern art. Mrs Nosseir is a fashion designer and painter with a passion for art and design and a degree from the University of the Arts in London. She takes after her mother, also an artist and fashion designer. Christiane and Claude Abdalla are the owners of MARMONIL, a vertically integrated Egyptian company and an industry leader operating in marble and granite. The family-owned business was founded in 1963 and has expanded worldwide through sister companies, agents and strategic partnerships. The MARMONIL name stands for solid delivery of quality work, attention to detail, experience, and innovation. The company is also proud to collaborate on community development projects with a number of organizations including the American Chamber of Commerce and the Children’s Cancer Hospital. Throughout MARMONIL’s history, there runs one dominant thread: constant investment in technology, people, and in the pursuit of excellence. The couple make it their policy to support initiatives they believe are helping to build a brighter future for Egypt and take pleasure in supporting Art D’Égypte as part of promoting Egyptian art and artists to a worldwide audience. Mary and Bishoy Azmy are passionate art collectors who have been working with Art D’Égypte to put together a one-of-a-kind collection that provides a holistic representation of Egyptian art of all eras and disciplines. The collection aims to trace the varying layers and influences of Egyptian art over its rich and diverse history, showcasing the wide range of local art production, and telling the story of Egypt using art as the main medium. It will be an informative and invaluable resource for modern and contemporary Egyptian art research and will feature a comprehensive cross section of both key modernist masters and young contemporary talents. Nora Hamza AlKholi grew up in Riyadh, Saudi Arabia. She graduated from a Swiss boarding school and went on to attend the American University in Cairo and receive a master’s degree in cognitive psychology from Boston University. After a career in marketing consultancy and business management, she turned her attention to founding her own company, NK Ideas. She currently sits on the board of numerous charities as well as the Nile Holding Company and the British International School in Cairo. She has always been an avid lover and collector of art and fashion and is committed to promoting related philanthropic ventures.
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GOLD Alia Saleh and Yasser Hashem began collecting art in the early 1980s. Since then, they have carefully built an important collection of Egyptian artworks. They have also funded numerous local and international projects focused on promoting research and publications on Egyptian Modern Art. Yasser Hashem is the managing partner of Egypt-based law firm Zaki Hashem & Partners. Dina Shehata created the Mahy Khalifa Art Fund together with Karim Abu Youssef in loving memory of Dina’s mother, a dedicated art lover and collector. Launched in 2020 in partnership with Art D'Égypte, the fund’s mandate is to support Egyptian artists with a special emphasis on art education. The fund’s flagship initiative, the Mahy Khalifa Art Scholarship, aims to support a new generation of artists, art scholars, and curators by funding post-graduate studies in Europe for exceptional young talents. Karim El Chiaty is the vice chairman of Travco Group, a travel and hospitality conglomerate with presence in Europe, the Middle East, and Asia. He is also the founder of Travco Properties, the group’s luxury real estate development arm with its flagship Almaza Bay project on Egypt’s North Coast. He is an avid collector of post-war and contemporary art and has actively supported many international museum exhibitions. He is a member of the World Economic Forum and co-chair of the forum’s Gender Gap Accelerator, a public private leadership platform that aims to reshape gender parity post COVID-19. Mai Abdelmeguid and Hassan Allam share a profound appreciation for arts and culture and their importance as cornerstones for a thriving community. Over the years, they have amassed an art collection that reflects their love of Middle Eastern art with a particular focus on Egyptian artists. They believe in the significance of Egyptian art on the global stage and its ability to represent the country’s illustrious history.
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Mr and Mrs Rasheed Kamel are proud supporters of the Egyptian art scene. Passionate collectors of Egyptian art, they are particularly interested in contemporary and conceptual pieces. Their superb, skilfully curated private collection can almost be considered a small museum. The couple firmly believe they have an ethical obligation to support young Egyptian artists as part of their commitment to putting Egyptian art back on the global map and preserving the country’s incomparable artistic heritage. They are delighted and honoured to consider themselves part of the Art D’Égypte family. Mr. Kamel is senior partner at Al Kamel Law Office, one of Egypt’s leading independent law firms. Sultan Sooud Al Qassemi is an Emirati columnist and researcher on regional social, political, and cultural affairs. He is also the founder of the Barjeel Art Foundation, a prominent and publicly accessible art collection in the UAE. He currently teaches ‘Politics of Modern Middle Eastern Art’ at Boston College, USA and SciencesPo, France.
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SILVER Jamal Tuqan is the managing partner of United Distributors (UD), the sales and distribution arm of Clorox and Gour-met Operations in Egypt, and a partner in Household Cleaning Products Company, which manufactures all Clorox products in Egypt. He is interested in Egyptian modern and contemporary art and in the promotion of Egyptian cultural heritage. Nora Abousteit is the founder and CEO of CraftJam Inc., a pioneering, fast-growing live-stream crafting platform where people learn, connect, and shop. A serial entrepreneur, she speaks frequently on entrepreneurship and the DIY economy and has been featured in the Wall Street Journal and the New York Times. Rose Issa is a curator, writer, and producer who has championed visual art and film from the Middle East and North Africa in the West for more than 30 years. She has lived in London since 1986, showcasing upcoming and established artists and producing exhibitions and film festivals worldwide. Salma Malash is a dynamic Egyptian businesswoman and dedicated mother of three. In addition to maintaining an executive role in ADCOM, her family business, she has also established a facility management company together with her husband. Her passion project, however, is CLUBLIKO, the first children’s edutainment centre of its kind in Egypt.
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Art Kingdom is a cultural operator dedicated to building, reviving, and cultivating the arts and culture landscape in the rich and vast Kingdom of Saudi Arabia (KSA). It is based in the capital city of Riyadh and founded by HH Prince Saud Bin Abdulaziz AlSaud, Chairman of Yakoon International for Hotels, and Nadine Abdel Ghaffar with the objective of finding innovative ways to showcase the kingdom to the world using Art D’Égypte’s expertise in curating internationally acclaimed art exhibitions and events. Art Kingdom aims to use the spaces, artists, and ecosystems of this fascinating country to shed light on the art and culture scene in the KSA and pioneer cultural development in the region. ASHMAND is one the leading companies in Egypt in the supply of telecommunications equipment, power solutions, printing solutions, and security products. Since its establishment in 1989, ASHMAND has succeeded in establishing itself as a reliable business partner to numerous multinational companies. A company that targets social improvement in addition to innovation and technology, Ashmand places great value on the role of the arts in community development and looks forward to its partnership with Art D’Égypte on Forever Is Now at the Great Pyramids of Giza, one of the world’s greatest and most historically significant locations.
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Beretta is an international manufacturer of civil firearms, military weapons, and products designed for outdoor sports such as hunting, competition, and tactical shooting. Founded in 1526 in Gardone Val Trompia (Italy), it has been managed by the Beretta Family for 15 generations. While today it employs the most modern technologies, assembly lines, and quality controls, its operation is firmly rooted in the intricate ancient tradition of gun-smithing handed down since the Renaissance. This tradition is an irreplaceable asset that helps Beretta achieve the accuracy and quality that have made it a world-renowned brand.
