Forever Is Now .02

Art D’Égypte is part of Culturvator, a multi-disciplinary cultural platform that works with private and public entities to activate spaces for cultural promotion across all creative disciplines, spanning everything from visual arts and film to heritage, design, and music.

Art D’Égypte’s flagship event is its iconic yearly exhibition in a historic Egyptian location to shed light on the country’s cultural heritage and connect the art of Egypt’s past with that of the 21st century. Forever Is Now .02 is the fifth edition and follows four highly successful iterations: Eternal Light at the Egyptian Museum (2017); Nothing Vanishes, Everything Transforms at the Manial Palace (2018); Reimagined Narratives on al-Mu‘izz Street (2019); and Forever Is Now at the Pyramids of Giza (2021).

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 to the world.

This publication coincides with the exhibition Forever Is Now .02, on view from 27 October until 30 November 2022, at the Pyramids of Giza, Cairo, Egypt.

Curator

Nadine A. Ghaffar

Art D'Égypte

Rawan Abdulhalim

Nada Hassab

Hanya Elghamry

Alaa Elsayegh

Eman Omar

Book Design

Jorell Legaspi

Copyeditor

Nevine Henein

Project Manager

Nadine A. Ghaffar

Sadek El Moshneb

Amira Mostafa

Heidi Nasser

Omar Lotfy

Ayoub Saeed

Shahd Elwardany

Youssef Mansour

Mahmoud Abdel Kader

Ghada Gad

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Cover image: MO4 Network

All rights reserved. No part of this publication may be reproduced in any manner without permission. Unless otherwise specifed, all images are © the artists, reproduced with the kind permission of the artists and/ or their representatives.

© 2022 Art D'Égypte, Cairo, Egypt.

Polygon Building 6, 2nd foor, Unit D 2 Km 38 Cairo / Alexandria Desert Road +20237900115 / +201224706339 www.artdegypte.org

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 clarifcations and corrections, please contact the publishers and we will correct the information in future reprintings, if any.

FOREVER IS NOW .02

CURATORIAL

Photo: Ted McDonnell on Pexels

FOREVER IS NOW .02

Nadine Abdel Ghaffar

Forever Is Now .02 refects on time and timelessness, land and history, ecology and humanity, situating contemporary artworks at the magnifcent site of the Pyramids of Giza for the second time after the immense success of the frst edition in 2021. Through an immersive experience of public art, the exhibition envisions a future that is anchored in a deep knowledge of the past, indicating that there is no conception of the future without history, and that there is no time without the present.

Forever Is Now .02 is not simply a revival of history, for the past can never be complete in the present. Rather, it adds a contemporary artistic legacy to a place of worldwide signifcance, a place where nature was a divine force, where there were gods of the sun and of vegetation, and where animals were sacred manifestations. The pyramids, built in alignment with the rising and setting sun, point to a cycle of life, death, and rebirth and to the pathways from one world to the next, articulating connections between the terrestrial and the celestial.

The artists showcasing their work in Forever Is Now .02 have created pieces that respond to these links and rituals. Their artworks, made from a combination of natural and industrial materials, are in dialogue with Giza’s 4500-year-old iconic monuments of natural stone, pointing to our past and present conditions and the connections between man and technology, nature and inheritance.

They ask questions such as: How do artists navigate between our ancient world and our technological futures, between eternal monuments and endangered environments? How can we move forward without the memory of ancestral teachings? What is the nature of our relationship to land amid our increasingly inhabited digital realities? How do artists become agents of change? How can we reshape the future? This year, Forever Is Now .02 coincides with Egypt’s hosting of the 2022 United Nations Climate Change Conference (COP27) in Sharm El Sheikh, further contextualizing our age of environmental crisis.

The overarching vision behind this project is to build a culture of interconnectivity and understanding, where dreams of the future feature the underrepresented, empower women, and demonstrate respect for the environment and an understanding of what we are leaving behind, both in terms of creativity and destruction. Bringing together these new site-specifc works by artists from around the world, Forever Is Now .02 is intertwined with communal participation. It espouses cross-cultural exchange with the local community and a high level of engagement with different publics, not just visitors but also craftspeople, students, and labourers, providing new ways of accessing contemporary art for the uninitiated.

Forever Is Now .02 is an ode to the transcendental power of art. Historical and global infuence converge and artists become co-creators, collaborators, and protagonists in a larger narrative where art becomes a collective responsibility, a dialogic conversation across time that enables artists to contribute their own story to history.

ﻖﻴﺘﻌﻟا ﺎﻨﻤﻟﺎﻋ بورد ﻂــﺳو ﻦﻴﻧﺎﻨﻔﻟا ﻞﻘﻨﺗ ﺔــﻴﻔﻴﻛ لﻮﺣ تﻻؤﺎــﺴﺗ لﺎﻤﻋ ا ﻚــﻠﺗ حﺮــﻄﺗ ؛ﺮﻄﺨﻠﻟ ﺔﺿﺮﻌﻤﻟا تﺎــﺌﻴﺒﻟاو ةﺪﻟﺎﺨﻟا رﺎــﺛ ا حوﺮﺻ ﻂــﺳوو ،ﻲﺟﻮﻟﻮﻨﻜﺘﻟا ﺎﻨﻠﺒﻘﺘــﺴﻣو ﺎﻨﺘﻗﻼﻋ ﺎﻣو ؟داﺪــﺟ ا ﻢﻴﻟﺎﻌﺗ ةﺮﻛاﺬﺑ ظﺎﻔﺘﺣﻻا نود ﺎــﻣﺪﻗ ﻲﻀﻤﻟا ﺎﻨﻟ ﻦــﻜﻤﻳ ﻒــﻴﻛ نأ ﻦﻴﻧﺎﻨﻔﻠﻟ ﻦــﻜﻤﻳ ﻒﻴﻛ ؟ﺔﻴﻤﻗر ﻢﻟاﻮﻋ ﻞــﺧاﺪﺑ ﺎﻨﻨﻜــﺳ ﺪﻳاﺰﺗ ﻂــﺳو ﺔﻴﻠﻌﻔﻟا ضر ﺎــﺑ ؟ﻞﺒﻘﺘــﺴﻤﻟا ﻞﻴﻜــﺸﺗ ةدﺎﻋإ ﺎﻨﻟ ﻦﻜﻤﻳ ﻒﻴﻛو ؟ﺮﻴﻴﻐﺘﻟا ﻰﻠﻋ ةﺰــﻔﺤﻣ ﻞــﻣاﻮﻋ

ﺞــﺗﺎﻨﻟﺎﺑ

،ﻢﻟﺎﻌﻟا ءﺎﺤﻧأ ﻊﻴﻤﺟ ﻦــﻣ ﻦﻴﻧﺎﻨﻔﻟ ﺔﻴﻧاﺪﻴﻤﻟا لﺎــﻤﻋ ا ﻦــﻣ ةﺪــﻳﺪﺟ . ﺔﻴﻟﺎﻌﻔﻟا ﻲــﻓ ﻢﻬﺘﻛرﺎــﺸﻣ زﺰﻌﺗو ﻊﻤﺘﺠﻤﻟا داﺮﻓأ ﻊﻣ ﺎﻀﻳأ ضﺮﻌﻤﻟا ﺎــﻬﻣﺪﻘﻳ ﻲــﺘﻟا ﻒﻠﺘﺨﻣ كﺮــﺸﺗو ﻲﻠﺤﻤﻟا ﻊﻤﺘﺠﻤﻟا ﻊــﻣ ﻲﻓﺎﻘﺜﻟا لدﺎﺒﺘﻟا أﺪــﺒﻣ ﺔــﻴﻟﺎﻌﻔﻟا ﻰــﻨﺒﺘﺗ ﻚﻟذ ﻦﻤﻀﺘﻳ ﻞــﺑ ،ﻂﻘﻓ ضﺮﻌﻤﻟا راوز ﻚﻟﺬﺑ ﺪﺼﻘﻧ ﻻو ؛ﻊــﺳاو ﻞﻜــﺸﺑ ﺮــﻴﻫﺎﻤﺠﻟا ﻦﻴﺼﺼﺨﺘﻤﻟا ﺮــﻴﻐﻟ ﻚﻟﺬﺑ ضﺮﻌﻤﻟا ﺮــﻓﻮﻴﻟ ،لﺎﻤﻌﻟاو بﻼﻄﻟاو ﻦــﻴﻴﻓﺮﺤﻟا ﺔﻛرﺎــﺸﻣ ﺮﺻﺎﻌﻤﻟا ﻦﻔﻟا ﻊــﻣ ﻞﺻاﻮﺘﻠﻟ ةﺪﻳﺪﺟ ﺎــﻗﺮﻃ ﻦــﻴﺋﺪﺘﺒﻤﻟاو ؛ﻦﻔﻠﻟ ﺔﻴﻣﺎــﺴﺘﻤﻟا ةﻮﻘﻟﺎﺑ نﺎﻓﺮﻋ ةدﻮــﺸﻧأ ﺔﺑﺎﺜﻤﺑ ﻮﻫ ٢ ن ا ﻮﻫ ﺪــﺑ ا ضﺮــﻌﻣ نإ كرﺎــﺸﺘﻴﻟ ﺮﺻﺎﻌﻤﻟا ﻲﻤﻟﺎﻌﻟا ﺮﻴﺛﺄﺘﻟا ﻊــﻣ ﻲﻠﺤﻤﻟا ﻲﺨﻳرﺎﺘﻟا ﺮــﻴﺛﺄﺘﻟا ﺎﻬﺗﺎﻴﻃ ﻲــﻓ ﻰــﻗﻼﺘﻳ ﻪﻧﻮﻛ ﻦﻔﻟا ﺎﻬﻴﻓ ﻰــﻠﺠﺘﻳ ﺮﺒﻛأ ﺔﻳدﺮــﺳ لﺎﻄﺑأ نوﺮﻴﺼﻳو

ضر او ،دﻮﻠﺨﻟاو ﻦﻣﺰﻟا ﻦــﻴﺑ ﺔﻗﻼﻌﻟا ﺔﻴﻧﺎﺜﻟا ﻪﺗرود ﻲــﻓ ن ا ﻮﻫ ﺪﺑ ا ضﺮــﻌﻣ ﻞــﻣﺄﺘﻳ تﺎﻣاﺮﻫأ ﻊﻗﻮﻣ ﻂــﺳو ةﺮﺻﺎﻌﻣ ﺔﻴﻨﻓ ﺎﻟﺎﻤﻋأ مﺪﻘﻴﻟ ؛ﺔﻴﻧﺎــﺴﻧ او ﺔــﺌﻴﺒﻟاو ،ﺦــﻳرﺎﺘﻟاو رﻮﺼﺘﻳ .٢٠٢١ مﺎﻋ ﻲﻓ ﻰــﻟو ا ﻪﺗروﺪﻟ ﻞﺋﺎﻬﻟا حﺎﺠﻨﻟا ﺪﻌﺑ ﺔــﻴﻧﺎﺜﻟا ةﺮﻤﻠﻟ بﻼــﺨﻟا ةﺰــﻴﺠﻟا ﺔﻠﺻﺄﺘﻣ هروﺬﺟ ﺎﻠﺒﻘﺘــﺴﻣ - ﺔﻴﻧاﺪﻴﻤﻟا لﺎــﻤﻋ ا ﻦﻣ ةﺮﻣﺎﻏ ﺔــﺑﺮﺠﺗ ﺮــﺒﻋ - ضﺮــﻌﻤﻟا ﻦﻋ ﺔﻳؤر ﻦﻳﻮﻜﺗ ﻦــﻜﻤﻳ ﻻ ﻪﻧأ ﻰﻟإ ﺮﻴــﺸﻳ ﺎﻤﻣ ،ﻲﺿﺎﻤﻟﺎﺑ ﺔــﻘﻴﻤﻌﻟا ﺔــﻓﺮﻌﻤﻟا ﻲــﻓ نود ﻦﻣﺰﻟا مﻮﻬﻔﻣ ﻰــﻟإ ﺮﻈﻨﻟا ﻦﻜﻤﻳ ﻻو ،ﺦﻳرﺎﺘﻟا ﻲــﻓ نﺎﻄﺒﺘــﺳﻻا

Photo: Simon Berger on Unsplash

AHMED KARALY

A P YRAMID I N O THER V OCA B ULARIES

Steel, plexiglass

6 m x 9 m x 4 m 2022

'When you are fascinated by something, you see it in everything.

My fascination with the many civilisations of Egypt has made me see them as one entity, each reflecting the other. From another visual dimension, I see them completely intertwined, no matter how different their details are.

This project represents the merging between the ancient Egyptian and the civilisations that followed it in a contemporary rendering that interprets what I see.'

Sponsored by Qatari Diar Egypt Fabricated by Amr Helmy Design House

ﺪﻌﺑ ﻦﻣو . ﺎــﻀﻌﺑ ﺎــﻬﻀﻌﺑ ﺲــﻜﻌﺗ . ﺎﻬﺒﻴﻟﺎــﺳأ ﺖﻔﻠﺘﺧا ﻢﻳﺪﻘﻟا يﺮﺼﻤﻟا ﻦــﻴﺑ ﺞﻣﺪﻟا ﻦــﻣ ﺔﻟﺎﺤﻟا هﺬﻫ ﻞﺜﻤﻳ عوﺮــﺸﻤﻟا اﺬــﻫو

AHMED KARALY

A PYR A MID I N OTHER

V O C A BUL A RIES

Photo: MO4 Network

Ahmed Karaly graduated from the Faculty of Fine Arts in 1994 and participated in the annual Youth Salon exhibition organised by the Ministry of Culture where he received numerous awards. His first solo exhibition took place at the Mashrabia Gallery of Contemporary Art in 2002. He subsequently participated in the Aswan International Sculpture Symposium (AISS), the first of many international symposia for stone sculpture around the world.

In 2005, he received the State Award for creativity and travelled to Italy, where he presented his project al-Masrkhankiyeh , a reconstruction of Islamic architecture in sculptural form, creating a vision for an entire city starting with its gates. The project was presented at the Egyptian Academy of Fine Arts in Rome in 2006 and at the Gezira Centre for the Arts in Cairo in 2008. Karaly is currently working on completing this sculptural city.

ﺔﻠﻴﻤﺠﻟا نﻮــﻨﻔﻟا ﺔﻴﻠﻛ ﻦــﻣ ﻪﺟﺮﺨﺗ ﺪﻌﺑ ﺔــﻴﻨﻔﻟا ﻪﺗﺎــﺳرﺎﻤﻣ أﺪﺑ ﻲــﻠﻋﺮﻗ ﺪــﻤﺣأ ةرازو ﻪﻤﻈﻨﺗ يﺬﻟا يﻮﻨــﺴﻟا ضﺮﻌﻤﻟا ،بﺎﺒــﺸﻟا نﻮﻟﺎﺻ ﻲﻓ ﻪﺘﻛرﺎــﺸﻤﺑ ١٩٩٤ ﻪﻨــﺳ ﺲﺤﻟا ﻪﻳﺪﻟ ىﺮــﺛأ يﺬﻟاو ﺰﺋاﻮﺠﻟا ﻦﻣ ﺪــﻳﺪﻌﻟا ﻰﻠﻋ ﻞــﺼﺣ ﺚــﻴﺣ ،ﺔــﻳﺮﺼﻤﻟا ﺔــﻓﺎﻘﺜﻟا ﺔﻴﻠﺤﻤﻟا ضرﺎــﻌﻤﻟا ﻦﻣ ﺪﻳﺪﻌﻟا ﻲــﻓ ﺔﻛرﺎــﺸﻤﻠﻟ ﻚﻟذ ﺪﻌﺑ ﻪــﻌﻓد ﺎــﻤﻣ ﺔــﻴﻓاﺮﺘﺣﻻﺎﺑ نﺎﻛ ﺎﻤﻛ ،٢٠٠٢ مﺎﻋ ﺔﻴﺑﺮــﺸﻤﻟا يﺮﻴﻟﺎﺠﺑ لو ا صﺎــﺨﻟا ﻪــﺿﺮﻋ نﺎﻛ ﺔــﻴﻟوﺪﻟاو تﺎﻣﻮﻳزﻮﺒﻤــﺴﻟا ﻢﻟﺎﻋ ﻲﻓ لﻮﺧﺪﻠﻟ ىﺮــﺧأ ﺔﻳاﺪﺑ ﺖﺤﻨﻠﻟ ﻲــﻟوﺪﻟا ناﻮــﺳأ مﻮﻳزﻮﺒﻤــﺳ ﻲﺘﻟا عاﺪﺑ ﻟ ﺔــﻟوﺪﻟا هﺰﺋﺎﺟ ﺖﻧﺎﻛو ﻢــﻟﺎﻌﻟا

eL SEED SECRETS OF TIME

The Great Pyramids of Giza are a symbol of permanence in a world where lives are short, a visual symbol of power in a world where power is transitory. For centuries, humankind has tried to explain the exact method used to build the Pyramids. It is still mysterious in these modern times of ours. Secrets of Time celebrates the greatness of the Pyramids of Giza and encompasses everything from the country’s ancient civilisation to a long list of Egyptian superlatives and achievements in culture, science, and more.

Inspired by the words of Egyptian novelist Radwa Ashour, time does not disclose its secrets to humankind. The sculpture’s striking colour will contrast with the monochrome beige of the Great Pyramids. The sculpture stands as an invitation to marvel at the Pyramids from a new singular point of view, while offering the viewers the opportunity to delve into an artwork that merges history, culture, and traditions.

تازﺎــﺠﻧ او قﻮﻔﺘﻟا ﻦﻣ ﺔــﻠﻳﻮﻃ ﺔﻤﺋﺎﻗ ﻰــﺘﺣو دﻼــﺒﻠﻟ ﺔــﻤﻳﺪﻘﻟا . ﺎﻫﺮﻴﻏو مﻮﻠﻌﻟاو ﺔــﻓﺎﻘﺜﻟا ﻲــﻓ ﻒــﺸﻜﻳ ﻻ ﻦﻣﺰﻟا " ،رﻮــﺷﺎﻋ ىﻮﺿر ﺔﻳﺮﺼﻤﻟا ﺔــﻴﺋاوﺮﻟا تﺎــﻤﻠﻛ ﺎﻤﻬﻠﺘــﺴﻣ يدﺎﺣ ا ﺞﻴﺒﻟا نﻮــﻟ ﻊﻣ ﺔﺑاﺬﺠﻟا ﺔﺗﻮﺤﻨﻤﻟا ناﻮــﻟأ ﻦــﻳﺎﺒﺘﺗ ، " ﺔﻳﺮــﺸﺒﻠﻟ هراﺮــﺳأ ﺰﻐﻟ ﻰﻠﻋ ةدﺎﻬــﺷ ﺔﺑﺎﺜﻤﺑ ﺔــﺗﻮﺤﻨﻤﻟا ﻒــﻘﺘﻓ ﺔــﻤﻴﻈﻌﻟا تﺎــﻣاﺮﻫ ﻟ ﺔﻄﻘﻧ ﻦﻣ ﺔــﺷﻮﺸﻣ ﺔﻳﺮﺼﺑ ﺔــﺑﺮﺠﺗ ﻦﻳﺪﻫﺎــﺸﻤﻟا ىﺮﻳ ﺎــﻤﻨﻴﺑ تﺎــﻣاﺮﻫ ا . ﺔﻨﻴﻌﻣ ﺔــﻳرﻮﺤﻣ

eL SEED SECRETS OF TIME

Photo: MO4 Network

eL Seed is a contemporary artist whose practice crosses the disciplines of painting and sculpture. He uses the wisdom of writers, poet, and philosophers from around the world to convey messages of peace and to underline the commonalities of human existence. eL Seed uses his art as an echo of the stories of the communities that he meets around the world and aims to amplify their voices. He considers his artwork a way to build links between peoples around the world. Whenever he works within a community, he spends a long time to learn and be inspired by its members, researching to fnd the best art installation to summarise the voice of the community he is working within and to underline his key principals of love, respect, and tolerance.

His work has been shown in exhibitions and public places all over the world including most notably on the facade of L'institut du monde Arabe in Paris, in the favelas of Rio de Janeiro, on the DMZ between North and South Korea, in the slums of Cape Town, and in the heart of Cairo's garbage collectors’ neighbourhood. In 2021, eL Seed was selected by the World Economic Forum as one of the Young Global Leaders for his vision and infuence to drive positive change in the world. In 2019, he won ‘The international award for public art’ for Perception, his project in Cairo. In 2017, he won the UNESCO Sharjah Prize for Arab Culture and was named a Global Thinker in 2016 by Foreign Policy magazine, also for Perception . In 2015, he was recognised as one of the year’s TED Fellows for advocating peaceful expression and social progress through his work. He has also collaborated with Louis Vuitton on their famous Foulard d’artistes .

ﻮﻬﻓ ،ﺖﺤﻨﻟاو ﻢــﺳﺮﻟا تﻻﺎﺠﻣ ﻪﺗﺎــﺳرﺎﻤﻣ ﻰﻄﺨﺘﺗ ﺮــﺻﺎﻌﻣ نﺎــﻨﻔﻛ ( ﺪﻴــﺳ لا ) ﻦﻣ ﻞﻘﻨﻴﻟ ﻢــﻟﺎﻌﻟا ءﺎﺤﻧإ ﻦــﻣ ﺔﻔــﺳﻼﻔﻟاو ءاﺮﻌــﺸﻟاو بﺎﺘﻜﻟا ﺔــﻤﻜﺤﺑ ﻦﻴﻌﺘــﺴﻳ يﺮــﺸﺒﻟا دﻮﺟﻮﻠﻟ ﺔﻛﺮﺘــﺸﻤﻟا ﻢــﺳاﻮﻘﻟا ﻰﻠﻋ اﺪﻛﺆﻣ مﻼــﺳ ﻞﺋﺎــﺳر ﺎﻬﻟﻼﺧ ءﺎﺤﻧأ ﻲﻓ ﺔﻔﻠﺘﺨﻣ تﺎــﻌﻤﺘﺠﻣ ﻦــﻣ تﺎﻳﺎﻜﺤﻟ ىﺪــﺼﻛ ﻪــﻨﻓ ( ﺪﻴــﺳ لا ) مﺪﺨﺘــﺴﻳ ﺔﻴﻨﻔﻟا ﻪــﻟﺎﻤﻋأ ﺮﺒﺘﻌﻳ ﺎــﻤﻛ ،ﺎﻬﺗاﻮﺻأ ﺰﻳﺰﻌﺗ ﻰــﻟإ فﺪﻬﻳو ﺎــﻬﻴﻟإ ﻊﻤﺘــﺴﻳ ﻲــﺘﻟاو ﻢــﻟﺎﻌﻟا ﻢﻟﺎﻌﻟا بﻮﻌــﺷ ﻦﻴﺑ ﺔﻛﺮﺘــﺸﻣ تﺎﻗﻼﻋ ءﺎﻨﺒﻟ ﺔﻠﻴــﺳو ﻊﻤﺘﺠﻤﻟا داﺮــﻓأ ﻦﻣ مﺎﻬﻟ ا ﻰﻠﻋ لﻮــﺼﺤﻟاو ﻢﻠﻌﺘﻟا ﻲــﻓ ﻼﻳﻮﻃ ﺎــﺘﻗو ﻲــﻀﻘﻳ ﻮــﻫ غاﺮﻔﻟا ﻲﻓ ﻲﻨﻓ ﺰــﻴﻬﺠﺗ ﻞﻀﻓأ ﻦــﻋ ﺚﺤﺒﻟﺎﺑ مﻮﻘﻳو ،ﻪــﻠﻤﻋ

،وﺮــﻴﻧﺎﺟ مﺎﻋ ﻲﻓ ةﺮﻫﺎﻘﻟﺎﺑ ﺔــﻣﺎﻤﻘﻟا ﻲــﻌﻣﺎﺟ ﻲﺣ ﺐﻠﻗ ﻲﻓو ،نوﺎــﺗ ﺐــﻴﻜﺑ ةﺮــﻴﻘﻔﻟا ةدﺎﻘﻟا ﺪﺣﺄﻛ ﻲــﻤﻟﺎﻌﻟا يدﺎﺼﺘﻗﻻا ىﺪــﺘﻨﻤﻟا ﻞﺒﻗ ﻦــﻣ ( ﺪﻴــﺳ لا ) رﺎﻴﺘﺧا ﻢــﺗ ،٢٠٢١ . ﻢﻟﺎﻌﻟا ﻲﻓ ﻲــﺑﺎﺠﻳإ ﺮﻴﻴﻐﺗ ثاﺪــﺣإ ﻰﻠﻋ ﻪﺗرﺪﻗو ﻪﺘﻳؤر ﻰــﻠﻋ اءﺎــﻨﺑ ،بﺎﺒــﺸﻠﻟ ﻦــﻴﻴﻟوﺪﻟا " ﺔﺣﻮﺘﻔﻤﻟا ﻦــﻛﺎﻣ ا ﻲﻓ نﻮﻨﻔﻠﻟ ﺔــﻴﻟوﺪﻟا ةﺰﺋﺎﺠﻟا " ﻰــﻠﻋ ،٢٠١٩ مﺎﻋ ﻞــﺼﺣ ﺎــﻤﻛ ةﺰﺋﺎﺟ ﻰﻠﻋ ﻞــﺼﺣ ﺪﻘﻓ ،٢٠١٧ مﺎﻋ ﻲﻓ ﺎــﻣأ ." كاردإ " ةﺮﻫﺎﻘﻟا ﻲــﻓ ﻪﻋوﺮــﺸﻣ ﻦــﻋ مﺎﻋ ﻲﻓ ﻲﻟود ﺮﻜﻔﻣ ﺐــﻘﻟ ﻰﻠﻋ ﻞــﺼﺣو ﺔــﻴﺑﺮﻌﻟا ﺔــﻓﺎﻘﺜﻠﻟ ﺔﻗرﺎــﺸﻟا / ﻮﻜــﺴﻧﻮﻴﻟا عوﺮــﺸﻣ ﻦﻋ ﺎﻀﻳأ ( ﺔﻴﺟرﺎﺨﻟا ﺔــﺳﺎﻴﺴﻟا ) " ﻲــﺴﻴﻟﻮﺑ ﻦﻳرﻮﻓ " ﺔﻠﺠﻣ ﻞــﺒﻗ ﻦــﻣ ٢٠١٦ ﻪﺗﺮﺼﻨﻟ مﺎــﻌﻟا ﻚﻟﺬﻟ TED ءﻼﻣز ﺪﺣﺄﻛ ﻪــﺑ فاﺮﺘﻋﻻا ﻢﺗ ،٢٠١٥ مﺎــﻋ ﻲــﻓ ." كاردإ "

Sponsored by and

EMILIO FERRO PORTAL OF LIGHT

Corten steel

Structure 1: 0.65 m x 0.65 m x 2.60 m

Structure 2: 1.46 m x 0.40 m x 2.85 m

B ases: variable dimensions 2022

The site-specifc installation Portal of Light by Emilio Ferro explores the imagery of ancient Egypt, contemplating the themes of threshold—as a bridge between the world of the living and the dead—and of light as it relates to the sun worship deities such as Isis and Ra. Inspired by two ancient papyri, the Book of the Dead and the Amduat (also known as the Book of the Hidden Chamber ), Portal of Light follows the orientation of the cardinal points and the transformation of sunlight during the day.

