Roza El-Hassan: Drawings

The Drawing Center's

DRA\T ING P A P E ,R S7 R5za Et-Flassan

DRA\TINGS

38

R 6za

E1-Ha ssan

DRA\TINGS T he J une

Dr awin g 1- J uIy

C e n te r 26,

2 OO3

3B

The

In

nrn mni Ur r t v-

Lr r ri v n o

P!

I

19 80 s ,

th e

en o lr

nan+ inr r r ' l uur lLr r r uaf r y

l\ r

m a ny o f

th e

gr af f it i

the

anr.l

im:des

p rod uce fro m

l- r ei no

: nr : ent

th at at

iI

nn ssihle

withnrr]-

-Ca n

. r e : f in o

a rt

afl-o at i t

-Tq

com m unic at e in

of

nos s i hl c

and

a rt

same

are

of

the such

for to

art

use

art

r.'^tr'l

.l

of

an

For and

^-oduce Ir!

as

to

who

artists

draws

to us

the

say'

do

away accubeing

concerns-from

humanitarian

nor

show ;

nothing

and

Needl-ess

met. freedom

art

have

to

of

I 'v e for

distracts

efforts

the

context

Determined of

manklnd."

e

Of

d ista nce

emoti OnS ?

Our

(Stop

Wa r ! )

must

or

remain

it

lnterestrr

l-evels-tthuman

two

free,

c om p l e t e l y

a

singfe

from

the

doubt"-in

and

c ont em plat io n be

resistance

questions?

i nc or nor : le

c r eat iv it y

and

demonstration

from

im p e r a t i v e s

s ubv er s iv e

of

tr adit ion

dis-

ignor e .

s im ple

] -o

y v uv r v +v

"a rtistic sho uld

f or m

the

no t

r r vL

pro-

m lnd:

cr eai Yr v s

in

to

fight

possibfe

demands

the

uus s J

jnn uv v

v!vqufr r Y

in

qj- t t dr z ] - hc ac s f f le t i c s

uv

for

defense

the

signs

mL^" f lrEJ

^

DL!seLD.

from

away to

c om e t o fn

} /vuor vfv

us

true

used

that

and

aestheti c

lof t ines s

we q 1 /q -

A

Kreuzberg

1n

bel-j-efs

banners

lL^ Llfs

erl

propaganda?

activists

paint ed fh e

waffs be

anr ;g

same was

B e r l - i n 's

it

aesthetic

liv ef ihood .

gr av e

t oo

qu es t ions

Se ve ral

pe a c e f u f

c onc er ning

dr aws

ar t

a lf - is

Wo u l d

dull?

m enf i oned

ques t ions

vital-

satio n

-Ts

How coul-d

q a 1 - isfv

to

sim n l\/

imag es f or t heir I ' The 'l.he\ 7 s av :

th e

hu man

on

peopfe.

+1.'rarral-r LlrIvuvll

e r1 - g!U,

9Yfglr

sprayed

hav e

+Lram Lllgltt

cn

ur r r Ly tf

th crz

r^ rii-h

was

Kur dis h

v is ually

ler-f

stereotypes

(e.9.

nnt i- olohaliz at io n

people

c:rri ------u

fr Lr qYvr

wn rrl d

and

visual-

scene

m y old- f as hioned,

the s e

de ca de s,

and

The

buttons

i m nor f r cf

In cn r r

emptiness.

and

T hc

t i nn

Ittr e e

caffed)

pr opaganda- ev en

of

to con trast fha ne accma k er s

qrrch

be

r er r ol

h :n a l

v is u a l

posters

"pro-gfreen"

i etvu J

tuosr l!rf rJ

and

t hat

9ay s , be s o

c aus es

In

ouer r

s orr eove

rrf

only

c ould

wom en,

a we ap on

na^.a

ntts 1- ha

bor edom

( what

or of

impo rtan t as

lL- v n

of

mu lt ic ult ur al- al- t er nat iv e

th e

righ ts

pr of us ion

t he

ncr r - cnnqci

secnl uvavYJ

ae sthet ic

trict)

f ound

arrl\jlrsu ^ <q i a n a d

tema tic m o te

Demonstration

of

Aesthetics

even

and

the

work?

Or of

demands

e thics?

-Wo uld

it

kpy'

A ^r, uay r

.^n .A rn-

T

M sf

UUIlUgIll,

qD

fccl

cti

l

I

l-haqa

''++,

I alhr r ?

