ArtSlant - Recently added en-us 40 Group Show - Mathaf: Arab Museum of Modern Art - November 1st, 2014 - December 31st <p style="text-align: justify;">The collection of Mathaf: Arab Museum of Modern Art is the largest of modern and contemporary art in the region. Established in the early 1990s, it continues to grow and today contains more than 8,000 objects from the Arab world, Iran, Turkey and other regions historically connected to the Arab Peninsula.</p> <p style="text-align: justify;"><em>Summary, Part 1</em>&nbsp;inaugurates the permanent display of Mathaf&rsquo;s collection in the second-floor galleries with a first selection of 100 artists to give an overview of its breadth. The curatorial concept looks beyond traditional linear histories of art to highlight diverse attitudes, and contextualize intellectual production within multiple modernities.</p> <p style="text-align: justify;">This collection show positions art as a formal and conceptual force, demonstrating artistic intervention as a manifestation of modernity. African and Arabic representations meet in the paintings of Ibrahim el-Salahi, the work of Baya Mahieddine&nbsp;exemplifies her unique style of free figuration developed under the limitations of colonial rule in Algeria, Seif Wanly depicts modern Egyptian symbols of social and industrial progress, and Hassan Sharif and Farid Belkahia use natural materials, found objects, and local languages to express strong statements on the making of art in their contemporary contexts. The exhibition also presents the work of Jassim Zaini, Jewad Selim, and Mahmoud Mouktar, who were pioneers in establishing the art scene in their own countries. These works and artists are witnesses of their times and play active roles in articulating new artistic tendencies and alternative models of society.</p> <p style="text-align: justify;">By telling the story of the collection and documenting its art histories, Summary Part 1 initiates new routes to interrogate the cultural and ideological changes that have taken place in the transition to a shared global modernity.</p> <p style="text-align: justify;">The methodology of display adopted in this exhibition is informative rather than spectacular, proposing new relationships between works and key moments in history. From the outdoor piazza to the second-floor galleries, the works show the originality of artistic production, the invention of materials and forms, and artists&rsquo; new approaches to making art active in their contexts.</p> <p style="text-align: justify;">Curated by Mathaf curators and researchers, Laura Barlow, Leonore-Namkha Beschi, Abdellah Karroum, and Yasser Mongy.&nbsp;</p> Tue, 01 Sep 2015 17:42:53 +0000 Hüseyin Bahri Alptekin - RAMPA - September 2nd - November 14th <p style="text-align: justify;"><em>H&uuml;seyin Bahri Alptekin (İzmir, 1957-2007)</em></p> <p style="text-align: justify;"><em>&nbsp;</em><em>&ldquo;I investigate the beauty and the vulgar and the relationship between them.&rdquo;&nbsp;</em></p> <p style="text-align: justify;">H&uuml;seyin Bahri Alptekin was fascinated by the difference between the promise of something and its banal reality. This promise could lie in the name of a cheap hotel offering the experience of a distant place, or in the branding of a mass-produced product unconvincingly simulating luxuriousness or exoticism. Alptekin was an artist that saw the profound effects of global capitalism on the everyday, observing the movement of people and products across geographies, particularly in the period following the collapse of the Soviet Union. He himself was also a traveller, studious of forms of feral capitalism surging from places considered the fringes of western modernity. It is the signifiers and remnants of all this &ndash;traces of the burgeoning effects of mobility, trade and image circulation&ndash; that Alptekin used as the materials for his art-making, as a means for contemplating what it all represented.