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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 con tains more than 8\,000 objects from the Arab world\, Iran\, Turkey and othe r regions historically connected to the Arab Peninsula.

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Summary\, Part 1 \;inaugurates the permanen t 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 cu ratorial concept looks beyond traditional linear histories of art to highli ght diverse attitudes\, and contextualize intellectual production within mu ltiple modernities.

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This collection s how positions art as a formal and conceptual force\, demonstrating artistic intervention as a manifestation of modernity. African and Arabic represent ations meet in the paintings of Ibrahim el-Salahi\, the work of Baya Mahied dine \;exemplifies her unique style of free figuration developed under the limitations of colonial rule in Algeria\, Seif Wanly depicts modern Egy ptian symbols of social and industrial progress\, and Hassan Sharif and Far id Belkahia use natural materials\, found objects\, and local languages to express strong statements on the making of art in their contemporary contex ts. The exhibition also presents the work of Jassim Zaini\, Jewad Selim\, a nd Mahmoud Mouktar\, who were pioneers in establishing the art scene in the ir own countries. These works and artists are witnesses of their times and play active roles in articulating new artistic tendencies and alternative m odels of society.

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By telling the stor y of the collection and documenting its art histories\, Summary Part 1 init iates new routes to interrogate the cultural and ideological changes that h ave taken place in the transition to a shared global modernity.

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The methodology of display adopted in this exhib ition is informative rather than spectacular\, proposing new relationships between works and key moments in history. From the outdoor piazza to the se cond-floor galleries\, the works show the originality of artistic productio n\, the invention of materials and forms\, and artists&rsquo\; new approach es to making art active in their contexts.

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Curated by Mathaf curators and researchers\, Laura Barlow\, Leonore-N amkha Beschi\, Abdellah Karroum\, and Yasser Mongy. \;

DTEND:20151231 DTSTAMP:20150902T084236 DTSTART:20141101 GEO:25.3198837;51.4565508 LOCATION:Mathaf: Arab Museum of Modern Art\,Al Luqta Street \nDoha \, SEQUENCE:0 SUMMARY:Mathaf Collection Summary\, Part 1\, Shafic Abboud\, Hamed Abdalla\ , Youssef Abdelke\, Said al-Adawi\, Etel Adnan\, Yousef Ahmad\, Ghada Amer\ , Nabil Anani\, Farid Aouad\, Layla al-Attar\, Dia Azzawi\, Amine el-Bacha\ , Marwan Kassab Bachi\, Farid Belkahia\, Habib Bida\, Kamal Boullata\, Moun ir Canaan\, Ahmed Cherkaoui\, Saloua Raouda Choucair\, Chaouki Choukini\, F araj Daham\, Jafaar al-Deshty\, Saliba Douaihy\, Manal al-Dowayan\, Wafika Sultan Saif al-Essa\, Balqis Fakhro\, Moustafa Farroukh\, Mohammed Hosni el -Baba\, Lisa Fattah\, Abdel Hadi el-Gazzar\, Paul Guiragossian\, Kadhim Hai dar\, Mustafa al-Hallaj\, Wafa al-Hamad\, Jamil Hammoudi\, Ali Hassan\, Fai q Hassan\, Adam Henein\, Khalil Jibran\, Fouad Kamel\, Ahmad Kanaan\, Amal Kenawy\, Mohammed Omar Khalil\, Miloud Labied\, Faisal Laibi\, Hussein Madi \, Baya Mahieddine\, Nadira Mahmoud\, Salman al-Malik\, Ahmed Mater\, Georg e C. Michelet\, Aisha Al-Misnad\, Sami Mohammed\, Aimé Nicolas Morot\, Fate h al-Moudarres\, Mahmoud Mouktar\, Ahmed Moustafa\, Abdullah al-Muharraqi\, Hassan al-Mulla\, Hamed Nada\, Omar el-Nagdi\, Rafa al-Nasiri\, Ahmed Nawa r\, Mahmoud Obaidi\, Samia al-Said Omar\, Hamed Owais\, Khalifa al-Qattan\, Mohammed Racim\, Omar Racim\, Shakir Hassan Al Said\, Mahmoud Said\, Abbès Saladi\, Ibrahim El-Salahi\, Issa Saqer\, Jewad Selim\, Saad Shakir\, Abdu l Rahim al-Sharif\, Hassan Sharif\, Gazbia Sirry\, Salah Taher\, Tawfiq Tar iq\, Couider Triki\, Ismail Fattah al-Turk\, Seif Wanly\, M’hamed Yssiakhem \, Jassim Zaini\, Fahrelnissa Zeid\, Abdallah Benanteur\, Farhad Moshiri\, Hazem al-Zubi\, Nja Mahdaoui UID:394716 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hü\;seyin Bahri Alptek in (İzmir\, 1957-2007)

