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' '
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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
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