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SUMMARY:Gallery Talk for The Mashrabiya Project: Seeing Through Space
DESCRIPTION:Gallery Talk for The Mashrabiya Project: Seeing Through Space | Sat. March 4\, 2023 | 10:00 Am EST | In-person Event\nClick HERE to RSVP \nJoin us for a gallery talk with artists from The Mashrabiya Project: Seeing Through Space\, a multidisciplinary exhibition that interprets the societal and cultural concepts evoked by the mashrabiya\, featuring never-before-seen commissioned works by 6 women-identifying artists from the Muslim world. Their works\, exhibited in the Museum’s main gallery\, will speak through the many languages of the mashrabiya\, evoking the metaphors and stories found in its elemental forms. The Seeing through Space artists are: Anila Quayyum Agha\, Nidaa Badwan\, Susan Hefuna\, Nadia Kaabi-Linke\, Majida Khattari\, and Hoda Tawakol. \nGallery Talk Artists: \nAnila Quayyum Agha (b. Lahore\, Pakistan) received her BFA from the National College of Arts\, Lahore and an MFA from the University of North Texas. Major solo shows include the Amon Carter Museum of American Art in Fort Worth\, TX; Columbia Art Museum in South Carolina; Peabody Essex Museum in Salem\, MA\, National Sculpture Museum in Valladolid\, Spain\, The Dallas Contemporary Art Museum\, Cincinnati Art Museum\, the Museum of Contemporary Art in Jacksonville\, FL. Philbrook Museum of Art in Tulsa\, North Carolina Art Museum in Raleigh\, and the Toledo Museum of Art in Ohio. For the 2019 Venice Biennial\, Agha was included in a collateral event\, She Persists\, with 22 contemporary feminist artists. Agha has received the Efroymson Art Fellowship\, Cincinnati Art Museum’s 2017 Schiele Prize\, the DeHaan Artist of Distinction Award twice (2018 & 2021) and the Joan Mitchell Painters and Sculptors award in 2019. Agha’s 2014 ArtPrize entry\, titled “Intersections\,” earned the Public Vote Grand Prize and split the Juried Grand Prize in Grand Rapids\, Michigan. She is the recipient of numerous grants from Indiana University\, like the New Frontiers Exploratory grant. For her creative research\, Agha was awarded the highest research honor by Indiana University in 2016\, titled Glenn W. Irwin Research Scholar Award. In 2020\, Agha received an Endowed Chair position titled Morris Eminent Scholar in Art at Augusta University in Georgia\, as well as the prestigious Smithsonian Fellowship in the arts for 2021\, and worked with both SAAM and AAA in Washington DC in May 2022. Her work has been collected by both institutions and private collectors\, nationally and internationally. \nAgha works in a cross-disciplinary fashion with mixed media\, creating artwork that explores global and environmental politics\, cultural multiplicity\, and social and gender roles in our current cultural and global scenario. As a result\, her artwork is conceptually challenging\, producing complicated weaves of thought\, artistic action\, and social experience.\nSeeing through Space series talk\, November\, 2022: https://www.youtube.com/watch?v=0ZCKZZHCyLA&t=42s\nPortrait of Anila Quayyum Agha by Badri \nNadia Kaabi-Linke was born Tunis\, Tunisia\, in 1978\, and raised in Tunisia and the United Arab Emirates. She graduated from the University of Fine Arts\, Tunis\, in 1999\, and earned a Ph.D. at Université Paris-Sorbonne\, in 2008. Growing up between Tunis\, Kyiv\, and Dubai\, and now residing in Berlin\, Kaabi-Linke has a personal history of migration across cultures and borders that has greatly influenced her work. Her works give physical presence to that which tends to remain invisible\, be it people\, structures\, or the geopolitical forces that shape them. \n  \nMajida Khattari is a Moroccan visual artist and photographer. She first studied at the School of Fine Arts in Casablanca\, before moving to Paris in 1988. Initially she studied photography\, working in black and white to create portraits of her subjects veiled in muslin. This led Khattari to focus her work on the question of women’s head coverings in public schools; from there she began to work directly with the subject of clothing and the female body. Her sculptural garments\, inspired by burkas\, niqabs\, hijabs\, and safseris\, address the confinement of women’s bodies in contemporary Islam; the garments are worn during performances that take on the spectacle of fashion shows. In her exhibition at the Centre Pompidou in July 2001\, Khattari denounced the oppression endured by Afghan women under the Taliban regime. \n  \n  \nBorn in London and raised primarily