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  \;&ldquo\;I investigate the beauty and the vulgar and the relation ship between them.&rdquo\; \;

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Hü\;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 th e branding of a mass-produced product unconvincingly simulating luxuriousne ss or exoticism. Alptekin was an artist that saw the profound effects of gl obal capitalism on the everyday\, observing the movement of people and prod ucts across geographies\, particularly in the period following the collapse of the Soviet Union. He himself was also a traveller\, studious of forms o f feral capitalism surging from places considered the fringes of western mo dernity. It is the signifiers and remnants of all this &ndash\;traces of th e burgeoning effects of mobility\, trade and image circulation&ndash\; that Alptekin used as the materials for his art-making\, as a means for contemp lating what it all represented.

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Part of the first generation of Turkish artists considered to be globally active and nationally influential\, Alptekin is considered one of the most signif icant figures in the established contemporary art scene of Istanbul. The ex hibition \;Democratic Luxury \;is a major retrospective of his practice\, bringing together works produced during the two decades eit her side of the new millennium. Since the early 1990s\, Alptekin focused on an artistic production broad in scope\, which included photographs\, sculp tures\, installation\, neon text\, videos and collages. It is &ldquo\;plast ic art&rdquo\; reflecting the prosaic material qualities of &ldquo\;global junk&rdquo\; that came with the flow of trans-national free-market capitali sm. 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.

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Democratic Luxury \;aims to take us de eper into the thought-processes of the exhibited works through the inclusio n 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\;float ing laboratory&rdquo\; for artists and thinkers to circumnavigate the Black Sea\, developing critical discussions and artistic exchange\, all-the-whil e tracing the route taken by the protagonist in Jules Verne&rsquo\;s novel& nbsp\;Ké\;raban The Inflexible \;(1883).Democratic L uxury \;has been developed as a collaboration between M HKA (Museu m for Contemporary Art\, Antwerp) and RAMPA Gallery\, Istanbul\, with the d isplays across both venues together forming a major retrospective of the wo rk of Hü\;seyin Bahri Alptekin.

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H ü\;seyin Bahri Alptekin\, born 1957 in Izmir\, died 2007 in Istanbul.Democratic Luxury \;has been developed in partnership with the E state of Hü\;seyin Bahri Alptekin. The Hü\;seyin Bahri Alptekin arc hive is managed by SALT\, Istanbul.

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A rtist\, writer\, lecturer and curator Hü\;seyin Bahri Alptekin (1957-20 07) studied aesthetics\, philosophy of art and sociology in Ankara and Pari s. He worked as a photographer for SIPA Press and wrote for various publica tions as an art and design critic. Alptekin lectured at Ankara Bilkent Univ ersity and İstanbul Bilgi University. He participated in many local and int ernational panels and symposia on contemporary art. Starting in the early 1 990&rsquo\;s\, Alptekin focused on an artistic production that explored the effects of globalization\, immigration and exile\, cross cultural image ci rculation 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 co lorful plastic soccer balls\, represent a multi‐layered\, complex visual la nguage. In 2007 he represented Turkey in the 52nd Venice Biennial with his installation &ldquo\;Don&rsquo\;t Complain&rdquo\; The same year he partici pated in the exhibition &ldquo\;Global Cities&rdquo\; at the Tate Modern in London. From 2000-2004 he ran a non-profit artists&rsquo\; collective call ed &ldquo\;Sea Elephant Travel Agency&rdquo\; (SETA) that hosted a residenc y program for artists as well as organized conferences. He was a man of col lective and collaborative work\; his early collaborations with Michael Morr is\, his collective work with students &ldquo\;Grup Grip-in&rdquo\; during his years in Bilkent\, the meetings he arranged at his space &ldquo\;LOFT&r dquo\;\, the &ldquo\;Bunker Research Group&rdquo\; and &ldquo\;Barn Researc h Group&rdquo\; are just a few of his many accomplishments. Exhibitions he participated in\, include the Sã\;o Paolo Biennial (1998)\; Cetinje B iennial (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\, 2 005\, 2009). The artist&rsquo\;s solo exhibitions are &ldquo\;Hü\;seyin Bahri Alptekin &ndash\; Facts\, Incidents\, Accidents\, Circumstances\, Si tuations&rdquo\;\, Muzeum Sztuki\, Łó\;dź (2013)\, \;&ldquo\;Fest ival Istambul Agora &ndash\; Hü\;seyin Bahri Alptekin&rdquo\;\, SESC Po mpeia\, Sao Paulo (2013)\, &ldquo\;I Am Not A Studio Artist&rdquo\;\, Salt\ , İstanbul (2011)\, &ldquo\;Global Mockery&rdquo\;\, Maison de Folie de Waz emmes\, Lille (2009) and &ldquo\;Kriz: Viva Vaia&rdquo\;\, Dulcinea Gallery \, İstanbul (1999).

