March 2013 – June 2018
88 artists celebrate the birth of Arab Abstraction over 50 years ago. Under the patronage of the Minister of Information and the State Minister of Youth Affairs: Sheikh Salman Al Sabah.
Contemporary Art Platform Kuwait proudly presents “Tajreed Part I: A Selection of Arab Abstract Art”, one of the biggest retrospectives that celebrate and map the abstract movement in the Arab world by featuring the works of 88 Arab artists during the Modern period. Covering artists born between 1908 and 1960, the first chapter of the exhibition presents a panorama of selected artists and artworks chosen for their abstract nature. The show sheds light on an artistic production that culminated over 50 years of Arab art, but needs to be revisited and further researched after 3 decades of oblivion and neglect.
Seventy years after its irruption in the mid 1940’s, the mysteries around the birth of abstraction in Arab art remain a challenge. A mutation has happened in different cities simultaneously within a timeframe of remarkable brevity: Saloua Raouda Choucair started experimenting her modular paintings in Beirut in 1946, paralleled with published articles about her theories of abstraction in 1951. Hamed Abdallah executed his first “papier froissé” or “Crumbled paper “ abstract compositions in the same year 1946 in Cairo, while Ramses Younan was testing abstract drawings in watercolors as early as 1947. Iraqi artist Madiha Omar published a thesis on the abstract dimensions of Arabic calligraphy in Washington D.C., at the Corcoran Institute in 1949, while her compatriot Jamil Hammoudi was painting his curvilinear compositions in Paris in 1949. For the first time, Arab artists were producing art within which the references to the visible world disappeared. So far, there were no precedents in the Middle East, although abstract art in the West goes back to 1910. And while technological progress and scientific knowledge can elucidate the mysteries of birth of Western abstraction, it is clear that on the Arab front, the adoption of this artistic revolutionary movement was more of an identitarian issue and a statement of modernity and progressiveness. In addition to those 5 artists, the exhibition will illustrate and honor the works of many Arab artists during that generation.
List of Artists:
Shafic Abboud, Hamed Abdallah, Mustafa Abdel-Moati, Mohamed Abla, Etel Adnan, Adonis, Yousef Ahmed, Mohammed Al Ameri, Dia Al Azzawi, Saleh Al Jumaie, Rashid Al Khalifa, Shakir Hassan Al Said, Safwan Al-Ayoubi, Wijdan Ali AlHashemi, Munira Al-Kazi, Abdullatif Al-Smoudi, Himat Ali, Farid Aouad, Yvette Ashkar, Fadi Barrage,Michel Basbous, Farid Belkahia, Fouad Bellamine, Mahjoub Ben Bella, Abdallah Benanteur, Kamal Boullata, Hassan Bourqia, Huguette Caland, Mounir Canaan,Naseer Chaura, Ahmed Cherkaoui, Ahmed Chibrine, Chaouki Choukini, Mahmoud Daadouch, Salem Dabbagh, Jafaar Dashti, Rashid Diab, Saliba Douaihy Mohanna Durra, Saeed El Adawi, Amine El Bacha, Jumana El Husseini, Rafik El Kamel, Helen ElKhal, Moustafa Fathi, Ismail Fattah, Paul Guiragossian, George Guv, Farid Haddad, Samia Halaby, Mahmoud Hammad, Jamil Hammoudi, Adam Henein, Farouk Hosny, Taha Hussein, Jafar Islah, Mohammed Kacimi, Fouad Kamel, Elie Kanaan, Mohammed Khadda, Jean Khalifeh, Mohammed Omar Khalil, Hussein Madi, Hanaa Malallah, Mohammed Melihi, Jamil Molaeb, Fateh Moudarres, Mehdi Moutashar, Mohamad Muhraddine, Abdullah Murad, Nazir Nab’a, Nabil Nahas, Rafa Nasiri Madiha Omar, Saloua Raouda Choucair,Mohammad Rawas, Aref Rayess Nizar Sabour, Nadia Saikaly, Faisal Samra, Mona Saudi, Juliana Seraphim, Hassan Sharif, Nabil Shehadeh, Nasser Soumi, Hanibal Srouji, Gebran Taraz and Ramses Younan.
This exhibition is curated by Saleh Barakat in collaboration with Contemporary Art Platform.
