Marking five years since the passing of renowned architect and artist Zaha Hadid, Zurich’s Galerie Gmurzynska presents a celebratory and revelatory exhibition of her work entitled “Abstracting the Landscape”.
The picture above is for illustration and is of Ocula.
An Homage To Zaha Hadid: “Abstracting The Landscape” Exhibition At Galerie Gmurzynska In Zurich
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Described as the “Queen of Curves”, this Iraqi-British innovator was one of the major figures of late 20th Century and 21st Century architecture and design. Her buildings and interiors always dared to be different and her global legacy reveals her creative and enduring genius. What she achieved is an influential body of work which others look to for inspiration.
Hers was a career marked by recognition for all that she contributed to the development of design and function. Her impact on the built environment was extensive and driven by her fusion of Modernism into her architectural creations. This saw her become the first woman to receive the Pritzker Architecture Prize and the only woman ever to be presented with the Royal Gold Medal from the Royal Institute of British Architects. Her numerous and acclaimed exhibitions have included “The Great Utopia” at the Guggenheim Museum and Art Basel in both Switzerland and Miami.
Her architecture always evolved as she was never prepared to stand still or to accept anything that would compromise her vision. She was always eager to challenge preconceptions bringing some much-needed refreshment to an architectural establishment that can often appear stale and inflexible. The fact that her many buildings already seem timeless is a testament to her ongoing relevance and her ability to prompt those who follow to strive to achieve such a level of authenticity.
Galerie Gmurzynska has had a long association with Zaha Hadid having highlighted her work in a number of earlier exhibitions. There is therefore an initial poignancy around this collection of models, drawings, artworks and sculptures as it prompts the thought that she has now gone. However, the sheer vibrancy of the pieces quickly dispels any feelings of melancholy and it is a joy to look at and experience what is so carefully set out here.
“When we saw Zaha’s design for the “Great Utopia” exhibition of Russian Avantgarde at the Guggenheim New York in 1992, it took our breath away. And that is what our relationship was about, to implement breathtaking projects ever since. For most she will be remembered as the female architect who broke the glass-ceiling. For her the term “female architect” was irrelevant. For us, as a gallery, her drawings and paintings could be considered works of art, while Zaha never considered herself to be an artist. Zaha was an eternaly curious and artistic minded person with a vision. It is this Zaha that we attempt to present in our current exhibition as an homage to Zaha Hadid.” says Matthias Rastorfer, CEO and Partner at Galerie Gmurzynska
Zaha Hadid’s use of non-figurative forms and shapes fuses technology with art and the clever interplay of light and color combinations show her freshness of vision, creativity and technical expertise. Elements of the exhibition are so “reach out and touch” that they draw both the hand and the eye as they fill the gallery’s floor space. The sinewy contours of many of the works on display seem irresistible and lure both our eyes and hands to discover more. The mixing of media adds depth to the exhibits and there is also the contrast between the modernity on show here as it juxtaposes with the traditional architecture of the commercial building which appears opposite.
The exhibition involved close co-operation with the late artist’s designs team who act as the guardians of her legacy and who seek to preserve and respect her artistic integrity. It is fitting that Galerie Gmurzynska has decided to incorporate key elements of Zaha Hadid’s work as a permanent element of its gallery space. This will act as a reminder and a living memorial of this great architect and artist’s depth of contribution over the length of her career.
Impressive on all levels.
I view luxury lifestyle from a conscious perspective and am most passionate about wellbeing, art and travel. I am the founder of the lifestyle blog her-etiquette.com (follow me on Instagram: @her_etiquette). I also run the consulting firm HER CIRCLE which specializes in sustainable luxury strategies and marketing concepts with purpose. Before becoming an entrepreneur I have worked in Sales & Marketing at Coutts & Co, Deutsche Bank and Hugo Boss. Based between Zurich and London, I travel the world and write about the joy of the journey.
India Education Diary Bureau Admin in Developing Capacities of UNESCO Designations For Sustainable Development informs that there could be no future without focusing on the nexus between heritage and the creative economy. In a move to help in that direction, UNESCO designated sites to the proclamation of 2021 as the International Year of Creative Economy for Sustainable Development.
Developing Capacities Of UNESCO Designations For Sustainable Development
The Fondazione Santagata for the Economics of Culture has just released the report of a survey conducted with the support of the UNESCO Regional Bureau for Science and Culture in Europe, in order to assess the impact of the first 5 workshops conducted under the initiative “International Academy on UNESCO Designations and Sustainable Development” (2015-2019). During this fruitful experience, the Academy convened approximately 130 professionals working for UNESCO designated sites from about 50 countries across the world and generated evident positive impact on capacities to contribute to local sustainable development, both directly and indirectly.