Two metal sculptures generate and expand a beam of light, following the perfect inclination of the three Pyramids of Giza. During the night, spectators can enter the installation under the beam of light and follow its direction, taking part in an immersive adventure to experience the journey into the night sky on the boat of the god Ra, as illustrated in the ancient papyri.

وﺮــﻴﻓ ﻮــﻴﻠﻴﻣإ ﺚﻴﺣ ﻦﻣ رﻮﻨﻟاو ،تاﻮــﻣ او ءﺎﻴﺣ ا ﻢﻟﺎﻋ ﻦــﻴﺑ ﻂﺑﺮﺗ رﻮــﺴﺠﻛ تﺎﺒﺘﻌﻟا ،ﻪــﻟﻼﺧ ﻦــﻣ ﻦﻴﺘﻳدﺮﺑ ﻦــﻣ ﻞﻤﻌﻟا ﻢﻬﻠﺘــﺴﻳ . عرو ﺲﻳﺰﻳإ ﻞﺜﻣ ﺲﻤــﺸﻟا ﺔــﻬﻟآ ةدﺎــﺒﻌﺑ ﻪــﺘﻠﺻ بﺎﺘﻛ " ﻢــﺳﺎﺑ ﺎﻀﻳأ فوﺮﻌﻤﻟا تاود ﻲﻣ ا بﺎــﺘﻛو ﻰﺗﻮﻤﻟا بﺎــﺘﻛ ،ﺎــﻤﻫو ،ﻦــﻴﺘﻤﻳﺪﻗ ءﻮﺿ تﻻﻮﺤﺗو ﺔﻌﺑر ا تﺎــﻬﺠﻟا ﻊﻗاﻮﻣ رﻮــﻨﻟا ﺔﺑاﻮﺑ ﻊﺒﺘﺘﻳ ﺚــﻴﺣ ، " ﺔــﻴﻔﺨﻟا ﺔــﻓﺮﻐﻟا رﺎﻬﻨﻟا لﻼﺧ ﺲﻤــﺸﻟا ﻞﺜﻣ ا ﻞﻴﻤﻟا ﻊــﺒﺘﺘﻟ ءﻮﻀﻟا ﻦــﻣ ﺎﻋﺎﻌــﺷ ﺮﻴﺒﻜﺗو ﺪــﻴﻟﻮﺘﺑ نﺎــﺘﻴﻧﺪﻌﻣ نﺎــﺘﺗﻮﺤﻨﻣ مﻮــﻘﺗ ﻰﻟإ لﻮﺧﺪﻟا ﻦﻣ ،ﻞــﻴﻠﻟا لﻼﺧ ،ﻦﻳﺪﻫﺎــﺸﻤﻟا ﻦﻜﻤﺘﻳ ﺔــﺛﻼﺜﻟا ةﺰــﻴﺠﻟا تﺎــﻣاﺮﻫ ةﺮﻣﺎﻐﻣ ﻲﻓ ﺔﻛرﺎــﺸﻤﻟاو ﻪﻫﺎﺠﺗا ﺔــﻌﺑﺎﺘﻣو ءﻮﻀﻟا عﺎﻌــﺷ ﺖــﺤﺗ ﻦــﺸﻴﻠﺘﺴﻧﻻا

EMILIO FERRO

PO RTA L OF LI G HT

Photo: Roberto Conte

Emilio Ferro is an Italian artist whose works investigate the perception of light and space through museum installations and projects designed for natural environments. In 2010, after completing the three-year course in design at IED in Turin, he moved to Berlin to complete his education and started working with MANASAS, supervising and collaborating on over 500 architectural lighting projects in Italy and abroad. In the following years, Ferro's work evolved from design to the realisation of light art installations. In 2019, Ferro was the artist chosen to create the frst chapter of Fondazione Radical Design, an artistic institution created by Charley Vezza and Sandra Vezza, owners of the Gufram and Memphis Milano brands. In 2020, he joined the artists of Studio Studio Studio, the artistic collective created by Edoardo Tresoldi. In 2022, Ferro was commissioned to create Segreto Cardiopulso , the installation for the inauguration of the centenary dedicated to the famous Italian writer Beppe Fenoglio. For several years, he has been pursuing his own independent poetics that feed an artistic language capable of blending light, sound, and visual arts, in the conviction that only the totalizing experience of art can make us understand the profound beauty of nature. By distorting reality through artistic intervention, the artist shares with the viewer what is out of the ordinary.

لﻼﺧ ﻦﻣ غاﺮﻔﻟاو ءﻮــﻀﻟا مﻮﻬﻔﻣ ﻪﻟﺎﻤﻋأ ﺚــﺤﺒﺗ ﻲﻟﺎﻄﻳإ نﺎــﻨﻓ وﺮــﻴﻓ ﻮــﻴﻠﻴﻣإ

مﺎﻋ ﻲﻓ ﺔﻴﻌﻴﺒﻄﻟا تﺎــﺌﻴﺒﻠﻟ ﺔــﻤﻤﺼﻣ ﻊﻳرﺎــﺸﻣو ( ﻦــﺸﻴﻠﺘﺴﻧا ) غاﺮﻔﻟا ﻲــﻓ تاﺰــﻴﻬﺠﺗ ﻲﺑورو ا ﺪﻬﻌﻤﻟا ﻲــﻓ تاﻮﻨــﺳ ثﻼﺛ ةﺪﻤﻟ ﻢﻴﻤﺼﺘﻟا ﺔــﺳارد ﻦﻣ ﻪــﺋﺎﻬﺘﻧا ﺪــﻌﺑو ،٢٠١٠ " ﻲﻓ ﻞﻤﻌﻳ اﺪــﺑ ﻢﺛ ﻪﺘــﺳارد ﻞﻤﻜﻴﻟ ﻦﻴﻟﺮﺑ ﻰﻟإ ﻞﻘﺘﻧا ،ﻦــﻳرﻮﺗ ﺔــﻨﻳﺪﻣ ﻲــﻓ ﻢــﻴﻤﺼﺘﻠﻟ ﺎﻴﻟﺎﻄﻳإ ﻲــﻓ ﺔﻳرﺎﻤﻌﻣ ةءﺎﺿإ عوﺮــﺸﻣ ٥٠٠ ﻦﻣ ﺮﺜﻛأ ﻰﻠﻋ فﺮــﺷأ ﺚــﻴﺣ “ سﺎــﺳﺎﻧﺎﻣ ﻰﻟإ ﻢﻴﻤﺼﺘﻟا ﻦــﻣ ﺔﻴﻟﺎﺘﻟا تاﻮﻨــﺴﻟا ﻲﻓ ترﻮﻄﺗو وﺮــﻴﻓ لﺎﻤﻋأ

." ﻮﻴﻟﻮﻨﻴﻓ ﻪــﻴﺒﻴﺑ " ﺮﻴﻬــﺸﻟا ﻲﻟﺎﻄﻳ ا ﺐﺗﺎﻜﻠﻟ ﺔــﻳﻮﺌﻤﻟا ىﺮــﻛﺬﻟا حﺎــﺘﺘﻓﻻ ، ( ﻦــﺸﻴﻠﺘﺴﻧا ) ﺔﻐﻟ تﺬﻏ ﻲﺘﻟا ﺔﻠﻘﺘــﺴﻤﻟا ﺔﻳﺮﻌــﺸﻟا ﻪــﺴﻴﺳﺎﺣﺄﺑ مﺎﻤﺘﻫﻻا ،تاﻮﻨــﺳ ةﺪﻌﻟ ﻞــﺻاو ﺔﺑﺮﺠﺘﻟا نأ ﺔــﻋﺎﻨﻗ ﻼﻣﺎﺣ ،ﺔﻴﺋﺮﻤﻟا نﻮــﻨﻔﻟاو تﻮﺼﻟاو ءﻮــﻀﻟا جﺰﻣ ﻰــﻠﻋ ةردﺎــﻗ ﺔــﻴﻨﻓ . ﺔﻌﻴﺒﻄﻠﻟ ﻖــﻴﻤﻌﻟا لﺎــﻤﺠﻟا ﻢﻬﻔﻧ ﺎﻨﻠﻌﺠﺗ نأ ﻦــﻜﻤﻳ ﻲــﺘﻟا ﻲﻫ ﻂــﻘﻓ ﻦــﻔﻠﻟ ﺔــﻴﻠﻜﻟا ﻦﻋ جرﺎﺧ ﻮﻫ ﺎﻣ ﻞﻛ ،ﻊــﻗاﻮﻟا ﻒﻳﺮﺤﺗ لﻼــﺧ ﻦﻣ ،جﺮﻔﺘﻤﻟا ﻊــﻣ نﺎــﻨﻔﻟا ﻢــﺳﺎﻘﺘﻳو ﻲﻨﻔﻟا ﻞﺧﺪﺘﻟا ﻖــﻳﺮﻃ ﻦﻋ فﻮــﻟﺄﻤﻟا

Represented by ﻪﻠﺜﻤﻳ نﺎﻨﻔﻟا

JWAN YOSEF VITAL SANDS

Galala limestone

Structure 1: 2.50 m x 1.51 m x 1.40 m

Structure 2: 1.28 m x 2.46 m x 1.02 m

Structure 3: 1.43 m x 2.70 m x 1.27 m

2022

Jwan Yosef's site-specific contribution to Forever Is Now .02 considers the ancient pyramids’ role as conduits to eternity and the everyday wonders of the preserving nature of the environment. Yosef sees the Sahara's terrain as far from barren and focuses on the desert as a source of vitality, acknowledging its part in conserving Egypt's history. Additional inspiration is taken from the fluidity of the sands' shape-shifting capacities, including the ecological marvel of its traveling dust, where its fertile minerals are known to cross land and sea to give sustenance to the Amazon Rainforest.

In Vital Sands , Yosef immerses sculpted aspects of his self-portrait in the remedial sands of time. While the sand and scale poetically abstract the figure, one is left to imagine what rests beneath. The installation presents a different angle from traditional self-portraiture. The abstraction de-centralises the form from hierarchy and recognition, pushing the genre to function as a call for self-reflection and self-care. While the pyramids, in the distance, point to the sky, Vital Sands is a grounding moment for monumental intimacy, welcoming viewers to reflect from within, meditating on the individual's role of care for self, humanity, and nature.

The artist would like to thank and give special recognition to patrons Alberto de la Cruz and Armando Gutierrez for their support and also acknowledge Brianna Bakke, Bruno del Granado, M ARMONIL , and the Embassy of Sweden in Cairo for their agency in the realisation of the project.

ةﺪﻴﻌﺑ ءاﺮــﺤﺼﻟا ﺲﻳرﺎﻀﺗ نأ ﻒــﺳﻮﻳ ىﺮﻳ ﺔﺌﻴﺒﻟا ﺔــﻌﻴﺒﻃ ﻰــﻠﻋ ﻆــﻓﺎﺤﺗ ﻲــﺘﻟا ظﺎﻔﺤﻟا ﻲﻓ ﺎــﻫروﺪﺑ فﺮﺘﻌﻳو ،ﺎﻳﻮﻴﺣ ارﺪــﺼﻣ ﺎﻫﺪﺠﻳ ﻞــﺑ ،ﺔﻠﺣﺎﻗ ﺎــﻬﻧﻮﻛ ﻦــﻋ ﺪــﻌﺒﻟا ﺮﻴﻴﻐﺗ ﻰــﻠﻋ ﺎﻬﺗرﺪﻗو لﺎﻣﺮﻟا ﺔﻴﺑﺎﻴــﺴﻧا ﻦﻣ ﻲــﻓﺎﺿإ مﺎﻬﻟإ ﺪﻤﺘــﺴﻳ . ﺮﺼﻣ ﺦــﻳرﺎﺗ ﻰــﻠﻋ ﻰﻠﻋ يﻮﺘﺤﻳ يﺬــﻟا ﺎﻫرﺎﺒﻏ لﺎﻘﺘﻧا ﻲــﻓ ﺔﻴﺌﻴﺒﻟا ﺔــﺑﻮﺠﻋ ا ﻚﻟذ ﻲــﻓ ﺎــﻤﺑ ،ﺎﻬﻠﻜــﺷ ﺎﻬﻤﻋﺪﺗو ةﺮــﻴﻄﻤﻟا نوزﺎﻣ ا تﺎﺑﺎﻏ ﻰــﻟإ ﻞﺼﺘﻟ ﺮﺤﺒﻟاو ﺔــﺴﺑﺎﻴﻟا ﺮــﺒﻋ ﺔــﺒﺼﺧ ندﺎــﻌﻣ ﺔﻳﺬﻐﻤﻟا ﺮــﺻﺎﻨﻌﻟﺎﺑ ( ﻪﻳﺮﺗرﻮﺑ ) ﺔﻴﺗاﺬﻟا ﻪــﺗرﻮﺻ ﻦﻣ ﺔﺗﻮﺤﻨﻣ ﺐــﻧاﻮﺟ ﻒــﺳﻮﻳ ﺮﻤﻐﻳ ، " ﺔﻳﻮﻴﺤﻟا لﺎــﻣﺮﻟا " ﻲــﻓ ﻞﻜــﺸﺑ ﻦﻳﻮﻜﺘﻟا ﻚﻟذ ﺪﻳﺮﺠﺘﻳ ﻞــﻣﺮﻟا مﻮﻘﻳ ﺎﻤﻨﻴﺑو . ﺔﻴﻓﺎــﺸﻟا ﻦــﻣﺰﻟا لﺎــﻣر ﻲــﻓ ﺔﻳواز ( ﻦــﺸﻴﻠﺘﺴﻧﻻا ) ﻞﻤﻌﻟا مﺪــﻘﻳ . ﻪﺘﺤﺗ ﺪﻗﺮﻳ يﺬــﻟا ﺎﻣ ﻞﻴﺨﺘﻴﻟ ءﺮــﻤﻟا كﺮــﺘﻳ ،يﺮﻌــﺷ ﻞﻜــﺸﻟا ﻚﻴﻜﻔﺘﺑ ﺪﻳﺮﺠﺘﻟا مﻮــﻘﻳ ﺚﻴﺣ ،يﺪﻴﻠﻘﺘﻟا

JWAN YOSEF

V ITA L S A NDS

Photo:

Jwan Yosef is a Syrian-born, Swedish-patriated conceptual artist living and working in Los Angeles, California. Yosef’s practice employs a deconstructive modality of rethinking materials, histories, languages, and images to poetically interpret ever-expanding meanings of identity and belonging engendered in art. His examination of the many power constructs behind representational imagery spans from the nostalgic qualities of old family photos to posed publicity images of historical fgures. The ubiquity of images and their hidden agendas and signifers are vital concepts in today’s culture of mediated images. Yosef’s tactical use of abstraction serves opportunities to release entendres and challenge viewers to break from passive gazes towards a plurality of perspectives.

Yosef holds a MFA from Central Saint Martins, London and a BFA from Konstfack, Stockholm. Notable exhibitions include solo presentations at Praz-Delavallade, Los Angeles, CA; Basilica Santa Maria, Rome; The Goss-Michael Foundation, Dallas, TX; Stene Projects, Stockholm; Divus Gallery, London; as well as group presentations with Fondation Louis Vuitton, Paris; White Cube, Paris; the Institute of Arab and Islamic Art, New York; Kamarade, Stockholm; Hartslane, London; De Markten, Brussels; and UMELEC, Prague/Vienna, amongst others. He has been awarded the Beers Contemporary Award for Emerging Art and the Threadneedle Prize and is included in the public collections of Karolinska, Solna and Stockholm’s Kulturforvaltning, both in Sweden.

ﻞﻤﻌﻳو ﺶﻴﻌﻳ ،ﺔﻴــﺴﻨﺠﻟا يﺪﻳﻮــﺳو ،ﺪﻟﻮﻤﻟا يرﻮــﺳ ﻲﻤﻴﻫﺎﻔﻣ نﺎﻨﻓ ﻒــﺳﻮﻳ ناﻮﺟ ﺔﺻﺎﺧ ﺔﻴﻜﻴﻜﻔﺗ ﺔــﻐﻴﺻ ﻒــﺳﻮﻳ لﺎﻤﻋأ ﻰﻨﺒﺘﺗ ﺎﻴﻧرﻮﻔﻴﻟﺎﻛ ،سﻮــﻠﺠﻧأ سﻮﻟ ﻲــﻓ يﺮﻋﺎــﺷ ﻞﻜــﺸﺑ ﺮــﺴﻔﻴﻟ رﻮﺼﻟاو تﺎﻐﻠﻟاو ﺦﻳرﺎﺘﻟاو ةدﺎﻤﻟا ﻲﻓ ﺮﻴﻜﻔﺘﻟا ةدﺎﻋﺈﺑ ﺺﺤﻔﺘﻳ . ﻦﻔﻟا ﻲــﻓ ءﺎﻤﺘﻧﻻاو ﺔﻳﻮﻬﻠﻟ ﺖﺛﺪﺣ ﻲــﺘﻟا ﺔﻌــﺴﺘﻤﻟاو ةﺪﻳاﺰﺘﻤﻟا ﻲــﻧﺎﻌﻤﻟا ﻲﻓ ﺔﻠﺜﻤﺘﻤﻟا ﺔــﻴﻟﺎﻴﺨﻟا دﺎﻌﺑ ا ﻒﻠﺧ ﺔــﻨﻣﺎﻜﻟا ةﻮﻄــﺴﻟا تﺎﺒﻴﻛﺮﺗ ﻦﻣ ﺪــﻳﺪﻌﻟا ﻒــﺳﻮﻳ ﺔﻳﺎﻋﺪﻟا رﻮﺻ ﺔﻬﺟاﻮﻣ ﻲــﻓ ﺔﻤﻳﺪﻘﻟا ﺔﻴﻠﺋﺎﻌﻟا رﻮــﺼﻠﻟ ﻦﻴﻨﺤﻟﺎﺑ ةءﻮــﻠﻤﻤﻟا تﺎﻤــﺴﻟا ﺎﻬﺗﻻﻻدو نﺎﻜﻣ ﻞﻛ ﻲــﻓ رﻮﺼﻟا رﺎــﺸﺘﻧا ﺪﻌﻳ ﺔﻴﺨﻳرﺎﺘﻟا تﺎﻴﺼﺨــﺸﻠﻟ ﺔــﺣوﺮﻄﻤﻟا ﺔﻄﻴــﺳﻮﻟا رﻮﺼﻠﻟ مﻮﻴﻟا

؛ﺎﻴﻧرﻮﻔﻴﻟﺎﻛ ،سﻮــﻠﺠﻧأ سﻮﻠﺑ ، " دﻻﺎﻓﻼﻳد – ساﺮﺑ " ﻲﻓ ﺔــﻳدﺮﻓ ضرﺎﻌﻣ ﺎــﻬﻨﻣ ةزرﺎــﺑ ﻊﻳرﺎﺸﻣ ؛سﺎــﺴﻜﺗ ،سﻻاﺪﺑ ﻞﻜﻳﺎﻣ سﻮﺟ ﺔــﺴﺳﺆﻣ ؛ﺎﻣوﺮﺑ ﺎﻳرﺎﻣ ﺎﺘﻧﺎــﺳ ﺔــﺴﻴﻨﻛ ﺔﻴﻋﺎﻤﺟ ضرﺎﻌﻣ ﻰــﻟإ ﺔﻓﺎﺿ ﺎﺑ ؛نﺪﻨﻠﺑ سﻮﻔﻳد يﺮــﻴﻟﺎﺟ ؛ﻢﻟﻮﻬﻛﻮﺘــﺴﺑ ﻦﻴﺘــﺳ ﻲﺑﺮﻌﻟا ﻦﻔﻟا ﺪــﻬﻌﻣ ؛ﺲﻳرﺎﺒﺑ بﻮﻴﻛ ﺖﻳاو ؛ﺲﻳرﺎﺒﺑ نﻮــﺘﻴﻓ يﻮﻟ ﺔــﺴﺳﺆﻣ ﻊــﻣ ﻦﻴﺘﻛرﺎﻣ يد ؛نﺪﻨﻠﺑ نﻼــﺴﺗرﺎﻫ ؛ﻢﻟﻮﻬﻛﻮﺘــﺴﺑ دارﺎﻣﺎﻛ كرﻮﻳﻮﻴﻨﺑ ﻲﻣﻼــﺳ او ﻦﻔﻠﻟ ةﺮﺻﺎﻌﻤﻟا " زﺮــﻴﺑ " ةﺰﺋﺎﺟ ﻰﻠﻋ ﻞﺼﺣ ﺎــﻨﻴﻴﻓ / غاﺮﺑ ﻲــﻓ " ﻚــﻴﻠﻴﻣوأ " و ؛ﻞــﺴﻛوﺮﺒﺑ ﺔﻣﺎﻌﻟا تﺎﻋﻮﻤﺠﻤﻟا ﻲــﻓ ﻪﻟﺎﻤﻋأ ضﺮﻌﺗ ﺎﻤﻛ ، " لﺪــﻴﻧﺪﻳﺮﺛ " ةﺰﺋﺎﺟ ﻚــﻟﺬﻛو ﺊــﺷﺎﻨﻟا ﻲﻓ ﺎﻤﻫﻼﻛو ،ﻢﻟﻮﻬﻛﻮﺘــﺳ ﻲﻓ " ﺞــﻨﻴﻨﺘﻟﺎﻔﻟﻮﻓرﻮﺘﻟﻮﻛ " و ،ﺎﻨﻟﻮــﺴﺑ ﺎﻜــﺴﻨﻴﻟورﺎﻜﻟ . ﺪﻳﻮﺴﻟا

MOHAMMAD ALFARAJ GUARDIANS OF THE WIND

Steel, plastic, wood, wire 10 sculptures: 2 (2 m x 2 m), 4 (3 m x 2 m), 3 (4 m x 2 m), 1 (5 m x 2 m) 2022

The Thirst series comprises works that are closely and directly related to water and air in addition to the stories that shape human connections to them from a local, global, and cosmic perspective. The Guardians of the Wind is a figurine made from rusted water pipes used in the dried-up springs on rural farms which are transformed into an interactive musical instrument with air, animals, and people. These pipes are covered with various branches of palm trees that make them look like futuristic fossils of mythical creatures making musical sounds as the wind moves through them while people walk between and under them.

The parts of the palm trees and metal/plastic pipes are sourced from the Egyptian countryside. The work is in harmony with its context and the context of ancient Egypt, which was a marvel in irrigation and watering systems. It gazes deeply at space and the stars searching for that knowledge. The shape of the work and the locations of the figures will resemble the locations of the stars used as a guide for irrigation. It is installed on an iron base and covered with sand in order not to affect the archaeological site.

