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Art in Public Spaces - Amman - May 2007
ÂĄ+L3 Â&#x17E;gÂť+ ÂŁI Â&#x17E;gu½+
No â&#x20AC;&#x201D; adv.
a negative expressing dissent, denial, or refusal, as in response to a question or request
Condition â&#x20AC;&#x201D; n.
a particular mode of being of a person or thing; existing state; situation with respect to circumstances
is â&#x20AC;&#x201D; v. 3rd pers. sing. pres. indic. of BE Permanent â&#x20AC;&#x201D; adj.
existing perpetually; everlasting Project Concept: Rayelle Niemann
Artists: Rana El Nemr Fawzy Emrany Pascal Hachem Samah Hijjawi Mahmoud Khaled Hanan Khalil JĂśrg KĂśppl Peter Zacek Special contribution: Saba Innab
Publication Editors-in-Chief : Alaâ&#x20AC;&#x2122; Diab, Rayelle Niemann Layout: Alaâ&#x20AC;&#x2122; Diab 1000 copies printed
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VERTICAL MARKET Dwelling on the mountain
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dynamic representation life involvement multiple Bilad al Sham criticism al Husseni Mosque mediated whole triggers record concrete sphere existed series Saqf al Seil Street Âąb8OÂź Â?Â&#x152;´ YbO ´ Â?Â&#x152; 8 ´8Â&#x2020; +Ÿ¹bbÂź ´ tÂ&#x152; oO8Â&#x152;Âź ÂźbÂąÂ&#x2030; Â&#x152;8Â&#x2020; environment event users social product evacuating Raghadan urban stories parallel other cities pieces Jabal al Hussein Al Abdali between traveling agencies Jabal al Weibdeh link Muhajereen bridge
SAHA
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SHIFTS
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LOST SPACE-
function public private spaces potentials informalities feeding cuts man made natural rhythmic void constantly into gate west east fast
PRODUCT- the MACHINE
Capital young strategic center region growth conditions refugees oil 70â&#x20AC;&#x2122;s global abrupt explosion confusion structure fallout reciprocal multi-centered spatial
CITY OF EVENTS
Â&#x153;Â?Â&#x2020; OĂ&#x160; Â&#x2030;8Â&#x153; OÂ?Ă Â&#x152;ÂźbÂą Â&#x153;8¹Ÿ´ Â&#x152;qĂ Ă&#x2030; b´Ÿ8FÂ&#x2020; ´|bY Âąb~ Â&#x152;ÂźbÂąÂ&#x153;ÂąbÂź 8Âątb Âąb8Â&#x2020;~b´Ÿ8Âźb Â&#x2030;8Â&#x2020;Â&#x2020;´ Âą8Â&#x153; Y t8ÂźbY OÂ?Â&#x2030;Â&#x2030;Ă Â&#x152; Âź b´ Â?noOb´ Âąb´ YbÂ&#x152;Âź 8Â&#x2020; Â&#x2030;8tb´ Â&#x2020; nb´ŸĂ&#x160;Â&#x2020;b ´ObÂ&#x152;8Âą Â?´ Â&#x2020; Â&#x152;Â&#x2026;8tb´ stimulation 80s empty plot just social program unloading capable ´bOÂ?Â&#x152;Y Ă&#x153;Â&#x2020; Ă&#x153;FY8Â&#x2020; Â&#x2020; Â&#x152;Â&#x2026; +Ă&#x160;Âą 8 bF8Â&#x152;Â?Â&#x152; Âą8ÂŚ Ă Â&#x2020;n qÂ?Ă Âą ´| bÂ&#x2030;bÂątbY
TRACING MONEY MARKET
