The Sweetest Haven by Adam Henein & Bahaa

Opening Reception 30 May from 6 to 9 pm Exhibition 30 May - 16 September 2016

By Fatenn Mostafa

‘I lay observing fine plants under the warm sunshine. I see roots penetrate the surface of the earth. Small leaves rise towards the light in unlimited shapes and small insects look like sparkling jewelry. You are in a world that has its own laws and how beautiful it is to discover some of these laws. It is a world where fiction combines with reality and it is impossible to separate them.’

Adam Henein, excerpt from Botanical Meditations, 2013

Since that revealing moment during childhood when he lied down in a garden with his face touching the grass, Adam Henein (1929), the Arab world’s most prominent living sculptor, has never ceased to observe, dissect, and explore Mother Nature. Seemingly eager to escape from man-made matters, a part of Henein found comfort and peace in an underground-inhabited universe that silently exists parallel to the more apparent and contrived world. Henein’s perception of reality was challenged once more, when as a pupil at the Tawfiq Primary School; he was introduced to ancient Egyptian art during a history class fieldtrip to the Egyptian Museum of Antiquities. ‘I went crazy as soon as I stepped in’ recounts Henein, adding ‘suddenly I was discovering another world and I didn’t know if this was reality or imagination’. The two worlds, Mother Nature and ancient Egyptian art, would shape and have a significant influence on Adam Henein, his art and prolific international career. To transcribe the secrets of the Art of the Valley, Henein chose sculpture as his primary medium. In contrast, painting, according to Henein, would be the means to tell the story of Mother Nature and its relation with Man. But painting would also be the means to make ends meet,

when as a mid-career Egyptian sculptor, Henein moved to Europe ‘to learn everything about art’ in 1972. Together with his late wife, Afaf, he stayed in Paris for 25 years until 1996 and produced a large number of paintings.

Best known for his sculptural works such as Fatma (1953), Cat (1961) or the legendary Om Kolthoum (2003), one could be tempted to break down Henein’s artistic oeuvre into periods. But in essence, form manifests itself as his foremost preoccupation. Henein goes through phases where he extensively experiments one particular technique or media, proceeds to something new and yet consistently revisits the former again. In one of his rare recent interviews, Henein is quoted as saying, ‘what I am producing now looks a lot like what I was producing then. It is an itinerary pursued along a single road, which I took right from the outset and from which I never strayed.’

In ‘The Sweetest Haven’, 87-year old internationally acclaimed Adam Henein returns to painting with six new works produced in Harraniyya between 2015 and 2016. This time, however, he choses to ex-

plore the use of egg-based tempera, a painting technique found on early Egyptian sarcophagi decorations and many of the still existing Fayoum mummy portraits dating as far back as the 1st centuries AD. Throughout his career, Henein has repeatedly reminded us of his love for Egypt with its fascinating ancient civilization and its unparalleled legacy with abstraction (Islamic art) before it opened up to the Western art experiment starting the 18th century. True to his commitment to Modernity, Henein constructs works that are sparse and minimalist, yet are striking because of the contrast between vivid and rich colors and space and perspective. With comparatively large color blocks, the work glimpses on forms found in both nature and ancient Egyptian art and produces impressive geometric Suprematist effect to render softness and rawness at the same time.

In Samraa, Mabrouk, Le Saint Esprit and La Troisième Étoile, the four painted on linen canvas on wood, Henein depicts abstract human figures subtly blending with the earth and the sky as if they were one entity. At times they could suggest the life-force in nature itself, at others they could evoke man’s entrapment - in the body, in the anxious mind, and in the newly frightening modern world. “Mother Nature” is a kind of capricious goddess who wreaks havoc throughout the earth, but she is also the female figure behind every creation.

And hence, Henein concludes with a lone reclining naked woman, El-Mahroussa (La Protégée), his most recent addition to a fascinating nude series, which he began to produce in the 1980s and which represents one of the most original bodies of work. El-mahroussa, which literally means the protected, is the popular name commonly used to designate Egypt. It is also Egypt’s famous royal yacht built at the order of Khedive Ismail Pasha to be the first boat to cross the Suez Canal during its inauguration in 1869. Ironically, El-Mahrousa carried three Egyptian rulers to their exile abroad, namely Khedive Ismail, Khedive Abbas II and King Farouk I, along with his son, Fouad II, the last ruling members of the Mohamed Ali dynasty. Henein’s fascination with boats is well known, so is his unequivocal attachment to his homeland. And yet, it seems that El Mahroussa is the first of its kind, as it directly names Egypt and depicts the V shape of the Nile flowing along the body contour of the woman. It is as though Henein seeks to make a statement. If anything, he is sending us the message that details are never interesting, and that we should rather look at the bigger transcendental picture and life’s barest essentials. In one of his travel sketchbooks on display at his eponymous museum, one reads, ‘This is a story of a black line and a red line and how they met and what happened between them’.