ا هﺬــﻫ ﻰﻠﻋو ءاﻮــﺳ ﺪﺣ ﻰﻠﻋ سﺎﻨﻟاو تﺎﻧاﻮﻴﺤﻟاو ءاﻮــﻬﻟا ﻊــﻣ هﺬﻫ ﻒﻘﺘــﺳ ﺔﻴﻠﺒﻘﺘــﺴﻣ ةرﻮﻔﺣأ وﺪﺒﺗ ﺎﻬﻠﻌﺠﺗ ،ﻞــﻴﺨﻨﻟا ﺮﺠــﺷ ﻦــﻣ ﺔــﻔﻠﺘﺨﻣ ،ﺢﻳﺮﻟا ﻞﻌﻔﺑ ﺔﻴﻘﻴــﺳﻮﻣ ﺎــﺗاﻮﺻأ رﺪﺼﺗ ،ﺔﻳرﻮﻄــﺳأ تﺎﻗﻮﻠﺨﻤﻟ ﺮــﻴﻓﺎﺣأ تﺎﻤــﺴﺠﻤﻟا . ﺎﻬﺘﺤﺗو ﺎــﻬﻨﻴﺑ سﺎﻨﻟا ﻲــﺸﻤﻳ ﻲﺘﻟاو ﺮﺼﻣ ﻲــﻓ ﻒﻳﺮﻟا ﺎﻫرﺪﺼﻣ ﺔﻴﻜﻴﺘــﺳﻼﺒﻟا / ﺔﻳﺪﻳﺪﺤﻟا ﺐــﻴﺑﺎﻧ او ﻞــﻴﺨﻨﻟا ءاﺰــﺟأ ﻲﻓ ﺔﺑﻮﺠﻋأ ﺖــﻧﺎﻛ ﻲﺘﻟا ،ﺔﻤﻳﺪﻘﻟا ﺮــﺼﻣ قﺎﻴــﺳو ﺎﻬﻗﺎﻴــﺳ ﻊﻣ ﻞــﻤﻌﻟا ﺲــﻧﺎﺠﺘﻳ ﻚﻠﺗ ﻞﺟأ ﻦﻣ مﻮــﺠﻨﻟاو ءﺎﻀﻔﻟا ﻲــﻓ ﺔﻨﻌﻤﺘﻣو ةﺮﻇﺎﻧ ،ﺔﻳﺎﻘــﺴﻟاو يﺮــﻟا ﺔــﻤﻈﻧأ ﻲﺘﻟا تﺎﻤــﺴﺠﻤﻟا ﻊﻗاﻮﻣو ﻞﻤﻌﻟا ﻞﻜــﺸﺑ ﻼﻴﻟد ﻚــﻟذ نﻮﻜﻴــﺳ ﺚﻴﺣ

MOHAMMAD ALFARAJ

G UA RDI A NS OF THE W IND

Photo: MO4 Network

Mohammad Alfaraj was born in al-Ahsa, a palm tree oasis and source of palm oil in Saudi Arabia, where he also lives and works. He studied engineering and grew up loving the camera. Alfaraj’s work can be described as a cinematic collage of media, practices, and ideas that create a world charged with stories, poetry, and a search for truth through exploration, documentation, and interpretation. This results in works that the artist hopes will nurture the imagination and empathy in those who experience them. His use and reuse of organic and manmade waste plays as a physical capsule of memories and time, where these materials and their histories hold a spiritual quality as well. A visual artist who works in film, photography, sculpture, and poetry, He is influenced by his hometown and his travels and constantly attempts to capture the trace, imprint, and impact of life both literally and metaphorically. He also engages in workshops and action-based activities in the community as part of his belief in collective creativity. He is represented by Athr gallery in Saudi Arabia, and his work has been shown at the Saudi Film Festival, the Saudi Art Council, the Sharjah Arts Foundation, ArtJameel, and the Lyon Biennale.

ﺔﻴﻨﻓ تﺎــﺳرﺎﻤﻤﺑ ﻪﻣﺎﻤﺘﻫا تﺬــﻏ ﺔﻨﻳﺪﻣ ﻲﻫو ،ءﺎــﺴﺣ ا ﻲﻓ ﺪﻟو جﺮــﻔﻟا ﺪــﻤﺤﻣ ﻲﻓاﺮﻏﻮﺗﻮﻔﻟا ﺮــﻳﻮﺼﺘﻟاو ﻮﻳﺪﻴﻔﻟاو مﻼــﻓ ا ﺔﻋﺎﻨﺻ ﻦــﻣ ،ةدﺪــﻌﺘﻣ ﺔــﻴﻓﺎﻘﺛو ،ﺺﺼﻘﻟﺎﺑ ﺎﻧﻮﺤــﺸﻣ ﺎﻤﻟﺎﻋ مﺪــﻘﻳ ﺎﻬﻟﻼﺧ ﻦﻣ ﻲــﺘﻟاو ،ﺔــﺑﺎﺘﻜﻟاو تﺎــﺒﻴﻛﺮﺘﻟاو نﺎﻨﻓ . مﺪﻘﺘﻟاو ﺔــﺛاﺪﺤﻟا ﺔﺤﻨﺟأو ،ﺪــﻴﻟﺎﻘﺘﻟاو ءﺎﻤﺘﻧﻻا روﺬــﺟ ﻦﻴﺑ ﺎــﻣ ادوﺪــﺸﻣو ﻪﻟﺎﻤﻋأ ﺐﻠﺻ ﻲــﻓ لﺎﻴﺨﻟاو ضر او ﺔﻴﻧﺎــﺴﻧﻻا ﺔﺑﺮﺠﺘﻟا ﻰــﻠﻋ ﺪــﻤﺘﻌﻳ ،مﻮﻬﻔﻤﻟاو ﻞﻜــﺸﻟا ﻦﻴﺑ ﺔﻗﻼﻌﻠﻟ ﻪﻓﺎــﺸﻜﺘﺳاو ﻪــﺒﻳﺮﺠﺗ ﻮﻫ ﻪﺘــﺳرﺎﻤﻣ ﺮــﻫﻮﺟ ﻦﻣ ﺔﺒﻛﺮﻤﻟا ﻪــﻟﺎﻤﻋأو ةرﺮﺤﻤﻟا ﺔــﻴﻓاﺮﻏﻮﺗﻮﻔﻟا هرﻮــﺻ لﻼﺧ ﻦﻣ ﻪﺘﻳؤر ﻦــﻜﻤﻳ يﺬــﻟاو ﻪﻣﻼﻓأو ،ﺎﻬﻣاﺪﺨﺘــﺳا ﺪﻴﻌﻳو ﺔــﻨﻳﺪﻤﻟاو ﻒﻳﺮﻟا ﻦﻴﺑ

نأ نﺎﻤﻳﺈﺑ ،ﺔﻗﻼﻌﻟا هﺬــﻫ ﺐﻴﺼﻳ يﺬــﻟا ﻞﻠﺤﺘﻟاو ،ىﺮــﺧ ا تﺎــﻨﺋﺎﻜﻟاو ﺔــﻌﻴﺒﻄﻟاو ﻰﻠﻋ ﺔﻤﺋﺎﻘﻟا ﺔﻄــﺸﻧ او ﻞﻤﻌﻟا شرو ﻲــﻓ كرﺎــﺸﻳ ﺎﻤﻛ . ﻤﺋاد ﺎﻨﻳﺪﻳأ ﻲــﻓ صﻼــﺨﻟا ﻲﻓ ﺮﺛأ ضﺮﻌﻣ ﻪــﻠﺜﻤﻳ . ﻲﻋﺎﻤﺠﻟا عاﺪــﺑ ﺎﺑ ﻪﻧﺎﻤﻳإ ﻦــﻣ ءﺰﺠﻛ ﻊــﻤﺘﺠﻤﻟا ﻲــﻓ ﻞــﻤﻌﻟا ،يدﻮﻌــﺴﻟا ﻢﻠﻴﻔﻟا نﺎﺟﺮﻬﻣ ﻲــﻓ ﻪﻟﺎﻤﻋأ ﺖﺿﺮﻋو ،ﺔﻳدﻮﻌــﺴﻟا ﺔــﻴﺑﺮﻌﻟا ﺔــﻜﻠﻤﻤﻟا ﻲﻟﺎﻨﻴﺑو ،ﻞــﻴﻤﺟ ﻦﻓو ،نﻮﻨﻔﻠﻟ ﺔﻗرﺎــﺸﻟا ﺔــﺴﺳﺆﻣو ،نﻮﻨﻔﻠﻟ يدﻮﻌــﺴﻟا ﺲــﻠﺠﻤﻟاو نﻮﻴﻟ

Represented by ﻪﻠﺜﻤﻳ نﺎــﻨﻔﻟا

NATALIE CLARK

S PIRIT OF H ATHOR

Corten steel, Carrara marble

6 m x 2.2 m x 2.2 m 2022

The beloved Goddess Hathor embodies all that is universally feminine—beauty, love, fertility, music, dancing, and pleasure. Loved equally by all women and men, she was the counterpart of the Sun God Ra and the Sky God Horus and honoured as the symbolic mother of the pharaohs.

Strong of spirit, a protector of women in body and soul, for rich and poor alike, Hathor maintained order and harmony, balanced the light and the dark, and was worshipped as the Goddess of the Afterlife.

In the Spirit of Hathor, the sensuously curved interlocking horns reach up to the heavens balancing the implied masculinity of the bold steel in a harmonious union, holding the marble sun on high for all to see while echoing the sacred geometrical lines of the Great Pyramids.

Such is the power of the Goddess Hathor.

ﺔﻜﺑﺎــﺸﺘﻤﻟا قاﻮﺑ ا ﺪﺘﻤﺗ ، " رﻮــﺤﺘﺣ حور " ﻲــﻓ ﺔﻠﻣﺎﺣ ،ﺔﻤﻏﺎﻨﺘﻣ ةﺪــﺣو ﻲﻓ ﺐــﻠﺼﻟا ذﻻﻮﻔﻠﻟ ﺔﻴﻨﻤﻀﻟا ةرﻮــﻛﺬﻟا نزاﻮــﺘﻟ ءﺎﻤــﺴﻟا ﺔﻴــﺳﺪﻨﻬﻟا طﻮﻄﺨﻟا ىﺪﺻ ددﺮﺘﻳ ﺎــﻤﻨﻴﺑ ،ﻊﻴﻤﺠﻟا ﺎــﻫاﺮﻴﻟ ﺎــﻴﻟﺎﻋ ﺔــﻴﻣﺎﺧﺮﻟا ﺲﻤــﺸﻟا . ﺔﻤﻴﻈﻌﻟا تﺎــﻣاﺮﻫ ﻟ ﺔــﺳﺪﻘﻤﻟا

NATALIE CLARK SP IRIT OF HATH O R

Photo: MO4 Network

Natalie Clark .is a classically trained British American sculptor, collector, art advisor, educator, and author. Influenced by extensive travels around the world, her work is a global fusion of modern design, indigenous art forms, and organic inspirations found in nature. Whether travelling to Lima, Peru; Cape Town, South Africa; or the Australian Outback, she recognises common cultural threads and integrates them into her work using organic and man-made materials. Her current work includes large-scale sculpture in a variety of media, including marble, steel, ceramics, and natural materials.

After obtaining a BFA (majoring in sculpture) from Brighton University in England, Clark came to the United States on a full merit scholarship and attained her MFA from the Art Institute of Chicago. Exhibitions in the United States, United Kingdom, Mexico, Canada, Japan, Spain, Australia, and South Africa, as well as international collaborations and commissions for public projects, have cemented her status as a leading contemporary sculptor among important private and corporate collections worldwide.

Clark’s story and innovative sculptures—featured on ‘Good Morning America’, HGTV, nationally syndicated radio programs, interior design magazines, and international newspapers—have garnered ever growing attention to her creative contributions.

ةرﺎــﺸﺘﺴﻣو تﺎﻴﻨﺘﻘﻣ ﺔﻌﻣﺎﺟو ﺔﻴﻜﻴــﺳﻼﻛ ﺔــﺗﺎﺤﻧ ﻲــﻫ كرﻼﻛ ﻲــﻟﺎﺗﺎﻧ ةﺪﻳﺪﻌﻟا ﺎﻬﺗﺎﻳﺮﻔــﺴﺑ تﺮﺛﺄﺗ ﺔــﻴﻜﻳﺮﻣأ ﺔﻳﺰﻴﻠﺠﻧإ ﺔــﻔﻟﺆﻣو ﺔــﻤﻠﻌﻣو ﺔــﻴﻨﻓ تﺎﻤﻴﻤﺼﺘﻠﻟ ﻼﻣﺎــﺷ ارﺎﻬﺼﻧا ﻞــﺜﻤﺗ ﺎﻬﻟﺎﻤﻋأ ﺖــﺤﺒﺻﺄﻓ ،ﻢﻟﺎﻌﻟا ءﺎــﺤﻧأ ﻰــﻟإ ﻒــﺸﺘﻜﺗ . ﺔﻌﻴﺒﻄﻟا ﻦﻣ ﺎــﻳﻮﻴﺣ ﺎﻣﺎﻬﻟإو ،ﺔﻠﻴﺻأ ﺔــﻴﻨﻓ ﻻﺎﻜــﺷأو ،ﺔــﺜﻳﺪﺤﻟا تﺮﻓﺎــﺳ ءاﻮــﺳ ﺔﻔﻠﺘﺨﻣ تارﺎﻀﺣ ﻦﻴﺑ ﺔﻛﺮﺘــﺸﻣ ﺔــﻴﻓﺎﻘﺛ ﺎــﻃﻮﻴﺧ كرﻼﻛ ﺔﻴﺋﺎﻨﻟا ﻖــﻃﺎﻨﻤﻟا ﻰﻟإ وأ ،ﺎﻴﻘﻳﺮﻓأ بﻮــﻨﺠﺑ نوﺎﺗ ﺐــﻴﻛ وأ ،وﺮﻴﺑ ﻲــﻓ ﺎــﻤﻴﻟ ﻰــﻟإ داﻮﻣ ماﺪﺨﺘــﺳﺎﺑ ﺎﻬﻠﻤﻋ ﻲﻓ طﻮــﻴﺨﻟا ﻚﻠﺗ ﺞﻣﺪﺑ مﻮــﻘﺗو ،ﺎﻴﻟاﺮﺘــﺳأ

ﺔﻴــﺳارد ﺔــﺤﻨﻣ

نﻮﻨﻔﻠﻟ ﻮﻏﺎﻜﻴــﺷ ﺪﻬﻌﻣ ﻦــﻣ ﺔﻠﻴﻤﺠﻟا نﻮــﻨﻔﻟا ﻲــﻓ ﺮﻴﺘــﺴﺟﺎﻤﻟا ةﺪﺤﺘﻤﻟا ﺔــﻜﻠﻤﻤﻟاو ﺔﻴﻜﻳﺮﻣ ا ةﺪــﺤﺘﻤﻟا تﺎــﻳﻻﻮﻟا ﻲﻓ ضرﺎــﻌﻤﻟا ﻼﻀﻓ ،ﺎﻴﻘﻳﺮﻓإ بﻮــﻨﺟو ﺎﻴﻟاﺮﺘــﺳأو ﺎﻴﻧﺎﺒــﺳإو نﺎﺑﺎﻴﻟاو اﺪــﻨﻛو ﻚﻴــﺴﻜﻤﻟاو ﺔﺗﺎﺤﻨﻛ ﺎــﻬﺘﻧﺎﻜﻣ ،ﺔﻣﺎﻌﻟا ﻊﻳرﺎــﺸﻤﻟا نﺎﺠﻟو ﻲــﻟوﺪﻟا نوﺎﻌﺘﻟا ﻦــﻋ ﺔﺻﺎﺨﻟا تﺎﻴﻨﺘﻘﻤﻟا تﺎــﻋﻮﻤﺠﻣ ﻲــﻓ ﺎﻬﻟﺎﻤﻋأ ﺖــﻓﺮﻋو ةﺪﺋار ةﺮــﺻﺎﻌﻣ ﻢﻟﺎﻌﻟا ءﺎﺤﻧأ ﻊــﻴﻤﺟ ﻲﻓ ﺔــﻣﺎﻌﻟاو ﺞﻣﺎﻧﺮﺑ ﻲﻓ تﺮــﻬﻇ ﻲﺘﻟا - ةﺮــﻜﺘﺒﻤﻟا تﺎــﺗﻮﺤﻨﻤﻟاو كرﻼﻛ ﺔــﺼﻗ ﺖــﻴﻈﺣ رﻮﻜﻳﺪﻟاو ﻢﻴﻤﺼﺘﻠﻟ ﻲــﻜﻳﺮﻣ ا نﻮــﻳﺰﻔﻠﺘﻟا ةﺎــﻨﻗو ،ﺎﻜﻳﺮﻣا ﺮــﻴﺨﻟا حﺎــﺒﺻ . ﺔﻴﻋاﺪﺑ ا ﺎﻬﺗﺎﻣﺎﻬــﺳﺈﺑ ﺪــﻳاﺰﺘﻣ مﺎــﻤﺘﻫﺎﺑ - HGTV

Thanks to ﺮﻜــﺸﻟﺎﺑ ﺔﻧﺎﻨﻔﻟا مﺪــﻘﺘﺗ

PASCALE M ARTHINE TAYOU DREAMS IN GIZA

Stainless steel, wood 12 m x 5 m 2022

Dreams In Giza is a monumental artwork especially created for Forever Is Now .02 and sponsored by GALLERIA CONTINUA. It’s a perfect union of the colorful and exuberant art of Pascale Marthine Tayou and the majestic and timeless history and culture of Egypt.

Twenty stainless steel tubes rise from the hot sand. Like futes, ancient witnesses of the banquets and celebrations of the pharaohs, these new totems whistle and play with the wind. They are adorned with colored wooden eggs, symbols of good omen, of rebirth, a key element in the works of Tayou but also a reference to ancient Egyptian mythology, where the Cosmic Egg held a central place as a primordial symbol of birth and creation, generating the sun god Ra.

‘This project is an inspired poem, From the verses of the gods because...

Last night I dreamed that I was a baby pharaoh...

Lying in a golden egg-shaped cradle delicately placed in the heart of the treasures of Giza.’

زﺮــﺒﻳ ،مﺪﻘﻟا ﻲﻓ ﻦﻴﻳﺮﺼﻤﻟا ءﺎــﻣﺪﻗ تﻻﺎــﻔﺘﺣاو بدﺂﻣ تﺎﻳﺎﻨﻟا تﺪﻬــﺷ ﺎــﻤﻛو ﻦﻣ نﻮﻠﻣ ﺾﻴﺑ ﺎــﻬﻨﻳﺰﻳ ،ﺢﻳﺮﻟا ﻊــﻣ ﺐﻌﻠﺗو ةﺪﻳﺪﺠﻟا ﻢــﻃاﻮﻄﻟا هﺬــﻫ ﺮــﻔﺼﺗ ﻲﻓ ﻲــﺳﺎﺳأ ﺮﺼﻨﻋ ﻞﻜــﺸﺗ ﻲﺘﻟاو ،ﺚﻌﺒﻟاو ﺐﻴﻄﻟا لﺄــﻔﻟا ﻰﻟإ ﺰــﻣﺮﻳ ﺐــﺸﺨﻟا ﺚﻴﺣ ،ﺔﻤﻳﺪﻘﻟا ﺔــﻳﺮﺼﻤﻟا ﺮﻴﻃﺎــﺳ ا ﻰﻟإ ﺎﻀﻳأ ﺮﻴــﺸﺗ ﺎﻬﻧإ ﺎﻤﻛ ،ﻮــﻳﺎﺗ لﺎــﻤﻋأ قﺎﺜﺒﻧاو ﺔﻘﻴﻠﺨﻟاو ةدﻻﻮــﻠﻟ ﺰــﻣﺮﻛ ﺔﻳﺰﻛﺮﻣ ﺔﻧﺎﻜﻣ ﺔــﻴﻧﻮﻜﻟا ﺔــﻀﻴﺒﻟا

PASCALE M ARTHINE TAYOU DREAMS IN GIZA

Photo: MO4 Network

Pascale Marthine Tayou lives and works in Ghent, Belgium and Yaoundé, Cameroon. Since the 1990s and his participation in Documenta 11 (2002) in Kassel and at the Venice Biennale (2005 and 2009), Tayou has been known to a broad international public. His work is characterised by its variability; he does not confne himself to one medium nor to a particular set of issues. While his themes may vary, they all use the artist himself as a person as their point of departure. At the very outset of his career, Pascale Marthine Tayou added an ‘e’ to his frst and middle names to give them a feminine ending, thus distancing himself ironically from the importance of artistic authorship and male/female ascriptions. This also holds true for any attempt at reduction to a specifc geographical or cultural origin as well. His works not only mediate in this sense between cultures or set man and nature in ambivalent relations to each other but are produced in the knowledge that they are social, cultural, or political constructions. His work is deliberately mobile, elusive of pre-established schema, heterogeneous. It is always closely linked to the idea of travel and of encountering what is other to the self and is so spontaneous that it almost seems casual. The objects, sculptures, installations, drawings, and videos produced by Tayou have a recurrent feature in common: they dwell upon an individual moving through the world and exploring the issue of the global village. And it is in this context that Tayou negotiates his African origins and related expectations.

يﺪﻧوﺎﻳ ﻲﻓو ﺎﻜﻴﺠﻠﺒﺑ ﺖﻨﻴﻏ ﻲــﻓ ﻞﻤﻌﻳو ﺶﻴﻌﻳ ﻮﻳﺎﺗ ﻦــﻴﺗرﺎﻣ لﺎﻜــﺳﺎﺑ ﺬﻨﻣ ﻲﻟوﺪﻟا ىﻮﺘــﺴﻤﻟا ﻰﻠﻋ ﺮﻴﺒﻛ رﻮﻬﻤﺠﻟ ﻮﻳﺎﺗ فﺮﻋ نوﺮــﻴﻣﺎﻜﻟﺎﺑ مﺎﻋ "١١ ﺎﺘﻨﻣﻮﻴﻛود" ﻲﻓ ﻪﺘﻛرﺎــﺸﻣ ﺪﻌﺑ ﺔﺻﺎﺧو ﻲﺿﺎﻤﻟا نﺮﻘﻟا تﺎﻴﻨﻴﻌــﺴﺗ ﻮﻳﺎﺗ ﺰﻴﻤﺗ .(٢٠٠٩ ،٢٠٠٥ ) ﺔﻴﻗﺪﻨﺒﻟا ﻲﻟﺎﻨﻴﺑ ﻲﻓ ﻪﺘﻛرﺎــﺸﻣ ﻢﺛ ،ﻞــﺳﺎﻛ ﻲﻓ ٢٠٠٢ ﻦﻣ ﺔﻨﻴﻌﻣ ﺔﻋﻮﻤﺠﻣ ﻻو ﺪﺣاو ﻂﻴــﺳو ﻰﻠﻋ ﻪﻟﺎﻤﻋأ ﺮﺼﻘﻳ ﻻ ﻮــﻬﻓ ،عﻮــﻨﺘﻟﺎﺑ ﺺﺨــﺷ ﺎﻬﻌﻴﻤﺟ مﺪﺨﺘــﺴﺗ ﺎﻬﻨﻜﻟو ،ﻪﻌﻴﺿاﻮﻣ فﻼﺘﺧا ﻢﻏﺮﺑو ،ﺎﻳﺎﻀﻘﻟا ﻦﻴﺗرﺎﻣ لﺎﻜــﺳﺎﺑ" فﺎﺿأ ،ﻪﺗﺮﻴــﺴﻣ ﺔﻳاﺪﺑ ﻲﻓ قﻼﻄﻧا ﺔﻄﻘﻨﻛ ﻪﺗاذ نﺎﻨﻔﻟا ﻢﻬﺤﻨﻤﻟ Pascale Marthine ﺢﺒﺼﻴﻟ ﻂــﺳو او لو ا ﻪﻴﻤــﺳ “

ﺔﻠﺑﺎﻗ ﻪﻟﺎﻤﻋأ ﺔﻴــﺳﺎﻴﺳ وأ ﺔﻴﻓﺎﻘﺛ وأ ﺔﻴﻋﺎﻤﺘﺟا ﻞﻛﺎﻴﻫ ﻂﺒﺗﺮﺗ ﻲﻬﻓ ،ﺎﻘﺒــﺴﻣ دﺪﺤﻣو ﺲﻧﺎﺠﺘﻣ ﺮﻴﻏ ﻂﻄﺨﻣ ﺎﻫﺮﻃﺆﻳ ﻻو ،ﺪــﻤﻌﺘﻣ ﺔﻳﻮﻔﻌﺑو ﺲﻔﻨﻟا ﻲﻓ ﺮﺧ ا ﻰﻨﻌﻣ ﺔــﻬﺟاﻮﻣو ﺮﻔــﺴﻟا ةﺮﻜﻔﺑ ﺎﻘﻴﺛو ﺎﻃﺎﺒﺗرا ﻦﻣ ﻮﻳﺎﺗ ﺎﻬﺠﺘﻧا ﻲﺘﻟا ﺔﻴﻨﻔﻟا لﺎــﻤﻋ ا ﻞﻤﺤﺗ .ﺮﺑﺎﻋ ﺮﻣأ ﻪﻧﺄﻛو وﺪــﺒﻴﻓ ،ةﺪﻳﺪــﺷ ﻊﻃﺎﻘﻣو تﺎﻣﻮﺳﺮﻟاو (ﻦــﺸﻴﻠﺘﺴﻧا) غاﺮﻔﻟا ﻲﻓ تﻼﻴﻜــﺸﺗو تﺎﺗﻮﺤﻨﻤﻟا ﻢﻟﺎﻌﻟا ﺮﺒﻋ ﻞﻘﺘﻨﻳ دﺮﻓ لﻮﺣ روﺪﺗ ﻲﻬﻓ ،ةرﺮﻜﺘﻣ ﺔﻛﺮﺘــﺸﻣ ﺔﻤــﺳ ،ﻮﻳﺪﻴﻔﻟا ﻪﻟﻮﺻأ قﺎﻴــﺴﻟا اﺬﻫ ﻲﻓ ﺶﻗﺎﻨﻳ ﺚﻴﺣ ،ﺔﻴﻧﻮﻜﻟا ﺔﻳﺮﻘﻟا ﺔﻴﻀﻗ ﻒــﺸﻜﺘﺴﻳو ﻚﻟﺬﺑ ﺔﻄﺒﺗﺮﻤﻟا تﺎﻌﻗﻮﺘﻟا ﻊــﻴﻤﺟو ﺔﻴﻘﻳﺮﻓ ا

Represented by ﻪﻠﺜﻤﻳ نﺎــﻨﻔﻟا

SpY

OR B : U NDER THE S AME S UN

Steel, chrome steel 4 m (diameter) 2022

Orb draws its inspiration from the ancient Egyptian heritage around it. The choice of form and materials in the piece is presented as a direct reference to elements of mathematics and symbolism present in ancient Egyptian culture and in the pyramids in particular.