JAMM Art is pleased to announce a solo exhibition of Mohammed Sami’s recent paintings. In Sami’s paintings, nothing is stationary; all the drawings appear as if they are moving. There is always something hidden. Beauty becomes part of this great confusion, which the viewers live as the drawings themselves live. When we look at Sami’s paintings, we feel as if we do not see all the reality. Many parts of which have vanished, disappeared, been erased. What we see is only the traces of reality. The painter does not recall his art from memory but rather follows his passion, which blurs his eyes with tears. He sees nothing but ghosts.
Mohammed Sami was born in Baghdad in 1984. He graduated from the Institute of Fine Arts in Baghdad in 2004. He lives and works in Norrköping, Sweden. He has had solo shows in Baghdad, Aleppo, Syria and Norrköping, Sweden, and has participated in group exhibitions in Paris, London, Stuttgart, Germany, Saint Petersburg, Russia and Abu Dhabi.



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Dar Al Funoon invites you to its 4th Affordable Art Show, opening on Monday 28 May from 5-8pm. The show will feature a wide range of impressive works on paper, limited editions and originals by pioneer artists from Middle Eastern that have achieved international acclaim. These artists have also had their works acquired by major museums in the West and Arab World. Come and discover these special works, which have been collected by the gallery over the last 15 years.
The National Council of Culture, Arts, and Letters presents Kuwait’s first Pavilion at the 55th International Art Exhibition - la Biennale di Venezia. Under the general theme of “The Encyclopedic Palace”, proposed by Massimiliano Gioni director of this edition, the exhibition National Works explores two major works by sculptor Sami Mohammad (b. 1943) along with a new photographic production by Tarek Al-Ghoussein (b. 1962). Curated by Ala Younis, National Works disassembles symbols of grandeur in paused/post glorious times, in an attempt to re-interpret Kuwait’s modernization project.
In the year of its political independence, Kuwait welcomed its new-found prosperity by declaring a willingness to share its future wealth with its neighbors. The time was directed to institutional building in preparation for and accommodation of a growing influx of investments. The country’s urban landscape soon became an open-air museum of national and international performances of construction, creation and political manifestation.
In a metamorphosis similar to that of the country, self-taught artists were engaged in developing state institutions, while the state was providing them with training scholarships and annual stipends. Sculpture was the art form that the Kuwaiti art scene was best known for from the 60s through the 90s. Sami Mohammad is Kuwait’s most prominent sculptor.
The stories and images of Sami Mohammad standing next to a statue of a Sheikh twice his size in a foundry in London are of interesting quality: an illustration of an alternating power between an artwork and its maker, a state and its citizen, a ruler and his subject, a legacy and its receiver; a challenge and its taker.
The artist does not speak of the state of uncertainty and fear of rejection that he went through in the months of making the statues. How he had to confirm with the commissioner the resemblance of a bust made in Kuwait, before transporting it to London to complete the remaining parts and cast it in bronze. On a scaffold, Mohammad climbed to build a gestured body. The same bodies that will bear the wounds of bullets shot at them by the Iraqi army during the invasion in 1990. The artist himself had to escape the pursuit of the same soldiers trying to capture him to make a statue of Saddam Hussein. But the statues speak of a time of nation-building. National works by the state for the people and the people for the state. Works that match the scale of good fortune that has found its way to Kuwait.
For this exhibition, Tarek Al-Ghoussein tracks encounters with grandness in sites significant to Kuwait’s history. This chapter of his K Files, a work in-progress, marks returns to sites of proportion and vastness, with an attempt to consider an individual position within a national body.
The exhibition’s publication explores the emotional and theoretical contexts of works at a time when national identity was not questioned, and when modernist projects, cultural or contractual, were national works.
Title of the exhibition: National Works
Exhibitors: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts, and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel dal Brusà, Cannaregio 4391/A / Strada Nova
Opening reception: 30 May 2013 at 6 pm
Dates: open during the preview days (29, 30 and 31st) and for the public from 1 June – 24 November 2013
Tell a story in 5 pics on “how you see Kuwait through your eyes/lens!” Visit RedBullMEA.com/5pics to register & upload your pics for a chance to win prizes worth of:
1st place: 1,000 KD
2nd Place: 500 KD
3rd Place: 250 KD
The top 20 photos will be exhibited at 52 Degrees (located at Al-Tilal complex in Shuwaikh) from May 30th – June 10th. Closing date of uploading the pics is May 20th.

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