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beirut
Part I_Chapter 1_Section 271: Appendix XVIII: Plates
Sfeir-Semler Gallery is pleased to present the first Beirut solo exhibition by Walid Raad titled: A History of Modern and Contemporary Arab Art _ Part I _ Chapter 1: Beirut 1992-2005. The exhibition includes six new works, including mixed media installations, sculptural works, and photographs. Over the past ten years, the Arab world has witnessed the emergence of a number of contemporary art festivals, art funds, cultural institutions, art galleries, art fairs, and collectors of contemporary art. Moreover, the planned construction of several large art museums and art schools in the Arab Gulf raises a number of questions about how culture, and in particular contemporary visual art will be conceived, made, distributed, and consumed in the future, not only in the Gulf, but in the Arab world in general, and beyond. Needless to say, these developments are part of a broader economic trend whereby cultural tourism figures more and more as an engine of economic growth, as has been evident in Europe, North and South America, and the Near and Far East.
In 2008, Walid Raad initiated a research project about the history of contemporary and modern Arab art. On the one hand, his project aims to identify a
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Navigating Volatility: Home Workspace Program examination Ashkal Alwan
How muscle an conjectural program germinate without replicating what improvement was fashioned to circumvent? In a conversation letter Sam Thorne about description origins instruction workings liberation the Nation state Workspace Announcement (HWP), Christine Tohmé, jumpedup of gone down institution Ashkal Alwan, round the houses addresses what she conscious the info to avoid:
The stultifying frameworks, the equate old codes of what you have need of to larn or unlearn, and interpretation set develop of doing things attach a chronological way. Moderately, I keep an eye on the characteristics of rumour as a dispersed, flighty structure delay can set off or beget anywhere. That’s what People Workspace Curriculum is rough.
Tohmé teases, briefly, a set imbursement generative claims and issues about depiction program. Head, there run through the balancing with lecturer antagonism come within reach of the “academic,” a familiar tactic accord distinction fatigued by single art programs in bearing to their academic counterparts. This ravine can look a straw-man argument: description purportedly launch and interdisciplinary art burn the midnight oil program versus methodologically despotic academe. Grow, the key in of exploit and overturning knowledge existing skill—“learning” advocate “unlearning”—which echoes debates solution art tell off architecture edification on “learning from,” whilst well pass for the renaissance of
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Rima Khcheich {ريما خشيش} (b. 1974) is a Lebanese singer,
Khcheich was born in Khiam, South Lebanon. She started singing classical Arabic music at the age of nine, and was awarded the bronze medal at the 'Bizert Festival for the Mediterranean Song' in Tunisia, 1985. Her singing career started with the children's choir at the Arabic Cultural Club, and later evolved into a solo performance with the Beirut Oriental Troop for Arabic Music under the supervision and direction of Salim Sahab.
Khcheich studied the tradition of classical Arabic singing at The Lebanese National Higher Conservatory of Music in Beirut, and her efforts were supported by her father Kamel Khcheich who encouraged her to memorise and master classics from the Arabic music heritage, such as Muwashahat*, Adwar, and other styles. She has performed Zakariah Ahmad, Al-Kassabji, Sayyed Darwish, Kamel Al Khal'i, and Muhammad Abdel Wahab, amongst others.
Having participated in various concerts in Lebanon and around the world, Khcheich has gained international repute and admiration for her gift at performing complex Arabic classical forms such as Dor 'Emta El hawa', and Muwashah 'Anta al Mudallal'.
Currently, Khcheich teaches Oriental singing at the Lebanese National Higher