In ‘The Sweetest Haven’, Adam Henein chose to exhibit with 39year old surrealist painter Bahaa Amer. Where there is flux, Bahaa

searches for continuity in that together with Henein, he has found a haven, a place of safety or refuge, in Mother Nature. More importantly perhaps, both artists are committed to contribute to the preservation of ancient Egyptian heritage. In 1990, Henein led the restoration of the Giza Sphinx. Throughout the past decade and parallel to painting, Bahaa has taught restoration and developed conservation plans for archaeological sites such as Isis Temple in Luxor and the ceiling of the Coptic Museum in Cairo. Working out of Luxor or in Harraniyya with Adam in the museum, Bahaa seeks to express the self in the face of the world and his world resembles an animated ancient relief or a modern puppet theater. Deformed human figures, animals and insects float, stand on the earth or sail over a sea, interlaced into a complex web. Movement through space and time seems to occupy Bahaa as though he is waiting for an imminent departure or a return.

Yet, he appears to be rooted, as he faces obstacles to respond to the shifting tide. Different from Henein who prioritizes form but similar in his firm reference to ancient Egyptian art and culture, Bahaa exposes the perks of being young in today’s shifting sociopolitical climate in Egypt and builds on his extensive knowledge of the fundamental myths and beliefs of his past ancestors to recount present day problems. Migration, romance, livelihood and the afterlife feature as elements of hope and challenges. In The Northern Night Sky, a reference to the belief that the former rulers of ancient Egypt lived in the sacred and heavenly North after their death, three figures seek to find bal-

ance as they stand on a gigantic animal that resembles the iconic medieval sculpture, She-wolf, suckling Remus and Romulus. In The Hunting Chase, a heroic act exercised by the ruler and a basic livelihood means for the people in Dynastic Egypt, a main figure, arms wide open, stands tall on a boat-like object that seems to have just crossed through a block of stone coming out of the sea. In Bird From The South, a reference to Upper Egypt where the capital of Egypt was located during the period of the New Kingdom, a massive crow stands on a tree, with sparse leaves, staring at its prey coming out of a boat-shaped pot. The tree floats on a sea and there is no sight of a border. Dreaming the possibility of a better life, Bahaa mixes surrealism and abstraction and plays with soft and sharp lines to create a poetic atmosphere that eventually replaces despair with hope.

Though their aesthetic rendering of Mother Nature as a haven is in stark contrast – with Henein offering abstract blocks of hope and Bahaa representing elements of the universe as an integral part of the psychological torment of the youth – both allowed the imagination to turn things upside down. Mother Nature was the starting point, the common sanctuary between both artists. But one of the most intriguing words in the scriptures is also Egypt, which served as a place of refuge in the Bible to Abraham and Jesus and which was mentioned four times, more than any other, in the Quran. Egypt and Mother Nature intertwine fluidly in ‘The Sweetest Haven’ and appear as symbols of spiritual bondage. Both Adam Henein and Bahaa seek refuge somewhere else and invite us to think about how we understand our identity as ‘strangers’ in relation to the ‘bigger’ world, where Egypt and Mother Nature are cemented as ‘The Sweetest of Havens’.

Born in 1929, Adam Henein grew up into a family of silversmiths from Asyut and lived in the neighborhood of Bab al-Shaariyya. He received a degree in sculpture from the School of Fine Arts in Cairo in 1953.

After graduating, he received a two-year grant to stay in Thebes at the Luxor Atelier, established in 1941 by the Alexandrian painter and diplomat Mohamed Naghi (1888 - 1956) to promote the study of ancient Egyptian art as part of the curriculum of art schools in Egypt.

There, Henein studied pharaonic tombs and witnessed daily life in Upper Egypt. In 1996, he established the annual Aswan International Sculpture Symposium (AISS) in Aswan; a city that since Antiquity has been famous for its granite quarries and in 2014, he founded his eponymous museum in Harraniyya, housing over 4000 works.

