Exhibition by Himat Mohammed Ali
Himat was born in Kirkuk in 1960.
settling permanently and work in Paris since 1991.
1982 - Gallery of Contemporary Art, Kirkuk, Iraq
1983 - Al Rashid Gallery, Baghdad, Iraq
1986 - Al Rashid Gallery, Baghdad, Iraq
I floated on a leaf
Down a concrete river
And seeing the wall, I spoke
A word to shatter it.
I asked for forgiveness
How to Return Home
By: Sara Aslagson-Sahar
Grab your bag and meet your friend outside the airport. Jump in their car
And remind yourself that you are done crying.
Regale them with tales and be a surprise to your family.
Cradle your mother in a hug and remember that your personal puzzle piece came from this spot
Announcement of Final Results 2016
Rafa Nasiri Annual Award for Printmaking
Amman, January 31st 2017
Rafa Nasiri Award for Printmaking is honoured to announce the final results of the 3rd Annual Graphic Arts Competition 2016.
The respected members of the jury are
By Sara Aslagson-Sahar
We were sunshine in a raining land
Three birthday dances instead of one
We were adventures and long drives to new sights
Bowling predilection and Doctor Who introductions
We Lived Happily During the War
by Ilya Kaminsky
And when they bombed other people’s houses, we
protestedbut not enough, we opposed them but notenough. I wasin my bed, around my bed America
was falling: invisible house by invisible house by invisible house.I took a chair outside and watched the sun
Mahmoud Obaidi : FRAGMENTS
Qatar Museum Gallery, Katara
18 October 2016 to 30 January 2017
QM proudly present Fragments, a solo exhibition by contemporary Iraqi-Canadian artist Mahmoud Obaidi. In this
exhibition the artist retraces the ‘organised chaos’ that led to the destruction of Iraq
The Modern Mind and its Engagements
Ila Magazine approached many distinguished writers and established artists asking them to bring their views and worries out.
The points we raised with them can be boiled down into these following questions:
-How do we understand the term modern mind?.
-Have modernity or modernism created new tools for a fresh start or are we building on tradition as well?.
-How do Arabs deal with modernity and the epistemological rupture it represents?.
Here are bellow the replies without any change except where needed.
2.6 million hearts
Wars do not have holidays
(employers claim they are self-employed)
Their job has to be fulfilled,
At any cost,
At all times,
Not to leave behind,
Iraqi Artist Dia Al-Azzawi To Launch Retrospective In Doha
A major retrospective of the work of Dia Al-Azzawi is to take place simultaneously at Mathaf: Arab Museum of Modern Art and QM Gallery Al Riwaq in Doha, opening over two days on 16 and 17 October 2016 and running until 16 April 2017. Dia Al-Azzawi is an internationally recognised and prominent figures of modern and contemporary art in the Arab world.The exhibitions will showcase 400 works spanning two museum spaces totalling 9,000 square metres, this will almost certainly be the largest ever solo exhibition by any Arab artist. Azzawi has lived in London since 1976.
By : Sofija Živković
You can not say
What you hear
It is just as you go in the street
We stop around the corner
29th November- Cetinjska street and
There’s no signboard
translated by Robert Berold
Dream of Living in the World
Branches grow from clouds.
Birds fly eagerly towards my eyes.
Hicham, a pharmacist, in the moorish house courtyard
Translated by Ivana Maksić
Hicham, a pharmacist, in the moorish house courtyard
In some other city
which is also called Granad
THE LADY WHO TRANSLATES MY STORIES
for Nouha Gorani Homad
the lady who translates my stories
was born in Damascus
she has interpreted the Quran in a different tongue
and has let Neruda thrill in a different language5
Gitta Pardoel...Restore Place
The latest works from Gitta Pardoel seem to go about furnishing space through raw, recycled material. She visualizes by these works, details of nature through her artistic vocabulary. She processes the material (wood) to expand the significance of place and to index the ideas, after stripping the material from its decoration. In doing so she let us measure our surroundings in a new way. The places now furnished with this crude material leads their expression through the neutrality of its material and the spontaneity of the performance.