</p> <p style="text-align: justify;">Part of the first generation of Turkish artists considered to be globally active and nationally influential, Alptekin is considered one of the most significant figures in the established contemporary art scene of Istanbul. The exhibition&nbsp;<em>Democratic Luxury</em>&nbsp;is a major retrospective of his practice, bringing together works produced during the two decades either side of the new millennium. Since the early 1990s, Alptekin focused on an artistic production broad in scope, which included photographs, sculptures, installation, neon text, videos and collages. It is &ldquo;plastic art&rdquo; reflecting the prosaic material qualities of &ldquo;global junk&rdquo; that came with the flow of trans-national free-market capitalism. This dislocation with geography recurs as a thematic strand in much of his practice, analysing how a society&rsquo;s representations of &lsquo;other&rsquo; places conform to our desires and stereotypes.</p> <p style="text-align: justify;"><em>Democratic Luxury</em>&nbsp;aims to take us deeper into the thought-processes of the exhibited works through the inclusion of a selection of studies, drawings and notes from the Alptekin archive. The exhibition will also consider his collaborative initiatives with other artists such as the Bunker Research Group, the Barn Research Group (BRG) or the Sea Elephant Travel Agency which aspired to organise a &ldquo;floating laboratory&rdquo; for artists and thinkers to circumnavigate the Black Sea, developing critical discussions and artistic exchange, all-the-while tracing the route taken by the protagonist in Jules Verne&rsquo;s novel&nbsp;<em>K&eacute;raban The Inflexible</em>&nbsp;(1883).<em>Democratic Luxury</em>&nbsp;has been developed as a collaboration between M HKA (Museum for Contemporary Art, Antwerp) and RAMPA Gallery, Istanbul, with the displays across both venues together forming a major retrospective of the work of H&uuml;seyin Bahri Alptekin.</p> <p style="text-align: justify;">H&uuml;seyin Bahri Alptekin, born 1957 in Izmir, died 2007 in Istanbul.<em>Democratic Luxury</em>&nbsp;has been developed in partnership with the Estate of H&uuml;seyin Bahri Alptekin. The H&uuml;seyin Bahri Alptekin archive is managed by SALT, Istanbul.</p> <p style="text-align: justify;">Artist, writer, lecturer and curator H&uuml;seyin Bahri Alptekin (1957-2007) studied aesthetics, philosophy of art and sociology in Ankara and Paris. He worked as a photographer for SIPA Press and wrote for various publications as an art and design critic. Alptekin lectured at Ankara Bilkent University and İstanbul Bilgi University. He participated in many local and international panels and symposia on contemporary art. Starting in the early 1990&rsquo;s, Alptekin focused on an artistic production that explored the effects of globalization, immigration and exile, cross cultural image circulation and anonymous production through travel, personal histories and archives. His cross‐referential work, consisting of photo‐installations, collages, videos, objects, and once a life‐size truck overloaded with colorful plastic soccer balls, represent a multi‐layered, complex visual language. In 2007 he represented Turkey in the 52nd Venice Biennial with his installation &ldquo;Don&rsquo;t Complain&rdquo; The same year he participated in the exhibition &ldquo;Global Cities&rdquo; at the Tate Modern in London. From 2000-2004 he ran a non-profit artists&rsquo; collective called &ldquo;Sea Elephant Travel Agency&rdquo; (SETA) that