in Paris\, Hoda Tawakol is a Franco-Egyptian artist who currently lives and works in Hamburg\, Germany. She graduated in 2011 from University of Fine Arts (HfbK) in Hamburg. Tawakol’s broad practice encompasses hand-dyed and sewn textile pieces\, mixed media sculptures\, and installations interweaving textures\, grids\, and lattices. Her approach to contemporary textile art is deeply rooted in the feminist movement of the 1970s that revived the medium as a critical and discursive practice embedded in the history of women’s knowledge and labor. In her work\, she attempts to deconstruct symbols and archetypes that beset female agency. Her Mashrabiya series\, part of a larger series titled Idolatry that disrupts the grid\, is an example of this preoccupation. Through the variety and compositional complexity of her aesthetic interventions\, Tawakol touches on the boundary between the extreme figuration of personal identities and their dissolution\, even to the point of disintegration. In taking up such forms in her series of aquarelles\, Tawakol is interested in relating formal aesthetic concerns to societal issues\, especially to those of a gender-specific nature. For her participation in The Mashrabiya Project\, Tawakol will continue her research of these concepts.\nSeeing through Space series talk\, October 13\, 2022: https://www.youtube.com/watch?v=9dh27jNDv3I&t=24s\nPortrait of HodaTawakol by Helge Mundt \n  \nThis event is free to the public. The Museum for Art in Wood interprets\, nurtures\, and champions creative engagement and expansion of art\, craft\, and design in wood to enhance the public’s understanding and appreciation of it. A suggested donation of $5 per person enables us to provide programs and exhibitions throughout the year. \nDONATE \nQuestions? Please contact Katie Sorenson\, Director of Outreach and Communications\, at katie@museumforartinwood.org. \n  \nThe Mashrabiya Project has been supported by The Pew Center for Arts & Heritage. \n  \nSpecial thanks go to:\nBresler Foundation\nRockler Tools for in-kind support \nThe exhibition program at the Museum is generously supported by members of the Cambium Giving Society of the Museum for Art in Wood\, the Bresler Foundation\, Pennsylvania Council on the Arts\, Philadelphia Cultural Fund\, William Penn Foundation\, and Windgate Foundation. \nCorporate support is provided by Boomerang\, Inc.\, and Sun-Lite Corporation.
URL:https://new.museumforartinwood.org/event/gallery-talk-for-the-mashrabiya-project-seeing-through-space/
LOCATION:Museum for Art in Wood\, 141 N 3rd Street\, Philadelphia\, PA\, 19106\, United States
CATEGORIES:The Mashrabiya Project
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SUMMARY:Opening Reception: The Mashrabiya Project
DESCRIPTION:Opening Reception: The Mashrabiya Project | Fri. March 3\, 2023 | 5:00 – 8 pm EST | In-person Event\nWalk-ins Welcome \nJoin us for First Friday and the opening of The Mashrabiya Project! \n\nThe Mashrabiya Project is a community-focused\, shared experience that links the heritage of the mashrabiya\, a screening element with ancient origins\, to responses in art and design that reflect considerations of space and seeing in contemporary life. The Project—the first in the U.S. to examine the mashrabiya as both an architectural object and a locus of metaphor—presents an opportunity for dialogue and connection across cultural and geographic borders. With its artful geometry and elaborate perforated designs\, the mashrabiya became a defining element of Islamic visual culture and ornament. The mashrabiya of North Africa—fabricated of wood\, which can expand and contract in response to the region’s intense climate—are found in residential and sacred spaces alike. Comprised of thousands of simple\, individually lathe-turned components\, they are assembled without glue or fasteners to create large\, scalable elements and furnishings that are complex and ornate in design. These serve many functions\, from permitting screening and ventilation\, to delineating spaces for public and private life\, to separating male and female members of a household in accordance with purity laws. Bountiful in metaphorical evocations\, particularly circulating around dualities of public and private; subject and viewer; denial and reclamation of space; and the porosity of boundaries\, the mashrabiya is an enduring symbol both of Islam’s cultural heritage and of the perpetually evolving nature of religion in society. \nThe Project will comprise a number of programs circulating around the creation of a wood-turned