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The Heritage Commission of the Kingdom of Saudi Arabia was established in 2020 to preserve and protect the country’s unique ancient heritage and celebrate it as part of the world’s cultural wealth. The commission is responsible for protecting and managing the Kingdom’s cultural assets and archaeological sites, promoting research activities, and supporting professionals in the heritage sector. Additionally, the commission builds awareness of Saudi Arabia’s archaeological legacy, its traditional crafts, industries, and intangible heritage through public engagement campaigns. To date, the commission has registered more than 1000 heritage sites in the Urban Heritage Record, 8000 heritage sites in the National Antiquities Register, and around 4400 craftsmen. This is addition to six sites inscribed on the UNESCO World Heritage List and eight elements listed as Intangible Cultural Elements. By empowering the community and facilitating private sector investment in heritage and culture initiatives, the commission aims to create jobs and opportunities for growth and sustainability. Mapso is the leading marine technology company in the Middle East. Since its establishment in 1976, it has been building boats in steel, aluminium, composites, and carbon and supplying tugboats, pilot boats, ferries, and patrol craft. We supply and maintain boats that people entrust with their lives, livelihoods, and businesses. Mapso is proud to serve the Suez Canal, the Ministry of Transport, and the Egyptian Navy and builds long-term partnerships with its clients, suppliers and employees. The company is also proud to represent its long-time partners, extraordinary naval architects Lomocean of New Zealand. The Ramzi and Saeda Dalloul Art Foundation is a Beirut-based visual arts institution dedicated to making modern and contemporary Arab art accessible to local and international audiences through archiving, exhibitions, education, publications, public programs, and research. It aims to preserve and disseminate its permanent collection which includes works in drawing, installation, mixed-media, painting, photography, and sculpture. Its founder, the late Dr Ramzi Dalloul was one of Art D’Égypte’s most dedicated supporters. His son Basel Dalloul continues to believe in Art D’Égypte’s mission and provides invaluable support in his position on the advisory board. Alserkal Advisory leverages its collective expertise in arts and cultural production, heritage creation, community building and engagement, and planning for creative industries to guide public and private sector entities in developing sustainable and responsive business models. It operates in three main areas: cultural production, developing cultural institutions and destinations, and policymaking for creative industries.
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EDUCATION PARTNER
Department of the Arts
The American University in Cairo's Department of the Arts and Tahrir Cultural Center both serve the University’s overarching mission of advancing arts, education, and culture, as well as providing critical bridges of knowledge and understanding between Egypt and the world. Providing support in the curating of the Art D'Égypte lecture series, as well as hosting the series at our historic downtown campus cultural center, are practical examples of AUC's commitment to enhancing benefit and value on the cultural landscape.
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PLATINUM The U.S. Embassy in Cairo is delighted to be a Platinum Sponsor of the 2021 edition of Art d’Égypte, an artistic initiative that represents the best of cultural innovation. Forever Is Now exemplifies the strength of the cultural partnership between the United States and Egypt. Combining the talents of American artists, curators, and cultural heritage experts alongside those from Egypt and other countries, the exhibit showcases Egyptian and American contemporary art through the lens of Egypt’s ancient past. We are pleased to invest in Egypt’s flourishing creative economy and in cultural endeavours that establish linkages, spur innovation, and drive enterprise.
GOLD Dior excellence is encapsulated in the Lady Dior bag. With its iconic architectural lines, it is both a symbol and a legend. Over the seasons, it has been reinterpreted by artists from around the world, notably for the Dior Lady Art carte blanche. For the Forever Is Now exhibition, Gisela Colón transformed it into an exceptional work celebrating the splendour of Egypt. This project pays tribute to the fascination that Christian Dior — a collector and gallery owner — had for art in all its forms. A passion constantly reinvented by Dior’s creative audacity through cultural patronage and numerous inspiring dialogues. The African Export-Import Bank (Afreximbank) is the foremost panAfrican multilateral financial institution devoted to financing and promoting intra- and extra-African trade. The Bank was established in October 1993 by African governments, African private and institutional investors, and non-African investors to stimulate a consistent expansion, diversification and development of African trade, while operating as a first class, profitoriented, and socially responsible financial institution. Achieving our vision is dependent on four strategic pillars: promoting Intra-African Trade, facilitating industrialization and export development, strengthening trade finance leadership, and improving financial performance and soundness. It is headquartered in Cairo. For more information, visit: www.afreximbank.com
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Barta & Partner Art Insurance has been present in the Egyptian Market for 20 years, reinsuring f.e. all Tutankhamun exhibitions since 2004. This international cooperation means that Barta offers a global insurance concept for your art, including worldwide loss handling. Barta is traditionally committed to protection and preservation of works of art. Art historians and insurance experts will advise you, and your art collection will be regularly appraised and adjusted so as to constantly reflect its current market value. Barta insures against All Risks – which includes risks that are generally not covered under conventional policies. Curious? Find out more on www.bartaart.com Signify is the world leader in lighting for professionals and consumers for the Internet of Things. Our Philips products, Interact connected lighting systems, and data-enabled services deliver business value and transform life in homes, buildings, and public spaces. With 2020 sales of EUR 6.5 billion, we have approximately 39,000 employees and are present in over 70 countries. We unlock the extraordinary potential of light for brighter lives and a better world. We achieved carbon neutrality in 2020, have been in the Dow Jones Sustainability World Index since our IPO for four consecutive years, and were named Industry Leader in 2017, 2018, and 2019. Al Ismaelia for Real Estate Investment specializes in the restoration of heritage buildings in Downtown Cairo. To date, the company has acquired 25 signature heritage properties, including and the award-winning La Viennoise. Driven by its belief that art is the world’s most universal language, Al Ismaelia is dedicated to enhancing the arts and culture scene in Downtown Cairo and believes in its power to make a difference and influence positive change. Al Ismaelia’s collaboration with Art D’Égypte is a wonderful opportunity to develop an experience that merges Downtown’s historic legacy with modern culture. HSI (Hany Saad Innovations) has become an international brand with a diverse team spread across multiple disciplines. Our designs have evolved to blend cultural insight and contemporary luxury for our multinational clientele. We pride ourselves on our irreproachable commitment to quality providing only the highest standard of design and material. We are honoured to be a part of this extraordinary event, an international exhibition that combines ancient history, culture, and contemporary art at an incomparable location and features avant-garde pieces by some of the worlds’ most recognized contemporary artists. 190
MO4 Network was created to tell stories about extraordinary Egyptians doing exceptional things. Stories have the power to define our past and shape our future. They tell us who we are and who we can be. Every day, across seven publications, we spotlight the dreamers, talents, and trailblazers who are harbingers of our future heritage, Egyptians who are building on our epic cultural histories to create impactful new legacies. This is why we are so proud to have supported Art D’Égypte since its inception – an initiative that is so perfectly aligned with our vision to showcase the beauty of Egypt’s past, present, and future to the world.
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SILVER Oriental Weavers is one of the most recognized brands in the machinewoven rug and carpet industry across the world and the acknowledged leader in design, quality, and innovation within the industry. Established in 1979 by Mr Mohamed Farid Khamis, a leading Egyptian entrepreneur and industrialist, the company grew under his leadership to become the largest and fastest-growing machine-made rug and carpet manufacturer in the world. Today, the group has manufacturing facilities in the USA, China, and Egypt and exports more than 60% of its production to more than 130 countries on six continents.