O no

per c ept ion,

2

r aa

nol lrvfr

it.i

c\r cr - ffr e:fcr Yl Eq svs!

only

c r eat e ca l

relinquish

to

ar t ist s

i nn

sitr l^j -

imagery

the

ni rrcs Yr vve

of

reesnns

i nn- qr r m n:fhr z

effca+

fnr

l-oftiness'

all-

al-1

agitation? for

thc u rrv

erzer-crreateI] vw vr Y!\

nF :ao- s i on-vand4 Y r' fvsvv

c r owds .

ba nn er-carrylng P. 11t -

rLhr r se

as k to

c r it ic is m '

a rt-sp ecific n ^,, Ddy

to

f eas ibf e

be

e^n

im aqes

r ef us e

m ay

bec aus e

be

a n d c ol- I ec t iv e

s in

to

be

formali-zed:

coll-ective are

such

responsibility, difficult-scary

col-lective notj-ons

they

them' from the ground up' rei nterpret c o n ti nuousl y form? H ow coui d t hey H ow coul d they take a fi nal

to a n a rti s t a n d ti m e a g a i n .

r e q u i re

t ime be fo rma fj -z e & An d

how

fLr rho s

an

c an

je c t iv e

hope

ar t is t

r es pons ibilit y

nr r l- r l

ri u

}, q l f

c

the

escape

e ar lier

--

In

dI

J

U IU C ^^

UD

as

of

(of

not

are

yearsf

two in

a

open-ended' end,

a dead

language

and

was afso

the

easily

with

case into

converted

th e

symboJ-s) and my

soothing

propaganda: If a drawing no tender j-t becomes carlcature.

is

and

a n d m y m o st

long'

hits

dialogue

hand'

other ?

L

entries

su b -

the

one

the

* he

l-ast

abstraction-this They

on

^-r Vr

the

understanding

visual

t her e

r " ^!r

between

connection

drawinq,

Wh e n t h i s

of

dr awin g s .

f ac t ,

a

me during

thought

d i s t o r ts

picture,

polit ic al- ideologic al

th e

any

on

s o.'^1 Jf

topic.

sphere

waI l

lar ge

p r opaganda.

fnr

be t he

pur e

r eal- m of

t he

e nt er

on

dialogue

drawings

]. r r

s hould

dr awings

in t er nal

line

a

hav e pr eo c c u p i e d

Thes e ques t ions re c ent

li

lrscsnonsihi oyvr.v

measure

to

for

Pa r adis e

t he

One of Pa r adis e.

Even

c ould,

fli ght , be

on

spac e g r aphic

in

wit hout upon

The

objec t

of

a nd

doubt s

ar e

i1 1

R 6 za

group the

is

works

of

series

reveals

most

profound

as

s er ies

f or

the

w i th

"Series

it

to

fufl

be

of

shame,

in

the

or

be

as

seen

fo r -

therefore

coufd is

an

ideal

differentiations

arbitrary a caricature

of

i c o no -

the

is

the

moment

open

and

yet,

m y wor k laid

cvnical.

dr awin g s

that

in one

during spite can

De ce m b e r 2002-,ranuary

2003,

which of

this'

contemplate

f eelings .

E1 - Ha ssa n ,

and

Paradise

th e

a n A r a b 's

depicts

a representation

because

discriminatj-on could

is

representation, Further,

it

series

it

with

empathy

Par adis e .

int er es t ed

of

visual

of

the

because

naked

c ar i c a t u r e .

r oom of

hand,

actual

t r adit ion

the

express

other

nat ionalit y ,

s c ene

T am not

a

O n t he

t heir

Bu t

light

of

ha n d ,

one

t he

m is int er pr et ed

b as ed

analysis

populat ion' s

t he

b idden

this

.

populat ion.

Ar ab

in

"

m y own c onc ept ual

cont r adic t ions It

gener a t e d

s er ies

Zuri ch

all

negative can

be

ca1m1y

e l - e m en ts

turned and

in to

without

ti' '

..t.:i :_1

. '::

:.r::.

r' t:

.'.

''..

j.,, .{:t t:'i

.*:

g

) '&

j''ict,",,A-1,

s

h/J

)

1i

/

/

/,

f , , / i/ i/ ,r, {ruf i

./

i :ir

{

I

it

!;

/i

i

lulo

" ".'-:,..

.!.oorrq 14anoa0'reaf

N

'N

Ji

.,,j,:

Installation 19 97. with wir e, on wall

at the Hunga r i an 196 x 433 in.