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Hü\;s eyin Bahri Alptekin (İzmir\, 1957-2007)

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 \;&ldquo\;Gü\;zellikle bayağılığı ve ikisinin aras ındaki ilişkiyi araştırıyorum.&rdquo\;

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Hü\;seyin Bahri Alptekin\, vaatler ve bunların sıradan ger&ccedi l\;eklikleri arasındaki farka hayrandı. Bu vaatler\, uzak bir yer deneyimi sunan ucuz bir otelin adında veya pek de inandırıcı olmaksızın\, lü\;ks ya da egzotikmiş gibi gö\;rü\;nen bir kitlesel ü\;retim ü\ ;rü\;nü\;nü\;n markalaştırılma biç\;iminde bulunabilirdi. Alptekin\, kü\;resel kapitalizmin gü\;ndelik hayat ü\;zerindek i derin etkilerini fark eden\, ö\;zellikle Sovyetler Birliği&rsquo\;nin ç\;ö\;kü\;şü\;nden sonraki dö\;nemde insanlar ve nes nelerin coğrafyalar arasındaki hareketliliğini gö\;zlemleyen bir sanat& ccedil\;ıydı. Kendisi de bir gezgin olarak\, Batı modernitesinin kıyıları k abul edilen coğrafyalarda vahşi kapitalizmin ortaya ç\;ıkış biç \;imlerini inceledi. Sanatç\;ı\, bü\;tü\;n bunları\; hareketl iliğin\, ticaret ve imge dolaşımının ç\;abucak yayılan etkilerinin iz lerini eserlerine malzeme yaptı ve tü\;m bu dolaşımların neyi temsil et tiğini anlamakta araç\; olarak kullandı.

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Tü\;rkiye&rsquo\;de kü\;resel olarak etkin ve ü\;lkes inde etkili ilk sanatç\;ılar kuşağına dahil olan Hü\;seyin Bahri Alptekin\, İstanbul gü\;ncel sanat ortamının en ö\;nemli şahsiyetle ri arasındadır. \;Demokratik Lü\;ks\, \;sanatç\; ının yeni milenyumdan ö\;nceki ve sonraki on yıllarda ü\;rettiği es erleri bir araya getiren kapsamlı bir retrospektif. Alptekin\, 1990&prime\; ların başından itibaren fotoğraflar\, heykeller\, enstalasyonlar\, neon met inler\, video ve kolajları iç\;eren geniş bir sanatsal ü\;retim y elpazesine odaklandı. Bu\, uluslararası kapitalist serbest piyasanın yaratt ığı &ldquo\;kü\;resel ıvır zıvırın&rdquo\; sıradan maddi nitelikleri &u uml\;stü\;ne dü\;şü\;nen bir &ldquo\;plastik sanat&rdquo\;tı. E serlerinin ç\;oğunda ortak bir tema olan bu coğrafi kaydırma\, bir to plumun &ldquo\;başka&rdquo\; yerlere dair temsillerinin\, arzularımız ve ka lıplaşmış yargılarımızla nasıl uyumlu hale getirildiğini tahlil eder.