BRONZE Fairmont Nile City and Accor Live Limitless (ALL) in cooperation with the Shobokshi Family, the hotel owners, are proud to partner with Art D’Égypte on Forever Is Now. As part of our commitment to social responsibility, our visionary owners and managers recognise the value of deeper cultural engagement and the importance of being connected to the community to promote Egypt’s arts and cultural scenes. In providing corporate support for this initiative, Fairmont Nile City and ALL hope to make it possible for members of the art community to demonstrate how art can have a significant role during challenging times such as the current pandemic. EGYPTAIR, the flag carrier of Egypt, is proud to be the first airline in the Middle East and Africa and the seventh in the world to join IATA. EGYPTAIR has also been a member of Star Alliance, the world’s largest Airline Alliance, since 2008. In a bid to upgrade its fleet, EGYPTAIR recently added state-of-the-art planes such as the Boeing Dreamliner 787-9, Airbus A320, and Airbus A220 all equipped with the latest technologies and comfort facilities. EGYPTAIR has always played a pivotal role in linking Egypt to Europe, the Middle East, Africa, and the Far East with regular flights across our dynamic network.
PARTNERS The Italian Cultural Institute in Cairo (IIC), part of the official network of the Italian Ministry of Foreign Affairs, promotes knowledge of the Italian language and culture in Egypt. Among other activities, the IIC organizes wide-ranging innovative cultural events and projects in collaboration with Egyptian and international cultural organizations in various fields such as music, art, archaeology, design, literature, cinema, dance, and theatre. In the field of art, IIC fosters collaboration among operators, artists, and experts with a special focus on the promotion of contemporary artists. https://iiccairo.esteri.it/
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Photo: Lady Escabia on Pexels
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ART D'ÉGYPTE Art D’Égypte is a privately owned Egyptian multidisciplinary firm founded by Nadine Abdel Ghaffar to support the Egyptian arts and culture scene. It provides art consultancies to institutions, corporations and private collectors as well as curatorial services to public spaces and private entities. The team has a strong background and extensive experience in the Egyptian art market and aims to develop strong local, regional, and international collaborations to enhance and promote the rich Egyptian art scene. Art D’Égypte aims to bridge the gap between Egyptian artists and the world and to support young artists and artists with scarce funds to get their work displayed and published. Cataloguing Egypt’s modern and contemporary art heritage is a further goal of the company through the development of documentaries on modern Egyptian artists. The company’s strategy is to organize a yearly exhibition in a historic location in Egypt to shed light on the country’s abundant cultural heritage and to connect the art of Egypt’s past with that of the 21st century. This, the fourth edition, follows three highly successful exhibitions: Eternal Light at the Egyptian Museum (2017), Nothing Vanishes, Everything Transforms at the Manial Palace (2018), and Reimagined Narratives on al-Mu‘izz Street (2019). Since 2019, Art D’Égypte has extended its reach abroad, promoting Egyptian artists internationally at art fairs such as Abu Dhabi Art and ArtGenève, holding an exhibition in London, and launching several initiatives such as podcasts and lecture series to raise interest in Egyptian art at different levels and with varied audiences. By raising awareness, the team’s target is to help preserve Egypt’s heritage and advance the international profile of modern and contemporary Egyptian art, presenting a different view of Egypt to the world. Every aspect of Art D’Égypte’s projects is designed with sustainability and community in mind. Free lectures and panels and community engagement programs have helped hundreds of young people from the neighbourhoods surrounding the historic sites acquire a sense of ownership and pride in the initiatives and in their shared heritage, thus promoting site sustainability. This commitment to inclusivity and accessibility aligns with UNESCO’s Convention on the Protection and Promotion of the Diversity of Cultural Expressions and has resulted in Art D’Égypte operating under UNESCO patronage since 2019. ART D’ÉGYPTE
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Nadine Abdel Ghaffar [Founder & Curator] is an Egyptian curator, art consultant, and cultural ambassador. In 2016, she established Art D’Égypte, one of the most sought-after multidisciplinary art consultancies in the region, which has a twofold mission: to advance the international profile of modern and contemporary Egyptian art, and to help preserve and promote Egypt’s rich culture and heritage. Since then, she has curated three highly successful exhibitions at stunning heritage sites for Art D'Égypte showcasing the works of over 50 Egyptian artists. Accessibility and democratization of art have always been at the heart of Nadine’s vision. By activating public spaces and historic sites with interactive exhibits open to the public, the events attract large numbers of visitors of all ages and from all walks of life, transforming art from an intimidating spectacle to an inclusive community occasion. Thanks to her efforts, Art D’Égypte received UNESCO patronage in 2019 and was invited to participate in Abu Dhabi Art and ArtGenève. Nadine also firmly believes that it is vital to mentor and empower female youth in the region, and one of the core objectives of the firm’s activities is to support and exhibit female artists. In recognition of her work, she was recently invited by UN Women to give a talk at Palais des Nations, Genève about Egyptian women and their impact on art and society. She was also awarded the title Chevalier de l’ordre des arts des lettres in 2021 by the French government and named one of Egypt’s Top 50 Women. FOREVER IS NOW
Malak Shenouda [Executive Director] joined Art D’Égypte in 2016 and has progressively taken on increasing responsibilities as the company has grown. As Executive Director, she is currently responsible for managing all operational aspects and for conceiving, initiating, and overseeing new projects. She studied visual art and sociology at the American University in Cairo (AUC) and has worked with artists and cultural initiatives in Egypt, London, and Berlin. She has also participated in the organization of festivals such as the Downtown Contemporary Art Festival Cairo (D-Caf) and the Berlin film festivals, Berlinale and Forum Expanded. In 2018, she was selected as one of the 10 residents of the Roznama Studio Program organized by Medrar for Contemporary Art and the D-Caf Visual Arts Program. Shenouda also has her own multi-disciplinary artistic practice and has been part of several group exhibitions in Egypt. She has recently been selected to participate in the International Visitor Leadership Program (IVLP), the US Department of State’s flagship professional exchange program. Hana El Beblawy [Executive Art Director] is a researchbased visual artist and curator who studied visual art and architecture at the American University in Cairo (AUC). As Executive Art Director at Art D’Égypte, she is responsible for developing exhibition concepts, choosing venues and artists, and overseeing the execution of each show. To date, she has organized numerous exhibitions under the Art D’Égypte umbrella both in Egypt and abroad. She is currently also managing Cairo International Art District, an event launched by Art D’Égypte in 2021. Previously, she was involved in the organization of the annual Downtown Contemporary Art Festival Cairo (D-Caf) and has collaborated with various international artists and curators. Her work was exhibited in the Roznama 5 exhibition (2016) organized by Medrar for Contemporary Art, and she has taken part in various other group exhibitions for contemporary art in Egypt. ART D’ÉGYPTE
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Nada Hassab [Program Manager/Guest Relations] is a multidisciplinary visual artist based in Cairo. Her art practice is conceptual and research-based in nature, questioning the manifestation of the conscious and the unconscious in technology and art. At Art D’Égypte, she plays a dual role, liaising with sponsors and handling guest relations including all logistics and travel arrangements for exhibition visitors. In her capacity as program manager, she is responsible for managing the art scholarship, podcast, and grants. Hassab has participated in several group exhibitions in Egypt, and she received her BA in Visual Arts and Digital Media from the American University in Cairo. Hanya Elghamry [Senior Assistant Curator] is a multidisciplinary visual artist working in a variety of media including painting, photography, sculpture, video, and most recently, augmented reality. At Art D’Égypte, she is responsible for exhibition logistics and management including artist liaison and event organization. She also assists in the research, development, and curation of exhibitions. She received her BA in Visual Arts and Integrated Marketing Communication from the American University in Cairo and is currently studying for her MA in Fine Arts at Central Saint Martins, University of the Arts London.