The shape of the piece alludes to the ‘pi’ number concealed in the geometry of the pyramids and found when dividing the perimeter of a pyramid by twice its height. The sphere is an invisible part of the resulting geometry since a sphere with a radius as high as the pyramid would have a circumference very close in length to the pyramid’s perimeter.

The surface of the artwork captures the pyramids, the sky, the surroundings, and the viewers in a multiple fragmented reflection. It references the role of the circular mirror in historical Egyptian symbolism, where it was linked to the sun and conveyed notions of creation and rebirth.

ةﺮﺋاﺪﻟا نأ ﺚﻴﺣ ،ﻲــﺳﺪﻨﻬﻟا ﺞﺗﺎﻨﻟا ﻲــﻓ ﺎﻴﺋﺮﻣ ﺮﻴﻏ ﺎــﺋﺰﺟ ةﺮــﺋاﺪﻟا ﻞﻜــﺸﺗ اﺪﺟ ﺎﻬﻄﻴﺤﻣ لﻮــﻃ بﺮﺘﻘﻴــﺳ مﺮﻬﻟا عﺎﻔﺗرا ﺎﻫﺮﻄﻗ ﻒــﺼﻧ ﻎــﻠﺒﻳ ﻲــﺘﻟا مﺮﻬﻟا ﻂﻴﺤﻣ ﻦــﻣ راﻮﺠﻟاو ءﺎﻤــﺴﻟاو تﺎﻣاﺮﻫ ا ،ﻲﻨﻔﻟا ﻞــﻤﻌﻟا ﺢﻄــﺳ ﻰﻠﻋ ﺮــﻬﻈﻳ ﻰﻟإ ﻚﻟﺬﺑ اﺮﻴــﺸﻣ ،ﺔﻔﻋﺎﻀﺘﻣو ﺔــﺋﺰﺠﻣ تﺎــﺳﺎﻜﻌﻧا ﻲﻓ ﻦﻳﺪﻫﺎــﺸﻤﻟاو ﺎﻬﻄﺑر ﻢﺗ ﺚــﻴﺣ ،ﺔﻴﺨﻳرﺎﺘﻟا

SpY

O RB : U NDER THE SA ME S UN

Photo: MO4 Network

SpY is an international public and urban artist whose work consist s of transforming spaces into experiences through artistic interventions. The contextual art projects of Spanish artist SpY are among the most original and talked-about contributions in the evolution from urban art to public art. Throughout his career, SpY’s practice has developed into an increasingly spectacular body of large-scale installations and interventions, ever more ambitious and impactful, produced in cities across the world.

SpY interpellates viewers while engaging them as active subjects in the artistic process. He works with incisive concepts and strong formal approaches, raising substantial questions about the reality of human relations. His projects dialogue with the urban environment, disrupt its daily routines, and explore it as a playing field full of untapped possibilities.

SpY designs and produces his artistic projects from his platform SpY Studio. The studio is both a laboratory space and an eclectic team of technical specialists and craftsmen and is known for an unparalleled ability for bringing to life alluring and formally solid artistic experiences.

ﻦﻣو ،ﺔﻳﺮﻀﺤﻟاو ﺔــﻣﺎﻌﻟا ﻦﻛﺎﻣ ا ﻲــﻓ ﻞﻤﻌﻳ ﻲﻟود نﺎﻨﻓ ﻮــﻫ يﺎﺒــﺳ ﻦﻣ ﺔﻋﻮﻨﺘﻣ برﺎــﺠﺗ ﻰﻟإ ﺔﻏرﺎﻔﻟا تﺎﺣﺎــﺴﻤﻟا لﻮﺤﻳ ﻮــﻬﻓ ﻪــﻠﻤﻋ لﻼــﺧ . ﺔﻴﻨﻔﻟا تﻼــﺧﺪﺘﻟا لﻼﺧ ،ﺔﻔﻠﺘﺨﻣ تﺎﻗﺎﻴــﺳ ﻰﻟإ ةﺪﻨﺘــﺴﻤﻟا ،يﺎﺒــﺳ ﻲﻧﺎﺒــﺳ ا نﺎﻨﻔﻟا ﻊﻳرﺎــﺸﻣ ﺪﻌﺗ لﻮﺤﺘﻟا ﺺﺨﻳ ﺎــﻤﻴﻓ ﻻواﺪﺗ ﺮﺜﻛ او ﺔــﻟﺎﺻأ ﺮﺜﻛ

ﺔــﻴﻄﻤﻧ

،ﺔــﻳﺮﻀﺤﻟا ﺔﺌﻴﺒﻟا روﺎــﺤﺗ ﻪﻌﻳرﺎــﺸﻣ ﺔﻴﻧﺎــﺴﻧ ا . ﺔﻠﻐﺘــﺴﻤﻟا ﺮﻴﻏ تﺎﻴﻧﺎﻜﻣ ﺎﺑ ءﻲــﻠﻣ لﺎــﺠﻤﻛ ﺎﻬﻔــﺸﻜﺘﺴﺗو ﻮﻫو ، " يﺎﺒــﺳ ﻮﻳﺪﺘــﺳ ” ﻪﺘﺼﻨﻣ ﻦﻣ ﺔﻴﻨﻔﻟا ﻪﻌﻳرﺎــﺸﻣ ﺞﺘﻨﻳو يﺎﺒــﺳ ﻢــﻤﺼﻳ ﻦﻴﻴﻨﻘﺘﻟا ﻦــﻴﺼﺼﺨﺘﻤﻟا ﻦــﻣ ﻲﺋﺎﻘﺘﻧا ﻖــﻳﺮﻓو ﺔﻴﻠﻤﻌﻣ ﺔﺣﺎــﺴﻣ ﻦــﻋ ةرﺎــﺒﻋ ﻰﻠﻋ ﺎﻬﻟ ﻞــﻴﺜﻣ ﻻ ةرﺪﻘﺑ ﻦﻴﻓوﺮﻌﻤﻟاو ،ﺖــﻗﻮﻟا ﺲــﻔﻧ ﻲــﻓ ﻦــﻴﻴﻓﺮﺤﻟاو ﺔﺨــﺳار لﺎﻜــﺷأ تاذ ﺔﺑاﺬﺠﻟا ﺔﻴﻨﻔﻟا برﺎﺠﺘﻟا ءﺎــﻴﺣإ

Represented by ﻪﻠﺜﻤﻳ نﺎــﻨﻔﻟا

T HERESE A NTOINE PANTHEONS OF D EITIES

Marble, PLA, steel 8 m x 8 m x 4.5 m 2022

‘There is a strong relationship at the Giza Plateau between the human body and the space itself where human beings stand in connection to nature and the cosmos, and it is TIME that connects everything at this specific location.

I designed the layout of a space represented by a circular plan that refers to a sundial, an instrument used in the past to indicate time by using a light spot or shadow cast by the position of the sun on a reference scale. Taking the concept of the sundial for my installation as a metaphor, I link between the sun, the earth, and the passage of time.

By creating five vertical columns influenced by the ancient obelisk—one at the centre of the circular shape and four at the edge of the outline—I reference the principal points indicating time and the cardinal directions (compass). Only three different shapes are repeated, symbolizing the number of the Great Pyramids of Giza. Those columns represent several significant deities of the Old Kingdom. The first is Ra, the king of the deities, the father of all creation, and the patron of the sun; hence, I chose that the main column be symbolised by the sun disk. The second is Maat, the goddess of truth and the representation of the stability of the universe. Her symbol is the ostrich feather. The third is Osiris, the god of the underworld and of resurrection, symbolised by his Atef crown. Next comes Isis, the queen of gods and the goddess of maternity and birth, symbolised by the throne. And finally, there is Horus, the god of heaven and protection represented by the double crown.

By producing a repetitive production of each form and by showcasing them in an unsystematic and unorganised way, I created a dynamic composition which will help in designing a layout of a new dimension of the space and in building an interactive environment between the audience and the space itself.’

The artist would like to acknowledge and thank for their support in the realisation of this project.

ﺔﻣﺪﺨﺘــﺴﻣ ةادأ

ﺔﻴــﺴﻤﺸﻟا ﺔﻋﺎــﺴﻟا مﻮﻬﻔﻣ تﺬﺧأ . ﻲﻌﺟﺮﻣ سﺎــﻴﻘﻣ ﻰﻠﻋ ﺲﻤــﺸﻟا ﻊــﻗﻮﻣ ﺐــﺴﺣ . ﻦﻣﺰﻟا روﺮﻣو ضر او ﺲﻤــﺸﻟا ﻦﻴﺑ ﻂﺑرو ةرﺎﻌﺘــﺳا ﺎــﻬﻧأ ﻰــﻠﻋ ( ﻦــﺸﻴﻠﺘﺴﻧ ا ) ﻲﻠﻴﻜــﺸﺘﻟا ﻞﻜــﺸﻟا ﻂــﺳو ﻲﻓ ﺎﻫﺪﺣأ : ﺔﻤﻳﺪﻘﻟا ﺔﻠــﺴﻤﻟﺎﺑ اﺮﺛﺄﺗ ﺔﻴــﺳأر ةﺪﻤﻋأ ﺔــﺴﻤﺧ ﺖﻌﻨﺻ ﺪﻘﻟ ﺖﻗﻮﻟا ﻰﻟإ ﺮﻴــﺸﺗ ﻲﺘﻟا ﺔﻴــﺴﻴﺋﺮﻟا طﺎﻘﻨﻟا ﻰﻟإ ةرﺎــﺷإ ﻲﻓ ﻂﻄﺨﻤﻟا ﺔــﻓﺎﺣ ﺪــﻨﻋ ﺔــﻌﺑرأو يﺮــﺋاﺪﻟا دﺪﻋ ﻰﻟإ ﺰﻣﺮﺗ ﻂــﻘﻓ ﺔﻔﻠﺘﺨﻣ لﺎﻜــﺷأ ﺔﺛﻼﺛ راﺮﻜﺗ ﻢــﺘﻳ .( ﺔــﻠﺻﻮﺒﻟا )

T HERESE A NTOINE

PA NTHE O NS OF D EITIES

Photo: MO4 Network

Therese Antoine is an Egyptian sculptor who lives and works in Alexandria, Egypt. The ability to transform a symmetrical, streamlined body shape into simple abstract, geometrical forms and fgures has always been a great fascination of hers. Lately, she has been intrigued by the concept of the abstraction of the human form as a result of its own psychological infuences and by focusing on the idea of self-documentation of the very personal psychological phases and stages. Uniform repetition, daring confrontation, and issues of identity are the major subjects and tools she employs in her work.

She obtained her BFA in Monumental Sculpture from the Faculty of Fine Arts in Alexandria in 2014. Before completing her BFA, she was part of Mass Alexandria 2013, an independent study program for contemporary arts. After her graduation, she took part in the Aswan International Sculpture Symposium, AISS 20. Two years later, she was selected to be one of the main artists of the Egyptian Delegation at AISS 22. In 2018, Antoine held a solo exhibition at the Institut Francais d’Alexandrie, and a year later, she received an artist residency scholarship at the Cité internationale des arts in Paris from the Institut Français d’Égypte. In 2020, she was selected by the Institut Français d’Alexandrie to hold an exhibition inspired by life during the pandemic.

Antoine has received numerous awards and prizes, including the frst prize at the Adam Henein inaugural competition in 2022. She was subsequently granted an artist residency at the Adam Henein Museum after participating in the second edition and a residency at the Egyptian Academy in Rome after her participation at the 28th Youth Salon. She has exhibited across Egypt and internationally in France, Italy, Ghana, and Lithuania.

ﺎﻬﺗﺮﺤــﺳ ﺎﻤﻟﺎﻃ ﺔﻳرﺪﻨﻜــﺳ ا ﻲﻓ ﻞﻤﻌﺗو ﺶﻴﻌﺗ ﺔــﻳﺮﺼﻣ ﺔﺗﺎﺤﻧ نﻮــﻄﻧأ ﺰــﻳﺮﺗ ﺔﻳﺪﻳﺮﺠﺗ لﺎﻜــﺷأ ﻰﻟإ ﻲﺑﺎﻴــﺴﻧﻻاو ﻖــﺳﺎﻨﺘﻤﻟا ﻢــﺴﺠﻟا ﻞﻜــﺷ ﻞﻳﻮﺤﺗ ﺔﻴﻧﺎﻜﻣإ ﺔﺠﻴﺘﻧ يﺮــﺸﺒﻟا ﻞﻜــﺸﻟا ﺪﻳﺮﺠﺗ مﻮﻬﻔﻤﺑ ،ةﺮــﻴﺧ ا ﺔﻧو ا ﻲﻓ ،ﺖــﻨﺘﻓ . ﺔﻴــﺳﺪﻨﻫو ﻲﺗاﺬﻟا ﻖﻴﺛﻮﺘﻟا ةﺮــﻜﻓ ﻰﻠﻋ ﺰــﻴﻛﺮﺘﻟا لﻼﺧ ﻦﻣو ،ﻪــﺑ ﺔــﺻﺎﺨﻟا ﺔﻴــﺴﻔﻨﻟا ﻪــﺗاﺮﻴﺛﺄﺘﻟ تاود او تﺎﻋﻮﺿﻮﻤﻟا ﻞــﺜﻤﺘﺗ اﺪﺟ ﺔﻴﺼﺨــﺸﻟا ﺔﻴــﺴﻔﻨﻟا راﻮﻃ او ﻞــﺣاﺮﻤﻠﻟ ﺔﺌﻳﺮﺠﻟا ﺔــﻬﺟاﻮﻤﻟاو ﻖﺑﺎﻄﺘﻤﻟا راﺮــﻜﺘﻟا ﻲﻓ ﺎــﻬﻠﻤﻋ ﻲﻓ ﺎﻬﻣﺪﺨﺘــﺴﺗ

تﺮــﻴﺘﺧا نﻮﻄﻧأ ﺖﻣﺎﻗأ ٢٠١٨ مﺎــﻋ ﻦﻳﺮــﺸﻌﻟاو ﻲﻧﺎﺜﻟا ﻲﻟوﺪﻟا ﺖــﺤﻨﻟا مﻮﻳزﻮﺒﻤــﺳ ﻲــﻓ

ﺪﻌﺑ ﺖﻠﺼﺣو ،ﺔﻳرﺪﻨﻜــﺳ ﺎﺑ ﻲــﺴﻧﺮﻔﻟا ﻲﻓﺎﻘﺜﻟا ﺪــﻬﻌﻤﻟا ﻲــﻓ ادﺮــﻔﻨﻣ ﺎــﺿﺮﻌﻣ ﻞﺒﻗ ﻦﻣ ،ﺲﻳرﺎﺒﺑ " نﻮــﻨﻔﻠﻟ ﺔــﻴﻟوﺪﻟا ﺔﻨﻳﺪﻤﻟا " ﻲــﻓ ﺔﻴﻨﻓ ﺔﻣﺎﻗإ ﺔــﺤﻨﻣ ﻰــﻠﻋ مﺎــﻌﺑ ﺪﻬﻌﻤﻟا ﻞــﺒﻗ ﻦﻣ ﺎﻫرﺎﻴﺘﺧا ﻢــﺗ ،٢٠٢٠ مﺎﻋ ﻲﻓ . ﺮــﺼﻤﺑ ﻲــﺴﻧﺮﻔﻟا ﻲــﻓﺎﻘﺜﻟا ﺪــﻬﻌﻤﻟا ءﺎﺑﻮﻟا ءﺎﻨﺛأ ةﺎــﻴﺤﻟا ﻦﻣ ﻰﺣﻮﺘــﺴﻣ ضﺮﻌﻣ ﺔــﻣﺎﻗ ﺔﻳرﺪﻨﻜــﺳ ﺎﺑ ﻲــﺴﻧﺮﻔﻟا ﻰﻟو ا ةﺰﺋﺎﺠﻟا ﻚــﻟذ ﻲﻓ ﺎﻤﺑ ،ﺢﻨﻤﻟاو ﺰــﺋاﻮﺠﻟا ﻦﻣ ﺪﻳﺪﻌﻟا ﻰــﻠﻋ نﻮــﻄﻧأ ﺖــﻠﺼﺣ ﻲﻓ ﺔﻴﻨﻓ ﺔــﻣﺎﻗإ ﺎﻘﺣﻻ ﺖﺤﻨﻣو ٢٠٢٢ مﺎــﻋ ﻲﻓ ﻦﻴﻨﺣ مدآ ﺔﻘﺑﺎــﺴﻣ ﻦﻴــﺷﺪﺗ ﻲــﻓ ﺎﻤﻛ . ﺔﻘﺑﺎــﺴﻤﻟا ﻦﻣ ﺔﻴﻧﺎﺜﻟا ﺔﺨــﺴﻨﻟا ﻲﻓ ﺎﻬﺘﻛرﺎــﺸﻣ ﺪــﻌﺑ ﻦــﻴﻨﺣ مدآ ﻒــﺤﺘﻣ نﻮﻟﺎﺻ ﻲﻓ ﺎﻬﺘﻛرﺎــﺸﻣ ﺪﻌﺑ ﺎــﻣوﺮﺑ

ZEINA B A LHASHEMI

C AMOULFLAGE 1.618: T HE U NFINISHED OB ELISK

Reinforced metal rods, camel hides 6 m x 1 m x 1 m 2022

‘Camoulfage’ is a portmanteau, a combination of the words ‘camel’ and ‘camoufage’, inspired by the history and legacy of the camel in the region and the way the animals blend with the desert dunes. The installation strikes the audience as a desert scene from which an abstract camel silhouette emerges. Just as the animal’s natural colouring and form enable it to blend in with its surroundings, so too does the installation meld with its desert backdrop, almost mimicking ancient Egyptian artefacts. In this work, the camels have transformed into an obelisk, revisiting the story of the Unfnished Obelisk in Aswan. In Egyptian mythology, the obelisk symbolised the sun god Ra. The unfnished obelisk is the largest known ancient obelisk and is located in the northern region of the stone quarries of Aswan.

The body of this obelisk is in shades of natural camel hair from different carefully selected camel breeds. Reinforced metal rods, used in all modern construction, are used in mesh form in the obelisk, refecting a scene we witness every day in our modern lives and cities, that of half-done buildings and skeletons of future landscapes.

Camoulfage 1.618 is part of the Camoulfage series and is named after the golden ratio, a special number approximately equal to 1.618 that appears many times in mathematics, geometry, art, architecture and especially in nature. The Great Pyramid of Giza reveals that the positions and relative sizes of the pyramids may be based on the golden ratio. Evidence of the Golden Ratio in the Great Pyramid has been a complex mystery, hence the title Camoulfage 1.618 .

The artist would like to thank Fairouz and Jean Paul Villain; Mana Jalalian and Rami Chedid; Yulia Korienkova; Bahar Goldooz Hassani; Alejandra Castro and Frederic Janssen; and Her Excellency Noura Al Kaabi and the Ministry of Culture and Youth.

) ةدﺮﺠﻣو ﺔــ ّ ﻴﻠﻇ ﻞﻤﺟ ةرﻮﺻ ﻪﻨﻣ ﻖــﺜﺒﻨﺗ ﺎــﻳواﺮﺤﺻ اﺪﻬــﺸﻣ هرﺎــﺒﺘﻋﺎﺑ ﻊﻣ ( ﻦــﺸﻴﻠﺘﺴﻧﻻا ) جﺰﺘﻤﻳ ﻚــﻟﺬﻛ ،ﻪﻄﻴﺤﻤﺑ جﺎــﻣﺪﻧﻻا ﻦﻣ ﻪﻠﻜــﺷو ناﻮﻴﺤﻠﻟ ﻲــﻌﻴﺒﻄﻟا نﻮــﻠﻟا . ﺔﻤﻳﺪﻘﻟا ﺔــﻳﺮﺼﻤﻟا ﺔﻴﻨﻔﻟا ﻊــﻄﻘﻟا اﺪــﻠﻘﻣ ،ﺔــﻳواﺮﺤﺼﻟا ﻪــﺘﻴﻔﻠﺧ ﺔﻠﻤﺘﻜﻤﻟا

اﺬﻫ ﻲــﻓ ،لﺎــﻤﺠﻟا ﺖــﻟﻮﺤﺗ ﺮﻴﻏ ﺔﻠــﺴﻤﻟا ﻊﻘﺗو ،عر ﺲﻤــﺸﻟا ﻪﻟإ ﻰﻟإ ،ﺔﻳﺮﺼﻤﻟا ﺮﻴﻃﺎــﺳ ا ﻲﻓ ،ﺔﻠــﺴﻤﻟا ﺰﻣﺮﺗ ناﻮــﺳأ ﻲﻓ ﺔﻓوﺮﻌﻣ ﺔﻤﻳﺪﻗ ﺔﻠــﺴﻣ ﺮﺒﻛأ ﻲــﻫو ،ناﻮــﺳأ ﺮﺟﺎﺤﻣ ﻦﻣ ﺔﻴﻟﺎﻤــﺸﻟا ﺔــﻘﻄﻨﻤﻟا ﻲــﻓ ﺔــﻠﻤﺘﻜﻤﻟا

ZEINA B A LHASHEMI CA M O UL F L AG E 1.618: T HE U N F INISHED OBELISK

Photo: MO4 Network

Zeinab Alhashemi is an Emirati conceptual artist based in Dubai. Since graduating from Zayed University with a BA in arts and science specialising in multimedia design, she has become known for her large-scale contemporary site-specifc installations. Alhashemi is fascinated with capturing the transformation of the UAE and examines the contrast and interdependence between the abstract, geometric shapes of urbanism and the organic forms associated with her country’s natural landscape. Since the days of Alhashemi’s childhood, the familiarity of traditional scenery and nature has largely been disturbed to facilitate the rise of the man-made. In her experimental installations, she searches for a new identity appropriate to the modern condition and deconstructs the viewers’ understanding of their surroundings, introducing an alternative point of view, and creating a new perception of that reality. Drawing inspiration from the natural topography of the UAE, Alhashemi experiments with a variety of materials to position the viewer over the intangible boundary between the natural and the artifcial. While colour and texture make her work reminiscent of the traditional landscape, such familiarity is disturbed by the striking contrast of industrial materials that remind the viewer of human interference. Alhashemi’s work captures the essence of her homeland today, striking a delicate balance between modernism and tradition in an unexpectedly harmonious coexistence. She has participated in numerous art fairs and festivals such as Sikka Art Fair, Dubai Design Week, and Sharjah Biennial 11 and was recently commissioned by the Institute de France and the Department of Culture and Tourism (DCT) Abu Dhabi to showcase her work at the inauguration of the Louvre Abu Dhabi. Currently she is one of the artists in residence for SETI-Institute in San Francisco, and her work was featured in EXPO2020 Dubai at the Sustainable Pavilion. She also participated in Desert X in AlUla, KSA in 2022.