hosted a residency program for artists as well as organized conferences. He was a man of collective and collaborative work; his early collaborations with Michael Morris, his collective work with students &ldquo;Grup Grip-in&rdquo; during his years in Bilkent, the meetings he arranged at his space &ldquo;LOFT&rdquo;, the &ldquo;Bunker Research Group&rdquo; and &ldquo;Barn Research Group&rdquo; are just a few of his many accomplishments. Exhibitions he participated in, include the S&atilde;o Paolo Biennial (1998); Cetinje Biennial (2002), for which he won the UNESCO Prize; &ldquo;How Latitudes Become Forms,&rdquo; Walker Art Center (2003); Manifesta 5 (2004); 2nd and 3rd Tirana Biennial (2003, 2005); and the İstanbul Biennial (1995, 2005, 2009). The artist&rsquo;s solo exhibitions are &ldquo;H&uuml;seyin Bahri Alptekin &ndash; Facts, Incidents, Accidents, Circumstances, Situations&rdquo;, Muzeum Sztuki, Ł&oacute;dź (2013),&nbsp;&ldquo;Festival Istambul Agora &ndash; H&uuml;seyin Bahri Alptekin&rdquo;, SESC Pompeia, Sao Paulo (2013), &ldquo;I Am Not A Studio Artist&rdquo;, Salt, İstanbul (2011), &ldquo;Global Mockery&rdquo;, Maison de Folie de Wazemmes, Lille (2009) and &ldquo;Kriz: Viva Vaia&rdquo;, Dulcinea Gallery, İstanbul (1999).</p> <hr /> <p style="text-align: justify;">H&uuml;seyin Bahri Alptekin (İzmir, 1957-2007)</p> <p style="text-align: justify;"><em>&nbsp;</em><em>&ldquo;G&uuml;zellikle bayağılığı ve ikisinin arasındaki ilişkiyi araştırıyorum.&rdquo;</em></p> <p style="text-align: justify;">H&uuml;seyin Bahri Alptekin, vaatler ve bunların sıradan ger&ccedil;eklikleri arasındaki farka hayrandı. Bu vaatler, uzak bir yer deneyimi sunan ucuz bir otelin adında veya pek de inandırıcı olmaksızın, l&uuml;ks ya da egzotikmiş gibi g&ouml;r&uuml;nen bir kitlesel &uuml;retim &uuml;r&uuml;n&uuml;n&uuml;n markalaştırılma bi&ccedil;iminde bulunabilirdi. Alptekin, k&uuml;resel kapitalizmin g&uuml;ndelik hayat &uuml;zerindeki derin etkilerini fark eden, &ouml;zellikle Sovyetler Birliği&rsquo;nin &ccedil;&ouml;k&uuml;ş&uuml;nden sonraki d&ouml;nemde insanlar ve nesnelerin coğrafyalar arasındaki hareketliliğini g&ouml;zlemleyen bir sanat&ccedil;ıydı. Kendisi de bir gezgin olarak, Batı modernitesinin kıyıları kabul edilen coğrafyalarda vahşi kapitalizmin ortaya &ccedil;ıkış bi&ccedil;imlerini inceledi. Sanat&ccedil;ı, b&uuml;t&uuml;n bunları; hareketliliğin, ticaret ve imge dolaşımının &ccedil;abucak yayılan etkilerinin izlerini eserlerine malzeme yaptı ve t&uuml;m bu dolaşımların neyi temsil ettiğini anlamakta ara&ccedil; olarak kullandı.</p> <p style="text-align: justify;">T&uuml;rkiye&rsquo;de k&uuml;resel olarak etkin ve &uuml;lkesinde etkili ilk sanat&ccedil;ılar kuşağına dahil olan H&uuml;seyin Bahri Alptekin, İstanbul g&uuml;ncel sanat ortamının en &ouml;nemli şahsiyetleri arasındadır.&nbsp;<em>Demokratik L&uuml;ks,</em>&nbsp;sanat&ccedil;ının yeni milenyumdan &ouml;nceki ve sonraki on yıllarda &uuml;rettiği eserleri bir araya getiren kapsamlı bir retrospektif. Alptekin, 1990&prime;ların başından itibaren fotoğraflar, heykeller, enstalasyonlar, neon metinler, video ve kolajları i&ccedil;eren geniş bir sanatsal &uuml;retim yelpazesine odaklandı. Bu, uluslararası kapitalist serbest piyasanın yarattığı &ldquo;k&uuml;resel ıvır zıvırın&rdquo; sıradan maddi nitelikleri &uuml;st&uuml;ne d&uuml;ş&uuml;nen bir &ldquo;plastik sanat&rdquo;tı. Eserlerinin &ccedil;oğunda ortak bir tema olan bu coğrafi kaydırma, bir toplumun &ldquo;başka&rdquo; yerlere dair temsillerinin, arzularımız ve kalıplaşmış yargılarımızla nasıl uyumlu hale getirildiğini tahlil eder.