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Salma Al Khalidi [Exhibition Coordinator] started her career in the creative arts industry in 2016 at Carrie Able Gallery, a multidisciplinary art gallery in New York, and later at Open Gallery in London, specialising in digital art. She received her BA in Interior and Spatial Design at the Chelsea College of Art and Design, University of the Arts London (UAL), and her MA in History of Art at SOAS, University of London. She also received certifications in Visual Merchandise and Set Design at UAL. She joined Art D’Égypte at the start of 2021.
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Rawan Abdulhalim [Senior Architect/Project Manager] started her career in Riyadh in 2015 working on architecture and urban and interior design projects in the UAE, UK, and Egypt. She received her BSc in Architectural Engineering and Urban Planning at Tanta University, Egypt and her PMP (Project Management Professional) certification from the Project Management Institute in Pennsylvania, USA. At Art D’Égypte, she is responsible for exhibition design and technical management. Mariam El Tagoury [PR & Communications Director] is an MBA scholarship student majoring in marketing at École Supérieure Libre des Sciences Commerciales Appliquées (ESLSCA) and a graduate of the Presidential Leadership Program at the National Training Academy. Her work at Art D’Égypte includes building and maintaining a positive public brand image for the company and handling all PR activities. She has worked with several media and PR entities in Egypt, including POD, Daily News Egypt, and Identity Magazine, and has participated in the organization of the World Youth Forum in Sharm El Sheikh. She is also the founder of CairoContra, an online youth magazine. Alaa Elsayegh [Social Media & Press Manager] studied Mass Communication at October University for Modern Sciences & Art (MSA). Before joining Art D’Égypte she worked in public relations and communications at EgyptAir and the 40th edition of the Cairo International Film Festival.
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ACKNOWLEDGEMENTS I would like to express my deepest gratitude to the many contributors and supporters who made Forever Is Now a reality. It has truly been a privilege to witness their faith in us and their unwavering love for Egypt, a land of rich diversity and immense creativity. Forever Is Now would not have been possible without the support of so many people: First and foremost, the international stars of Forever Is Now, our wonderful artists, who gave us so much of their time, energy, and creativity to make this exhibition a truly exceptional once-in-a lifetime event: Alexander Ponomarev
Moataz Nasr
Gisela Colón
Sherin Guirguis
João Trevisan
Shuster + Moseley
JR
Stephen Cox RA
Lorenzo Quinn
Sultan Bin Fahad
We are completely indebted to the support teams of each artist and the galleries that represent them for their generosity and cooperation throughout this past year. The Minister of Antiquities, H.E. Dr Khaled Al Anany. 198
The Minister of Foreign Affairs, H.E. Sameh Shoukry. Dr Mostafa Waziri, Secretary General of the Supreme Council of Antiquities. Nazih Naggary, Minister Counsellor at the Ministry of Foreign Affairs. Mahmoud Talaat, Deputy Minister of Foreign Affairs. FOREVER IS NOW
Ashraf Mohieldin, Director General of the Pyramids of Giza. Lamia Kamel, Assistant Minister for Marketing and Promotion at the Ministry of Tourism and Antiquities. Nevine Aref, Media Advisor to the Ministry of Antiquities. Rana Gohar, Communication and External Relations Advisor at the Ministry of Tourism and Antiquities. Mr Ahmed Ebeid, Assistant Minister of Tourism and Antiquities for the Minister’s Office Sector. UNESCO, ALESCO, and ISESCO – H.E. Minister Khaled Abdel Ghaffar, Cherif Al Akwar, Ghaith Fariz, and most importantly Dr Ghada Abdel Bary, whose help, support, and encouragement were instrumental in helping us receive UNESCO patronage. Special thanks to UNESCO for providing the support necessary to complete the production and printing of this catalogue, and particularly for the perseverance of Akatuski Takahashi and Amal Gad. The General Administration of Tourism & Antiquities Police, the Ministry of Interior, Giza Governorate, and Cairo Governorate.
، وا>ﻣﻦ اﻟﻮﻃﻨﻲ، ووزارة اﻟﺪاﺧﻠﻴﺔ،ﺛﺎر9ﻛﺬﻟﻚ ﻧﻮد أن ﻧﺸــﻜﺮ اﻟﻬﻴﺌﺔ اﻟﻌﺎﻣﺔ ﻟﺸــﺮﻃﺔ اﻟﺴــﻴﺎﺣﺔ وا ﻧﺎﺋــﺐ ﻣﺤﺎﻓﻆ اﻟﺠﻴﺰة ﻋﻠﻰ اﻟﺪﻋﻢ، وﺧﺎﺻﺔ اﻟﻨﺎﺋﺒﺔ ﻫﻨﺪ ﻋﺒﺪ اﻟﺤﻠﻴﻢ،وﻣﺤﺎﻓﻈــﺔ اﻟﺠﻴــﺰة ، ﻣﺤﺎﻓﻈﺔ اﻟﻘﺎﻫﺮة. ﺗﻔﺘﻴﺶ ﻣﻨﻄﻘﺔ ا>ﻫﺮاﻣﺎت.واﻟﻤﺴــﺎﻋﺪة ﻓﻲ ﺟﻤﻴﻊ ﻣﺮاﺣﻞ اﻟﻤﺸــﺮوع ، اﻟﻤﻬﻨﺪس أﺣﻤﺪ ﻳﻮﺳــﻒ. ﻣﺪﻳﺮ ﻋﺎم إدارة اﻟﺤﻔﺎظ ﻋﻠﻰ اﻟﺘﺮاث،وﺧﺎﺻــﺔ اﻟﺪﻛﺘــﻮرة رﻳﻬﺎم ﻋﺮام ﻣﺪﻳﺮ، وﻛﺬﻟﻚ ا>ﺳــﺘﺎذة أﻳﻤﺎن ﻋﺒﺪ اﻟﺮﺣﻤﻦ،اﻟﺮﺋﻴﺲ اﻟﺘﻨﻔﻴﺬي ﻟﻠﻬﻴﺌﺔ اﻟﻌﺎﻣﺔ ﻟﻠﺘﻨﺸــﻴﻂ اﻟﺴــﻴﺎﺣﻲ .ﻋﺎم إدارة اﻟﺴــﻴﺎﺣﺔ اﻟﻤﺤﻠﻴﺔ وﻧﻴﻠﻠﻲ رﺳــﺘﻢ ﺑﺎﻟﺼﻮت، و ﻣﺤﻤﺪ اﻟﺒﺮﺑﺮي،ﻧﻮد أن ﻧﺘﻘﺪم ﺑﺠﺰﻳﻞ اﻟﺸــﻜﺮ ﻟﻤﺤﻤﺪ ﻋﺒﺪ اﻟﻌﺰﻳﺰ .واﻟﻀﻮء
Mohamed Abdulaziz, Mohamed El Barbary, and Nelly Rostom from the Sound and Light. ART D’ÉGYPTE
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H.E. Ambassador Ihab Nasr, Ambassador of the Arab Republic of Egypt in Moscow for his help in hosting our press conference there. We would also like to thank the Pushkin Museum for their support. H.E. Ambassador Ahmed Shaheen, Consul General of the Arab Republic of Egypt in Los Angeles and Manar U. Alshiekh, Consul at the Consulate-General of the Arab Republic of Egypt in Los Angeles for their help in hosting our ‘meet & greet’ reception there. Our collaborators on the Parallel Project, Ai-Da Robot: Aidan Meller, visionary and director behind Ai-Da Robot; Lucy Seal, researcher and curator; The Oxfordians, the brilliant group of academics and AI experts behind Ai-Da, without whom this project would not have been possible. Thank you to Karim El Hayawan, Mohamed Nawara, and Fatma Said for their dedication in creating Past Futures –You Are Here, a conceptual art documentary in celebration of Forever Is Now. It is a homage to modern and contemporary Egyptian artists who have transcended the linear passage of time.