ﺬﻨﻣ ﺖﻓﺮﻋ ﻲــﺑد ﻲﻓ ﺔﻤﻴﻘﻣ ﺔــﻴﻤﻴﻫﺎﻔﻣ ﺔﻴﺗارﺎﻣإ ﺔــﻧﺎﻨﻓ ﻲﻤــﺷﺎﻬﻟا ﺐــﻨﻳز نﻮﻨﻔﻟا ﻲﻓ سﻮــﻳرﻮﻟﺎﻜﺒﻟا ﺔﺟرد ﻰــﻠﻋ ﺎﻬﻟﻮﺼﺣو ﺪﻳاز ﺔــﻌﻣﺎﺟ ﻦــﻣ ﺎــﻬﺟﺮﺨﺗ ةﺮﺻﺎﻌﻤﻟا ﺎــﻬﺗاﺰﻴﻬﺠﺘﺑ ،ةدﺪــﻌﺘﻤﻟا ﻂﺋﺎــﺳﻮﻟا ﻢﻴﻤﺼﺗ ﺺﺼﺨﺗ ﻲــﻓ مﻮــﻠﻌﻟاو طﺎﻘﺘﻟﺎﺑ ﺔــﻧﻮﺘﻔﻣ ﻲﻤــﺷﺎﻬﻟا ﺐﻨﻳز . دﺪﺤﻣ ﻊﻗﻮﻤﺑ ﺔــﺻﺎﺨﻟا ةﺮــﻴﺒﻜﻟا مﺎــﺠﺣ ا تاذ ﺔﻳدﺎﻤﺘﻋﻻاو ﻦــﻳﺎﺒﺘﻟا ﺪﺻرو ةﺪﺤﺘﻤﻟا ﺔــﻴﺑﺮﻌﻟا تارﺎــﻣ ا ﺔﻟود ﻰﻠﻋ أﺮﻄﻳ يﺬــﻟا لﻮــﺤﺘﻟا ﺔﻳﻮﻴﺤﻟا لﺎﻜــﺷ او ناﺮﻤﻌﻠﻟ ﺔﻴــﺳﺪﻨﻬﻟاو ةدﺮﺠﻤﻟا لﺎﻜــﺷ ا ﻦــﻴﺑ ﺔــﻟدﺎﺒﺘﻤﻟا ﺪﻫﺎــﺸﻤﻟا ﺖــﺷﻮﺸﺗ ،ﺔﻧﺎﻨﻔﻟا ﺔﻟﻮﻔﻃ ﺬﻨﻣ ﺎــﻫﺪﻠﺒﻟ ﺔــﻴﻌﻴﺒﻄﻟا ﺮــﻇﺎﻨﻤﻟﺎﺑ ﺔــﻄﺒﺗﺮﻤﻟا ﻮﻫ ﺎﻣ رﻮﻬﻈﻟ لﺎــﺠﻤﻟا ﺔﺣﺎﺗ ﺮــﻴﺒﻛ ﺪﺣ ﻰــﻟإ ﺔــﻴﻌﻴﺒﻄﻟاو ﺔــﻓﻮﻟﺄﻤﻟا ﺔــﻳﺪﻴﻠﻘﺘﻟا

داﻮﻤﻟا ﻦﻣ ﺔــﻋﻮﻨﺘﻣ ﺔــﻋﻮﻤﺠﻣ ﻰــﻠﻋ برﺎــﺠﺗ نﻼﻌﺠﻳ ﺲﻤﻠﻤﻟاو نﻮــﻠﻟا نأ ﻦﻴﺣ ﻲــﻓو . ﻲﻋﺎﻨﻄﺻﻻاو ﻲــﻌﻴﺒﻄﻟا ﻦــﻴﺑ ﺔــﺳﻮﻤﻠﻤﻟا شﻮــﺸﺘﺗ ﺔﻔﻟ ا هﺬﻫ نﺈﻓ ،ﺔﻳﺪﻴﻠﻘﺘﻟا ﺔــﻴﻌﻴﺒﻄﻟا ﺮــﻇﺎﻨﻤﻟا تﺎــﻳﺮﻛﺬﺑ ﻼــﻓﺎﺣ ﺎــﻬﻠﻤﻋ يﺮــﺸﺒﻟا ﻞﺧﺪﺘﻟﺎﺑ ﺪﻫﺎــﺸﻤﻟا ﺮﻛﺬﺗ ﻲﺘﻟا ﺔﻴﻋﺎﻨﺼﻟا داﻮــﻤﻠﻟ ﻞــﻫﺬﻤﻟا ﻦــﻳﺎﺒﺘﻟا ﺐﺒــﺴﺑ ﺔﺛاﺪﺤﻟا ﻦﻴﺑ ﺎــﻘﻴﻗد ﺎﻧزاﻮﺗ ﻖــﻘﺤﺗ ﺚﻴﺣ ،مﻮﻴﻟا ﺎــﻬﻨﻃو ﺮﻫﻮﺟ ﺐــﻨﻳز ﻞــﻤﻋ ﺪــﺴﺠﻳ ﺪﻳﺪﻌﻟا ﻲﻓ ﺖﻛرﺎــﺷ ﻊﻗﻮﺘﻣ ﺮﻴﻏ ﻞﻜــﺸﺑ ﻢﻏﺎﻨﺘﻣ ﺶــﻳﺎﻌﺗ ﻲــﻓ ﺪــﻴﻟﺎﻘﺘﻟاو ﻲﺑد عﻮﺒــﺳأو ،ﻲﻨﻔﻟا ﺔﻜــﺳ ضﺮﻌﻣ ﻞﺜﻣ تﺎﻧﺎﺟﺮﻬﻤﻟاو ﺔــﻴﻨﻔﻟا ضرﺎــﻌﻤﻟا ﻦــﻣ ﻲــﺴﻧﺮﻔﻟا ﺰﻛﺮﻤﻟا ﻞﺒﻗ ﻦﻣ اﺮــﺧﺆﻣ ﺎﻬﻔﻴﻠﻜﺗ ﻢــﺗ .١١ ﺔﻗرﺎــﺸﻟا ﻲــﻟﺎﻨﻴﺑو ،ﻢــﻴﻤﺼﺘﻠﻟ

Photo: Simon Berger on Unsplash

JR I NSIDE O UT G I Z A

Interactive Photobooth 11 m x 11 m x 7 m 2022

Inside Out Giza is the frst Inside Out Photobooth installation in Egypt – every participant will visit the pyramid-shaped interactive photobooth and receive a large-scale black and white portrait, that will be pasted onto billboards in front of the Great Pyramids of Giza, making an ephemeral personal statement in front of timeless monuments.

JR I NSIDE O UT G I Z A

Photo: Hesham Al Saif

JR exhibits freely in the streets of the world, catching the attention of people who are not typical museum visitors, from the suburbs of Paris to the slums of Brazil to the streets of New York, pasting huge portraits of anonymous people, from Kibera to Istanbul, 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; 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 homeless and refugees in Paris; and a gigantic installation at the US-Mexico border fence. As he remains anonymous and doesn’t explain his huge fullframe 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...

ﻞﺼﺣ

يﺎﻬﻐﻨــﺷ ﻰﻟإ سﻮﻠﺠﻧأ

ﻰﻔــﺸﺘﺴﻣ ﻪﻴﺟ ن اﺮﻈﻧ .ﻚﻴــﺴﻜﻤﻟاو ةﺪﺤﺘﻤﻟا تﺎﻳﻻﻮﻟا ﻦﻴﺑ يدوﺪﺤﻟا جﺎﻴــﺴﻟا ﺪﻨﻋ ﺔﻗﻼﻤﻋ ةﺄــﺸﻨﻣو ،ﺲﻳرﺎﺑ ،ﻞﻣﺎﻜﻟﺎﺑ ةﺮﻃﺆﻤﻟا ﺔﻤﺨﻀﻟا ﺔﻴﺼﺨــﺸﻟا رﻮﺼﻟا عوﺮــﺸﻣ حﺮــﺸﻳ نأ ﺪﻳﺮﻳ ﻻو ،ﻻﻮﻬﺠﻣ ﻞﻈﻳ نأ دﻮﻳ رآ وﺮــﺴﻔﻣ ،نﻮﻘﻠﺘﻤﻟا يأ ةرﺎﻤﻟا ﻦﻴﺑو ،ﻞﻄﺒﻟا يأ عﻮﺿﻮﻤﻟا

Achievements

2021 JR: Chronicles, solo exhibition, Saatchi Gallery, London, UK

2021 Eye to the World, solo exhibition, PACE, London, UK

2021 Greetings from Giza, Forever Is Now, Art D’Égypte, Cairo, Egypt

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

Represented by Perrotin, Pace, Galleria Continua, and Galeria Nara Roesler.

L ITER OF L IGHT T HE P OWER I S Y OURS

Hand-built solar lights assembled by women cooperatives from the UNESCO heritage city of Safi, Morocco; youth; and volunteers. 25 m x 25 m 2022

‘The Power Is Yours’ is one of the most iconic rallying calls for the environment which began 30 years ago with Captain Planet, the frst multi-racial environmental children’s series. Although it only aired for six seasons, this Saturday morning program deviated from the previous focus on a Western-centric hero and is still remembered as the frst exposure to a generation of youth around the world about environmental issues.

The upcoming conference on climate change shifts the perspective of climate issues, allowing voices from Africa, the Middle East, and Asia to be able to be a greater part of the narrative.

This participative solar art installation comprises 1,200 lights built with sustainable materials, pottery, and upcycled plastic bottles, assembled in collaboration with youth volunteers who will each give 30 minutes to make a solar light that lasts for fve years. The lamps for the installation are being produced by a cooperative of 200 ceramic potters from the city of Saf, Morocco, which recently received recognition from UNESCO as a world city for the ceramics industry.

In this collaborative project with SHEMS for Lighting, we are hoping to produce multiple renditions of this human-powered billboard during Forever Is Now .02 , as well as in cultural heritage sites around the region, creating a global link between UNESCO sites to amplify youth voices and express a collective hope for the future, a future where each person knows that they have the power to make a difference.

ﻖــﻳﺮﻃ

ﻢﻟﺎﻌﻟا بﺎﺒــﺷ

ﻞﻴﺟ ﻊــﻣ ﺔــﻴﺌﻴﺒﻟا ﺎــﻳﺎﻀﻘﻟا ﺶــﻗﺎﻨﻳ رﻮﻈﻨﻣ ﻦﻣ خﺎــﻨﻤﻟا ﺮﻴﻐﺗ لﻮــﺣ مدﺎﻘﻟا ﺮﻤﺗﺆﻤﻟا ل ّ ﺪــﺒﻳ ﻚﻟﺬﻛ . بﺮﻐﻟا ﻦــﻣ ﺲــﻴﻟ نأ ﺎﻴــﺳآو ﻂــﺳو ا قﺮــﺸﻟاو ﺎﻴﻘﻳﺮﻓإ ﻦﻣ تاﻮﺻ ﻟ ﺢﻤــﺴﻳ ﺎﻤﻣ ،خﺎﻨﻤﻟا ﺎﻳﺎﻀﻗ ﺔﻴﻀﻘﻟا ﻦــﻣ ﺮﺒﻛأ اءﺰﺟ ﻞﻜــﺸﺗ ﻰﻠﻋ ﻲﻛرﺎــﺸﺘﻟا ﻲﻨﻔﻟا ( ﻦــﺸﻴﻠﺘﺴﻧﻻا ) غاﺮﻔﻟا ﻲــﻓ ﻞﻴﻜــﺸﺘﻟا اﺬﻫ يﻮــﺘﺤﻳ دﺎﻌﻣ ﺔﻴﻜﻴﺘــﺳﻼﺑ تﺎﺟﺎﺟزو رﺎــﺨﻓو ﺔﻣاﺪﺘــﺴﻣ داﻮﻣ ﻦﻣ نﻮــﻜﻣ حﺎــﺒﺼﻣ ١٢٠٠ ﻢﻬﻨﻣ ﻞﻛ ﺢــﻨﻤﻳ بﺎﺒــﺷ ﻦﻴﻋﻮﻄﺘﻣ ﻊﻣ نوﺎــﻌﺘﻟﺎﺑ ﺎــﻬﻌﻴﻤﺠﺗ ﻢــﺗ ،ﺎــﻫﺮﻳوﺪﺗ جﺎﺘﻧإ ﻢﺘﻳ . تاﻮﻨــﺳ ﺲﻤﺨﻟ ﻪﺗرﺎﻧإ ﺮﻤﺘــﺴﺗ ﻲــﺴﻤﺷ حﺎﺒﺼﻣ ﻊــﻨﺼﻟ ﺔــﻘﻴﻗد ٣٠ ﻦﻣ ﺔﻧﻮﻜﻣ ﺔــﻴﻧوﺎﻌﺗ

Liter of Light is an ambassador of the UNESCO International Day of Light. A grassroots solar lighting movement, the organisation teaches people about the challenges we face by sharing innovations that inspire action and build climate resilience.

Liter of Light’s hand-built solar lighting technologies create local jobs, teach green skills, and empower energy-poor communities. Rather than depending on imported, patented, and expensive technologies, its work embodies the principle that anyone can become a solar engineer. Since 2013, the organisation has empowered over one million lives a year across 32 countries.

‘Light It Forward’ – the hybrid digital/offine campaign that Liter of Light launched in 2020 – has given thousands of people a new way to create a more sustainable future. By inviting people to assemble hand-built solar lights, ‘Light it Forward’ reminds each person that they have the power to make a positive impact in the world. The campaign has engaged over 4,000 people and empowered over 75,000 families.

To show the power of collective action, Liter of Light takes its hand-built solar lights and creates some of the largest solar artworks in the world. Through these large-scale lighting installations, the organisation inspires people that innovation can come from anyone, anywhere.

صﺎﺨﻟا ءﻮﻀﻠﻟ ﻲﻤﻟﺎﻌﻟا مﻮﻴﻟا ةﺮﻴﻔــﺳ ﻲﻫ "رﻮﻧ ﻦﻣ ﺮﺘﻟ" وأ ﺖــﻳﻻ فوأ ﺮــﺘﻴﻟ ﻒﻴﻘﺜﺘﺑ ﺔﻤﻈﻨﻤﻟا مﻮﻘﺗ ﺚﻴﺣ ،ﺔﻴــﺴﻤﺸﻟا ةءﺎﺿ ﻟ ﺔﻴﺒﻌــﺷ ﺔﻛﺮﺣ ﻲﻫو ،ﻮﻜــﺴﻧﻮﻴﻟﺎﺑ ﻢﻬﻠﺗ ﺪﻗ ﻲﺘﻟا تارﺎﻜﺘﺑﻻا ﺔﻛرﺎــﺸﻣ ﻖﻳﺮﻃ ﻦﻋ ﺎﻬﻬﺟاﻮﻧ ﻲﺘﻟا تﺎﻳﺪﺤﺘﻟا ﻦــﻋ سﺎــﻨﻟا .خﺎﻨﻤﻟا ﺮﻴﻐﺗ ﻊﻣ ﻞﻣﺎﻌﺘﻠﻟ ﺔــﻧوﺮﻣ ﻖﻠﺨﻟو ﻞﻤﻌﻠﻟ سﺎــﻨﻟا

Achievements

2020 Shedding Light on the United Nations Sustainable Development Goals, Makati City Hall and Bonifacio Global City, Metro Manila, Philippines

2020 Light It Forward: Messages of Hope, San Juan, Mandaluyong and Pasay City, Metro Manila, Philippines

2021 Another World Is Possible, Castello Sforzesco, Milan, Italy

2021 Action, Not Words, University of Saint Andrews, St Andrews, Scotland

2021 The Time Is Now, Mission Possible, Opportunity Pavilion, EXPO2020, Dubai, United Arab Emirates

2022 The Future Is In Our Hands, Dar Sultan, Saf, Morocco

Christopher Noey

For over 2,000 years, the monumental traces of ancient Egypt have humbled travellers along the Nile. In their presence, we find ourselves – archaeologist or artist, local Egyptian or curious visitor – staring into the immensity of history and wondering if ancient Egypt has a message for us. In the two centuries since the Rosetta Stone began to unlock the culture of ancient Egypt, and the sands revealed its treasures, we have asked, who were these people? What can they teach us? With each new archaeological discovery, we search not only for glimpses of that vanished world, but for clues to making sense of our own contemporary culture.

Much of the evidence for the culture of ancient Egypt comes from the tombs and memorial structures that elite patrons constructed to insure a safe passage into the afterlife. Labels at archaeological sites or in museums often tell us that we are witnessing daily life in ancient Egypt, but I approach these objects as extraordinary examples of installation art (even if there was no word for art or religion in this ancient culture). There is no doubt that this material can reveal much to us about life along the Nile millennia ago 1. For example, the Metropolitan Museum of Art in New York and various museums in Egypt contain near perfectly preserved models discovered in the Middle Kingdom tomb of Meketre 2. Among them are tantalizing glimpses of the cattle census used for levying taxes (Fig. 1a), a granary at work (Fig. 1b), and the production of beer and bread (Fig. 1c).

Alongside these quotidian depictions, other, more spiritual realms are represented. The models are also inhabited by a preponderance of priests with shaved heads attending to Meketre’s spirit, and some of the enchanting boats (Fig. 1d), while modelled on those that traversed the Nile, are transporting Meketre on his journey to the afterlife. The two statues found in the tomb that show women striding forward with offerings on their heads are both personifications of Meketre’s estates and, as evidenced by their sumptuous feather dresses (Fig. 1e), the funerary goddesses Isis and Nephthys who are on hand to protect the deceased. Viewed as a whole, the ensemble of models slides from concrete representations of daily life into the consecrated realm of the afterlife.

Fig. 1a Model of a Cattle Census. The Egyptian Museum, Cairo, JE 46724. Image courtesy of the author.

Fig. 1b Model of a Granary with Scribes. ©The Metropolitan Museum of Art, Rogers Fund and Edward S. Harkness Gift, 1920.

Fig. 1c Model Bakery and Brewery.

©The Metropolitan Museum of Art, Rogers Fund and Edward S. Harkness Gift, 1920.

Fig. 1d Traveling Boat being Rowed. ©The Metropolitan Museum of Art, Rogers Fund and Edward S. Harkness Gift, 1920.

Fig. 1e Estate Figure. ©The Metropolitan Museum of Art, Rogers Fund and Edward S. Harkness Gift, 1920.

Meketre’s tomb furnishings convey layers of meaning and are an immersive experience stitched together, like any great work of art, by flexible threads of interpretation as we ponder what is real and what is ideal. Long before installation art of the 1960s sought strategies to dissolve the line between art and life, these models suggest that for the ancient Egyptians, the everyday and the eternal were present simultaneously.

Fig. 2 Nebamun Hunting, Thebes, ca. 1350 BC. ©The Trustees of the British Museum

While we can learn a great deal about daily life from looking at Egyptian art, that is not to say that it is about daily life. The wall paintings from the New Kingdom tomb chapel of Nebamun now in the British Museum illustrate the point 3. In a marsh teeming with birds and fish, Nebamun is on a papyrus boat hunting (Fig. 2). He is rendered with the usual conventions of Egyptian art: the shoulders and eye are seen head on; the head, legs, belly, and nipple are seen from the side; and in general, there is an acceptance of the physically impossible, such as positioning the arms with the back sides of both fists facing forward. In accordance with his status, Nebamun is much larger than both his daughter seated between his legs and his demure and sumptuously attired wife whose elaborate wig is considered an erotic signal. According to the hieroglyphic caption, Nebamun is ‘enjoying himself and seeing beauty’. Depicting the head in profile resonates with authority; in the words of Isak Denison, ‘The profile is the true face of the king’, as does lifting his arms to recall the ‘smiting’ pose of a victorious pharaoh. We are not witnessing a ‘heroic’ encounter in which the outcome is in question but, one in which the outcome is a foregone conclusion 4. This is an idealised setting where order

prevails over chaos: even the marsh reeds are bunched with exquisite precision except for the few that bend improbably to support a cat. For the Egyptians, the marsh is a place of rejuvenation and rebirth, and the image pulses with life. It feels like a dream, and, very likely, it was wish fulfilment, because successful bureaucrats like the temple accountant Nebamun were more likely to spend their days working away in offices than hunting in the marshes 5

Fig. 3 Cast photo for the American television comedy Leave It to Beaver , ca. 1959. Image courtesy of the author.

But is it believable as a glimpse of daily life? No less believable than the imagery concocted for American television shows like Leave it to Beaver , a light comedy about family life in the 1950s and ‘60s in which the challenges, like Nebamun’s, are always overcome. These archetypes of domestic bliss were seductive in their time, if less convincing to contemporary eyes. Interestingly, only after revisiting Nebamun Hunting did I notice how the Leave it to Beaver father, Ward Cleaver, occupies the foreground of this 1959 photograph rendering him slightly larger than everyone else in the family (Fig. 3). Mrs. Cleaver’s pearl necklace is plausible, if improbable, for a housewife at home with her family. Are the pearls also sexy, in their own way, like the wig worn by Nebamun’s wife’s? Plus ça change…

When an image like Nebamun Hunting captures our imagination and rings true to us, what allows us to take that leap of faith when reason tells us to distrust the visual signs? Whatever prayers and incantations consecrated these images, it is probably the magic of harmonious proportions and artistic skill that still speaks to us across the millennia.

They are what breathes life into these images and inspires us to ask, who were they? What did they love? We feel how powerfully they long for a rich afterlife. On the walls of a tomb, it becomes a reality.

From our contemporary perspective, the ancient Egyptian attention to the afterlife might seem obsessive. Today, we can experience an awe-inspiring silence in sites like Saqqara and the Pyramids, where the crowds of tourists are dwarfed by the monuments. Yet imagine how lively these places were thousands of years ago when they felt more like the business district of a busy city. Enormous building projects were underway, whether a pyramid complex for the current pharaoh or the tombs of the elite nearby; water and food supplies grown elsewhere were transported in for the workers; priests and the families of the deceased ‘commuted’ from their homes in Memphis, for example, to make offerings of food and to perform life-renewing rituals, both of which were augmented by the work of artisans whose wall decorations and furnishings would provide the deceased with everlasting sustenance in the hereafter.

Fig. 4 Image courtesy of the author

Ancient Egyptians, some as young as teenagers, began constructing their tombs as soon as they had the means. For elite patrons like Meketre or Nebamun, the wall decorations or furnishings were intended to provide safe passage and eternal supplies of abundance and pleasure in the afterlife. These spaces remind me of today’s social media where, beginning at a young age, participants construct a digital world that is more perfect, more exciting, more envy-inducing than the prosaic details of everyday life. However forthright the user of social media may be, there’s always a discrepancy between the digital

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and the real. A survey of Instagram posts – my own included – reveals images much like those on the walls of a tomb: beautiful destinations far away from the workplace, idealised poses, happy relationships, wondrous things that intrigue our imaginations, and far too many images of food (Fig.4). For many social media users, a good portion of the day is devoted to the care and feeding of these digital spaces that are as real to them as the tombs constructed for the afterlife were to the Egyptians. The desire for these ideal spaces transcends time and culture.

Admittedly, enormous differences separate our contemporary culture from the belief systems of ancient Egypt, where images were an essential component of the religion and could be activated to host a god or the spirit of the deceased, thereby influencing events in the terrestrial realm. But the Egyptian belief that creating an image can be an act that consecrates and eternalises has lived on in various ways. This has sometimes been a threatening proposition, given our history of iconoclasm and censorship in many forms. Yet the extraordinary power of images is exactly where my attraction to ancient Egypt, contemporary art, and even Instagram overlap: they allow me to enter a new space, spend time in the presence of heartfelt belief, and come away inspired to see the world in a new way.

[1] There is extensive literature on daily life in ancient Egypt, including Nora Scott, ‘The Daily Life of Ancient Egyptians’, The Metropolitan Museum of Art Bulletin , v. 31, no. 3 (Spring, 1973).

[2] Recent discussions of finds from the tomb of Meketre, Thebes (ca. 1981–1975 BC) can be found in Adela Oppenheim, Dorothea Arnold, Dieter Arnold, and Kei Yamamoto, Ancient Egypt Transformed: The Middle Kingdom , (The Metropolitan Museum of Art, New York, 2015).

[3] Richard Parkinson, The Painted Tomb Chapel of Nebamun (British Museum, London, 2008) for a recent comprehensive study.

[4] David Graeber and David Wengrow, The Dawn of Everything: A New History of Humanity (Farrar, Straus and Giroux, New York, 2021), 414–418.

[5] Barry Kemp, Think Like an Egyptian: 100 Hieroglyphs (Penguin Group, New York, 2005), 23.

A RT & A RCHITECTURE BEFORE THE G REAT P YRAMIDS

Ashraf Mohie Eldin Mohamed

Art and architecture in ancient Egypt served the cults and beliefs of the ancient Egyptians about the afterlife. They called their tombs ‘houses of eternity’ and considered that real life began after earthly death. The evolution of funerary practices mirrors the development of art, architecture, science, and astronomy that led to the magnificence that is the Giza Plateau.

Starting in the Predynastic Period (ca. end of the 4th millennium BC), we find many graves discovered at Saqqara and Abydos that consist simply of a pit for the dead person marked with a mound that resulted from the digging of the pit. The body was wrapped inside goat leather, with the face looking to the east (sunrise) and the head directed to the south (the flooding of the Nile).

The second stage was during the Proto-dynastic Period. The pit started to be wider, with two levels, the upper one for the corpse while the lower contained food jars. The sides were supported by matting and it was roofed with wood. The mound was well made, and a funeral slab was provided.

During the Archaic Period (Dynasties 1 and 2; ca. 3100–2686 BC), Egypt became a hub of political affairs after King Narmer unified the two lands of Egypt. The development of writing progressed, and the arts served the policy of the state by recording and depicting the victories of the kings. Architecture also evolved with the tombs of both royalty and elites acquiring a superstructure above ground level made of mud brick and roofed with wood supported

by columns in grooves. The tomb of Ling Hor-Aha, Dynasty 1, contains 25 chambers, for example.

The Genius of Imhotep

The third stage is considered a revolution and took place during the reign of King Djoser (Dynasty 3, ca. 2630–2611 BC) and his architect Imhotep. Not only an architect, but also an astronomer, doctor, seer, and high priest of Iwnw, Imhotep was a common man from Atribes city who by dint of his education, wisdom, knowledge, and innovative thinking became the architect responsible for the most important project commissioned by the king. His memory survived throughout Egyptian history, and he was worshipped as a god during the New Kingdom; scribes even used to pour out two drops of ink before starting to write in honour of his memory.

Imhotep introduced a new material: He used stone instead of mud and wood but made the stone resemble these older elements. The new material was hard; however, the craftsmen were extraordinary talented in shaping it. The ceilings of the funeral complex elements displayed grooves with the columns carved to form papyrus bundles tied with rope and the crowns shaped like lotus and papyrus fowers. This transition shows us the continuity from one phase to another and how the classical elements were maintained despite the difference in material.