</p> <p style="text-align: justify;"><em>Demokratik L&uuml;ks</em>, H&uuml;seyin Bahri Alptekin arşivinden se&ccedil;ilmiş &ccedil;izimler, eskizler ve notları da dahil ederek, sanat&ccedil;ının d&uuml;ş&uuml;nce s&uuml;re&ccedil;lerinin derinine inmeyi ama&ccedil;lıyor. Sergide ayrıca, Jules Verne&rsquo;in&nbsp;<em>İnat&ccedil;ı Keraban</em>&lsquo;ının (1883) izlediği rotayı takip ederek, sanat&ccedil;ılar arasındaki eleştirel tartışmalara ve sanatsal değiş tokuşa katkıda bulunmak amacıyla, Karadeniz&rsquo;i dolaşan &ldquo;y&uuml;zen bir laboratuvar&rdquo; kurmayı arzu etmiş Sea Elephant Travel Agency [Deniz Fili Seyahat Acentası], Bunker Research Group [Korugan Araştırma Grubu] ve Barn Research Group (BRG) gibi başka sanat&ccedil;ılarla ortak girişimleri de ele alınıyor. M HKA (G&uuml;ncel Sanat M&uuml;zesi, Antwerp) ve Rampa İstanbul&rsquo;un işbirliğiyle d&uuml;zenlenen&nbsp;<em>Demokratik L&uuml;ks</em>&nbsp;sergisi kapsamında, her iki mekanda da d&uuml;zenlenecek sergiler, H&uuml;seyin Bahri Alptekin&rsquo;in eserine dair başlıca bir retrospektif sunuyor.</p> <p style="text-align: justify;">1957&prime;de İzmir&rsquo;de doğan H&uuml;seyin Bahri Alptekin, 31 Aralık 2007 gecesi İstanbul&rsquo;da hayatını kaybetmişti.&nbsp;<em>Demokratik L&uuml;ks</em>, H&uuml;seyin Bahri Alptekin&rsquo;in varisleri ile ortaklaşa geliştirilmiştir. H&uuml;seyin Bahri Alptekin arşivi SALT tarafından İstanbul&rsquo;da d&uuml;zenlenmiştir.</p> <p style="text-align: justify;">Sanat&ccedil;ı, yazar, &ouml;ğretim g&ouml;revlisi ve k&uuml;rat&ouml;r H&uuml;seyin Bahri Alptekin (1957-2007) Ankara ve Paris&rsquo;te estetik, sanat felsefesi ve sosyoloji &uuml;zerine eğitim g&ouml;rd&uuml;. SIPA Press i&ccedil;in basın fotoğraf&ccedil;ısı olarak &ccedil;alıştı ve bir&ccedil;ok yayın i&ccedil;in sanat ve tasarım eleştirmeni olarak yazılar yazdı. Ankara Bilkent &Uuml;niversitesi ve İstanbul Bilgi &Uuml;niversitesi&rsquo;nde ders verdi, T&uuml;rkiye&rsquo;de ve yurtdışında g&uuml;ncel sanat &uuml;zerine bir&ccedil;ok konferans ve sempozyuma katıldı. 1990&rsquo;ların başından itibaren sanat &uuml;retimine yoğunlaşan Alptekin, eserlerinde k&uuml;reselleşmenin etkileri, g&ouml;&ccedil; ve s&uuml;rg&uuml;n, k&uuml;lt&uuml;rlerarası imge dolaşımı, imzasız &uuml;retimler gibi temaları zaman, yer, seyahat, kişisel tarih ve arşivler &uuml;zerinden inceledi. Fotoğraf yerleştirmeleri, kolajlar, videolar, objeler &ndash; hatta kasası plastik futbol toplarıyla dolu bir kamyon gibi &ndash; eserlerinde bir&ccedil;ok farklı malzeme ve y&ouml;ntemler kullanarak, birbirine referans veren &ccedil;ok katmanlı g&ouml;rsel bir dil yarattı. H&uuml;seyin Bahri Alptekin, 2007&rsquo;de 52. Uluslararası Venedik Bienali&rsquo;nde &ldquo;Şikayet Etme&rdquo; isimli yerleştirmesiyle T&uuml;rkiye&rsquo;yi temsil etti. Aynı sene Londra&rsquo;da Tate Modern&rsquo;de d&uuml;zenlenen &ldquo;Global Cities&rdquo; adlı sergide yer aldı. 2000-2004 yılları arasında k&acirc;r amacı g&uuml;tmeyen, misafir sanat&ccedil;ı programları ve konferanslar d&uuml;zenleyen &ldquo;Sea Elephant Travel Agency&rdquo; (SETA) adlı bir sanat&ccedil;ı kolektifini y&uuml;r&uuml;tt&uuml;. Kendisi beraber &ccedil;alışma ve kolektif &uuml;retimlerin insanıydı, Michael Morris ile yaptığı erken d&ouml;nem işleri, Bilkent yıllarında &ouml;ğrencileriyle beraber kurduğu Grup Grip-in, LOFT&rsquo;ta d&uuml;zenlediği toplantılar, Bunker Research Group ve Barn Research Group (BRG) bunlardan bazılarıdır. Katıldığı bir&ccedil;ok sergi arasında ayrıca S&atilde;o Paolo Bienali (1998), UNESCO &Ouml;d&uuml;l&uuml;&rsquo;n&uuml; kazandığı (Karadağ) &Ccedil;etince Bienali (2002), Walker Art Center&rsquo;da ger&ccedil;ekleştirilen &ldquo;How Latitudes Become Forms&rdquo; (2003), Manifesta 5 (2004), 2. ve 3. Tirana Bienali (2005) ve &uuml;&ccedil; kere katıldığı İstanbul Bienali (1995, 2005, 2009) bulunmaktadır. Sanat&ccedil;ının kişisel sergileri ise şunlardır: &ldquo;H&uuml;seyin Bahri Alptekin &ndash; Facts, Incidents, Accidents, Circumstances, Situations&rdquo;, Muzeum Sztuki, Ł&oacute;dź (2013),&nbsp;&ldquo;Festival Istambul Agora &ndash; H&uuml;seyin Bahri Alptekin&rdquo;, SESC Pompeia, Sao Paolo (2013),&ldquo;Ben Bir St&uuml;dyo Sanat&ccedil;ısı Değilim&rdquo;, Salt (2011), &ldquo;Global Mockery&rdquo;, Maison de Folie de Wazemmes, Lille (2009) ve &ldquo;Kriz: Viva Vaia&rdquo;, Dulcinea &ndash; &Ccedil;ağdaş Sanatlar İ&ccedil;in &Ouml;zg&uuml;r Mekan (1999).