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The Art D’Égypte team, my backbone and the best team in the world, Malak Shenouda and Hana El Beblawy for their dedication and commitment to making our initiative work. They have been the true powerhouse behind this exhibition, and I am truly grateful for their creativity and passion and for their perseverance in the face of all obstacles. I thank them from the bottom of my heart for believing in this project and I look forward to even greater successes together. Rawan Abdulhalim for her architectural skills and helpfulness. Hanya Elghamry, Nada Hassab, Salma Al Khalidi, and Alaa Elsayegh for their hard work and perseverance in dealing with every task presented to them no matter how obscure and for learning so much in such a short period of time. Mariam El Tagoury, our communications guru, for successfully juggling a huge task. Mahmoud Ashraf for his dedication and support. The technical team led by Mido Sadek for the installation of the artwork at the Giza Plateau. George Mokhtar and Nevine Zoheiry for managing the journalists and providing them with a professional, well-organized experience. FOREVER IS NOW
The contributors to our exhibition catalogue: Fekri Hassan, Gemma Tully, Lita Albuquerque, Mark Lehner, Neville Wakefield, Peter Der Manuelian, Rose Issa, Sahar Behairy, Sam Bardaouil and Till Fellrath, Sara Ángel Guerrero-Mostafa, and Zahi Hawass. The speakers for our Forever Is Now Talks Series who generously shared their knowledge and time: JR, Rose Issa, Neville Wakefield, Sherin Guirguis, Elizabeta Betinski, Simon Watson, Gisela Colón, Lita Albuquerque, Aidan Meller, Tarek Naga, Karen Abdalla, Stephen Cox RA, Aimee Dawson, and Edgar Arceneaux. The co-curators and hosts of our lecture series, the Tahrir Cultural Center, Tarek Attia, and the Department of the Arts at the American University in Cairo and Dr Haytham Nawar. Simon Watson who has been an instrumental member of our curating board and Xavier Auza for all his help throughout the year. Princess Alia al-Senussi, Amina Diab, Lucía Sollinger, Maxa Zoller, Neville Wakefield, Noura Abla, Rose Issa, Sam Bardaouil and Till Fellrath, and Valerie Didier-Hess for their invaluable input on our curating board. Zahi Hawass for his steadfast belief in us and for his immense support as a member of our advisory board from the very beginning. Ali Khadra, Basel Dalloul, Christiane Abdalla, Hussam Rashwan, Karim El Chiaty, Mounir Neamatalla, Peter Der Manuelian, Rasheed Kamel, and Yannick Lintz, our esteemed advisory board members. Our copyeditor Nevine Henein and our book designer Jorell Legaspi for their tremendous effort in bringing this publication to light; and our translators, Bassem Yousry and Maysoon Mahfouz for their invaluable assistance. Our trusted printing partner Sahara Printing Company.
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Our ambassadors for representing Art d’Égypte on the global art scene: Patricia Barros (Brazil), Graziela Martine (Brazil), Hayat Shobokshi (KSA), Thuraya Ismail (KSA & Lebanon), Alejandra Castro Rioseco (Spain & the UAE), and Natasha Akhmerova (Moscow & Zurich) H.E. Jonathan Cohen, U.S. Ambassador to Egypt, and the team at the U.S. Embassy, Lauren Lovelace, Dina Abdel Hafez, Kevin Krapf, Rachel Leslie, and Sally Wissa. ART D’ÉGYPTE
Dior and Olivier Bialobos for believing in us and joining us on this adventure and for their collaboration with Gisela Colón to create a one-of-a-kind Lady Dior Art Bag in the name of Forever Is Now. Real estate sponsor Badya Palm Hills for their support since 2019, led by Yassin Mansour with Hazem Badran and Heba Abdel Monsef whose combined passion made this collaboration work. Afrexim Bank – Samallie Kiyingi, Temwa Gondwe, Stephen Kauma, and Sandra Achia. Eastern Company – Hany Aman and Morsy Abou Amer Orascom Pyramids Entertainment for hosting us at 9 Pyramids Lounge for two years in a row, allowing us to make it our home for endless meetings, and always accommodating our unexpected requests – Hesham Gadalla, Shahinda El Hariry (PR director), Manal Abdel Hamid, Mohamed Galal, Mahmoud Guindy, and Tamer Roushdy. Special thanks to Naguib Sawiris, a true advocate of the arts. Al Ismaelia and Karim Shafie for their efforts to preserve downtown Cairo’s heritage along with Iman Hussein, Nada Hussein, and Philopateer Dimitry who have been extremely helpful. Nagla, Inas El Nakeeb, and Mohamed El Bashary for the amazing brunch they organized for our guests at the Tahrir Palace. Hany Saad Innovations (HIS) for professional help in conceptualizing and installing the technical vision.
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MO4 Network, our official media partners, for their creative input and the efforts of the team, Nassim Touil, Hana Abou Gazia, Nariman, Timmy Mowafi, and their ‘Hatshepsut’, Amy Mowafi. Barta & Partner for insuring the artworks for the entire duration of the exhibition despite many difficult circumstances – Philip Machat and Nikolaus S. Barta. Signify for lighting the exhibition and illuminating this exceptional experience.