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Demokratik Lü\;ks\, Hü\;s eyin Bahri Alptekin arşivinden seç\;ilmiş ç\;izimler\, eskizler ve notları da dahil ederek\, sanatç\;ının dü\;şü\;nce sü \;reç\;lerinin derinine inmeyi amaç\;lıyor. Sergide ayrıca\, Ju les Verne&rsquo\;in \;İnatç\;ı Keraban&lsquo\;ının (1883 ) izlediği rotayı takip ederek\, sanatç\;ılar arasındaki eleştirel ta rtışmalara ve sanatsal değiş tokuşa katkıda bulunmak amacıyla\, Karadeniz&r squo\;i dolaşan &ldquo\;yü\;zen bir laboratuvar&rdquo\; kurmayı arzu et miş Sea Elephant Travel Agency [Deniz Fili Seyahat Acentası]\, Bunker Resea rch Group [Korugan Araştırma Grubu] ve Barn Research Group (BRG) gibi başka sanatç\;ılarla ortak girişimleri de ele alınıyor. M HKA (Gü\;nce l Sanat Mü\;zesi\, Antwerp) ve Rampa İstanbul&rsquo\;un işbirliğiyle d& uuml\;zenlenen \;Demokratik Lü\;ks \;sergisi kapsamınd a\, her iki mekanda da dü\;zenlenecek sergiler\, Hü\;seyin Bahri Al ptekin&rsquo\;in eserine dair başlıca bir retrospektif sunuyor.

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1957&prime\;de İzmir&rsquo\;de doğan Hü\;sey in Bahri Alptekin\, 31 Aralık 2007 gecesi İstanbul&rsquo\;da hayatını kaybe tmişti. \;Demokratik Lü\;ks\, Hü\;seyin Bahri Alptekin &rsquo\;in varisleri ile ortaklaşa geliştirilmiştir. Hü\;seyin Bahri Al ptekin arşivi SALT tarafından İstanbul&rsquo\;da dü\;zenlenmiştir.

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Sanatç\;ı\, yazar\, ö\;ğretim g ö\;revlisi ve kü\;ratö\;r Hü\;seyin Bahri Alptekin (1957-20 07) Ankara ve Paris&rsquo\;te estetik\, sanat felsefesi ve sosyoloji ü\ ;zerine eğitim gö\;rdü\;. SIPA Press iç\;in basın fotoğraf&cc edil\;ısı olarak ç\;alıştı ve birç\;ok yayın iç\;in sanat ve tasarım eleştirmeni olarak yazılar yazdı. Ankara Bilkent Ü\;niversi tesi ve İstanbul Bilgi Ü\;niversitesi&rsquo\;nde ders verdi\, Tü\;r kiye&rsquo\;de ve yurtdışında gü\;ncel sanat ü\;zerine birç\; ok konferans ve sempozyuma katıldı. 1990&rsquo\;ların başından itibaren san at ü\;retimine yoğunlaşan Alptekin\, eserlerinde kü\;reselleşmenin etkileri\, gö\;ç\; ve sü\;rgü\;n\, kü\;ltü\;rlera rası imge dolaşımı\, imzasız ü\;retimler gibi temaları zaman\, yer\, se yahat\, kişisel tarih ve arşivler ü\;zerinden inceledi. Fotoğraf yerleş tirmeleri\, kolajlar\, videolar\, objeler &ndash\; hatta kasası plastik fut bol toplarıyla dolu bir kamyon gibi &ndash\; eserlerinde birç\;ok far klı malzeme ve yö\;ntemler kullanarak\, birbirine referans veren &ccedi l\;ok katmanlı gö\;rsel bir dil yarattı. Hü\;seyin Bahri Alptekin\, 2007&rsquo\;de 52. Uluslararası Venedik Bienali&rsquo\;nde &ldquo\;Şikayet Etme&rdquo\; isimli yerleştirmesiyle Tü\;rkiye&rsquo\;yi temsil etti. Aynı sene Londra&rsquo\;da Tate Modern&rsquo\;de dü\;zenlenen &ldquo\;G lobal Cities&rdquo\; adlı sergide yer aldı. 2000-2004 yılları arasında k&ac irc\;r amacı gü\;tmeyen\, misafir sanatç\;ı programları ve konfer anslar dü\;zenleyen &ldquo\;Sea Elephant Travel Agency&rdquo\; (SETA) a dlı bir sanatç\;ı kolektifini yü\;rü\;ttü\;. Kendisi bera ber ç\;alışma ve kolektif ü\;retimlerin insanıydı\, Michael Morri s ile yaptığı erken dö\;nem işleri\, Bilkent yıllarında ö\;ğrencile riyle beraber kurduğu Grup Grip-in\, LOFT&rsquo\;ta dü\;zenlediği topla ntılar\, Bunker Research Group ve Barn Research Group (BRG) bunlardan bazıl arıdır. Katıldığı birç\;ok sergi arasında ayrıca Sã\;o Paolo Bi enali (1998)\, UNESCO Ö\;dü\;lü\;&rsquo\;nü\; kazandığı (Ka radağ) Ç\;etince Bienali (2002)\, Walker Art Center&rsquo\;da ger&cce dil\;ekleştirilen &ldquo\;How Latitudes Become Forms&rdquo\; (2003)\, Manif esta 5 (2004)\, 2. ve 3. Tirana Bienali (2005) ve ü\;ç\; kere kat ıldığı İstanbul Bienali (1995\, 2005\, 2009) bulunmaktadır. Sanatç\;ı nın kişisel sergileri ise şunlardır: &ldquo\;Hü\;seyin Bahri Alptekin & ndash\; Facts\, Incidents\, Accidents\, Circumstances\, Situations&rdquo\;\ , Muzeum Sztuki\, Łó\;dź (2013)\, \;&ldquo\;Festival Istambul Ago ra &ndash\; Hü\;seyin Bahri Alptekin&rdquo\;\, SESC Pompeia\, Sao Paolo (2013)\,&ldquo\;Ben Bir Stü\;dyo Sanatç\;ısı Değilim&rdquo\;\, S alt (2011)\, &ldquo\;Global Mockery&rdquo\;\, Maison de Folie de Wazemmes\, Lille (2009) ve &ldquo\;Kriz: Viva Vaia&rdquo\;\, Dulcinea &ndash\; &Ccedi l\;ağdaş Sanatlar İç\;in Ö\;zgü\;r Mekan (1999).