Another of Imhotep’s great developments in architecture was to rebel against the classical rectangular shape of the mastaba tomb by creating the (step) pyramid design. He started with the classical rectangular mastaba and then added additional ones in decreasing sizes, creating six great steps in one single building for the first time in human history.

The above ground structure of the Djoser pyramid complex is only one part of the story, however. Imhotep created an underground structure on a scale previously unknown, quarrying out more than 5.7 km of shafts, tunnels, chambers, galleries, and magazines. A central corridor and two parallel ones extend over 365 meters connecting 400 rooms. A stairway from a descending passage takes a series of turns ending in a chamber considered a piece of art. Here the craftsmen added exquisite decoration: rows of blue faience tiles with raised bands of limestone that simulate a reed-matt structure. The tunnels run around a great central shaft (depth 28 m, width 7 m) which was dug as

the burial chamber. Its bottom is of red granite slabs, and it contains the sarcophagus of King Djoser. The vaulted ceiling is painted blue with yellow stars to simulate the sky, so that while the body of the king rests at the bottom of the shaft his ba is flying in the sky with his ancestors.

Around 40,000 stone vessels were discovered in the galleries belonging to ancestors of Djoser. The life size statue of Djoser discovered in a serdab at the northern side of the Step Pyramid – now at the Egyptian Museum in Cairo – is made from limestone with inlaid eyes of obsidian and quartzite and bears traces of colour. The cedar wood panels discovered in the tomb of Hesy-Ra, titled 'Great of the Dentists' is similarly impressive and depicts him at three different stages of life in exceptional carved high reliefs characterised by the symmetry of the Old Kingdom. These finds demonstrate the magnificence of the art of the period in parallel with Egypt’s ascendance at the time in areas such as architecture, politics, writing, and science.

The Evolution of the Pyramids

During the short 150 years of Dynasty 4 (ca. 2575–2465 BCE), the kings achieved a building programme of such awesome scope and intensity that it remains unequalled in the recorded history of humanity. In addition to design, project infrastructure, engineering, labour management, and material administration, they quarried, moved, fitted, dressed, and mortared approximately 16.5 million tons to build the seven largest and most enduring of all Egyptian pyramids.

King Sneferu, the founder of Dynasty 4 ruled ca. 44 years and sent many military campaigns to the south, east, and west to establish the first Egyptian empire. His efforts were reflected in the economy of the country and in turn on the architecture and arts. He built three colossal pyramids: one at Meidum and two at Dahshour, the Bent Pyramid and the Red Pyramid.

Sneferu’s architect initially planned to imitate the first and largest pyramid of his time, the Step Pyramid of Djoser, in Maidum (close to Fayoum). He built five steps, but in the Year 15 of the reign of Sneferu, the king abandoned Meidum to start a new pyramid at Dahshour (in Giza), and only returned after 15 years to fill the spaces between the steps, which produced a pyramid of three levels.

The Bent Pyramid at Dahshour is unique among pyramids in that it has two internal structures, with entrances on the northern and western sides. From the north side, a long sloping passage leads to a narrow antechamber with an impressive, corbelled roof. The burial chamber is located on a higher level with an entrance about 26 m above the floor of the antechamber. The second passage runs from the west through a portcullis blocking system to another corbelled burial chamber.

After the experience of the Bent Pyramid, the desire for a ‘real’ pyramid took hold of King Sneferu, who went on to commission the Red Pyramid, also in Dahshour. Dubbed the ‘first true pyramid’, it is a continuation of the developments seen at Meidum and the Bent Pyramid. A long descending passage leads to two almost identical tall antechambers with corbelled ceilings of great finesse, technically far more advanced than those at Meidum. A horizontal passage from the second antechamber leads high up to the burial chamber located in the masonry of the pyramid.

Art in the reign of Sneferu was equally impressive and can be seen particularly in the tomb of Nefer-ma’at with its famous scenes of the Meidum goose and in the magnificent statues of Prince Ra- Hotep and his beautiful wife Nefert, both at the Egyptian Museum in Cairo.

The Giza Plateau

From Sneferu to Khufu there was a kind of struggle to raise the chambers from either under or ground level into the body of the pyramid itself. Maybe this is a reflection of the increasing identification of the king not just with Horus who soars above creation, but with the sun ( Ra) and its rays of which the pyramid is a symbol. The pervading belief was that 'if you can build a pyramid, you can do anything.'

The pyramids of the Giza Plateau were built over a span of three generations by Khufu, his second-reigning son Khafre, and grandson Menkaure. Those three pyramids mark the high point of this type of royal tomb and stand out from all the rest. They aren’t solely buildings but elements of a funeral complex which, in addition to its pyramid, comprises a mortuary or upper temple built against the pyramid’s eastern side (only the basalt base survives in the case of Khufu; those of Khafre and Menkaure are well preserved and are the most complete

two examples from the pyramids age) and a valley or lower temple serving as a portal to the entire complex and situated, as its name suggests, below the desert plateau near a funerary harbour and linked to the mortuary temple by a sloping causeway several hundred meters long.

The best-preserved cult complex is of Khafre, but because of the absence of any kind of decoration in either the granite temple or the mortuary temple, we cannot be certain what ceremonies took place there. It was originally supposed that the king was mummified inside the valley temple while the rites were celebrated in the mortuary temple, but it now seems more likely that the valley temple served as a setting for purification rites, while in mortuary temples, the cult of the dead king was perpetuated after his burial.

Boat pits completed the funeral complex (although none have yet been found for Menkaure) and were located near the royal pyramid within an area that was marked out by modest enclosure walls. Five boat pits were discovered around the eastern and southern sides of Khufu’s pyramid but only the two pits on the southern side had real boats. Four pits were discovered around the upper temple of Khafre.

The small pyramids belonging to the king’s wives aren’t to be confused with the even smaller single pyramid known as the satellite or subsidiary pyramid even though its symbolic function is still not entirely clear to us.

The cities of the dead, although not strictly a part of the pyramid complex, were the private cemeteries lying alongside the pyramids, in particular Khufu’s (the eastern cemetery for the royal family and the western for the elites and officials). Some are very large and their regularly aligned rows form what look like a grid of streets. The American Egyptologist George Andrew Reisner saw them as cities for the spirits (the ka ) of the dead.

Those who were not buried inside a pyramid but in a rectangular tomb were free to depict daily-life activities on its walls, and there are many magnificent tombs in the Giza necropolis. The scenes depicted include everything from musical celebrations and farewell parties to the preparation of food, desert hunting expeditions, fishing in the Delta marshes, craftsmanship of every kind, land cultivation, and the preparation of wine and beer. Many objects of

different sizes and types – statues, vessels, false doors, amulets, and offering tables, among others – were discovered in the area and are proof of the great talent of the craftsmen during the age of the pyramids. Artists, craftsmen, and painters worked in groups in the royal workshops under a master supervisor, but it is rare to find any signature.

Beliefs create a need within the human heart to build sanctuaries and convert hopes and wishes into significant, tangible objects and masterpieces. Architecture and art become the conduits of those beliefs, motivating the development of new sciences to advance civilisations and spur development, reinforcing the conviction that that ‘from the past, the present was born; from the present, the future is created; and forever is now, continuing our civilisation’.

T HE F UTURE OF A RT

Thomas Girst

When it comes to the visual arts and what I think of the future of the visual arts, I want to start off with the last book I wrote titled All the Time in the World . It is about people taking their time, sometimes over decades, sometimes over centuries, and sometimes even over millennia. The French poet Charles Baudelaire wrote 150 years ago that we can communicate with each other through books, through the arts, through music, and across time. You pick up a book that was written 2,000 years ago, and it still may resonate deeply within you today. That is the power of the arts and the power of culture. One thing that got me to write this book about things taking time is a ca rtoon in an issue of The New Yorker that I picked up years ago. It's actually a little sad. There are two planets, and they're meeting. One of them is planet Earth. And the other is just a planet that turns to planet Earth and says, ‘What's wrong with you? You look sick’, and planet Earth says, ‘I got homo sapiens’. And then the other planet says, ‘Don't worry, it'll go away’.

We will go away, that is a fact … We’ve been here on this planet as we are today, for 40 of 50 thousand years, maybe a 100 thousand years. We will implode into the sun as it comes closer in about 5 billion years, but how long are we going to last as a species? The world will last, will we? So, while we are on this planet, I think there's a responsibility to protect what is beautiful. When we think about ugliness, we think of it always expanding. And when I say ugliness, I mean war, pollution, patriarchy, nationalism, autocracy. I mean dictatorships and xenophobia, censorship, not being able to speak your mind;

all these things that we are confronted with every single day. I'm not saying that art is a moral compass, but art is something that no other being on this planet can accomplish and thrive in, but we as humans can since we are able to relate to others. We can express these relationships through a brush or through words and make that expression last. We can make other people understand an experience without living it themselves just by looking at somebody’s work, through the arts and through literature. This is where the strength of the arts comes from. When ugliness spreads, we need to protect beauty.

Art is about creating meaning, about creating something meaningful, not merely adding to the bling-bling of the 60+ billion-dollar art market. It’s one thing to post images on your social media channels; where you have been, what makes you happy, what you eat. Yet there is something the avantgarde artist Marcel Duchamp once referred to as the ‘solitary explosion of man facing himself alone’. We all know exactly what that feels like. That's how the artist in the studio feels. They shouldn't give up what they have just because they are seeking fame, want to sell fast, or be represented by a certain gallery. After all, what is culture? It’s a refuge. A sanctuary of beauty and depth, of meaning and peace. A haven from the hustle and bustle of everyday life. Having said that, we enjoy indulging in distraction far too much. This turbo-capitalist ‘survival of the busiest’ leaves us frozen in a frenzied standstill. Even though the current signs of the times call for us to pause, we prefer to continue to whirl around in blind activity. We should not want to adhere solely to the performance-driven creed of better, richer, more beautiful, more powerful. It is art that renders the invisible visible, as Fabio Mauri said — thoughts and feelings, impressions and experiences. None of us need ever be lonely, for we all stand on the shoulders of giants. We can send signals to each other like lighthouses along the coast at night. Across cultures and ages, just as Baudelaire described it. We really can communicate with each other through the accomplishments of art, music, and literature over decades, centuries, and even millennia. Culture is both an offering and a demand. Not necessarily for more morality, but for more empathy. A cantata by Bach might allow us to comprehend God, just as Dostoevsky’s Raskolnikov allows us to understand a murderer. And when the performance artist Marina Abramović and her partner Ulay walked toward each other along the Great Wall of China for four thousand kilometres over 90 days, only to separate forever in the moment they passed each other, then we know just how infinitely wonderful and devastating love can be.

That said, I am very much aware that on average, only one in 100 art students will be able to live off their art. So, I always tell my students to get another job, which is fine. Not necessarily to fake it until you make it, but to get another job and do the arts on the side. I firmly believe in the ‘as well as’ and not in the ‘either/or’ approach to life. The German philosopher Friedrich Nietzsche once wrote that to be lightning, you have to be a cloud for a long time. That’s just beautiful because with everybody wanting to make an immediate impact, with everybody striving to be a bolt of lightning, they should know that they first must be a cloud. So, let's take the pressure off somewhat and focus a little more on what it is that we want, and what it is that we want to contribute.

Marshall McLuhan coined the phrase ‘Spaceship Earth’. At the time NASA announced their outer space program in the 60s, he argued that we are already in outer space and need not explore anything outside planet Earth. He said that ‘on spaceship earth, there's no passengers. There's only crew’. If we think of ourselves as crew members and not passengers, do we want to contribute to the ugliness, whichever way we define it, or do we want to contribute to beauty and with beauty, again, I don't mean that defined by a moral compass. I don't mean something that is just there for mere visual aesthetics or for pleasing the eye. It can be controversial and contentious. Art should lead us outside our comfort zone, it should question and broaden the parameters of our thinking. This is what makes us so beautiful as human beings on this planet. I cannot be anything but optimistic.

‘Every future needs a past’ is what the German philosopher Odo Marquardt once said, and it's interesting how the focus of the arts is now on employing the latest advances in technology. This is something the arts has always done. There is a lot going on in the digital realm, and art is no longer about wielding brushes. New things get picked up and old things get lost. Nobody today can paint today as well as, say, the Renaissance painters 400 years ago, but there's no longer the necessity of doing that. A lot of young artists are delving into new technology. Good artists make use of technology and not the other way around.

I was actually very happy to work with the great artist Cao Fei who created a BMW art car, adding to this amazing series of artists — from Andy Warhol to John Baldessari, from Jenny Holzer to the African Ndbele painter Esther Mahlangu — turning cars into art cars since 1975. Mahlangu created an art car not by turning an object of industrial design into an art object merely by

painting the surface. She created an app and used augmented and virtual reality. She created a video and music, all an integral part of what she considered her art car project. As a next step, we made all previous art cars available in the digital realm through an app that allows everyone to position those rolling sculpture anywhere, from the beach to the bathroom. We love to pay tribute to what is possible and only recently fed an algorithm 5,000 works of art of the past to create an ultimate AI masterpiece projected onto a car. This is just toying with what can be achieved. We always need to keep in mind what Hito Steyerl said: that when we talk about artificial intelligence, we also need to take into account artificial stupidity.

Another thing which I think of as a paradigm shift, at least for me, is that we brought art into the car, something that has never happened before. Cao Fei programmed something she called ‘Quantum Garden’ to be played as an art mode on the interior display of a car by the click of a button. It is rather beautiful and intricate with all these coloured lines looking like far away galaxies, almost breathing together and delving into each other and creating new circles and cycles of life and free-flowing energy.

Today, NFTs are in the red-hot centre of the art market, but to me, what matters is meaning and not so much surfing the next wave. I would advise younger artists to not only seek fame or fortune. And that is as much true for the artists themselves as it is for those who are looking at art, those who are buying, and those who are collecting. Ask yourself, what resonates deep within you? Let’s not limit the art and the artist by demanding exactly that same artwork that your best friend may proudly display on their wall at home. Maybe you can get to know the artist, maybe at a fair, maybe at an academy. Every museum director that I speak to around the world makes it very clear that when it comes to an audience, the future of an institution relies on that audience to be less affluent, less educated, and more diverse. I am a white middle-aged European male. The Eurocentric view of things that I grew up with is slowly giving way to a much more complex, much more heterogeneous perspective that considers other narratives. I also happen to believe that the future is female. This is also what I mean when I maintain how important it is to delve into other people's minds and to constantly broaden one’s horizon.

Marcel Duchamp said that ‘the great artist of tomorrow will go underground’. Contemporary and future art is something we may not even see or comprehend

as such because a lot of it is happening far from the trodden path. If you are interested in the arts, and you are interested in your pursuit of what is important to you, you might come across things that nobody else might have heard of. This is what I mean when I say we strive to take on the new; this is what I mean when I say, let's open this one up as much as we can. I do not wish to believe what Udo Kittelmann, the former director of the Nationalgalerie Berlin, once said that ‘art will reach its limits because it keeps losing its magic’. I would rather end on a positive note. Regardless of whether we talk about the year 2022 or the year 2220, the only journey that is worth undertaking is the one that is taking us deep down within ourselves. And that is sometimes the scariest place to go, but it's also the most adventurous. So be adventurous and don't think so much about parameters of how you define success. I do think that the visual arts have a great future ahead of them. Let’s not only protect but let’s also celebrate what makes us beautiful as human beings!

The above text is a transcript edited for clarity first published for an international audience as the inaugural BMW podcast 'The future according to…' on 31 March 2022.

T HE GREAT P YRAMIDS OF GI Z A

Z ahi Hawass

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?

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.

Image courtesy of the author.

Reprinted from the Forever Is Now 2021 catalogue with the kind permission of the author.

The Pyramids and the Sphinx: Remnants of a Lost Civilisation?

Some people believe that behind the greatness of ancient Egypt and the pyramids, there was a more ancient civilisation, 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 civilisation? 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 civilisation 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 civilisation 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 civilisation 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

GPR may show anomalies, these were interpreted as secret rooms. But it must be emphasised 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.

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 fnally 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.

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

Image courtesy of the author.

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 summarise 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.

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 organised households all over Egypt into participating in the building of the pyramid, providing the king with food (grain and beer) and labourers. This organisation confirms that the pyramid was the national project of the State. From the architectural point of view, the

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.

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.

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

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 theorise 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.

T HE K HAFRE P YRAMID C OMPLE X

Reprinted from the Forever Is Now 2021 catalogue with the kind permission of the author.

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 recognise Khafre’s pyramid.

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

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.

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.

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

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 symbolise 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

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.

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.

T HE A RT & A RTIFICE OF THE G I Z A P LATEAU

Reprinted from the Forever Is Now 2021 catalogue with the kind permission of the author.

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

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.

Fig. 2

The sun rises over the Great Pyramid and burns off a veil of fog. Image courtesy of the author.

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 visualise 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

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.

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

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’.

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.

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

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.

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).

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.

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.

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

Photo: Frances Dilks.

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.

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 confdence 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

the great Giza diagonal, and by sighting the line of his causeway straight east toward the foodplain, 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 .

R EFLECTIONS ON F OREVER I S N OW

the

Gemma Tully

Is Now

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.

While art and culture have revealed their social value during the pandemic, research by UNESCO and ICCROM 1 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 fght to maintain access to their ‘Cultural Rights’ as recognised 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.

Reprinted from

Forever

2021 catalogue with the kind permission of the author.

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 world 3. 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 minimise 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

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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.

[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.

[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

Reprinted from the Forever Is Now 2021 catalogue with the kind permission of the author.

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 flms. 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.

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’.

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

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

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 Infuence 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.

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

(1838) and The Fall of the House of Usher (1839) not only reveal his deep awareness of popular culture but might also be characterised 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 fction 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 author.

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.

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.

Music

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 author.

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

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 author.

Fig. 4 Art deco brooch, 'Dieu sur une feur de lotus', ca. 1925 Faience, diamonds, emeralds, rubies, and onyxes mounted in gold. Collection Cartier Genève. Image courtesy of the author.

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,

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

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

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

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

Photo: Rose Issa

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.

A N A RT FOR E TERNITY: ANCIENT EGYPTIAN ART —

A MODERN PERSPECTIVE

Reprinted from the Forever Is Now 2021 catalogue with the kind permission of the author.

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 to the cultural milieu from which they emanate: Greek art with its heroic realism of noble individuals and Gods in idealised 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 globalised 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) based on balloons twisted into shape to make a toy dog. His work seemingly trivialises art by seeking the banal and kitsch.

Julian Schnabel became known for his paintings on velvet and fo r canvases whose surface was built up of shattered crockery and other found materials, denoting 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 realisation 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 feeting 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 superfluous embellishment.

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.

Today, as one wanders in 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 civilisation and world view. Art was the medium used to resurrect the Egyptian conceptualisation 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). As a result of scarce resources, shrinking economy and political mayhem during the First Intermediate Period, the established artistic traditions of the Old Kingdom were shaken, but were nevertheless maintained with provincial variations, and later restored to their full glory during the Middle Kingdom. There were, undoubtedly, variations and innovations over the 5000-year-long journey of ancient Egyptian art, but it maintained its cardinal principles and remained recognisable and distinct throughout its history. There was also a resurgence of Old Kingdom canons after a millennium had passed since the pyramids were built by the artists of the Late Period (ca. 712–332 BC) in an effort to assert and preserve the Egyptian identity and integrity in the face of foreign invasions.

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. Bernard, a loyal friend to Van Gogh, lived in Cairo from 1893 to 1903 and became a close friend of Cezanne

in 1904. Among the modern artists, Bernard had the distinction of being the youngest and most innovative. He was also an accomplished art critic and poet. He worked with Paul Gauguin when the latter was at Pont-Aven. Bernard, together with Louis Anquetin, another French painter who was a contemporary of van Gogh’s, developed Cloisonnism, a painting style that had flat areas of intense colour bordered with thick outlines in black reminiscent of Egyptian art. Later, Bernard and Gauguin, and in part, Anquetin, worked closely together to formulate another painting style known as Synthetism, which exhibited synthetised colour schemes and forms, where two-dimensional flat patterns were emphasised, as in ancient Egyptian art. This was a way to break with the Impressionist theory and style (Fig. 1).

Fig. 1

Paul Gauguin

Ta Matete ( We Shall Not Go to Market Today ), 1892 Oil on canvas, 73.2 x 91.5 cm Kunstmuseum Basel, Switzerland. Image courtesy of the author.

Here unmistakably Egypt has been put to the artist’s own uses: the sequence of seated figures, all aligned and hardly overlapping, the combination of profile and frontal views, the rigid gestures, the long robes, the accentuated fingers, and the accented silhouettes all recall the intaglio reliefs of the temples of the Nile. ‘Line is a means of accentuating an idea’, said Gauguin. The clarity of the Egyptian technique, its rhythmic alternation of bodily contour and intervening space, its unifying harmony of proportion which allowed him both the ‘mystery’ of which he was so fond, and a grace without softness. All these appealed to the painter's sense of style.

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 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 recognisable angle, and these were then grouped together to create the whole. 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 sense of 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.

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 whereas the eyes and eyebrows are 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 recognisable. The creation of such two-dimensional images was not clearly just a matter of a logistical solution for rendering objects as twodimensional images, it was a means by which the properties, characteristics, attributes, or identifiers are combined to construct the ‘essence’ of the ‘being’ or ‘object’ unfettered by the observer’s point of view, independent of the vantage point, 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 onlooker. The image in ancient Egypt provided a comprehensive grasp of the object in the visual field and placed it in the metaphysical world of essences 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. 2

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. 2). Cubist paintings such as Picasso’s and Georges Braque’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. Cubism may then be regarded

Fig. 3

Georges Braque Pitcher and Violin , 1909–1910 Oil on canvas, 116.8 x 73.2 cm Kunstmuseum Basel, Switzerland Image courtesy of the author.

as an art of conception rather than perception. Braque’s Pitcher and Violin (Fig. 3) appears arbitrarily distorted, but it is not. One tactic that Braque uses here is depicting objects from multiple perspectives. While most of the 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 b oard has been flipped.

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 unrecognisable pieces in a monochromatic mosaic.

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. 4a). 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. 4b).

Fig. 4a

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. 4b

Henri Matisse

The Conversation , 1909 Oil on canvas, 177 x 217 cm The State Hermitage Museum, Saint Petersburg Image courtesy of the author.

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.

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 of Picasso’s works conjures in

Fig.5a

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.

Fig. 5b

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.

his own style the pictorial solutions used in ancient Egyptian paintings. The dancers from the tomb of Nebamun (Fig. 5a), shown mostly in profile but with traditional views of the collar, reveal movement in 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 also in a non-traditional configuration. Two of them are presented in frontal view, drawing the viewer to their circle, complemented with the traditional view of the other two musicians on the side. This masterpiece of composition and open 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. 5b), 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’s as a radical departure from traditional European painting, heralding the early development of both cubism and modern art.

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. 6a). This method was also used to depict movement by Marcel Duchamp in his Nude Descending a Staircase (Fig. 6b) and in the futuristic work by Giacomo Balla, Girl Running on a Balcony (Fig. 6c). Futurism was conceived 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.

Fig. 6a

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. 6b

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. 6c

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. 7a). 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. 7b). His work of the Bauhaus decade became increasingly geometric, and the number of forms employed in a given composition was sharply simplified, recalling the simplicity and serenity of abstract drawings floating in the space of a cosmic background.

Fig. 7a

Pottery jar from the Gerzean (Naqada II) Period (ca. 3500 BC). Image courtesy of the author.

Fig. 7b

Paul Klee

Legend of the Nile , 1937 Pastel on burlap and cotton, 69 x 61 cm Kunstmuseum, Bern Image courtesy of the author.

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 first-hand 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 geometricised forms of his stripe paintings, which were inspired by the arrangement of cultivated fields along the banks of the Nile (Fig. 8).

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. 8 Paul Klee

Mount Niesen – Egyptian Night , 1915 Kunstmuseum, Bern Image courtesy of the author.

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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.

B EYOND

THE WHITE CU B E

Reprinted from the Forever Is Now 2021 catalogue with the kind permission of the author.

Sahar B ehairy

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 digitisation 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.

‘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

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 revitalisation 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 digitisation 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 fgures 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 organise 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 signifcant 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

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 realise 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.

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 emphasised 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

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 organisation 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 organisations 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.

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-specifc 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.

The exhibition questions the concept of time as a continuum that both separates and unites civilisations. 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 fgurative ‘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.

T EA WITH N EFERTITI : T HE M AKING OF THE A RTWORK B Y THE A RTIST, THE M USEUM & THE P U B LIC

Reprinted from the Forever Is Now 2021 catalogue with the kind permission of the authors.

Sam B ardaouil & 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

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.

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

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

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 frst, 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:

“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

Nefertiti recognised 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,

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.

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.

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

Youssef Nabil Nefertiti, Berlin, 2003

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,

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.

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.

“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

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

Ala Younis Nefertiti , 2008

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

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

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...

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.

Little Warsaw Body of Nefertiti, 2003

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.

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…

[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 objectifcation of identities see Thomas, N., 1991. Entangled Objects: Exchange, Material Culture, and Colonialism in the Pacifc. 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/

F RISSON E LECTRI Q UE 1

Reprinted from the Forever Is Now 2021 catalogue with the kind permission of the author.