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Laila El-Nofely, Hala Abdel Wadoud, and CEO Yasser Shaker at Orange for providing free Wi-Fi and for the dedication of Reda and Mahmoud from Orange Labs who developed the Art D’Égypte under immense time pressure. The Sawiris Foundation for Social Development (SFSD) team for the great work they do in Egypt. Special thanks to Samih Sawiris for his support and trust; Dina Nagaty for assistance with every step; Rahma Zein for her help with the press, and Nora Selim and Rosa Abdel Malek for putting so much effort into the foundation. Alexbank – Dante Campioni and Nermine Hassouba. Oriental Weavers, the Khamis Family, and Randa Hagag. ADMAF and the Kanoo family. The Fairmont, our official hotel and catering partners and passionate supporters of art, for providing top-quality service, and in particular, Mr Frank Nabolsi, Viola Fouad, Alia El Ramlawy, and Abdel Kader Hanafy. EgyptAir for providing our guests with special flight rates, with special thanks to Nashwa Negm and Amr Osman. DHL, our logistics partners. Ahmed Fayez and Sherine Karam for their willingness to solve every logistical obstacle and for going out of their way to provide storage space. We also appreciate the ongoing collaboration with our dear friends Lyne Roulin and Sherif Ibrahim from Logitrans for their constant help and support. Special thanks to our tourism partners Travco, Karim El Chiaty and his team members, Amira Helmy and Randa Gohary; Sherin Mahmoud for assisting our guests and facilitating their stay. Ahram Bevereges – Belle Vie and Dina Barsoum. Savills – Sherine Badr El Din, Tamer El Fiky and Talia Seif El Nasr. Abu Ghaly Motors and Sixt, particularly Dr Hend Abu Ghaly and Tim Mounir, for the London Cabs that facilitated our guests’ stay. ART D’ÉGYPTE
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The British Council for their guidance and support with particular thanks to Cathy Constain and H.E. Ambassador Gareth Bayley. H.E. Marc Baréty, current Ambassador of France to Egypt, H.E. Stephane Romatet, previous Ambassador of France, and the entire French Embassy team, Jamel Oubechou and Thierry Berne for their support. Special thanks also to Aliaa Megahed for arranging a great reception at the ambassador’s residence. The Swiss Embassy, led by H.E. Ambassador Paul Garnier. Mohamed Daghash, my brother and supporter, and his super company, Daghash Group that can achieve anything. Don Tanani, Alia Tanani, Tamara Tanani, Lina El Oraby, and Ahmed El Masry, for bringing the lounge to life and executing their magical vision for the opening cocktail. Amir Wahid and Youmna Agha at Vision Group for managing the event logistics. Nacelle, Tito Khachab, Adham Taweela, and Mahmoud Abou El Abbas for their and professionalism; Anas Solaiman for his technical support on the e-invitations. Ahmed Tarek for providing us with multiple billboards from Tarek Nour Communications in prime locations. Amr Badr and his professional team at Abercrombie & Kent, Dalia Khater, Mohamed Ismail, and Usama Mahmoud, for treating our esteemed guests to the smoothest experience in Egypt.
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Meuble El Chark, Marmonil, MAPSO, and NADIM Foundation for allowing Art d’Égypte to embark on its newest adventure and launch artist residencies in Egypt, making space for industrial experts, artisans, and technicians to partner up with artists and help them defy all boundaries in creating their art installations. TV5Monde, especially Nabil Bouhajra, for unconditional support and for spreading our story on TV5 around the world, and Sylvie Tixidre for handling our account. The Art Newspaper, France. FOREVER IS NOW
Farah Hassan and Omar Bazan for their creative designs and attention to detail. Ahmed Abbas Abstract Advertising and the unwavering personal and professional support of Milad at Concorde Press for their high-quality productions. Lamia Kamel’s team at CC-Plus, our PR partners – Sarah Ahmed and Dalia Ahmed. Friends and family who contributed tremendously to the success of Forever Is Now. My deepest gratitude to my beloved family: My father, Mamdouh A. Ghaffar, who has always believed in me; my mother, Aida Fahmy, the source of strength in our family; my husband Tarek El Mahdy who has always been my rock; my beautiful children, Omar and Taya; and my brother Omar A. Ghaffar. My dear friend and supporter Masha Al Shobokshy and her family who have helped me immensely over the years. Masha has been a true saviour; without her we would have had no cocktail reception. Paula Cusi, who has made herself available at all times for advice and help. A tribute to my godfather, Dr Ramzi Dalloul, whom we have lost this year. I will always hold dearly his words of encouragement. Special thanks to our patrons. Without them this initiative wouldn’t have seen the light: Rabie Bsieso and Joumana Mourad, Alexia and Khaled Nosseir, Mary and Bishoy Azmy, Christiane and Claude Abdalla, Nora Hamza AlKholi, Alia Saleh and Yasser Hashem, Dina Shehata, Karim El Chiaty, Mai Abdelmeguid and Hassan Allam, Mr and Mrs Rasheed Kamel, Jamal Tuqan, Nora Abousteit, Rose Eissa, and Salma Malash. Barjeel Art Foundation and Sultan Sooud Al Qassemi, its founder, for his immense support, patronage and steadfast commitment to the arts of the Arab world. His passion and support for Art D’Égypte initiatives made it possible for our first endeavour, Night at the Museum, to see the light in 2017. HH Prince Saud Bin Abdulaziz Al-Saud for putting his faith in our abilities and partnering with us to establish Art Kingdom in the KSA. My friends who believed in my work from the start, Farida Temraz, Nora AlKholi, Noha El Kabbany, and especially Venus El-Rayes, our director of cultural engagement programs, and Sherine Ghanem for her unconditional ART D’ÉGYPTE