DTEND:20151114 DTSTAMP:20150902T084236 DTSTART:20150902 GEO:41.0438183;28.998708 LOCATION:RAMPA\,Şair Nedim Caddesi No: 21a Akaretler \n İstanbul\, 34357 SEQUENCE:0 SUMMARY:Democratic Luxury/Demokratik Lüks\, Hüseyin Bahri Alptekin UID:394698 END:VEVENT BEGIN:VEVENT DTEND:20150902T000000 DTSTAMP:20150902T084236 DTSTART:20150902T210000 GEO:41.0438183;28.998708 LOCATION:RAMPA\,Şair Nedim Caddesi No: 21a Akaretler \n İstanbul\, 34357 SEQUENCE:0 SUMMARY:Democratic Luxury/Demokratik Lüks\, Hüseyin Bahri Alptekin UID:394699 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;Traces of the Future&r dquo\; is based on artworks that combine social obsevations with an involve ment in issues that constitute the major challenges of tomorrow&rsquo\;s so ciety. The exhibition is a celebration of the Moroccan contemporary art wit h 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 s ocio-cultural\, political and critical background. These artists tackle fam iliar themes\, maintaining a constant navigation between imaginary worlds a nd everyday realities. They deal with challenges to physical and mental bar riers\, 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 meani ng springs from the alliance of contrasting realities. As such\, the expres sion &ldquo\;Traces of the future&rdquo\; is a figure of speech or an effec t\, by which contradictory terms are used in conjonction.

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&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 socié\;té\; de demain. Cette exposition est la cé\;l& eacute\;bration d&rsquo\;un art contemporain marocain aux relents visionnai res. En effet\, &ldquo\;Traces of the Future&rdquo\; constitue le lieu d&rs quo\;un systè\;me de ré\;fé\;rence commun aux &oelig\;uvr es et au public\, fondé\; sur un arriè\;re-plan socioculturel/p olitique critique. Ces artistes abordent des thè\;mes familiers\, en maintenant une navigation permanente entre mondes imaginaires et ré\; alité\;s quotidiennes. Ainsi\, que ce soit par la remise en cause des barriè\;res physiques ou mentales\, par le ré\;cit d&rsquo\;ex pé\;riences migratoires\, par le dé\;voilement des contradictio ns de notre é\;poque\, ou encore par l&rsquo\;invention de langages m ilitants et poé\;tiques à\; la fois\, les artistes de &ldquo\;T races of the Future&rdquo\; traduisent un monde où\; composer avec le s contraires est né\;cessaire\; un monde où\; les alliances d&r squo\;opposé\;s sont porteuses de sens. &ldquo\;Traces of the future& rdquo\; est une figure de rhé\;torique type de l&rsquo\;agencement de ré\;alité\;s contraires.