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.

[1] In my native language, French, frisson means shiver or shudder; like lightening. An electric frisson comes over the earth… as an enlivened awareness…

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 realise 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 frst-hand, and it has infuenced my approach to art making. It has given me hope for the future. I believe we can begin to recognise, 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.

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 recognise 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.

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

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

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.

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

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.

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.

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?

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.

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.

Lita Albuquerque Study for Sol Star, 1996 Mixed media on photograph. Image courtesy of the artist.

S TREETS OF THE DEAD

Reprinted from the Forever Is Now 2021 catalogue with the kind permission of the author.

Sara Ángel Guerrero-Mostafa

The cemeteries around the pyramids are organised 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 ov er the layers of history.

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

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 histories 1 . 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

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 romanticised 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?

[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).

CO NTRI B UTORS

Christopher Noey is an art historian, author, and Emmy award-winning producer of flms on art and culture. On the staff of the Metropolitan Museum of Art for thirty-four years, he created media installations for a diverse array of exhibitions and was the series director on the innovative online features 82nd & Fifth and The Artist Project. An expert in Asian and Islamic art, Mr Noey has taught at Williams College and at the City College of New York. He is the author of The Artist Project: What Artists See When They Look at Art (Phaidon, 2017).

Ashraf Mohie Eldin Mohamed, the Director-General of the Giza Plateau, is a renowned Egyptologist and archaeologist who has been a part of numerous important discoveries since he started his career in 1998. He has participated in many celebrated excavations, most recently as feld director of the Egyptian mission at Thari Cemetery south of the Great Sphinx (2019–20); head of the Egyptian mission for the excavation site of the Third Pyramid (2018–20); and feld director for the excavation mission at the Western Cemetery (2017–18). His discoveries include the tomb of Noble peh-n-wi at Thari cemetery (2019); the tomb of prince Khw-n-Ra son of king Mycerinus (2019); the tomb of Lady Shepset Kaw at the cemetery of the Third Pyramid (2018); and the tomb of Lady Htept at the western cemetery (2018). He has also participated in numerous National Geographic documentaries including Lost Treasures of Egypt ‘Hunt for The Pyramid Tomb’ (2019) and The Lost Tombs of the Pyramids (2020).

Prof. Dr. Thomas Girst has been the Global Head of Cultural Engagement at the BMW Group since 2003. While living in New York between 1995 and 2003, Girst was foreign cultural correspondent for a German daily as well as the head of the Art Science Research Laboratory under the directorship of Stephen Jay Gould, Harvard University. Girst is also a lecturer at various international universities and academies. As a curator, he has organised many exhibitions both in the US and Europe. In 2016, Girst received the ‘European Cultural Manager of the Year’ award. He is the author of many books which have been translated into numerous languages, among them Art, Literature, and the Japanese American Internment, The Duchamp Dictionary and Alle Zeit der Welt Cultural Management: A Global Guide will be published in 2023.

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 frst 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

in order of appearance in the catalogue

Photo: Jackie Neale

Photo: ©BMW

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 visualisation 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-proft organisation 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 feld schools to train young archaeologists working for the Ministry of Tourism and Antiquities at 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 flm 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 flm 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 Calligraftti; and Arabicity

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.

Sahar Behairy is a linguist, certifed 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 offcial 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 offcial 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.

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.

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.

HONORARY CURATING B OARD

Abhishek Basu is the chairperson of Beeggonia Arts Advisory and executive trustee of the Basu Foundation. He is an advisor on fundraising and international partnerships for numerous museums, foundations, and cultural institutions and provides advisory services for family offces around the world on philanthropy and art collecting. He sits on the advisory boards of international art prizes, residencies and festivals including Arte Laguna Prize Venice, the Berlin Art Prize, and Residency Unlimited New York and is a patron of several museums including the Metropolitan Museum of Art, the State Hermitage Museum in Saint Petersburg, the Museo Nacional Centro de Arte Reina Sofía, and the Cité internationale des arts Paris. He is also honorary member of several VIP Collectors’ Groups including Art Basel, ARCO Madrid, FIAC Paris, and Artissima Turin.

Neville Wakefeld is a curator who believes art is thought made manifest. Where it is most successful is not within white spaces and clean-cut defnitions, 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-specifc 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.

Rose Issa is a curator, writer, and producer who has championed visual art and flm from the Middle East for more than 30 years. For an extended bio, please refer to the Contributors section (p.163).

Samallie Kiyingi is a Director and the General Counsel at the African Export-Import Bank (Afreximbank) where she also holds the position of co-convenor of the Afreximbank Art Programme, established to preserve, collect, and showcase African art as well as to raise the visibility of Africa’s creative talent through planned annual art-related activities. Ms Kiyingi is also a trustee of The Showroom (a not-for-proft art space in London focused on emerging artists), a member of the Contemporary Arts Society of Uganda and founder of Artnaka, a members club focused on promoting the collection of contemporary African art. She sits on the Tate Modern’s African Art Acquisition Committee and is a member of the Zeitz Museum of Contemporary African Art’s Global Council. She is a regular consultant on Africa-related art projects.

Simon Njami is a Paris-based independent curator, lecturer, art critic and novelist. He was the co-founder and editor-in-chief of Revue Noire, a journal of contemporary African and extra-occidental art and served as artistic director of the frst Johannesburg art fair in 2008, the Bamako photography biennale for ten years, and the Dak’Art Biennale (2016/2018). He occupied different functions at the Worldpress photo award. He co-curated the frst African pavilion at the 52nd Venice Biennale in 2007. Njami has curated numerous exhibitions of contemporary art and photography, including most recently This space between us at Centro Atlantico de Arte Moderno, Las Palmas (2020), and Materia Prima at San Gimignano (2021). He has also published and edited numerous books and his latest publication is Stories Histories, the Story of Revue Noire (2021).

HONORARY ADVISORY B OARD

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 fagship 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 affuence. 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 organisations, including the Prix Pictet, the Magic of Persia, Nuqat, the Beirut Art Residency, and the V&A's Jameel Prize.

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.170).

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. He is also the founder of Travco Properties, the group’s luxury real estate development arm with its fagship 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.

Laurent Le Bon is a French Conservateur général du patrimoine. After overseeing public art commissions for the Ministry of Culture, he was curator at the Musée national d’art moderne-Centre Georges Pompidou from 2000 to 2010 where he curated over ffty wideranging exhibitions including Dada at the Centre Pompidou in 2005, Jeff Koons Versailles at the Château de Versailles in 2008, Jardins at the Grand Palais’s Galeries nationales and Dioramas at the Palais de Tokyo both in 2017, and Picasso. Blue and Rose at the Musée d’Orsay in 2018. He has previously served as director of the Centre Pompidou-Metz (2010–14), and as president of the Musée national Picasso-Paris (2014–21). Since 2021, he has been president of the Centre national d’art et de culture-Georges Pompidou.

Mary & Bishoy Azmy are passionate art collectors and the founders of the Gratus Collection which brings together dozens of pieces of Egyptian art from different eras. For more information about the Gratus Collection, please refer to the Patrons section (p. 170).

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 frst 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, fnance, 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. 162).

Rasheed Kamel is an attorney at law and one of Egypt’s foremost supporters of the arts. He started collecting art at university over 20 years ago and is particularly interested in modern, contemporary, and conceptual pieces. For an extended bio, please refer to the Patrons section (p.171).

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 Scientifc Council-Agence France-Museums 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. 161).

PATRONS

DIAMOND

The Gratus Collection by Mary & Bishoy Azmy brings together dozens of pieces of Egyptian art from different eras encompassing the pioneers of the modern era, the different Egyptian modern art movements, and the living giants of the contemporary era as well as emerging talents supported and encouraged by the Gratus Foundation. This one-of-a-kind collection has been developed with the help of Art D’Égypte and hopes to provide a holistic representation of Egyptian art of all eras and disciplines, tracing 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 hopefully become an informative and invaluable resource for modern and contemporary Egyptian art research and play a small role in highlighting global awareness and appreciation of Egyptian modern and contemporary art.

Art D’Égypte would like to thank Mr Youssef Mansour for his generous patronage.

GOLD

Christiane & Claude Abdalla are the owners of MARMONIL, an industry leader operating in marble and granite. The MARMONIL name stands for solid delivery of quality work, attention to detail, experience, and innovation. The couple make it their policy to support initiatives they believe are helping to build a brighter future for Egypt, and the company is proud to collaborate on community development projects with several organisations 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, including in the arts. Christiane Abdalla, who has been named one of the ‘Top 50 Most Infuential Women in Egypt’, is an avid art collector with a true passion for art. As part of her commitment to promoting Egyptian art and artists to a worldwide audience, she is a patron and an engaged member of Art D’Égypte’s Advisory Board. Through MARMONIL, she sponsors and collaborates with famous national and international artists such as Egyptian sculptor Adam Henein, British artist Stephen Cox RA, and Italian sculptor Lorenzo Quinn, among others, helping to highlight and position Egypt on the global art scene.

Dina Shehata & Karim Abou Youssef are the founders of the Mahy Khalifa Art Fund, established in loving memory of Mahy Khalifa, Dina’s mother, an avid art lover and collector. Launched in 2020 in partnership with Art D'Égypte, the Fund aims to provide support for the arts in Egypt. The Fund’s fagship initiative, the Mahy Khalifa Art Scholarship, was established to provide support for a new generation of artists, art scholars, and curators by funding post-graduate studies in Europe for exceptional young talents. Dina Shehata (PhD, political science, Georgetown University) is a senior researcher and editor at al-Ahram Center for Political and Strategic Studies. Karim A. Youssef (LL.M., J.S.D., Yale Law School) is the founder and CEO of Youssef & Partners, the premier arbitration and dispute resolution law frm in Egypt and the Middle East.

Nora AlKholi El Zorba 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 is a committed philanthropist and humanitarian and has always been an avid lover and collector of art and fashion. Her collection is an eclectic mix of contemporary Egyptian and international art. An enthusiastic supporter of Art D’Égypte from the start, she would like to see Egypt established as a top global art hub. She is currently advising Art D’Égypte on the creation of a curated culinary experience.

SILVER

Honayda Seraf is a successful entrepreneur who has taken her fashion brand HONAYDA to international recognition in only 6 years. She has been featured on the cover of Forbes magazine and listed for two years in a row in the Forbes list of ‘Top 100 Women Behind Middle Eastern Brands’. A dedicated philanthropist, she is committed to giving back to society and is a fervent supporter of several philanthropic organisations in the areas of health, education, and women. She believes in maintaining strong links with her heritage and culture while living resolutely in the present and injecting spirit in her creations.

Masha Shobokshi is an avid art collector and philanthropist through her participation in the Khayrazad organisation for social care. She has always been a generous supporter of Art D’Égypte and a patron of the arts in Egypt.

Mr & Mrs Rasheed Kamel are proud supporters of the Egyptian art scene. Passionate collectors of Egyptian art, they have amassed a superb, skilfully curated private collection. The couple frmly 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. Mr. Kamel is senior partner at Al Kamel Law Offce, one of Egypt’s leading independent law frms and currently serves on the Tate Modern Middle East and North Africa Acquisition Committee.

Rawya Mansour is an avid art collector and patron. She is also a dedicated environmental activist and humanitarian, relentlessly fighting to lift up all segments of society. Her work focuses on the link between the environment and poverty, empowering women and improving standards of living through implementing clean technology for sustainable green business and providing jobs, training, and capacity building. Her ground-breaking work has won her the title of ‘African Female Leader of the Year’ 2019 from the African Leader Magazine and ‘Excellent Business Leader’ 2017 from UN Women and Business Professional Women.

Sultan Sooud Al Qassemi is an Emirati columnist and researcher on social, political, and cultural affairs in the Arab Gulf States. He is also the founder of the Barjeel Art Foundation, an independent initiative established in 2010 to contribute to the intellectual development of the art scene in the Arab region. He has taught 'Politics of Modern Middle Eastern Art' at New York University, Yale University, Georgetown University, Boston College, the American University of Paris, and most recently, Columbia University.

INSTITUTIONAL PATRONS

DIAMOND

The Abu Dhabi Music and Arts Foundation (ADMAF) was established in 1996 by Huda I. Alkhamis-Kanoo as one of the earliest cultural foundations in the Gulf region and Arab World. -ADMAF supports the sustainability and creativity of the cultural industry and contributes to enriching Abu Dhabi as a cultural beacon. Motivated by the belief that culture is the key that unlocks a nation’s creativity and the language that transcends borders, ADMAF seeks to develop the arts, education, culture, and creativity through a wide range of cultural programs and initiatives for the beneft of humanity and the advancement of Abu Dhabi’s cultural vision. ADMAF’s partnership with Art D’Égypte refects our commitment to fostering unity and cross-cultural dialogue and building bridges of understanding through arts and culture.

SILVER

Christie’s is a world-leading art and luxury business, renowned and trusted for its expert live and online auctions, as well as its bespoke private sales. It offers a full portfolio of global services to its clients, including art appraisal, art fnancing, international real estate, and education. Christie’s has a physical presence in 46 countries, throughout the Americas, Europe, Middle East, and Asia Pacifc, with fagship international sales hubs in New York, London, Hong Kong, Paris and Geneva. It also is the only international auction house authorised to hold sales in mainland China (Shanghai). Throughout its business and communities worldwide, Christie’s is dedicated to advancing responsible culture, actively using its platform in the art world to amplify under-represented voices and support positive change.

The French Embassy in Egypt — French Institute in Egypt are committed to supporting Egyptian cultural initiatives, through a variety of programs including artist residencies, capacity building, and the endorsement of Egyptian artists at French festivals, exhibitions, and events. With Forever Is Now .02, once again, Egypt is placed at the forefront of the international contemporary art scene, creating fruitful dialogue between heritage and contemporary art. Forever Is Now .02 also has considerable local impact, with every Egyptian, especially the youth, proudly engaging with their heritage thanks to the accompanying artistic, cultural and educational initiatives. The two French artists who are part of this edition, JR and eL Seed, represent cultural diplomacy at the highest level thanks to Nadine Abdel Ghaffar, French-Egyptian founder of Art D’Égypte. The participation of M. Laurent Le Bon, President of the National Center for Culture and Art — Centre Pompidou on the honorary board of curators is also a strong signal of France’s commitment to this project.

World of Women is a women led Web3 brand with a thriving community celebrating representation, inclusivity, and equal opportunities for all. WoW’s vision is to build an inclusive Web3 space through its collection of 10,000 NFTs by women. According to research published in Nov. 2021, female artists accounted for just 5% of all NFT art sales in the prior 21 months. WoW is on a mission to change this. Together, we can create opportunities for anyone around the world to be owners, creators, and contributors in this new era of the web. Giving back has been a part of our DNA since day 1 and we aim to create new opportunities in Web3 and give back while doing so. We’re taking action to increase diversity in the NFT space, by educating and onboarding the next generation of creators and builders. We believe in creating equal opportunities for all. The time is now.

Afreximbank is the foremost pan-African multilateral fnancial institution devoted to fnancing 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, diversifcation, and development of African trade, while operating as a frst class, proft-oriented, and socially responsible fnancial institution.

As part of its vision, Afreximbank recognises cultural and creative industries as crucial drivers of social and economic growth. Accordingly, the bank has created two channels of intervention to support Africa’s creative industry: the Creative Africa Nexus (CANEX) and the Afreximbank Art Programme (AAP). Key instruments for implementing the CANEX strategy include fnancing, capacity building, export and investment promotion, linkages and partnerships, digital solutions, and policy advocacy across art verticals including visual arts, fashion and design, music, flm, and crafts. In 2020, the Bank launched a USD 500 million facility to support the production, packaging, distribution, and consumption of creative content and products in Africa. The Afreximbank Art Programme aims at preserving, collecting, and showcasing African art by both Africans and by people of African descent in the diaspora in its corporate offces. It also aims to increase the visibility of Africa’s creative talent through planned annual art-related activities. To date, AAP has sponsored Art D'Égypte's Forever Is Now I & II in 2021 and 2022; ART X Lagos in 2021 and 2022; and the Centre of African Studies of Harvard University’s ‘African Curatorial Practice Conference’ in May 2022, among other events.

EDUCATION PARTNER

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.

Department of the Arts

SPONSORS

PLATINUM

Qatari Diar is a real estate company established in 2005 by the Qatar Investment Authority and headquartered northeast of the capital, Doha, on the coast of the Arabian Gulf. Since its inception, it has been committed to bringing its vision to life, by developing real estate that improves the quality of life and contributes to the community both locally and on the international stage. Today, Qatari Diar has established itself as one of the world’s most trusted and respected real-estate companies due to its commitment to quality, local community, partnership, and sustainability. As of 2020, Qatari Diar has a shared capital of USD 8 billion, with 50 projects under development in 22 countries around the world, with a combined gross development value of around USD 35 billion.

In addition to diversification of the sources of income for the State of Qatar, Qatari Diar was established with the strategic objective of realising positive economic and social impact as part of its commitment to the implementation of the 2030 vision of H.H. Sheikh Tamim bin Hamad Al Thani, the Prince of the State of Qatar.

Qatari Diar Egypt is set to lead the lucrative Egyptian real estate market with the creation and delivery of transformative real-estate projects that embrace the highest international standards for all stakeholders. Qatari Diar believes in the Egyptian market, and the USD 3.2 billion worth of investment since 2006 to date is a testament to this. With more than 40 million sqm of land worth over USD 25 billion upon completion, Qatari Diar Egypt’s huge portfolio comprises of prestigious projects throughout Egypt, including the St. Regis Cairo Hotel with its iconic Nile-side location, CityGate New Cairo, and New Giza. Exclusive projects on the Coasts of Egypt are soon to be announced.

GOLD

The Ministry of Culture and Youth works to enrich the cultural ecosystem of the UAE by supporting the country’s cultural, art and heritage institutions. It provides a platform for artists and innovators, promotes cross-cultural dialogue, and delivers dynamic productions and experiences that represent the UAE’s rich and eclectic culture on national as well as international levels. The MCY’s key mandates include investing in youth and empowering them and building a knowledge-based economy for a sustainable future. The MCY is also entrusted with regulating the media sector in the UAE by formulating and implementing legislation, regulations, and standards for licensing media and media activities.

Al Ismaelia for Real Estate Investment specialises 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.

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 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

AUTOMOTIVE SPONSOR

Mercedes-Benz – A new era. The Mercedes star has always been a promise for the future: Changing the present to improve it. As a luxury brand, Mercedes-Benz will continue to build the most desirable cars in the world & offer extraordinary and unforgettable experiences. In the age of infinite possibility, countless examples show art as an immersive experience, as design, car, and fashion collaborations converge to redefine luxury. As the most valuable luxury automotive brand in the world, Mercedes-Benz is synonymous with timeless cars and designs. In the future, Mercedes-Benz will continue to find new ways to push this legacy forward, engaging with works on the screens throughout the cabin spaces. It’s a statement that underscores a point: beauty always starts from within. Mercedes-Benz also goes beyond the vehicle with the Mercedes-Benz Art Collection. It came into being in 1977 and now includes 3,700 works by roughly 800 national and international artists. It represents important developments in the art and pictorial ideas of the 20th century right up to the present, with a special focus on the abstract tendencies of this era. The Mercedes-Benz Art Collection is located in the elaborately renovated Haus Huth at Potsdamer Platz – a first dedicated exhibition gallery. Further information about Mercedes-Benz Egypt is available online: www.mercedes-benz.com.eg

TRAVEL PARTNER

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. Boasting 90 years of continuous success, 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 and has recently expanded its substantial network with new destinations including Dusseldorf, Dublin, Mumbai, Ben Ghazi, and Kinshasa.

Photo: Roberto Shumski on Pexels

Art D’Égypte was established by Nadine Abdel Ghaffar as a privately owned Egyptian multidisciplinary firm that aimed to support Egyptian arts and cultural initiatives. The company soon became a powerhouse on the Egyptian cultural calendar with diverse initiatives across many disciplines. Culturvator was born out of a need to extend the reach of Art D’Égypte and bring all these initiatives together under one umbrella. It is a multi-disciplinary cultural platform that works with private and public entities to activate spaces for cultural promotion across all creative disciplines, spanning everything from visual arts and film to heritage, design, and music. The core of the Culturvator model is to foster and promote new collaborations across the global creative industry with the aim of building new connections and cultural experiences for a global audience.

As a sub-brand of Culturvator, Art D’Égypte continues to do what it does best: develop strong local, regional, and international collaborations to enhance and promote the rich Egyptian art scene; bridge the gap between Egyptian artists and the world; and support young artists and artists wi th scarce funds to get their work displayed and published. Art D’Égypte also provides art consultancies to institutions, corporations, and private collectors as well as curatorial services for public spaces and private entities. Cataloguing Egypt’s modern and contemporary art heritage is a further goal of the company through the development of documentaries on modern Egyptian artists.

Art D’Égypte’s flagship event is its iconic yearly exhibition in a historic Egyptian location to shed light on the country’s abundant cultural heritage and connect the art of Egypt’s past with that of the 21st century. Forever Is Now .02 is the fifth edition and follows four highly successful iterations: Eternal Light at the Egyptian Museum (2017); Nothing Vanishes, Everything Transforms at the Manial Palace (2018); Reimagined Narratives on al-Mu‘izz Street (2019); and Forever Is Now at the Pyramids of Giza (2021). 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 exhibitions abroad, and launching several initiatives such as podcasts and lecture series to raise interest in Egyptian art at different levels and for varied audiences.

By raising awareness, Art D’Égypte’s target is to help preserve Egypt’s heritage and advance the international profle 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

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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.

O THER A RT D’É GYPTE B Y C ULTURVATOR P ROJECTS

Cairo International Art District

In tandem with Forever Is Now .02, Art D’Égypte is organizing the grand art concept, the ‘Cairo International Art District’ (CIAD) across 8 spaces in Downtown Cairo. The exhibitions will embrace both solo and group contemporary art exhibitions and independent projects.

Exhibition locations will include Cinema Radio, Access Art Space, and the Founders Spaces as well as fve shops that have been converted to temporary exhibition spaces. The art exhibited will comprise painting, photography, sculpture, installation, video art, new media art, and sound. CIAD will also host a series of public lectures and talks targeting artists, students and art enthusiasts. These programs are hosted by esteemed artists and academics at the American University in Cairo’s Tahrir Cultural Center.

The Obelisque Design Awards

The Obelisque Design Awards is the frst-of-its-kind product design competition in Egypt. It is here to change the face of the design industry in Egypt, with bigger and bolder plans yet to come. A trademark owned by Tarek Nour Group, powered by Le Marché, and co-founded by AAPIC and Art D’Égypte, the Obelisque Design Awards invites entries in fve categories: Furniture, Lighting, Textiles, Accessories, and Materials with an emphasis on sustainability, innovation, feasibility, and functionality. The name of the award was chosen in an homage to the ancient Egyptian obelisk, built as a mark of appreciation for the generosity of the deities. The award is a long-overdue acknowledgement of extraordinary design talents worthy of national and international celebration.

ART D'ÉGYPTE TEAM

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 with 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 four highly successful exhibitions at stunning heritage sites for Art D'Égypte showcasing the works of over 60 Egyptian and international artists.

Accessibility and democratisation 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. With the establishment of Culturvator, Nadine hopes to extend the reach of the arts even further. 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. In 2021, she was awarded the title Chevalier de l’ordre des arts des lettres by the French government and named one of Egypt’s Top 50 Women. Most recently, she won ‘Woman Entrepreneur of the Year’ at the 2022 Egyptian Entrepreneurship Awards in acknowledgement for her outstanding contributions not only to the Egyptian art scene but to the Egyptian business landscape as a whole.

Rawan Abdulhalim [Projects Manager/Designer] started her career in Riyadh in 2015 working on architecture and urban and interior design projects in the UAE, UK, and Egypt. At Art D’Égypte, she is responsible for exhibition design and technical management, she is also responsible for planning, designing, managing then delivering each project successfully by coordinating project details with all stakeholders. Additionally, she worked on Art D’Égypte’s most recent NFT project. Rawan 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.

Nada Hassab [Cultural Programs Manager] 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 oversees all operational aspects and develops new projects and programs. She is also responsible for initiating partnerships, liaising with patrons, securing funding and sponsorships, and overseeing guest relations including all logistics and travel arrangements for exhibition visitors. Nada has participated in several group exhibitions in Egypt and received her BA in Visual Arts and Digital Media from the American University in Cairo. She also recently completed an arts management course at the University of the Arts in London.

Hanya Elghamry [Senior Curator] is a research based multidisciplinary visual artist. She received bachelor’s degrees in Visual Arts and Integrated Marketing Communication from the American University in Cairo and recently graduated from Central Saint Martins – UAL in London with a master’s degree in Fine Arts. Hanya has been with Art D’Égypte since 2019. As senior curator, she is responsible for research and development of the curatorial direction of the exhibitions as well as overseeing the execution of each show, including logistics, management, and artist liaison. Hanya has participated in several group exhibitions and curated shows in both London and Cairo.

Alaa Elsayegh [PR & Communication Manager] received her BA in Mass Communication from October University for Modern Sciences & Art (MSA) and Bedfordshire with honours. Before joining Art D’Égypte, she worked in public relations and communications at EgyptAir and with the 40th edition of the Cairo International Film Festival. She joined Art D'Égypte in 2020 and is responsible for developing media relations, managing interview requests, coordinating community engagements activities, and directing social media to build brand awareness and market positioning and engage diverse audiences.