</p> Tue, 01 Sep 2015 16:25:18 +0000 Leïla Alaoui, Younes Baba-Ali, Amina Benbouchta, Mounir Fatmi, Ahmed Hajoubi, Jamila Lamrani, Abdelaziz Zerrou - Marrakech Museum for Photography and Visual Arts - May 1st - September 30th <p style="text-align: justify;">&ldquo;Traces of the Future&rdquo; is based on artworks that combine social obsevations with an involvement in issues that constitute the major challenges of tomorrow&rsquo;s society. The exhibition is a celebration of the Moroccan contemporary art with visionary overtones. Indeed, &ldquo;Traces of the Future&rdquo; sets a reference system for the works and the public, as they share the same a socio-cultural, political and critical background. These artists tackle familiar themes, maintaining a constant navigation between imaginary worlds and everyday realities. They deal with challenges to physical and mental barriers, stories of migration experiences, unveiling of some contradictions of our time, as well as the invention of activists and poetic languages. Artists of &ldquo;Traces of the Future&rdquo; reflect a world where meaning springs from the alliance of contrasting realities. As such, the expression &ldquo;Traces of the future&rdquo; is a figure of speech or an effect, by which contradictory terms are used in conjonction.</p> <hr /> <p style="text-align: justify;">&ldquo;Traces of the Future&rdquo; se fonde sur des propositions d&rsquo;artistes alliant l&rsquo;observation sociale et le parti pris sur des questions qui constitueront des enjeux majeurs de la soci&eacute;t&eacute; de demain. Cette exposition est la c&eacute;l&eacute;bration d&rsquo;un art contemporain marocain aux relents visionnaires. En effet, &ldquo;Traces of the Future&rdquo; constitue le lieu d&rsquo;un syst&egrave;me de r&eacute;f&eacute;rence commun aux &oelig;uvres et au public, fond&eacute; sur un arri&egrave;re-plan socioculturel/politique critique. Ces artistes abordent des th&egrave;mes familiers, en maintenant une navigation permanente entre mondes imaginaires et r&eacute;alit&eacute;s quotidiennes. Ainsi, que ce soit par la remise en cause des barri&egrave;res physiques ou mentales, par le r&eacute;cit d&rsquo;exp&eacute;riences migratoires, par le d&eacute;voilement des contradictions de notre &eacute;poque, ou encore par l&rsquo;invention de langages militants et po&eacute;tiques &agrave; la fois, les artistes de &ldquo;Traces of the Future&rdquo; traduisent un monde o&ugrave; composer avec les contraires est n&eacute;cessaire; un monde o&ugrave; les alliances d&rsquo;oppos&eacute;s sont porteuses de sens. &ldquo;Traces of the future&rdquo; est une figure de rh&eacute;torique type de l&rsquo;agencement de r&eacute;alit&eacute;s contraires.</p> <hr /> <p style="text-align: right;">ينبني معرض &ldquo;آثار المستقبل&rdquo; على اقتراحات فنانين تتناول أعمالهم معاينة المجتمع مع انتقاده حول قضايا تشكل تحدياته الأساسية في المستقبل. هذا المعرض هو كذلك مناسبة للاحتفاء بالفن المغربي المعاصر المتميز باستباقه للأحداث، إنه يشكل موقعا لنسق يمثل مرجعا مشتركا للأعمال الفنية و الجمهور، مبنيا على خلفية سوسيوثقافية/سياسية ذات أهمية كبيرة. يتناول الفنانون مواضيع مألوفة مع الحفاظ على نوع من التنقل بين الخيال و الواقع، سواء بإعادة النظر في الحواجز المادية و النفسية بسرد تجارب الهجرة، أو برفع الحجاب عن تناقضات العصر، أو بابتكار لغات ذات بعد نقدي و شعري في الوقت ذاته. يترجم فنانون معرض &ldquo;آثار المستقبل&rdquo; عالما حيث التفاوض مع المتناقضات يظل أمرا ضروريا، إذ يبقى تحالفها وسيلة لبلوغ المعنى. &ldquo;آثار المستقبل&rdquo; هو شكل من أشكال أساليب الخطاب المبنية على إعادة ترتيب حقائق متضادة.