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encouragement and dedication. They have been of great support and have helped make this dream come true. Over 100 dedicated and enthusiastic volunteers who have helped with on-theground installation of the artworks and have given up their free time to facilitate the visitors’ experience all month and guide them through the art on display. We are also proud to have launched a cultural awareness programme this year in parallel with Forever Is Now in our efforts to support sustainable cultural development. Thank you all for your faith in Art d’Égypte. This year’s exhibition has truly been a monumental task and would never have been possible without the good humour, generosity, talent, and dedication of so many. With each edition, we realize more and more how art brings the world together, and we are truly honoured to be a part of this global community.
Nadine A. Ghaffar Founder and Curator Art d’Égypte
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FOREVER IS NOW
UNDER THE AUSPICES OF
UNDER THE PATRONAGE OF
GOLD
SILVER
Cultural Partner
BRONZE
Travel Partner
PARTNERS
Logistics Partner
PR Partner
Transportation Partner
SELECTED EXHIBITIONS
ARTISTS’ ACCOMPLISHMENTS ALEXANDER PONOMAREV
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2019 Teoriya strun (String theory), Krokin Gallery, Moscow, Russia 2018 Ledyanaya peshchera (Ice cave), Zaryadye Park, Moscow, Russia 2017 Alchemy of Antarctic Albedo, Antarctic Biennale, Antarctica 2016 Bottom Sky, Setouchi Triennale, Honjima Island, Marugame, Japan 2016 Stored in Ice, Richard Taittinger Gallery, New York, USA 2015 Windtruvian Man, Pushkin Museum of Fine Arts, Moscow, Russia 2015 Concordia, Antarctic Pavilion, 56th Venice Biennale, Italy 2014 Voice in the Wilderness, collateral event, 5th Biennale of Contemporary Art, Marrakech, Morocco 2012 Mirage Architecture, Project of the National Pavilion of Ukraine (together with A. Kozyr, I. Babak, S. Shestakov), 13th Biennale of Architecture in Venice, Italy 2011 Uvodyashchie ochertaniya (Shapes Leading Away), Krokin Gallery, Moscow, Russia 2011 One of a Thousand Ways to Defeat Entropy, 54th Venice Biennale, Italy 2010 Sea Stories, Calvert 22 Gallery, London, UK 2010 Inexpedient Machines, EACAM – André Malraux Space for Contemporary Art, Colmar, France 2010 Macroscopy, Natasha Akhmerova’s Barbarian Art Gallery, Zurich, Switzerland 2009 SubTiziano, collateral event at the 53rd Venice Art Biennale, Italy GISELA COLÓN 2021–22 Light, Space, Surface: Works from the Los Angeles County Museum of Art, Addison Gallery of American Art, Andover, MA, USA 2021 Quantum Shift (Parabolic Monolith Sirius
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Titanium), Frieze Sculpture 2021, Regents’ Park, London, UK 2021–23 Light & Space at LAX, Los Angeles County Initiative at Tom Bradley International Terminal LAX, USA 2021 Gisela Colón: Quantum Shift, Tephra Institute of Contemporary Art, Reston, VA, USA 2020–21 A Very Anxious Feeling: Voices of Unrest in the American Experience; 20 Years of the Beth Rudin Dewoody Collection, Taubman Museum of Art, Roanoke, VA, USA 2020 The Future is Now (Parabolic Monolith Iridium), Land Art Biennale, Desert X ALULA 2020, KSA 2020 Gisela Colón: Meta Minimal, Gavlak, Los Angeles, CA, USA 2020–21 In Vivid Color: Pushing the Boundaries of Perception in Contemporary Art, The Mint Museum (Uptown), Charlotte, NC, USA 2019–20 Crystals in Art: Ancient to Today, Crystal Bridges Museum of American Art, Bentonville, AR, USA 2019 Brave New Worlds: Explorations Of Space, Palm Springs Art Museum, Palm Springs, CA, USA JOÃO TREVISAN Solo Exhibitions 2021 Corpo e alma (Body and Soul), curated by Simon Watson, Museu de Arte Sacra de São Paulo, Brazil 2020 Das noites percorridas (About Nights Travelled), Galeria Karla Osório, Brasília, Brazil 2020 Das noites uma livre sensação (The Night is a Free Feeling), curated by Ulisses Carillho, Galeria Central, São Paulo, Brazil 2020 Da repetição ao silencio (From Repetition to Silence), curated by Ana Avelar, Foro Space, Bogotá, Colombia
2019 Corpo, Trajeto (Body, Path), curated by Mario Gioia, Adelina Cultural Insitute, São Paulo, Brazil Group Exhibitions 2021 The Substance of Earth (O Sertão), Slag Gallery, New York, USA 2020 The Substance of Earth (O Sertão), Museu Nacional da República, Brasília, Brazil 2020 Terra (Earth), Central Galeria, São Paulo, Brazil 2019 Triangular – Art of this Century, curated by Ana Avelar and Gisele Lima, Casa Niemeyer, Brasília, Brazil 2018 Descarrilho, curated by Bené Fonteles, Galeria deCurators, Brasília, Brazil JR 2021 JR: Chronicles, solo exhibition, Saatchi Gallery, London, UK 2021 Eye to the World, solo exhibition, PACE, London, UK 2020 Tehachapi, solo exhibition, Perrotin, Paris, France 2020 Omelia Contadina, solo exhibition, Galleria Continua, San Gimignano, Italy 2020 Homily to Country, installation at the National Gallery of Victoria Art Triennial, Melbourne, Australia 2019 The Chronicles of San Francisco, SFMOMA, San Francisco, CA, USA 2019 JR: Chronicles, solo exhibition, Brooklyn Museum, New York, NY, USA 2019 JR au Louvre: le secret de la grande pyramide, installation at the Louvre for the 30-year-anniversary of the Pyramid, Paris, France 2018 Momentum, solo exhibition, Maison Européenne de la Photographie, Paris, France
LORENZO QUINN 2021 Love, Halcyon Gallery, London, UK 2020 You Are The World, AFAS Software, Leusden, Netherlands 2020 Give, Palermo Cathedral, Italy 2019 Lorenzo Quinn, Castle Fine Art, Manchester and Birmingham, UK 2019 Possibilitá, Halcyon Gallery, London, UK 2019 Building Bridges, Arsenale, 58th Venice Biennale, Italy 2018 Moments, Gallery Odyssey & Indiabulls, Mumbai, India 2018 Stop Playing, Forte Marghera, Venice, Italy 2018 The Force of Nature II, Jing’An International Centre (JAIC), Shanghai, China 2018 Gravity, Milan Fashion Week, Italy 2017 Support, Venice Biennale, Italy MOATAZ NASR Solo Exhibitions 2019 Paradise Lost, curated by Simon Njami, Galleria Continua, San Gimignano, Italy 2019 The Liminal Space, curated by Achille Bonito Oliva, Castel del Monte, Italy 2017 The Mountain, Egyptian Pavilion, 57th Venice Biennale, Italy 2016 Avalanche, Galleria Continua, Les Moulins, France 2014 Untitled, Art Talks Gallery, Cairo, Egypt 2013 The Journey of a Griffin, curated by Ilaria Mariotti, Villa Pacchiani, Santa Croce sull’Arno, Italy 2013 Harmonia, Centro Espositivo per le Arti Contemporanee SMS, Pisa, Italy 2013 Tectonic Shift, Galleria Continua, Le Moulin, France