A modernist artist of international note, Henein’s work is part of the founding collection of Mathaf: Arab Museum of Modern Art in Doha

and his large-scale sculpture The Ship, conceived as a metaphorical alternative to the museum space, is permanently installed in the museum’s piazza. He was awarded the State Award for the Arts in 1998 and the Mubarak Prize in 2004.

Born in Gharbiah Governorate, north of Egypt, in 1977, Bahaa Amer received an MA in Restoration Painting from Cairo University in 2010.

His thesis focused on the ‘Bio Deterioration of oil paintings and method treatments and conservation applied on Khedive Ismail Pasha painting’. He holds a Bachelor of Art Education from Helwan University (2005) and a degree in Art Criticism from the Fine Arts Faculty in Cairo (2005). Bahaa participated in over 35 group exhibitions, locally and internationally. Bahaa works and lives in Cairo.

‫أو كمــا يقــول بالنســبة لــه الرســم معمــل أبحــاث وأفــكار للنحــت‪ ،‬وكرســام‬ ‫وكمصــور دلنــي ذلــك أنــه إن كنــت كذلــك فعلــي أن أبحــث فــي مثيــرات اخليــال‬ ‫ومــواد لبنــاء الوعــي الفكــري والفنــي‪ ،‬بالنســبة إلــي فاملوســيقى واألدب بالتأكيــد‬ ‫عنوانــان رئيســيان فــي ذلــك‪ ،‬ففــي يقينــي إن الفنــان املبــدع تتشــكل لديــه رؤيــة‬ ‫عميقــة كالتــي ملســتها فــي التمــاس مــع جتربــة آدم حنــن مــن خــال بنــاء عريــض‬ ‫للثقافــة مــن مناهلهــا ومصادرهــا ومنابعهــا املتعــددة‪ ،‬والتــي تتجلــى فــي مصدرين‬ ‫أساســيني‪ ،‬مصــدر فنــي‪ ،‬ويعنــي كل مــا يتعلــق بالفنــون كلهــا‪ ،‬ومصــدر معرفــي‪،‬‬ ‫ومنــه املعــارف اإلنســانية املعاشــة علــى أرض الواقــع والتــي تعــود بنــا للمصــدر‬ ‫الفنــي فــي صياغاتــه اإلبداعيــة التراكميــة مــع التاريــخ واإلرث احلضــاري للبشــرية‬ ‫جمعــاء‪ .‬ولقــد كانــت رســوم آدم حنــن لرباعيــات صــاح جاهــن مــن تلــك‬ ‫املثيــرات األولــى التــي ملســتها فــي التعاطــي مــع إبــداع آدم حنــن والتــي ترســخت‬ ‫فــي ذاكرتــي‪ ،‬والتــي أحســبها ليســت ترجمــة بصريــة لرباعيــات جاهــن‪ ،‬فبقــدر‬ ‫مــا أخــرج جاهــن عاملــه فــي مربعاتــه مــن مفرداتــه ومعجمــه الشــعري الغزيــر أخــرج‬ ‫آدم حنــن عاملــه بنفــس العبقريــة والغــزارة‪ ،‬متوازيــا مــع ذلــك العالــم الفريــد‪،‬‬ ‫فتلــك األحبــار اســتطاعت أن تســتقر فــي وجدانــي ووعيــي اجلمالــي والبصــري‪،‬‬ ‫رمبــا ظهــر أثــره فــي بعــض أعمالــي املبكــرة‪.‬‬ ‫يقــول آدم حنــن «أتصــور أن ثمــة إيقاعــا‪ ،‬أو زمنــا مــا‪ ،‬كان هاربــا فــي حلظــة‪ ،‬ثــم‬ ‫عــاد مــن جديــد‪ .‬وهكــذا‪ ،‬فالفــن بالنســبة لــي هــو حفــر فــي الــذات واكتشــاف‬ ‫خلباياهــا»‪ .‬مــن تلــك العبــارة أســتطيع أن أدعــي أنهــا تتحقــق بشــكل كامــل‬ ‫فــي رســم وتصويــر آدم حنــن‪ ،‬فلــكل لوحــة إيقــاع تختلــف تنغيماتــه ودرجاتــه‬ ‫وعمقــه علــى الســطح الهــاديء البســيط‪ ،‬الــذي يــكاد ال يخبــر عــن شــيء‪ ،‬وإمنــا‬