Joyce’s Ulysses: Exhibitionism as Self-Advertisement in the Nausicaa Episode
James Joyce shows a great interest in the way advertisers act as puppeteers who, by means of a vast network of telepathic threads
, aim at, and frequently succeed in, instilling false needs in the consumer’s mind, as a preliminary step toward selling their
merchandise. In the Nausicaa episode, through the displaying of Gerty McDowell’s stream of consciousness, Joyce reveals a world
dominated by market-oriented standards, and governed by mercantile logic. By allowing access to Gerty’s
Heck ... Let the white define itself
By : Ali Rashid
A friend of me who lives in Madrid once said to me: “Ali, you have to think about the commercial face of art. The white painting is very difficult to sell so you should besides your own educated research of white also try to produce work for the art-market.
After the economic crisis that hit Europe and indeed the whole world, many serious galleries had to close because of bankruptcy. While some galleries stayed after leaving their stringent look on art and so became more flexible
Interview with Nidhal Chamekh
By Emma Chubb
Born in Dahmani, Tunisia, in 1985, Nidhal Chamekh studied fine arts in Tunis and Paris, where he now lives. Chamekh exhibits two works in All the World’s Futures, curated by Okwui Enwezor for the 56th Venice Biennale 2015: De quoi rêvent les martyrs? (What do martyrs dream about?) 2012, a series of twelve drawings completed over two years, and The Anti-Clock Project (2015), a new work produced for the exhibition and comprised of a three-dimensional model and eleven drawings.
Poetry, Nature and Jerusalem: An Interview with the American Poet Philip Terman
Edited By:Saleh Razzouk
In philip Terman's poems you find two major elements: nature and judaism.
It seems that terman's judaism is not specific. He reads his metaphysical words in the wake of material signification. He prays often in the temple of nature. Just to discover that loving, sacred and all magic powers that transcend over reality are among us, inside the family life, the daughter, brother, mother and father.
Mignon by Goethe
Translated by: Murray Alfredson
Know you the country where the lemon flowers?
The oranges glow gold through dark-leaved bowers;
from heavens’ blue the gentle breezes blow;
quiet the myrtles, and tall the laurels grow
One Hundred Love Sonnets: XVII BY PABLO NERUDA
TRANSLATED BY MARK EISNER
I don’t love you as if you were a rose of salt, topaz,
or arrow of carnations that propagate fire:
I love you as one loves certain obscure things,
secretly, between the shadow and the soul.
I love you as the plant that doesn’t bloom but carries
Terry Eagleton and the Political Inertia of the Modern Intellectual”
by Haider Al-Kabi
The view of the current, crisis-ridden situation of theory, as presented by Terry Eagleton’s book After Theory, reflects the socio-political environment in the midst of which modern theorists work. The proliferation of theories, on the one hand, and the haziness and uncertainty of the positions of theorists, on the other, make it increasingly
Perhaps she came for the apples,
or was flushed out by the saws powering
the far woods, or was simply lost,
Judith Scott—Bound and Unbound
Judith Scott—Bound and Unbound will be on view in the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum from October 24, 2014, through March 29, 2015. Focusing on Scott’s critically acclaimed fiber-wrapped, three-dimensional constructions, the exhibition features more than sixty works, including a selection of works on paper.
Chohreh Feyzdjou: l’Oeuvre au Noir
By Michel Dewilde
In the past months, the installation Untitled by the artist Chohreh Feyzdjou (1955 Teheran – 1996 Paris) was part of the exhibition Unedited History . Iran 1960 - 2014 , curated by Catherine David at the Musée d’Art Moderne de la Ville de Paris. It was great to see Feyzdjou’s work incorporated in a comprehensive Iranian group exhibition. Though her work has been a part of major international exhibitions, such as Okwui Enwezor’s Documenta 11, she was seldom included in an Iranian show.
I met Chohreh Feyzdjou in Paris in 1994, whilst preparing the exhibition Zij-Sporen . She had left Iran in the seventies
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