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Group Exhibitions
Group Exhibitions
2021 Truc à Faire, curated by JR, Galleria Continua, Paris, France 2020 Sculpture Projects, 1-54 Contemporary African Art Fair, Marrakech, Morrocco 2020 Orientalism, IVAM – Institut Valencià d’Art Modern, Valencia, Spain 2019 13 Bienal de la Habana, Habana, Cuba 2019 Do ut Do, curated by Andrea Viliani, Parco Archeologico di Pompei, Pompei, Italy 2019 Fiac Hors Les Murs, Jardin des Tuileries, Paris, France 2018 2nd Yinchuan Biennale, curated by Marco Scotini, Yinchuan, China 2018 International Contemporary Art Exhibition ICAE, Yarevan, Armenia 2018 The Fabric of Felicity, Garage Museum of Contemporary Art, Moscow, Russia 2018 Persona Grata, Palais de la Porte Dorée - Musée National de l'histoire de l'immigration, Paris, France 2018 Abu Dhabi Art - Beyond, Al Jahili Fort, Abu Dhabi, UAE
2021 Making Time, Craft Contemporary Museum, CA, USA 2020 Desert X Biennale, AlUla, KSA 2019 Reimagined Narratives, al-Muizz Street Complex, Art D’Égypte, Cairo, Egypt 2018 New Suns, Paramo Galeria, Guadalajara, Mexico 2019 Desert X Biennale, Palm Springs, CA, USA 2016–17 Ease of Fiction, Museum of African Diaspora, San Francisco, California; African American Museum, Los Angeles, CA; Contemporary Art Museum, Raleigh, NC, USA 2016 Islamic Art Now Part 2: Contemporary Art of the Middle East, Los Angeles County Museum of Art, CA, USA 2015 We Must Risk Delight, Official Collateral Exhibition, 56th Venice Biennale, Italy
SHERIN GUIRGUIS Solo Exhibitions
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2019 Here I Have Returned, the Minnesota Museum of America Art, St Paul, MN, USA 2019 Bint El Nil, Tahrir Cultural Center, American University in Cairo, Egypt 2018 Of Thorns and Love, Craft and FolkArt Museum, Los Angeles, CA, USA 2017 My Place is the Placeless, Artists Lab, 18th Street Art Center, Santa Monica, CA, USA 2016 El Biet El Kabir, The Third Line Gallery, Dubai, UAE
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SHUSTER + MOSELEY 2022 Lights Through Paradox, 59th Venice Biennale collateral event, Italy (forthcoming) 2021 Do Not Be Afraid of the Brilliant Lights, Gallery Rosenfeld, London, UK (forthcoming) 2020 Horizon of Day and Night, large-scale outdoor sculpture commissioned by Vice Media, UNESCO World Heritage Site Al Ula, UAE 2019–21 Brain Gazing, virtual artwork commissioned by Oxford NanoImaging, developed with the ‘Molecular Neuroscience Group’, Cambridge University and UCL’s ‘Faculty of Brain Sciences’, UK 2018 Epiphany at a Distance, site-specific installation for ‘Light Art Biennale’, curated by Vittorio Erlindo, Palazzo, Italy 2018 Ducale, Mantova, Italy 2018 Progress, 'XX Cerveira International
Art Biennale’, Castelo de Vila Nova de Cerveira, Portugal 2018 Quietude: In-Finities, site-specific installation for ‘Extended Mind’, curated by Arte Luce, Alte Münze, Berlin, Germany 2018 Future Bodies, virtual sculpture commissioned by OneDome, San Francisco, CA, USA 2017 What Matters, two site-specific artworks commissioned by Artichoke, developed with the ‘Institute for Computational Cosmology’, Durham University, for Lumiere Durham, UK 2015 ‘Interface’, solo exhibition, supported by Arts Council England, 223 Gallery, Waterloo, London, UK STEPHEN COX RA 2000 Encounters: New Art from Old, National Gallery London, UK 1996 Stephen Cox: An Indian Decade, Jamali Kamali Gardens, Ajanta Gallery/Art Today Gallery, New Delhi, India 1995 Stephen Cox: Surfaces and Stones of Egypt, Henry Moore Institute, Leeds, UK 1995 Sight of Chefren, Michael Hue-Williams Fine Art, London, UK 1994–95 Time Machine: Ancient Egypt and Contemporary Art, British Museum, London, UK 1986 Indian Triennale (British representative – Gold medal), New Delhi, India 1986 Stephen Cox: South Indian Sculpture, Tate Gallery, London, UK 1985 ’We Must Always Turn South: Sculpture, Arnolfini Gallery, Bristol, Midland Group Nottingham and MOMA Oxford, UK 1984 International Survey of Recent Painting and Sculpture, MOMA, New York, NY, USA 1986 & 1982 Venice Biennale, Italy
SULTAN BIN FAHAD Solo Exhibitions 2020 The Red Palace, curated by Reem Fadda, the Cultural Foundation, Abu Dhabi, UAE 2019 Gabriel, Fondazione Fendi, Rome, UAE 2019 The Red Palace, curated by Reem Fadda, The Red Palace, Riyadh, Jeddah, KSA 2016 Qunoot,’ Alaan gallery, Riyadh, KSA Group Exhibitions 2019 Bahrain Annual Fine Arts Exhibition, The Arena Manama, Bahrain 2018 Contemporary Art 014, Madina Art Center, Madina, KSA 2018 Mnwr, Hafiz Gallery, Jeddah, KSA 2018 Shara Art Show, Jeddah, KSA 2018 Vantage Point 6, Sharjah Art Foundation, Sharjah, UAE 2018 London Arabia Art & Fashion Week, Jumeirah Carlton Tower Hotel, London, UK 2018 Mujard, Mono gallery, Riyadh, KSA 2018 Contemporary photography from the Arab world, American University Museum, Katzen Art Center, Washington DC, USA 2017 JERUSALEM LIVES, curated by Reem Fadda, The Palestinian Museum, Birzeit, Palestine 2017 Tadafuq / Flow, Hafez Gallery, Jeddah, KSA 2016 Dreams and Memory, Athr Gallery, Jeddah, KSA
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© 2021 Art D'Égypte, Cairo, Egypt. Polygon Building 6, 2nd floor, Unit D 2 Km 38 Cairo / Alexandria Desert Road info@artdegypte.com www.artdegypte.org FOREVER IS NOW
أرت دي أﻳﺠﻴﺒﺖ ﻫﻲ ﺷﺮﻛﺔ ﻣﺼﺮﻳﺔ أﺳﺴﺘﻬﺎ ﻧﺎدﻳﻦ ﻋﺒﺪ اﻟﻐﻔﺎر ﻟﺪﻋﻢ اﻟﻤﺸﻬﺪ اﻟﻔﻨﻲ واﻟﺜﻘﺎﻓﻲ اﻟﻤﺼﺮي .ﺗﺘﻤﺜﻞ اﺳﺘﺮاﺗﻴﺠﻴﺔ اﻟﺸﺮﻛﺔ ﻓﻲ ﺗﻨﻈﻴﻢ ﻋﺮض ﺳﻨﻮي ﻓﻲ ﻣﻮﻗﻊ ﺗﺎرﻳﺨﻲ ﻣﺼﺮيT ،ﻟﻘﺎء اﻟﻀﻮء ﻋﻠﻰ اﻟﺘﺮاث اﻟﺜﻘﺎﻓﻲ اﻟﻐﻨﻲ ﻟﻠﺒﻼد ،ورﺑﻂ إﺑﺪاﻋﺎت ﻣﺼﺮ اﻟﻘﺪﻳﻤﺔ ﺑﻔﻦ اﻟﻘﺮن اﻟﺤﺎدي واﻟﻌﺸﺮﻳﻦ. ﺗﺄﺗﻲ ﻫﺬه اﻟﻨﺴﺨﺔ اﻟﺮاﺑﻌﺔ" ،ا_ﺑﺪ ﻫﻮ ا^ن" اﻟﻤﻘﺎﻣﺔ ﻋﻠﻰ ﻫﻀﺒﺔ ا_ﻫﺮاﻣﺎت ﺑﺎﻟﺠﻴﺰة ،ﺑﻌﺪ ﺛﻼﺛﺔ ﻣﻌﺎرض ﻧﺎﺟﺤﺔ ﻟﻠﻐﺎﻳﺔ" :اﻟﻀﻮء اﻟﺨﺎﻟﺪ" ﺑﺎﻟﻤﺘﺤﻒ اﻟﻤﺼﺮي )،(٢٠١٧ "ﻻ ﺷﻲء ﻳﺘﻼﺷﻰ ،ﻛﻞ ﺷﻲء ﻳﺘﺤﻮل" ﺑﻘﺼﺮ ا_ﻣﻴﺮ ﻣﺤﻤﺪ ﻋﻠﻲ ﺑﺎﻟﻤﻨﻴﻞ ) ،(٢٠١٨و"ﺳﺮدﻳﺎت ﻣﻌﺎد ﺗﺨﻴﻠﻬﺎ" ﺑﺸﺎرع اﻟﻤﻌﺰ ) .(٢٠١٩وﻳﺴﻌﻰ ﻓﺮﻳﻖ اﻟﻌﻤﻞ ،ﻣﻦ ﺧﻼل رﻓﻊ اﻟﻮﻋﻲ، اﻟﻤﺸﺎرﻛﺔ ﻓﻲ اﻟﺤﻔﺎظ ﻋﻠﻰ ﺗﺮاث ﻣﺼﺮ ،واﻟﻨﻬﻮض ﺑﺎﻟﻤﻜﺎﻧﺔ اﻟﺪوﻟﻴﺔ ﻟﻠﻔﻦ اﻟﻤﺼﺮي اﻟﺤﺪﻳﺚ واﻟﻤﻌﺎﺻﺮ ،ﻣﻊ ﺗﻘﺪﻳﻢ رؤﻳﺔ ﺑﺪﻳﻠﺔ ﻋﻦ ﻣﺼﺮ ﻟﻠﻌﺎﻟﻢ.