Khaled Hourani; Crowd #1, 2019 01 work, MIDDLE EASTERN ART, With Footnotes – 41

Khaled Hourani 1
Khaled Hourani
Crowd #1, 2019
Acrylic on canvas
45 3/10 × 40 1/5 in, 115 × 102 cm
Private collection

Khaled Hourani, Born in Hebron, Palestine, in 1965. Khaled Hourani lives and works in Ramallah. He was Artistic Director (2007-2010) and Director (2010-2013) of the International Academy of Art Palestine, of which he is also one of the co-founders. He previously worked as the General Director of the Fine Arts Department of the Palestinian Ministry of Culture (2004-2006). Hourani has participated in many local and international exhibitions, most recently in a retrospective at Darat Al Funun in Amman , Jordan (2017).

In 2014, his first retrospective exhibition took place at the CCA in Glasgow and Gallery One in Ramallah. He exhibited works at the Times Museum in Guangzhou, China and in the 2nd CAFA Biennale of the CAFA Museum in Beijing. He also participated in dOCUMENTA (13) in Kassel, and KW Institute for Contemporary Art, Berlin. Moreover, Hourani was also one of the artists of the Sharjah Biennial in 2011. Hourani was the initiator of the 2011 Picasso in Palestine project. He has curated and organized several exhibitions, is an art critic and an active member and founder of a number of cultural and art institutions. Recently, he was the recipient of the Leonore Annenberg Prize, Creative Time for Art and Social Change in New York City.

Hourani has been working for over a year on a book project, which is itself based on a novel about a painting titled Jamal Al Mahamel by Palestinian artist Suleiman Mansour. This artwork was sold to  the former Libyan president Muammar al Gaddafi in the 1970s. Through this project, Hourani seeks to figure out what happened to the painting and the circumstances of its disappearance after the 2011 political upheavals in Libya. He also raises the question of the perception of art both in Palestine and Libya. More on Khaled Hourani

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Effat Nagui, UNTITLED (GIRL WITH HER GOAT) 01 Painting, MIDDLE EASTERN ART, With Footnotes – 39

Effat Nagui (1)
Effat Nagui, 1912-1994, EGYPTIAN
UNTITLED (GIRL WITH HER GOAT), c. 1950’s
Oil on celotex
55 by 40cm.; 21 1/2 by 15 3/4 in.
Private collection

Effat Nagy (5 April 1905 – 4 October 1994) was an Egyptian artist who has a museum in Cairo devoted to her and her husband’s works. The museum is called Museum of Saad El-Khadem and Effat Nagy

Effat Mousa Nagy was born in the Mediterranean port of Alexandria in 1905. She was fascinated by culture, she was trained in music and mathematics. She was taught art by a private tutor and her artistic brother Mohamed Nagy. Her formal training was at the Arts Academy in Rome in 1947. She worked in Egypt under André Lhote and they used Egyptian archaeology as subject matter.
She married Saad Al-Khadem in 1945. He was also an artist and a researcher. Her husband’s research inspired her art.
In 1964 she exhibited her work at the High Dam Exhibition. This was a result of work that she had been commissioned to do the previous year. She was asked to record the archaeology that would be lost as it was submerged under the waters of the Aswan Dam as it was constructed. She was one of 64 artists chosen to do this work.
In 1968 the Mohamed Nagy Museum was founded and Nagy made a donation of forty of her brother’s paintings to help create a collection of her brother’s work.
Nagy died in 1994 although another source says 1997. More on Effat Nagy

 

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Hassan Hajjaj, WINK, c. 2007 01 Painting, MIDDLE EASTERN ART, With Footnotes – 38

Hassan Hajjaj (1)
Hassan Hajjaj, B. 1961, MOROCCAN WINK, c. 2007 Metallic Lambda inset with kohl boxes mounted on board in artist’s frame 94 by 66cm.; 37 by 26in. Private collection

Hassan Hajjaj (b. Larache, Morocco in 1961) is a contemporary artist who lives and works between London, UK and Marrakech, Morocco, and is known as the “Andy Warhol of Marrakech.”

Hajjaj’s work is in the collections of the Brooklyn Museum, New York; the British Museum, London; the Nasher Museum of Art, Duke University, Durham, NC; the Newark Museum, New Jersey; Los Angeles Museum of Contemporary Art, Los Angeles; the Victoria & Albert Museum, London; the Farjam Collection, Dubai; Institut des Cultures d’Islam, Paris; Kamel Lazaar Foundation, Tunisia; and Virginia Museum of Fine Art, Richmond, VA.

Hajjaj was the winner of the 2011 Sovereign Middle East and African Art Prize and was shortlisted for Victoria and Albert Museum’s Jameel Prize in 2009. In 2013, Rose Issa Projects published a monograph of the artist exploring his upbringing in Morocco and London, his experiences in fashion and interior design, and his adventures in the music industry influence the vibrant colours, joyful spirit, and visual rhythm of his highly sought-after images.