The International Academy aims to contribute to the achievement of the Sustainable Development Goals of the 2030 Agenda through strengthening the capacities of managing authorities and other local practitioners working with UNESCO designations, with special focus on World Heritage properties, Biosphere Reserves, Global Geoparks, elements inscribed in the Lists for Intangible Cultural Heritage, and Creative Cities. The project was made possible thanks to the annual contribution of Italy to the UNESCO Regional Bureau for Science and Culture in Europe.
The Academy experience helped participants to envisage and pursue new partnership opportunities in their respective local contexts at different levels: within the governance framework of single designated sites; across different policy sectors (e.g. culture, environment, tourism, agriculture, creative economy); between different designations in multi-designated areas or in close territorial proximity; as well as between different designated sites in different countries or territorial contexts.
One of the key findings of the survey is that none of the selected UNESCO designated areas were immune to the heavy socio-economic effects of the COVID-19 pandemic, highlighting the necessity to develop appropriate responses to the crisis in the sense of sustainably leveraging cultural and natural assets for recovery. This was reflected in the capacity-building priorities that the respondents indicated for future workshops of the Academy, focusing especially on: i) how to effectively sustain economic growth while ensuring social and environmental sustainability; ii) increasing the preparedness, resilience, and recovery of the sites in face of emergencies; iii) supporting the construction of a strategic, integrated, and participatory management framework with a view to achieving middle and long-term objectives.
On this basis, the UNESCO Regional Bureau for Science and Culture in Europe, together with Fondazione Santagata are working to prepare the 6th workshop of the Academy, which is tentatively scheduled in October 2021 and will focus on the nexus between heritage and the creative economy in UNESCO designated sites, in the wake of the proclamation of 2021 as International Year of Creative Economy for Sustainable Development.
Leading scholar says region must place more importance on liberal arts, not just science and engineering, to build better societies by Anna McKie could be an unprecedented way of covering the recurring issue of underdevelopment not through traditional knowledge but by using the art and humanities knowledge. Let us see what is proposed as per the very words of a Professor: ‘certification’ mania hobbles Middle East development.
Professor: ‘certification’ mania hobbles Middle East development
April 8, 2021
Students in the Middle East and North Africa are too often more interested in “acquiring” a degree than developing the understanding that should come with it, a leading scholar has warned.
Safwan Masri, Columbia University’s executive vice-president for global centres and global development, said too many young people were steered into courses focused on science and engineering when critical thinking and intercultural understanding were desperately needed across the region.
Speaking at Times Higher Education’s MENA Universities Summit, Professor Masri said future leaders being trained in institutions across the region were “not fully prepared to lead”, the product of “technocratic societies led by a global technocratic class”.
“Students – and the parents who bankroll them – are often more interested in acquiring professional certification than truly understanding the world and the role of an educated citizen within it,” said Professor Masri.
“Here in MENA, young people fortunate enough to attend university are almost unilaterally steered into STEM training.
“But STEM competency is only half of the equation. We need people who also know how to organise societies, articulate and secure alignment on political ideals, and build robust civil societies that expand rights and freedoms to historically marginalised groups.”
Professor Masri, an expert on the contemporary Arab world and the head of Columbia’s study centre in Amman, Jordan, said the solution had to be a greater embrace of liberal arts education across the region.
He acknowledged that this “won’t be easy” because generations of Arabs “have been indoctrinated with hyper-nationalist propaganda, exclusionary rhetoric and dogmatic religious discourse at the expense of critical thinking and questioning skills”.
“Progress cannot be achieved without deprogramming and reprogramming this mindset, to learn to coexist with different points of view and ways of life,” Professor Masri said.
“Unless liberal arts training is more highly valued in this region, the region’s ambitions will be thwarted. We must achieve balance. We must help students – and the parents who fund many of them – understand the crucial interplay between content [of academic training] and context [understanding of society].”
At the summit, held online in partnership with NYU Abu Dhabi, Professor Masri also argued that at a time of geopolitical turmoil and “historic levels of misunderstanding” between countries and the people within them, knowledge diplomacy led by universities “may be our last and best tool if we are to rebuild a broken world”. He highlighted Columbia’s decision to maintain its global centre in Istanbul even in the face of increasing persecution of academics.