‫ينبــيء عــن روح هادئــة صافيــة‪ ،‬خالصــة‪ ،‬فتخلــو اللوحــة مــن أي زخــرف‪ ،‬نقيــة‬ ‫متامــا‪ ،‬مــع أن هنــاك مالمــس وخطــوط ومســاحات وطبقــات لونيــة متراكبــة‬ ‫ومتراكمــة فــي معاجلــات صوفيــة بالغــة احلساســية‪ ،‬ال يســعي بهــا الفنــان إلدهــاش‬ ‫املشــاهد‪ ،‬ولكنــه يأخــذه مبجــرد أن تقــع عينــه علــى اللوحــة ملســاحات وعــي‬ ‫تتعــدى البصــر‪ ،‬ومتســك بالبصيــرة‪ ،‬وتفتــح دفائــن النفــس‪ ،‬ومــا تثيــره تلــك‬ ‫اخلطــوط الهادئــة واأللــوان الناعمــة‪ ،‬لتتجلــى خبايــا الــروح‪ ،‬وتتطهــر علــى أعتــاب‬ ‫تلــك اللوحــات‪ ،‬وترجــع خالصــة ال لشــيء أكثــر مــن نفســها‪ ،‬فتــدور العــن‬ ‫عبــر اللوحــة دورة وأخــرى‪ ،‬دون أن متــل الــدوران‪ ،‬ليســتقر الشــكل املبســط فــي‬ ‫املخيلــة املثقلــة بتفاصيــل احليــاة ال يغادرهــا‪ ،‬مقاومــا للصخــب والتلــوث الــذي‬ ‫نعيشــه فــي عاملنــا املعاصــر‪ ،‬مبثابــة الواحــة الوادعــة وارفــة الظــل مفعمــة بالهــدوء‪،‬‬ ‫مطلقــة للبــراح النفســي كلمــا عــدت إلــى الشــكل بالذاكــرة‪.‬‬ ‫فــي لوحاتــي تلــك التــي ال أعتبرهــا ســوى قبــس مــن فيــض تلــك التجربــة الصوفيــة‬ ‫التــي أخذنــي فيهــا آدم حنــن لعاملــه الرحــب‪ ،‬حاولــت أال تدمغنــي تلــك التجربــة‬ ‫بخامتهــا‪ ،‬فــا أســتطيع منهــا فــكاكا‪ ،‬وإمنــا حاولــت أن أقيــم معهــا حــوارا بصريــا‬ ‫فنيــا‪ ،‬كنــت فيــه املتعلــم وكان فيــه األســتاذ‪ ،‬فــإن كانــت لوحــات الفنــان آدم حنــن‬ ‫تلخــص وتختــزل‪ ،‬كمــا لــو كانــت مبثابــة مديــح للصمــت الذهبــي املتصــوف‬ ‫الزاهــد‪ ،‬كانــت لوحاتــي حافلــة بالرســائل واملعانــي والــكالم الفضــي‪ ،‬قــد نبــدو‬ ‫متناقضــن‪ ،‬فللفنــان آدم حنــن جتربــة إبداعيــة تضاعــف عمــري‪ ،‬لكننــا فــي حالــة‬ ‫حــوار‪ ،‬لغتــه مفــردات كلينــا كامنــة علــى ســطوح اللوحــات‪ ،‬وإن كانــت لوحــات‬ ‫الفنــان آدم حنــن صــاة فــي اجلمــال‪ ،‬فلوحاتــي كانــت مبثابــة تســبيحة للجمــال‬ ‫أيضــا‪ ،‬وكالنــا متعبــد فــي محــراب الفــن‪.‬‬