</p> Mon, 31 Aug 2015 18:45:03 +0000 Elias Zayat - Green Art Gallery - September 14th - November 4th <p class="BodyA">&nbsp;</p> <p class="FreeFormA"><span style="font-size: large;"><strong>ELIAS ZAYAT:<em> AFTER THE DELUGE</em></strong></span></p> <p class="FreeFormA"><strong>Exhibition Dates: 14 September &ndash; 04 November 2015</strong></p> <p class="FreeFormA"><strong>Opening Reception: Monday, 14 September 2015, 6 &ndash; 9 pm</strong></p> <p class="normal"><strong>Green Art Gallery presents <em>After the Deluge</em>, a solo show of new works from Syrian artist Elias Zayat.</strong></p> <p class="normal">Elias Zayat is one of the most significant Syrian artists of the 20th century, and a key founder of the country&rsquo;s contemporary art movement. Although he studied in Sofia, Cairo, and Budapest, his oeuvre remains intimately concerned with the history, terrain, and psyche of his homeland. Zayat&rsquo;s parallel life as an art restorer and historian is evident in his rich vocabulary drawn from Byzantine, early Christian, Sufist, and popular iconography.</p> <p class="normal">In <em>After The Deluge</em>, Zayat returns to the ancient city of Palmyra, remembered for being one of the few places in the region that managed to exist alongside the Romans without becoming Romanised. Fittingly, it is also known as Tadmor, or &lsquo;the town that resisted.&rsquo; In this, the city parallels Zayat who, despite emerging at the height of Pan-Arabist fervour that culminated in the Naksa of 1967, managed to resist this sweeping aesthetic hegemony to develop his own inimitable visual language.</p> <p class="normal">Here, Zayat draws from the Mesopotamian, Babylonian, and later Biblical account of the flood, which he understands as a metaphor for rebuilding a decaying world after its total devastation, resiting the event in the historical city of Palmyra. The titular triptych, <em>After the Deluge</em> is presented as plea for peace, heralded in the epic by a dove bearing an olive branch. Yet in the central panel, Zayat&rsquo;s doves find themselves locked into a suffocating circular dance high above the remains of a decimated town; a struggle from which it is seemingly impossible to escape.</p> <p class="normal">The only answer seems to be to flee the humanitarian chaos to arrive at a better world, as seen in the young men of the side panels, who are poised as if to take flight. The triptych is anchored by a selection from his works on paper, which form a crucial backbone of Zayat&rsquo;s practice. These studies depict the movements of birds, to present both theoretical and literalised new lines of flight.</p> <p>Born in Damascus in 1935, Elias Zayat studied at the Academy of Fine Arts in Sofia between 1956 and 1960 and the Faculty of Fine Arts in Cairo. He also majored in art restoration at the Academy of Fine Arts and Museum of Applied Arts in Budapest, and is one of the founders of the Faculty of Fine Arts in Damascus, where he taught until his retirement. As a painter and icon restorer, his art is influenced by religious&mdash;particularly Christian&mdash;and popular iconography. He has published several studies in the history of art, iconography and art criticism. Zayat lives and works in Damascus.</p> <p class="FreeFormA">For more information, please contact the gallery at <a href="" rel="nofollow"></a> or +9714 346 9305 .</p> Thu, 27 Aug 2015 07:25:52 +0000