Eman Oma r [Marketing Communication Manager] has eight years of experience working for international and corporate companies in the marketing field. She graduated from Middlesex University, London and holds a Certified Diploma in Digital & Social Media. She is responsible for establishing the marketing strategies for Art D’Égypte on various platforms, including social media. She also manages international and local media coverage, monitors events, develops press releases, and creates trending concept ideas for videos, photo-shoots, websites, and mobile applications.

Heidi Nasser [Cultural Program Specialist] graduated from the American University in Cairo with a BA in Integrated Marketing Communication and a BA in Business Administration with an entrepreneurship concentration. At Art D’Égypte she is responsible for coordinating activations and events, developing project proposals, arranging all logistical matters concerning guests, and securing funds for projects through sponsorship agreements with both local and global organisations.

Ayoub Saeed [Junior Curator] is an Alexandrian artist based in Cairo with a background in art, music, documentary photography and theatre and constantly strives to contextualise his projects visually and spatially. He graduated from the Faculty of Music Education at Helwan University and is particularly interested in preserving and reviving musical heritage. At Art D’Égypte, Ayoub works with the team to deliver a high-quality exhibition experience and provides on-the-ground support for exhibition logistics.

Omar Lotfy [Junior Curator] is a multifaceted surrealist artist currently based in Cairo. He graduated from the American University in Cairo (AUC) with a BSc in Architectural Engineering & Urban Design and a background in psychology and visual arts. Omar has always stood for vocalizing unspoken reality to enhance the collective environment through architecture and humanitarian projects and tends to integrate vast space into transcendent experiences, giving room for the mind to explore beyond common horizons.

Sadek El Moshneb [Junior Curator] received his BA in Integrated Marketing Communication with a double minor in Film and Business Administration from the American University of Cairo, which he supplemented with further studies in film direction and art direction. At Art D’Égypte, he is responsible for exhibition logistics and events management and assists in the research, development, and curation of exhibitions.

Amira Mostafa [Project Coordinator] is an Egyptian visual artist from Alexandria. She graduated from the Faculty of Fine Arts in 2019 and has participated in numerous group exhibitions and field curation projects since 2020. She joined Art D’Égypte in 2022.

Shahd Elwardany [Junior Project Coordinator] is a multidisciplinary visual artists based in Cairo. She received her BA in Visual Arts from the American University in Cairo and has a background in graphic design and theatre. She works on multimedia installation projects in various media such as painting, photography, video, drawing, and digital drawing. Her main focus is on merging intuitive art with neuroscience and surrealism.

Youssef Mansour [Junior Project Coordinator] is a law student and art curator. He founded his independent art institution, 404, in 2019 as a platform for the artistic movement and to curate talent by providing support for cultural expression in Egypt. He has been involved in the art scene for the past four years.

Mahmoud Abdel Kader [Financial Manager] graduated from the faculty of commerce in 2013. He started his career as junior accountant and first joined Art D’Égypte in 2018 as an accountant.

Ghada Gad [Personal Assistant & Office Manager] graduated from Sadat Academy for Management Sciences with a degree in business administration. She has worked in administration and HR at several companies in the financial, media and petroleum fields including Mckinsey & Company and Nile University.

ACKNOWLEDGEMENTS

I would like to express my deepest gratitude to the many contributors and supporters who made Forever Is Now .02 a reality. Our journey from the very frst exhibition at the Egyptian Museum in 2017 to where we are today would not have been possible without the faith of each one of our supporters and their belief in the value of the rich cultural heritage of Egypt and the diverse creativity of its people.

Forever Is Now .02 owes its success to the support of so many people:

First and foremost, the international and local stars of Forever Is Now .02 , 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:

Ahmed Karaly eL Seed

Mohammad Alfaraj

Natalie Clark Pascale Marthine Tayou SpY

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.

Emilio Ferro JR Jwan Yosef Liter of Light

Therese Antoine Zeinab Alhashemi

The Minister of Tourism and Antiquities, H.E. Ahmed Issa.

The Minister of Foreign Affairs, H.E. Sameh Shoukry.

H.E. Nazih Naggary, Minister Counsellor at the Ministry of Foreign Affairs. H.E. Omar Selim, Assistant Foreign Minister for Cultural Relations.

Dr Mostafa Waziri, Secretary General of the Supreme Council of Antiquities.

Dr Khaled El Enany, Former Minister of Tourism and Antiquities. Ashraf Mohie Eldin, Director General of the Pyramids of Giza.

Nevine Aref, Media Advisor to the Ministry of Antiquities.

Rana Gohar, Communication and External Relations Advisor at the Ministry of Tourism and Antiquities.

Ahmed Ebeid, Assistant Minister of Tourism and Antiquities for the Minister’s Offce Sector.

Amr El Kady, CEO of the Egyptian Tourism Promotion Board. Maha Galal and Nihal Hegazy from the Tourism Awareness Authority.

UNESCO, ALESCO, and ISESCO – Dr Bisher Imam, Sherif Salah Alakwar, Alsayed Alabasy, and most importantly Dr Ghada Abdel Bary, whose help, support, and encouragement were instrumental in helping us receive UNESCO patronage. Thank you to H.E. Alaa Youssef, ambassador and permanent delegate of Egypt to UNESCO for his support.

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, Ayman Abdel Mohsen, and Amal Gad.

The General Administration of Tourism & Antiquities Police, the Ministry of Interior, Giza Governorate, and Cairo Governorate.

Mohamed Abdulaziz, Mohamed El Barbary, and Nelly Rostom from the Sound and Light.

The Art D’Égypte team, my backbone and the best team in the world, 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. Nada Hassab, Rawan Abdulhalim, Hanya Elghamry, and Alaa El Sayegh for their hard work and perseverance in dealing

with every task presented to them no matter how obscure. Heidi Nasser, Omar Lotfy, Eman Omar, Sadek El Moshneb, Shahd Elwardany, Ayoub Saeed, Youssef Mansour and Amira Mostafa, Ghada Gad, Hossam Bahaa, and Mahmoud Ashraf for their hard work and for learning so much in such a short period of time.

Thank you to Moushira Adel for her help with Forever Is Now. 02

George Mokhtar and Nevine Zoheiry for managing the journalists and providing them with a professional, well-organised experience.

The contributors to our exhibition catalogue: Ashraf Mohie Eldin, Christopher Noey, Fekri Hassan, Gemma Tully, Lita Albuquerque, Mark Lehner, Peter Der Manuelian, Rose Issa, Sahar Behairy, Sam Bardaouil and Till Fellrath, Sara Ángel Guerrero-Mostafa, Thomas Girst, and Zahi Hawass.

The speakers for our Forever Is Now .02 Talks Series who generously shared their knowledge and time: JR, eL Seed, Fares Akkad, Maha Abo ElEnein, Andy Krainak, Dr Ridha Moumni, Arne Everwijn, Zeinab Alhashemi, Laurent Le Bon President, Amr Helmy, Ahmed Karaly, and Tarek Attia.

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 .

Rose Issa, Samallie Kyingi, Abhishek Basu, Neville Wakefeld, and Simon Njami 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.

Mary and Bishoy Azmy, Laurent Le Bon, Ali Khadra, Christiane Abdalla, Hussam Rashwan, Karim EL Chiaty, Mounir Neamatalla, Peter Der Manuelian, Rasheed Kamel, Yannick Lintz, and Zahi Hawass, 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.

Our ambassadors for representing Art D’Égypte on the global art scene: Aureta Thomollari, Masha Dubrovskaya, Nicolas Bellavance-Lecompte, Patricia Barros, Graziela Martine, Hayat Shobokshi, Thuraya Ismail, Alejandra Castro Rioseco, and Natasha Akhmerova.

Qatari Diar Egypt , our main sponsor for their support – Shk. Hamad Bin Talal Al-Thani, Karim Ahmed, Yasmin Zaki, and Shady Bassem.

H.E. Noura El Kaabi, Minister of Culture and Youth, and the Ministry of Culture and Youth (MCY) team, Maitha Majed Hilal AlSuwaidi, Bassam Mahmoud Rjoub, Khadija Ouni, and Sultan Fahad.

Dior – Pietro Beccari, Olivier Bialobos, and Gerald Chevalier for believing in us and joining us on this adventure.

Afreximbank – Samallie Kiyingi, Temwa Gondwe, Doreen Nambafu, and Stephen Kauma.

Orascom Pyramids Entertainment for hosting us at 9 Pyramids Lounge for three years in a row, allowing us to make it our home for endless meetings, and always accommodating our unexpected requests – Hesham Gadallah, Ali Taher, Mona Lotfy, Mahmoud Guindy, Tamer Roushdy, Yasmin Fahmy, and Ahmed Mustafa. Special thanks to Naguib Sawiris, a true advocate of the arts.

Meta for their support and creating AR flters on Instagram – Special thanks to Fares Akkad, Nadia Diab-Caceres, Nada Enan, Sarah Zaki, and Ramy Elkerdani; also thanks to Raneem Saleh with Hill+Knowlton Strategies.

Al Ismaelia and Karim Shafei for their efforts to preserve Downtown Cairo’s heritage along with Eman Hussein and Nourhal Khattab who have been extremely helpful. Inas El Nakeeb for the amazing brunch they organised for our guests at the Diplomatic Club.

MFares & Associates for curating the design concept of the event and venue design. Special thanks to Mohamed Fares, Omar Ashour, Nourhan Elbadry, Nada Abdelrahman, Ann Elsaban, Omar Ezz El-Arab, Moushira Azzazi, Hana Taher, and Hanin Darwish.

Tarek Nour Communications for managing the event and providing us with multiple billboards in prime locations – Ahmed Tarek, Hana Ehab, Hani Kojak, Sherif Mansour, Amira Attef, Hagar El Zawary, and Ahmed El Raey for your hard work and dedication.

Hyatt Regency , our hotel partner — Mayada Abd El Motteleb, Nadine Ashraf, and Mina Michall.

MO4 Network , our offcial media partners, for their creative input and the efforts of the team Amy Mowaf, Nariman El Bakry, Timmy Mowaf, Menna Aboutaleb, and Sohaila Khalid.

Barta & Partner for insuring the artworks for the entire duration of the exhibition despite many diffcult circumstances — Philip Machat and Nikolaus S. Barta.

Al Sharif Nawaf and Al Sharif for Hotels and Tourism for their support.

Signify for lighting the exhibition and illuminating this exceptional experience –Karim Mosaad, Omar Elkerm, Menna Onsi, and John Fahmy.

Laila El-Nofely, Maha Nagy, Magdy Erwin, and CEO Yasser Shaker at Orange for their services.

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; Nora Selim and Rosa Abdel Malek for putting so much effort into the foundation.

Marie Zarif, Laila Hassan, and Moataz Elkholy from Mercedes Benz .

ADMAF – H.E. Mrs Huda Kanoo, Arianna Grosso, Penny Rowland, and Bachar Kaawach.

Cynthis Hass and the World of Women team.

Christie’s — Anthea Peers, Ridha Moumni, Ben Wiggins, Maria Alonso-Gorbena, and Kathryn Baillie.

EgyptAir for providing our guests with special fight rates, with special thanks to Ramy Amgad Elamir, Marwa Hamdy, and Pakinam Mohamed.

DHL , our logistics partners. Ahmed Fayez and Hend Wael 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 Lyne Roulin from

Logitrans for their constant help and support.

Al Ahram Beverages Company – Dina Nasrallah, Nayer Gendy, and Pola Nady for providing our guests with a unique experience.

Abou Ghaly Motors and Sixt , particularly Mr and Mrs Abou Ghaly, Hussein El Baz, Youssef Agiezy, and Dareen El-Safoury for the London Cabs that facilitated our guests’ stay.

H.E. Mr Marc Baréty, Ambassador of France to Egypt and the entire French Embassy team including Thierry Berne, Aliaa Megahed, Hachem Deif, and David Reignier for their support and for arranging a great reception at the ambassador’s residence.

Mohamed Daghash and his super company, Daghash Group that can achieve anything.

Don Tanani specially Alia Tanani for her constant support and advice.

Amr Badr and his professional team at Abercrombie & Kent - Dalia Khater, Heba Mattar, and Ahmed Ismail, for treating our esteemed guests to the smoothest travel experience in Egypt.

MARMONIL , Amr Helmy Designs , and Stamco for making space for industrial experts 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.

Omar Bazan for their creative designs for CIAD and for their attention to detail. Ahmed Abbas at Abstract Advertising and the unwavering personal and professional support at Concord Press for their high-quality productions.

Friends and family who contributed tremendously to the success of Forever Is Now .02 . 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.

Special thanks to our patrons. Without them this initiative wouldn’t have seen the light: the Gratus Foundation by Mary and Bishoy Azmy, Youssef Mansour, Christiane and Claude Abdalla, Dina Shehata and Karim Abou Youssef, Nora AlKholi El Zorba, Honayda Seraf, Masha Shobokshi, Rawya Mansour, and Mr and Mrs Rasheed Kamel.

Barjeel Art Foundation and Sultan 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 frst endeavour, Night at the Museum, to see the light in 2017.

Thank you all for your belief in Art D’Égypte. With every exhibition, we raise the bar for ourselves, but this is only possible thanks to the generosity, talent, and perseverance of so many. We are privileged to be able to bring together the global art community for events that connect our rich past with the technologies and creative forces of the future, and we can’t wait for our next adventure!

Nadine A. Ghaffar Founder and Curator Art D’Égypte

Photo: Dave Ang on Pexels

SELECTED E X HI B ITIONS

ARTISTS’ ACCOMPLISHMENTS

AHMED KARALY

Solo Exhibitions

2019 Maraya Center, Sharjah Islamic Arts Festival, UAE

2015 Hanager Arts Centre, Cairo, Egypt

2014 Mamar, Mashrabia Gallery of Contemporary Art, Cairo, Egypt

2014 Mamar, Creativity Center, Alexandria, Egypt

2013 Mamar, Hanager Arts Centre, Cairo, Egypt

2012 Ofok Gallery, Cairo, Egypt

2008 Gezira Centre for the Arts, Cairo, Egypt

2006 Egyptian Academy of Fine Arts in Rome, Italy

2004 Mashrabia Gallery of Contemporary Art, Cairo, Egypt

Group Exhibitions

2021 Cairo International Art District, Art D’Égypte, Cairo, Egypt

2021 The Egyptian Art Fair & the National Exhibition, Cairo, Egypt

2019 Reimagined Narratives, Art D’Égypte, al-Mu‘izz St., Cairo, Egypt

2018 Nothing Vanishes, Everything Transforms, Art D’Égypte, Manial Palace, Cairo, Egypt

2014 London Art Fair, UK

2012 Mahmoud Khalil Museum, Cairo, Egypt

2010 Malatya International Sculpture Symposium, Turkey

2009 Sodic Symposium, New York, USA

2007 Panzuma Symposium, Russia

2005–2021 13 Gates Symposium, Egypt, Turkey, Spain, Italy, USA, Bahrain, Russia, UAE

2000, 2001, 2005, 2008 Aswan International Sculpture Symposium, Egypt

eL SEED

Public Art Installations

2021 Like Her, Giranchaur, Nepal

2021 Women’s Pavilion, Expo 2020, Dubai, UAE

2021 I Believe, Dubai, UAE 2021 Enoc, Expo 2020, Dubai, UAE 2021 Saint Jude, Memphis, USA 2020 Mirage, AlUla, KSA 2020 Balance, Ajman, UAE 2019 Dindan, Riyadh, KSA

2019 The Journey, Ain Al Helweh Refugee Camp, Lebanon

2018 Mirrors of Babel, Toronto, Canada 2018 Declaration, Dubai, UAE 2017 Myrelingues La Brumeuse, Lyon, France

2017 The Bridge, DMZ, South Korea 2017 Positive Spirit, Dubai, UAE 2016 Bahrain Bay, Bahrain 2016 Knowledge Mitchell Center for the Arts, Houston, USA 2016 Perception, Cairo, Egypt

Solo Exhibitions

2021 Templates of Love, Galleria Patricia Armocida, Milan, Italy 2020 Collection of Moments, GGA Gallery, Miami, USA

2019 Tabula Rasa, Lazinc Gallery, London, UK

2017 Love Paris, Royal Monceau, Paris, France

2017 Tradizione Proverbiale, Galleria Patrica Armocida, Milan, Italy 2016 Zaraeeb, Art Talks, Cairo Egypt

Group Exhibitions

2021 Abstraction and Calligraphy, Louvre Abu Dhabi, UAE

2020 Don’t Ask Me Where I Am From, Aga Khan Museum, Toronto, Canada 2019 Walls: Defend, Divide, and the Divine, The Anneberg Space for Photography, Los Angeles, USA 2019 Writing: Making your Mark, The British Library, London, UK 2019 Don't Ask Me Where I Am From, Aga Khan Museum & Imago Mundi, Luigi Benetton Foundation, Treviso, Italy 2019 With, Together, Giyeonggi Museum

of Moder Art, Giyeonggi, South Korea

2018 Sharjah Calligraphy Biennale, Sharjah, UAE

2016 Hurufyya: Art & Identity, Bibliotheca Alexandrina, Egypt

EMILIO FERRO

Installations

2022 Quantum, Palazzo Martini di Cigala, Projec_To, Turin, Italy

2022 Cardiopulso, Centro Studi Beppe Fenoglio, Alba, Italy

2021 Cannubi On Fire, Cannubi Vineyards, Astemia Pentita, Barolo, Italy

2021 Terlo Night Harvest, Terlo Vineyards, Barolo, Italy

2020 Cannubi On Fire, Cannubi Vineyards, Astemia Pentita, Barolo, Italy

2020 Barolo to Heaven Act II, Terlo Vineyards, Barolo, Italy

2019 Barolo to Heaven Act I, Bricco San Pietro, Monforte d'Alba, Italy

2019 Resized Volcano, National Museum of Science and Technology Leonardo Da Vinci, Milan, Italy

JWAN YOSEF

Solo Exhibitions

2021    Object/Object (online), Henzel Studio and Frozen Palms Gallery, Miami, FL, USA

2019    Tensegrity, Basilica Santa Maria, Rome, Italy

2018    Strange Bedfellows, Stene Projects, Stockholm, Sweden

2018    Send Me No Flowers, Guerrero Projects, Houston, TX, USA

2018    A Gathering of Eagles, PrazDelavallade, Los Angeles, CA, USA

2018    Come September, Goss-Michael Foundation, Dallas, TX, USA

2016    Masking, Stene Projects, Stockholm, Sweden

2013    Painting About Sex, Flesh and Violence, Divus Gallery, London, UK

2013    High Notes, Galleri Anna Thulin, Stockholm, Sweden

Group Exhibitions

2022   Sweet Lust, curated by Michèle Lamy and Mathieu Paris, White Cube, Paris, France

2021   Louis 200: The Exhibition, Louis Vuitton Family House, Asnières, France

2021   Isolation is the Mother of Invention, Institute of Arab and Islamic Art (IAIA), New York, NY, USA

2021   Skin in the Game, curated by Zoe Lukov, Palm Heights, Miami Beach, FL, USA

2021   Mothers, Stockholm Art Week, Stockholm, Sweden

2020   Artists for Lebanon, online beneft organised by Taymour Grahne and Noura Al-Maashouq

2019   The New, Henzel Studio, Los Angeles, CA, USA

2019   The Body is The Instrument, Tom of Finland Foundation, Los Angeles, CA, USA

2017   Over the Rainbow, Praz-Delavallade, Los Angeles, CA, USA

2017   Lounge, Stene Projects, Stockholm, Sweden

2016   C/O Stockholm, Stene Projects Stockholm, Sweden

2016   RE:DEFINE, Dallas Contemporary, Dallas, TX, USA

2016   Lounge, Stene Projects, Stockholm, Sweden

2016   Tillstand, Galleri 1:10, Centralsjukhuset, Karlstad, Sweden

MOHAMMAD ALFARAJ

2022 Silence, Life, and Plastic Dreams, solo exhibition, Athr Gallery, Jeddah, KSA

2019 Sharjah Islamic Arts Festival, UAE 2019 Group exhibition, Sharjah Arts Foundation, UAE

2018 The Clocks Strikes Thirteen, group exhibition, Athr Gallery, Jeddah, KSA

2018 Solo exhibition, Middle East Now Festival, Florence, Italy

2017, The Sun, Again, Jeddah 21,39 Art Week, KSA

2014/15 Lost screened at flm festivals in the KSA, Dubai, NY, and Paris

NATALIE CLARK

Selected Exhibitions

2022 The Forms of Origins, Casa De Cultura, Masnou, Barcelona, Spain

2018 Into the Curve, The Container, Tokyo, Japan

2018 International Snow Contest, USA snow carving captain, Bronze Medal, Sapporo, Japan

2017 Dark Sky Pavilion, Jackson, Wyoming, USA

2013 SOFA, International Art Fair, Chicago, Illinois, USA

2013 Crystalline, Skew Gallery, Calgary Canada

2012 Crystalline Spires Faceted Gems, Diehl Gallery, Jackson, Wyoming USA

2003 World Trade Center Memorial Competition, Lower Manhattan Development, NYC, USA

PASCALE MARTHINE TAYOU

2019 Black Forest, Fondation Clément, Le François, Martinique

2017 Beautiful, Bass Museum, Miami 2016 Miracle !!!, CAC Malaga, Spain

2015 Boomerang, BOZAR, Bruxelles, Belgium

2014 World Share: Installations by Pascale Marthine Tayou, UCLA Fowler Museum, Los Angeles, USA

2014 I Love You, Kunsthalle, Bregenz, Austria

2012 Secret Garden, MACRO – Museo

d’Arte Contemporanea, Rome, Italy  2011 Black Forest, MUDAM LUXEMBOURG, Luxembourg  2011 Always All Ways (tous les chemins mènent à…), Mac Lyon, France   2004 Rendez-vous, S.M.A.K., Gent, Belgium

SpY

2022 Noor Riyad, International Light Festival, Riyadh, UAE

2022 Plasmata, Onassis Stegi, Digital and Light Art Festival, Athens, Greece

2021 Luz Madrid, International light Festival, Madrid, Spain

2021 Concentrico, International Architecture Festival, Logroño, Spain

2019 IOC International Olympic Committee, Digital art commission, New Olympic House, Lausanne, Switzerland

2017 400th Anniversary of Madrid's Plaza Mayor, Public art commission, Madrid, Spain

THERESE ANTOINE

Solo Exhibitions

2020 Post-19, Institut Français d’Égypte à Alexandrie, Egypt

2019 Human Perception, Open studio at Cité internationale des arts, Atelier 8415, Paris, France

2018 Temporal Notation, Institut Français d’Égypte à Alexandrie, Egypt

Group Exhibitions

2022 Adam Henein Award, Cairo Opera House, Egypt

2021 Egypt INT’L Art Fair, Azad Art Gallery, Cairo, Egypt

2020 Dots, Art D’Égypte, Downtown Cairo, Egypt

2019 The 29th Letter of the Alphabet, Art D’Égypte, Downtown Cairo, Egypt

2019 Ça se passe à Montmartre, Cité internationale des arts, Paris, France

2019 Vibe Generators, open studio, Cité internationale des arts, Paris, France

2019 One Night Stand, Performance, art open studio, Cité internationale des arts, Paris, France

2019 Artists of Tomorrow, ArtsMart Gallery (TAM), Cairo, Egypt

2018 Segni E Materia – Un Viaggio Nel Contemporaneo, Galleria La Baronia, Forza D’Agro, Sicily, Italy

2018 Adam Henein Award, Cairo Opera House, Egypt

2017 The 28th Youth Salon, Palace of Arts, Cairo Opera House, Egypt

2017 Aswan International Sculpture Symposium AISS 22, Egypt

2016 Obsessed – Not Yet Decided, International Group Exhibition, Nida, Lithuania

2015 Checked Unison, Earth of Self Re-discovery, International Artist Workshop, NKA Foundation, Ashanti Region, Ghana

ZEINAB ALHASHEMI

2022 MISK Art Grant, KSA (Upcoming)

2022 Noor Riyadh, KSA (Upcoming)

2022 Saraab, Desert X, AlUla, KSA

2022 Constructivism: We See Things As We Are, solo Exhibition Leila Heller Gallery, Dubai, UAE

2021 Hypersensitivity, 15th Sharjah Islamic Art Festival, UAE

2021 Terra for Kinetic Art Sculpture ‘Tkween’, Sustainability Pavilion, EXPO2020, Dubai, UAE

2018, Co-Lab: Contemporary Art Savoirfaire, Emirati- French Cultural Program (EFCP)/Department of Culture and Tourism, Abu Dhabi, UAE

2016 Alharaka Baraka, Unlimited Arab Explorations, Maraya Art Center, Sharjah, UAE

2015, The Time Is Out Of Joint, Sharjah Art Foundation, UAE

2015 Emirati Expression, Abu Dhabi Art (ADART), UAE

2014 Past Forward, Washington DC, USA

2014 Phantasmagoria, Cuadro Gallery DIFC-Urban, Dubai, UAE

2014 Sanam, Tanween x Tashkeel, Design Days Dubai, UAE

2013 Circumvolution State of Mind, Sharjah Biennial 11, UAE

2013 Time & Space Matters, Capital D Studio Show, Dubai, UAE

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