Saba Innab
Č&#x203A;ƞƜȿ Ÿ ĆžĆ&#x192;ǧ
out practices aiming far city core origin modern ago demonstrating eventful hotels emerged natural result celebrative arrival surrounding strong stream behind hub evacuated merchants square valley highly formal informal adaptations accommodations open air markets unconstrained associated coffee house aura allied consequent social behaviors dwellers extended being legitimate continually regional among intellectuals indicating dynamic religion everyday State local
TRACING SUB-IDENTITIES
Rana El Nemr
ǍƵƶȿ ŽȚ ƾſȤ
Samah Hijjawi/Hanan Khalil
ȸȶƾƆŲ ȠƾƵŴ ǚƸƴų ȴƾƶŲ
Emrany/Köppl/Zacek
ǙƸƪůȚȥ ǚŮǞż ǠſȚǍƵŸ
Ala` Diab/Rayelle Niemann
ȴƾƵƸſ ǚƁȚȤ țƾƁȣ ȔǾŸ
%gÂ&#x2026;Â&#x201A;J)š+ bÂŤF
Under Construction kIgÂ?H+ ÂŁGgI'š+ ¸ ÂŁU ER Â?Â&#x;Â?H ngÂ&#x;ÂŤÂ&#x153;Â?. 4ÂĄ~|Db+ fÂ&#x2DC;<]E ,xÂ&#x2019;Â&#x152;D* ÂżL'š+ -¨Â&#x2021;Âź+ rĂ&#x2020;Â?´* Â&#x2013;~64&* kÂŤJgoH+ -¨Â&#x2021;Âź+ Â&#x2122;B4 dgÂ&#x2019;§ Â&#x2013;~|-(* koHgoH+ -¨Â&#x2021;Âź+ Â&#x2122;B4 dgÂ&#x2019;E Â&#x153;E f´bÂ&#x2019;E ¢Â?Â&#x2022;- kÂ?,+}H+ -¨Â&#x2021;Âź+ Ix1&* ,xQ E rx~7(* Â&#x2122;B4 dgÂ&#x2019;§ Â&#x2013;~|-(* kÂ&#x2026; IgÂź+ -¨Â&#x2021;Âź+ Â&#x2122;B4 dgÂ&#x2019;§ Â&#x2013;~|-(* kÂ&#x2026;73gÂ&#x2026; H+ -¨Â&#x2021;Âź+ Â&#x2122;B4 dgÂ&#x2019;E Â&#x153;E f´bÂ&#x2019;E ¢Â?Â&#x2022;- kÂ?,gÂ&#x2026; H+ -¨Â&#x2021;Âź+ Â&#x2122;B4 dgÂ&#x2019;E Â&#x153;E f´bÂ&#x2019;E ¢Â?Â&#x2022;- k¢IgoH+ -¨Â&#x2021;Âź+ Â?J]~|+ Â&#x2013;~|-(* kÂ?Â&#x2026;7glH+ -¨Â&#x2021;Âź+ Â&#x2122;B4 dgÂ&#x2019;§ Â&#x2013;~|-(* -}Â&#x2026;8gÂ?H+ -¨Â&#x2021;Âź+ bcgÂ&#x2019;E qgA(* }Â&#x2026;Â&#x201A;= kN3gÂť+ -¨Â&#x2021;Âź+ bÂ&#x2DC;B4 Â&#x;Â&#x20AC;<&* }Â&#x2026;Â&#x201A;= kÂŤJgoH+ -¨Â&#x2021;Âź+ Â&#x201C;~zÂ&#x152;Â&#x203A;+ bÂ&#x17E;Â&#x2022;Â&#x2020;A(* }Â&#x2026;Â&#x201A;= koHgoH+ -¨Â&#x2021;Âź+
Instructions for art in public space Step 1: concept with images Step 2: send the proposal Step 3: Â&#x2030;8Â&#x2026;b 8 O8Â&#x2020;Â&#x2020; ÂźÂ? Â?noOb Â&#x2014; Step 4: tbÂź 8 O8Â&#x2020;Â&#x2020; nÂąÂ?Â&#x2030; Â?noOb Â&#x2014; Step 5U Â&#x2030;8Â&#x2026;b 8 O8Â&#x2020;Â&#x2020; ÂźÂ? Â?noOb Â&#x2014;V bĂ&#x2030;Â&#x153;Â&#x2020;8 Â&#x152; 8t8 Â&#x152; Step 6: Â&#x2030;8Â&#x2026;b 8 O8Â&#x2020;Â&#x2020; ÂźÂ? Â?noOb Ă&#x20AC; Step 7: tbÂź 8 O8Â&#x2020;Â&#x2020; nÂąÂ?Â&#x2030; Â?noOb ½ Step 8: tbÂź 8 O8Â&#x2020;Â&#x2020; nÂąÂ?Â&#x2030; Â?noOb s Step 9: tbÂź 8 O8Â&#x2020;Â&#x2020; nÂąÂ?Â&#x2030; Â?noOb p Step 10: call your best friend Step 11: Â?Â&#x153;bÂ&#x152; 8Â&#x152; Â?noOb Step 12: give it a number Step 13: just do it
Pascal Hachem
Ǜŵƾƀ ȲƾƳŴƾŮ
Mahmoud Khaled
NjŽƾų ȢǞƵƇž