‫فــي يقينــي إن املوهبــة احلقيقيــة كاجلوهــرة متامــا‪ ،‬تتعــدد فيهــا األوجــه واألعمــاق‬ ‫واملناهــل والروافــد‪ ،‬فمــا بالنــا مبوهبــة عمقتهــا التجــارب الطويلــة‪ ،‬فــا شــك أننــا‬ ‫أمــام عبقريــة فريــدة ينــدر أن تتكــرر فــي عاملنــا املعاصــر‪ .‬ملســت ذلــك باقترابــي‬ ‫مــن جتربــة الفنــان الكبيــر آدم حنــن‪ ،‬وقــد كنــت محبــا لهــا‪ ،‬وأتابــع أعمالــه نحتــا‬ ‫ورســما وتصويــرا قبــل أن ألتقيــه وأعمــل معــه‪ ،‬فزادنــي القــرب شــغفا بالتجربــة‬ ‫وباإلنســان‪ ،‬وفــي متحفــه عرفــت أكثــر مــن ‪ 4000‬عمــل بــن نحــت ورســم‬ ‫وتصويــر‪ ،‬يــا لهــا مــن جتربــة يــكاد يتــوه فيهــا اإلنســان‪ ،‬وبعــد هــذا االنبهــار‬ ‫بفــرادة وعمــق وثــراء أعمالــه‪ ،‬أخــذت أغــوص فــي كل عمــل‪ ،‬أتبــن مالمحــه‬ ‫وتفاصيلــه وفيوضــه التــي ال تنتهــي‪ ،‬ففــي منحوتاتــه ثــراء ال ينضــب‪ ،‬علــى‬ ‫مســتوى اخلامــات مــن حجــر وبرونــز وجبــس وغيــره‪ ،‬وعلــى مســتوى املعاجلــات‬ ‫األنيقــة الهادئــة الــدؤوب والصبــور فــي اختيــار الزوايــا والــرؤى والتنــوع بــن‬ ‫العضــوي والروحــي والهندســي‪ ،‬والعالقــة بــن الكتلــة والفــراغ‪ ،‬وعلــى مســتوى‬ ‫املوضوعــات واملفــردات‪ ،‬عالــم يتشــكل كامــا مــع كل قطعــة‪ ،‬وكأنهــا روايــة‬ ‫جميلــة مشــوقة‪ ،‬منســوجة بوعــي شــديد بــكل ملمــح وتفصيــل‪ ،‬ال يعنيــه أن‬ ‫يزيــد فيمــا يجــذب العــن مــن زخــارف يقــدم عليهــا الفنانــن ليظــل املتلقــي‬ ‫مشــدودا للعمــل الفنــي‪ ،‬بــل إنــه يتغاضــى عنهــا ويزهــد فيهــا‪ ،‬وكـــأنها ال تعنيــه‪،‬‬ ‫فــي جــرأة يحســد عليهــا‪ ،‬وإمنــا يطلــق أرواح الكائنــات حــرة تنســاب فــي العمــل‪،‬‬ ‫تتجســد أمــام كل راء‪ ،‬فيراهــا كل حســب طاقتــه‪ ،‬وتلــك عبقريــة ال يجيدهــا إال‬ ‫نــدرة مــن الفنانــن‪ ،‬رمبــا الشــغف والــدأب الــذي يعمــل بــه آدم حنــن وإصــراره‬ ‫علــى التجريــب والعمــل املســتمر‪ ،‬فرغــم كونــه شــيخ مــن شــيوخ النحــت الكبــار‬ ‫إال أننــي أشــعر بــروح شــابة وقــادة تتفجــر باحليويــة واحليــاة تغلــف أعمالــه‪ ،‬ذلــك‬ ‫فــي ظنــي نتيجــة ارتباطــه باإلنســان وال شــيء غيــره‪ ،‬فالتصاقــه بهــذا املبــدأ أنتــج‬ ‫كل تلــك اإلنســانية فــي أعمالــه‪ ،‬فتــكاد طيــوره تنطــق‪ ،‬وكائناتــه تتكلــم‪،‬‬