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ينبني معرض &ldquo\;آثار المستقبل&rdquo\; على اقتراحات فنانين تتناول أعمالهم معاينة المجتمع مع انتقاده حول قضايا تشكل تحدياته الأساسية في المستق بل. هذا المعرض هو كذلك مناسبة للاحتفاء بالفن المغربي المعاصر المتميز باستبا قه 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 ا لعصر، 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 ضرور يا، إذ يبقى تحالفها وسيلة لبلوغ المعنى. &ldquo\;آثار المستقبل&rdquo\; هو شك ل من أشكال أساليب الخطاب المبنية على إعادة ترتيب حقائق متضادة.

DTEND:20150930 DTSTAMP:20150902T084236 DTSTART:20150501 GEO:31.6294723;-7.9810845 LOCATION:Marrakech Museum for Photography and Visual Arts\,Palais El Badii Marrakesh\nMarrakesh\, 40000 SEQUENCE:0 SUMMARY:Traces of the Future\, Leïla Alaoui\, Younes Baba-Ali\, Amina Benbo uchta\, Mounir Fatmi\, Ahmed Hajoubi\, Jamila Lamrani\, Abdelaziz Zerrou UID:394638 END:VEVENT BEGIN:VEVENT DESCRIPTION:

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ELIAS ZAYAT: AFTER THE DELUGE

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Exhibition Dates: 14 September & ndash\; 04 November 2015

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Opening Reception: Monday\, 14 September 2015\, 6 &ndash\; 9 pm

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Green Art Gallery presents After the Deluge\ , a solo show of new works from Syrian artist Elias Zayat.

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Elias Zayat is one of the most significant Syrian artists o f the 20th century\, and a key founder of the country&rsquo\;s contemporary art movement. Although he studied in Sofia\, Cairo\, and Budapest\, his oe uvre remains intimately concerned with the history\, terrain\, and psyche o f his homeland. Zayat&rsquo\;s parallel life as an art restorer and histori an is evident in his rich vocabulary drawn from Byzantine\, early Christian \, Sufist\, and popular iconography.

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In After Th e Deluge\, Zayat returns to the ancient city of Palmyra\, remembered f or being one of the few places in the region that managed to exist alongsid e the Romans without becoming Romanised. Fittingly\, it is also known as Ta dmor\, or &lsquo\;the town that resisted.&rsquo\; In this\, the city parall els 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.

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Here\, Zayat draws from the Mesopotamian\, Babylonian\, and later Bibl ical account of the flood\, which he understands as a metaphor for rebuildi ng a decaying world after its total devastation\, resiting the event in the historical city of Palmyra. The titular triptych\, After the Deluge 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 thems elves locked into a suffocating circular dance high above the remains of a decimated town\; a struggle from which it is seemingly impossible to escape .

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The only answer seems to be to flee the humanitari an 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 Zaya t&rsquo\;s practice. These studies depict the movements of birds\, to prese nt both theoretical and literalised new lines of flight.

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Born in Da mascus in 1935\, Elias Zayat studied at the Academy of Fine Arts in Sofia b etween 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 Dam ascus\, where he taught until his retirement. As a painter and icon restore r\, his art is influenced by religious&mdash\;particularly Christian&mdash\ ;and popular iconography. He has published several studies in the history o f art\, iconography and art criticism. Zayat lives and works in Damascus.\n

For more information\, please contact the gallery at info@gagallery.com or +9714 346 9305 .

DTEND:20151104 DTSTAMP:20150902T084236 DTSTART:20150914 GEO:25.271139;55.307485 LOCATION:Green Art Gallery\,Al Quoz 1\, Street 8\, AlSerkal Avenue\, Unit 2 8 \nDubai\, SEQUENCE:0 SUMMARY:Elias Zayat: After the Deluge\, Elias Zayat UID:394173 END:VEVENT BEGIN:VEVENT DTEND:20150914T210000 DTSTAMP:20150902T084236 DTSTART:20150914T180000 GEO:25.271139;55.307485 LOCATION:Green Art Gallery\,Al Quoz 1\, Street 8\, AlSerkal Avenue\, Unit 2 8 \nDubai\, SEQUENCE:0 SUMMARY:Elias Zayat: After the Deluge\, Elias Zayat UID:394174 END:VEVENT END:VCALENDAR