“The solution wasn’t to give in, we contended, but to dig in – to support academics and students, to continue to share knowledge,” Professor Masri said.
But Professor Masri expressed concern about the “weaponisation” of knowledge, highlighting that while Gulf states’ attempts to exercise soft power by funding Middle East studies centres in Western universities ostensibly had “no strings attached”, there were “uncomfortable stories” of researchers at these centres coming under pressure after writing about issues such as human rights and democracy.
A better model of knowledge diplomacy, he argued, was that of the Covid vaccines, which were the result of thousands of researchers crossing the globe over decades, generating the knowledge that informed the vaccines’ designs.
“The Covid vaccine represents decades’ worth, perhaps even centuries’ worth, of university-generated knowledge – distilled down to little more than an ounce of liquid, all concentrated in a single shot,” Professor Masri said.
“This medical and scientific breakthrough will reconnect the people of the world.”
British Museum celebrates over a decade of collecting Contemporary Art of the MENA (Middle East and North Africa) with new exhibition as per BWW News Desk. But why a decade of collecting contemporary art of the MENA? Let us find out.
The exhibition will debut in February 2021.
In February 2021, the British Museum will celebrate over a decade of collecting contemporary art of the Middle East and North Africa. Featuring over 100 works on paper from the collection, Reflections: contemporary art of the Middle East and North Africa weaves together a rich tapestry of artistic expression from artists born in or connected to countries from Iran to Morocco. These artists reflect on their own societies, all of which have experienced extraordinary changes in living memory. From drawings by artists trained in Paris, Rome, Beirut or Jerusalem (1) to works associated with the Syrian uprisings (2), the exhibition challenges perceptions of the contemporary art of the region, with a range of works of great complexity and beauty.
The works in this exhibition reflect the British Museum’s position as a museum of human history, past, present and future. The CaMMEA (Contemporary and Modern Middle Eastern Art) acquisition group has been central to the speed at which this collection has come together in recent years and its remarkable breadth. This collection of works on paper includes drawings, screenprints, photography and artist’s books. While works by artists of this region have been collected by the British Museum since the 1980s, CaMMEA was formed in 2009 with the guiding principle of enabling future generations to see what was being produced during a particular time as well as to record significant moments in the history of the MENA region.
Reflections highlights issues of gender, identity, faith, politics and memory. Also communicated within the exhibition are ideas about poetry, music and war. The artists whether living in the countries of their birth or in diaspora, belong within the globalised world of art, and many allude to the artistic or literary heritage with which they are associated.
At the outset of the exhibition, Nicky Nodjoumi’s The Accident (2013) (3) challenges preconceptions about Middle Eastern art and highlights the complexities of being an artist in diaspora. From there, the first room focuses on the uses of figuration and abstraction with important works including Marwan’s Gesichtslandschaft (4) (Face Landscape, 1973) in which he transforms his own likeness into a landscape reminiscent of the land of Syria, or Yehuda Bacon who evokes the memory of family members who perished in the Holocaust (5). Huda Lutfi’s Al-Sitt and her Sunglasses (2008) (6) and Hayv Kahraman’s Honor Killing (2006) (7) bring their own perspectives to the female gaze. Monir’s captivating mirror drawing is informed both by the architectural heritage of Iran, and by philosophies of minimalism and abstraction (8). For Burhan Doğançay, inspiration for his abstract paintings is found in the urban walls of New York (9).
The second room is entitled Tangled Histories and shows political struggle, revolution and war across the region through the eyes of artists. While there are works relating to a specific event, such as the burning of the National Library of Baghdad in 2003,(10) or the demonstration by women against the enforced wearing of the hijab in 1979, (11) others emerge from and address longer-running struggles, and focus on the complexities of the Israel/Palestine conflict, the Lebanese Civil War or the ongoing war in Syria. Further works highlight one of the defining issues of our time, that of exile and migration through the photographs of the late Leila Alaoui. (12)
Visitors will be encouraged to explore further by visiting the British Museum’s Albukhary Foundation Gallery of the Islamic world (Rooms 42-43) where additional works from this collection will be displayed including Taysir Batniji’s painting (13) exploring the notion of being between worlds, Khalil Joreije and Joana Hadjithomas’ photography and drawing series Faces (2009) (14), and a collection of artist books.
Venetia Porter, Curator, Islamic and contemporary Middle Eastern art, British Museum said: ‘The acquisition of many of the works in this exhibition is thanks to the tireless work of the members of the CaMMEA group. We are so grateful to them for working with the museum to acquire such interesting and important works for the collection. Through the prism of personal experience, the artists in this exhibition present us with a refracted image of a region: there is no one narrative here, but a multiplicity of stories.’