‫وكأنهــا وألنهــا مــن نفــس النســيج اإلنســاني الــذي يلــف هــذا العالــم‪ ،‬خطابهــا‬ ‫ليــس حلاســة البصــر ككل املنحوتــات واألعمــال التشــكيلية‪ ،‬وإمنــا تنتــج لغــة‬ ‫أخــرى لألحاســيس واالنفعــاالت‪ ،‬لغــة وجدانيــة رقيقــة‪ ،‬وكأن آدم حنــن يضــع‬ ‫فــي أيدينــا تلــك الرســالة التــي مؤداهــا وحــدة الوجــود والكــون‪ ،‬فــكل مفــردة فــي‬ ‫عاملــه هــي محــض مفــردة‪ ،‬تعيــش وتتآلــف مــع مفــردات هــذا الوجــود كلــه‪ ،‬كمــا‬ ‫يجــب أن يعيــش اإلنســان نفســه متآلفــا مــع رحابــة ذلــك الوجــود‪.‬‬ ‫ومــع جتربــة بهــذا الصــدق والعمــق والتنــوع اإلبداعــي النــاجت عــن فهــم اإلرث‬ ‫اإلنســاني بدايــة مــن أرضــه التــي نشــأ عليهــا‪ ،‬وهويتهــا الضاربــة فــي جــذور‬ ‫التاريــخ‪ ،‬مــن الفــن املصــري القــدمي واحلضــارة القبطيــة واإلســامية والعربيــة‬ ‫وثقافــة البحــر األبيــض املتوســط والعمــق اإلفريقــي‪ ،‬ليــس هــذا فحســب بــل‬ ‫اســتطاع أن يســتوعب ويهضــم برانكــوزي و مــور ومارتينــي وجياكومتــي‬ ‫وغيرهــم مــن عالمــات فــن النحــت احلديــث واملعاصــر‪ ،‬ليــس ليعيــد صياغتهــم‬ ‫وإمنــا لتكــون أعمالــه بوتقــة كبوتقــة والــده الصائــغ التــي تفتحــت عينــاه عليهــا‬ ‫طفــا‪ ،‬فنــرى روح الفــن املصــري القــدمي منســجمة فــي تناغــم تــام مــع التجريــد‬ ‫واالختــزال املعاصريــن للمنماليــن وغيرهــم‪ ،‬تتحــاور فــي أعمالــه النحتيــة الكتلــة‬ ‫والفــراغ فــي صياغــة تنبــيء عــن فهــم ووعــي غايــة فــي العمــق‪ ،‬فــا تبــوح اخلامــة‬ ‫وال تنطــق املنحوتــة ‪-‬أيــا كانــت خامتهــا حجــرا أو برونــزا أو جبســا‪ -‬إال مبــا بثــه‬ ‫فيهــا آدم حنــن نفســه مــن روحــه املتصوفــة الزاهــدة‪.‬‬ ‫يتحقــق ذلــك فــي الرســم والتصويــر كذلــك‪ ،‬فكمــا يقــول آدم حنــن الكتلــة فــي‬ ‫الرســم صوريــة فــي عالقتهــا بالفــراغ‪ ،‬فتعلمــت منــه أن الرســم مســألة بحثيــة‬

Brunette / Samraa 2015, Harraniyya Egg tempera on linen canvas on wood 65 x 52 cm

Le Saint Esprit / El Roh el Kodouss 2015, Harraniyya Egg tempera on papyrus 88 x 59 cm

La Troisième Étoile / El Negm el Thalith 2015, Harraniyya Egg tempera on canvas on wood 77 x 60 cm

Mabrouk 2015, Harraniyya Egg tempera on canvas on wood 65 x 52 cm

El-Mahroussa / La Protégée 2015, Harraniyya Egg tempera on canvas on wood 75 x 52 cm

Noir et Blanc / Eswed w Abiyad 2015, Harraniyya Acrylic & gold leaf on wood 55 x 46 cm

The Hunting Chase 2015, Harraniyya Egg tempera on Japanese paper on wood 37 x 52 cm

The Silence of The Soul 2015, Haraneyah Egg tempera on Japanese paper on wood 37 x 52 cm

The Northern Night Sky 2015, Harraniyya Egg tempera on wood 43 x 55 cm

The Lake of Good Fortune 2015, Harraniyya Egg tempera on Japanese paper on wood 48 x 62 cm

360 Degrees 2015, Harraniyya Egg tempera on Japanese paper on wood 37 x 52 cm

Bliss When The Nile Goes Down 2015, Luxor Watercolor on paper 50 x 70 cm

Bird of The South 2015, Harraniyya Egg tempera on wood 60 x 60 cm

Catalogue Published on the occasion of the show Adam Henein & Bahaa Amer The Sweetest Haven 30 May - 16 September 2016 ArtTalks | Egypt

Graphic Concept & Realization Omar Mobarek Text Fatenn Mostafa Bahaa Amer Photographs Bahaa Amer

Coordinators Lisa Lounis

Printing Concorde Press

8 El Kamel Mohamed Street, Zamalek, Cairo, Egypt +20227363948 info@arttalks.com www.arttalks.com