Hajjaj’s first feature-length film, Karima: A Day in the Life of a Henna Girl, premiered at the Los Angeles County Museum of Art in May 2015. The film takes viewers into the world of one Hajjaj’s most iconic series, Kesh Angels, depicting the henna girls of Marrakesh. The film will be subsequently shown at Art Basel in Basel, Switzerland in June 2015, curated by Cairo-based film curator and lecturer Maxa Zoller. More on Hassan Hajjaj

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Hassan Sharif, GARDEN 01 Painting, MIDDLE EASTERN ART, With Footnotes – 37

Hassan Sharif, (1951-2016) , EMIRIAN
GARDEN #1, c. 2007

Oil on canvas
100 by 70cm.; 39 3/8 by 27 1/2 in.
Private collection

Hassan Sharif (1951-2016) made a vital contribution to conceptual art and experimental practice in the Middle East through 40 years of performance, installation, drawing, painting and assemblage. Prior to leaving the UAE to study in London in 1979, Sharif gained attention for his cartoons published in the U­AE press – ironic, outspoken critiques of the rapid industrialisation of the Emirates and political deadlock of 1970s Arab Nationalism. As an artist, he rejected calligraphic abstraction, which was becoming the dominant discourse in the Middle East at that time, and pursued instead a pointedly contemporary vocabulary, drawing on the non-elitism and intermedia of Fluxus and the potential in British Constructionism’s systemic processes of making.


Sharif graduated from The Byam Shaw School of Art in 1984 and returned to the UAE shortly after. He set about staging interventions and the first exhibitions of contemporary art in Sharjah, as well as translating art historical texts and manifestos into Arabic so as to provoke a local audience to engage with – or at least reject – contemporary art discourse. 


In addition to his own practice, he also encouraged and supported several generations of artists in the Emirates. Sharif was a founding member of the Emirates Fine Arts Society and the Art Atelier in the Youth Theatre and Arts in Dubai. In 2007, he was one of the four artists to establish The Flying House, a Dubai institution for promoting contemporary Emirati artists. More on Hassan Sharif

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Safwan Dahoul, UNTITLED 01 Painting, MIDDLE EASTERN ART, With Footnotes – 36

Safwan Dahoul, B. 1961, SYRIAN
UNTITLED

Oil and gold leaf on wood
25 by 20cm.; 9 7/8 by 7 7/8 in.
Private collection

Safwan Dahoul, born in 1961 in Hama, Syria, Dahoul was initially trained by leading modernists at the Faculty of Fine Arts, University of Damascus before travelling to Belgium, where he earned a doctorate from the Higher Institute of Plastic Arts in Mons. Upon returning to Syria, he began teaching at the Faculty of Fine Arts and was a prominent member of the Damascus art scene. In the span of a decade, Dahoul nurtured a new generation of artists as an active mentor whose evolving aesthetic often ignited new directions in painting. Given the trajectory and status of his painting style, Dahoul’s career is regarded as a crucial link between modern and contemporary Arab art.

Since the late 1980s, Dahoul’s ongoing Dream series has explored the physical and psychological effects of alienation, solitude, and longing that punctuate the human experience at various stages in life. Partly autobiographical, this seminal body of work uses the formal properties of painting to recreate the subconscious sense of enclosure that surfaces during times of crisis. The artist’s recurring female protagonist facilitates this visceral experience through her contorted body, often-vacant eyes, and minimised yet monumental physicality. Depicted in the confinement of ambiguous settings, her presence is defined by the placement of various objects that seem to deepen the state of her disaffection, as even the familiar becomes a trigger of distress. More on Safwan Dahoul

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Rasha Amin, Always remember 01 Painting, MIDDLE EASTERN ART, With Footnotes – 35

Rasha Amin, Egypt
Always remember

Mixed media on canvas
55.1 W x 55.1 H x 0.1 in
Private collection

“In the real world we find repetitive actions and experiences of violence, hatred, and loneliness. Unfortunately the reality became so connected to the digital world, especially with the rise of social media. As many researches has shown they make us more isolated, responsible for increasing of our negativity, violence, anger and hatred to grow within us.

I’ve been inspired by the Italian artist Caravaggio’s Entombment of the Christ” Rasha Amin

Rasha Amin, an Egyptian artist earned a BFA in interior design in 2003 from faculty of Fine Arts in Helena university in Egypt. She has been working as a visual artist and a graphic designer. With time and practice, she has found an intersection point between them and subsequently developed her own visual and conceptual vocabulary. Her work mostly like connection dots game, as she makes a connection between things that matter in her world, and to build a dialogue with the viewers and ultimately create an open space for questions and thinking beyond the artworks themselves. More on Rasha Amin

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Hosni Radwan; Jerusalem #6. 01 Painting, MIDDLE EASTERN ART, With Footnotes – 34

Hosni Radwan
Jerusalem #6, c. 2018

Acrylic on canvas
40 1/5 × 44 1/2 in, 102 × 113 cm
Private collection

Hosni Radwan was born in Baghdad in 1955. He studied fine arts at the University of Baghdad specializing in graphics. He held a number of solo exhibitions in Iraq, Lebanon, Cyprus, Japan and Palestine. Radwan took part in international biennales including those of Berlin, Cairo and Sharja. He left Baghdad in 1979 and headed to Beirut where he worked in graphic design and journalism while continuing to draw and paint using his talents to express his position vis-à-vis the cause of his people.

He has exhibited widely and his solo shows have been held in cities including Tunis (1993); Tokyo (1985); Nicosia (1983); Ramallah (2003 ,2002 ,1997, 2017); Baghdad (2001) and Kuwait (2008). Radwan currently lives and works in Ramallah. More on Hosni Radwan

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