Pav i .l i on,

Veni c e

Bi ennal e.

I.

U n ti tT e d , cra p h i te

2.

U n ti tfed , P e n ci l ,

fro m the ser ies g o u a che, and India

"R. thinking/dr eam .i ng 16 3/4 ink on paper '

ov er popul ati on," about x 1- 1- '7/8 i n.

2003.

3.

U n ti t),e d , P e n ci f,

fro m the ser ies g o u a che, and India

"R. thinking/dr eam i ng ink on paper , 15

about ov er popul ati on," x 1']- 1/8 i n.

2003.

3/4

U n ti tfed , P en ci l ,

fro m the ser ies g o u a che, and India

"R. thinking/dr eam i ng ink on paper , 15

about ov er popul ati on," i n. x I1'7/8

2003.

3/4

5.

U n ti tfed , P en cj -l ,

fro m the ser ies g o u a che, and India

"R. thinking/dr eam j - ng 16 3/4 ink on paper '

about ov er popul ati on," i n. x l l '7/8

2003.

6.

fro m the ser ies U n ti t)-ed , go u a che, P e n ci l , and lndia

"R. thinking,/dr eami ng 15 3/4 ink on paper '

about ov er popul ati on," i n. x II'7/8

2003,

1.

U n ti tfed , P e n ci l ,

fro m the ser ies go u a che, and India

"R. thinking/dr eam i ng 15 ink on paper ,

about ov er popul ati on," x l l '7/8 i n.

2003.

3/4

U n ti tfed , P en ci l ,

from the ser ies g o u a che, and r ndia

"R. thinking/dr eam i ng 15 ink on paper ,

about x LL

ov er popul ati on," 7/8 i n.

2003'

3/4

U n ti tfed , P en ci l -,

fro m the ser ies g o u a che, and fndia

"R. thinking/dr eam i ng ink 16 on paper ,

about ov er Popul ati on," x 1'1" 1 /8 i n.

2003.

3/4

4.

L

9.

C o ve r:

B

stre tch e d

TangLe,

1997.

wir e

and

cable ,

di m ens i ons

v ar i abl e.

w ere made possi bl e, i- n Th e e x h i b i ti o n a n d i ts accompanyi ng publ i cati on pa rt, th ro u g h th e s u p p o rt of the LE F Foundati on and the E 1j -zabeth i s al so supported w i th pub lic F i re s to n e Gra h a m F o u n d a ti on. Thi s proj ect A ffai rs f u n d s fro m th e N e w Y o rk C i ty D epartment of C ul tural C ul tural C h a l l e n g e Pro g ra m.

Th e 2 0 0 2 -2 0 0 3 s e a s o n o f the D raw j ng P apers i s made possj -bl e, fro m E1l en Gal l agher and K athy FuId. by c o n tri b u ti o n s

in

part,

Th i s i -s n u m b e r 3 8 o f ti r' e D raw i ng P apers, a seri es of publ i cati ons programs a nd exhi bi ti ons and publ i c do c u me n ti n g T h e D ra w i n g C enter' s pro v i d i n g a fo ru m fo r the study of draw i ng. The D raw i ng P apers publion Monadnock D ul cet 100# S mooth Text and ca ti o n s s e ri e s i s p ri n te d D u L c e t 8 0 # Smo o th C o v e r.

de Zegher

C a th e ri n e Executive

Directot

Negr opont e

Geor ge Presi den t

Bo a rd

D i re c to rs

of

Amory

Dita

Chairman

Fr anc es Melva

Beat t y

Adler

Bucksbaum

Fr anc es

Dit t m er Eis l- er

C olin

Eliz abet h Br uc e

Fac t or

W . Fer gus on

Abby

Leigh

W illiam

S.

Mj-chae1

Lynne

Ir is

Lieber m an

M ar den

Eliz abet h

Rohat y n*

Er ic

C.

Dr.

Al1en

Rudin Lee

Ses s om s

Jeanne

C.

Thay er *

Andrea

Woodner

* emerita

D r .r ing

Publicationt

c.nt.r

Adam Lehner,

Executive

Luc

Designer

Derycke,

A nn Tar antj- not The

Drawj-ng

35 W ooster N ew Yor k,

Coor dinator

Center Str eet

NY 1001- 3

'IeI

( 2121

2t9- 2L66

E ax

( 2!21

966- 2976

w ww. dr awingcenter . @ The

Drawing

Editor

or g

Center