Mirna Abdulaal in Egyptian Streets suggests that only some ‘Radical’: Empowering Creative Youth and Local Designers in the Arab Region could awaken the currently dormant creation movement, particularly that in the art and design.
There’s one thing that unites generally all creative youth in the MENA region: their lack of representation and trouble in finding a platform that documents their story for others to see, hear and share.
Most media platforms and magazines in the region often fail to represent creatives, and particularly creative youth, through visual and imaginative presentations that help to truly capture their story. The concept of creative journalism and using art, aesthetics, powerful images and podcasts to brand a particular designer or artist is very much absent, with most resorting to mere commercial and celebrity-focused features rather than stories and dialogues to push the creative scene forward.
Nour Hassan, writer and founder of the platform ‘Radical Contemporary’, is the first to recognize this gap and introduce new understandings of how we can represent creatives in media and journalism. “When I started radical, I didn’t have any reference or any online magazine that gathers all creatives together, and it takes a lot of research. So I wanted to help people avoid what I faced in the beginning through this platform,” she says.
“If you want to know who is the best designer in Saudi Arabia, where would you look or who would you ask?”
Initially founded in 2017 as an online magazine that speaks about fashion, art and culture, Hassan began to branch out and do further projects, such as photoshoots, production, and podcasts. Eventually, she expanded into PR and creative consulting, growing from a magazine to a platform that also helps build and market brands.
For her, it is more than just representation, it is also creation – a ‘radical’ and creative process that aims to fundamentally change something in society or culture. In one of her projects, ‘Runaway Love’, she combines storytelling and visual journalism in an attempt to touch upon certain issues, such as the pressure of marriage for young girls. “It was shot on a Felucca boat and it talked about how young girls are pressured to get married, and how she is trying to escape that pressure by riding the Felucca. The photoshoot is a story that is also relevant to the culture,” she notes.
“I am making sure we have conversations, and this is important because there isn’t really any dialogue on creatives in the region.”
Coming from Egypt and growing up in Saudi Arabia, she noticed that there also aren’t any important dialogues and conversations being done on the work of young creatives across the region, which led her to launch ‘The Radical Contemporary Podcast’, allowing several creatives to speak about their creative process and provide a space for others to learn and grow. “I am making sure we have conversations, and this is important because there isn’t really any dialogue on creatives in the region and their work,” she tells Egyptian Streets, “If you want to know who is the best designer in Saudi Arabia, where would you look or who would you ask? And so, this is where I come in and bring them to let them talk in the podcast.”
In times of fast-paced communication and the growth of digital media, consuming content for longer periods of time has become even more difficult, which is why it has become ever more imperative for platforms to push creative journalism ahead and utilize podcasting effectively. “Podcasting is the future of content, it is the new radio,” Hassan says, “Right now, we cannot consume content for more than 15 seconds, so a podcast is like an alternative that helps you listen to the conversations even while you’re busy doing other things. It’s a different way of learning.”
“Podcasting is the future of content, it is the new radio”
It is also a way to introduce more critical conversations in the creative industry, particularly as the fashion industry continues to grow exponentially and young designers are entering the scene. “Our biggest problem is that we don’t have critics. We don’t have someone who critiques the work that is being produced, which is really important in helping young creatives grow and reach their potential. We need to work on being more critical and having critical conversations so we can develop,” she adds.
While it is easy to compare this to other magazines such as Vogue Arabia, Radical Contemporary goes even beyond that, as it is focused on building the creative soul in the region. It is expressive, visual, critical, and communicative – providing creatives an opportunity to learn and document their work. “I think we are the first generation telling our story. From the times of Umm Kalthoum up till now, there is this huge gap, and I don’t think there was a generation before us that really documented their work for others to find and look at.”
“I think we are the first generation telling our story.”
On top of that, it is also supporting local and regional brands, concerning that there is a lack of access to platforms that represent them. “At a time right now where it can be very hard for brands to survive, it is important to support our platform and in turn support these regional brands,” Hassan says.
For future writers, designers, artists, photographers and just about every creative in the region, Radical Contemporary represents the heart of their growth and expression in the rapidly changing region of the Middle East. It represents the face of a new generation, and a new region.
The United Nations (UN) celebrated on May 10th, 2021, the first edition of the International Day of the Argan Tree, an endemic tree in Morocco.
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