mashrabiya in the Museum’s public space. Regardless of woodturning experience or skill\, visitors will be able to participate in the making of a mashrabiya\, using regional wood types. \nA multidisciplinary exhibition titled Seeing through Space will interpret the societal and cultural concepts evoked by the mashrabiya\, featuring never-before-seen commissioned works by 6 women-identifying artists from the Muslim world. Their works\, exhibited in the Museum’s main gallery\, will speak through the many languages of the mashrabiya\, evoking the metaphors and stories found in its elemental forms. The Seeing through Space artists are: Anila Quayyum Agha\, Nidaa Badwan\, Susan Hefuna\, Nadia Kaabi-Linke\, Majida Khattari\, and Hoda Tawakol. \nThe Mashrabiya Project evokes the Museum’s origins as a nexus for wood turning and a space for communal practice. As such\, it reaches across space and time to embody our mission to interpret\, nurture\, and champion creative engagement\, honoring the Museum’s first makers while creating new dialogues between new audiences\, and across continents\, toward global engagement and understanding. The mashrabiya provides a viewpoint\, from one space to another; likewise\, The Mashrabiya Project links spaces and cultures framed by discussions of architecture\, art\, craft\, and community. \n\n\n  \nRead The Mashrabiya Project Blog to learn more!  \n\n\n  \n  \nThe Mashrabiya Project has been supported by The Pew Center for Arts & Heritage. \n  \n\nSpecial thanks go to:\nBresler Foundation\nRockler Tools for in-kind support \nThe exhibition program at the Museum is generously supported by members of the Cambium Giving Society of the Museum for Art in Wood\, the Bresler Foundation\, Pennsylvania Council on the Arts\, Philadelphia Cultural Fund\, William Penn Foundation\, and Windgate Foundation. \nCorporate support is provided by Boomerang\, Inc.\, and Sun-Lite Corporation.
URL:https://new.museumforartinwood.org/event/opening-reception-the-mashrabiya-project/
LOCATION:Museum for Art in Wood\, 141 N 3rd Street\, Philadelphia\, PA\, 19106\, United States
CATEGORIES:The Mashrabiya Project
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SUMMARY:The Mashrabiya Project – Seeing Through Space Artist Talk: Anila Quayyum Agha
DESCRIPTION:The Mashrabiya Project – Seeing Through Space Artist Talk: Anila Quayyum Agha | Fri. Nov. 18\, 2022 | 6:30 – 7:30 pm EDT | LIVE on ZOOM\nClick HERE to RSVP \nThe Center for Art in Wood is proud to present a series of free virtual lectures with artists featured in the upcoming exhibition Seeing Through Space\, opening March 3\, 2023\, and running through July 23\, 2023. This series is meant to connect the public with the artists and engage in thoughtful discussions about mashrabiya in the context of architecture\, art\, craft\, and community. Our second lecture will feature artist Anila Quayyum Agha. \n\n\n\nPortrait of Anila Quayyum Agha by Badri \nAnila Quayyum Agha (b. Lahore\, Pakistan) received her BFA from the National College of Arts\, Lahore and an MFA from the University of North Texas. Major solo shows include the Amon Carter Museum of American Art in Fort Worth\, TX; Columbia Art Museum in South Carolina; Peabody Essex Museum in Salem\, MA\, National Sculpture Museum in Valladolid\, Spain\, The Dallas Contemporary Art Museum\, Cincinnati Art Museum\, the Museum of Contemporary Art in Jacksonville\, FL. Philbrook Museum of Art in Tulsa\, North Carolina Art Museum in Raleigh\, and the Toledo Museum of Art in Ohio. For the 2019 Venice Biennial\, Agha was included in a collateral event\, She Persists\, with 22 contemporary feminist artists. Agha has received the Efroymson Art Fellowship\, Cincinnati Art Museum’s 2017 Schiele Prize\, the DeHaan Artist of Distinction Award twice (2018 & 2021) and the Joan Mitchell Painters and Sculptors award in 2019. Agha’s 2014 ArtPrize entry\, titled “Intersections\,” earned the Public Vote Grand Prize and split the Juried Grand Prize in Grand Rapids\, Michigan. She is the recipient of numerous grants from Indiana University\, like the New Frontiers Exploratory grant. For her creative research\, Agha was awarded the highest research honor by Indiana University in 2016\, titled Glenn W. Irwin Research Scholar Award. In 2020\, Agha received an Endowed Chair position titled Morris Eminent Scholar in Art at Augusta University in Georgia\, as well as the prestigious Smithsonian Fellowship in the arts for 2021\, and worked with both SAAM and AAA in Washington DC in May 2022. Her work has been collected by both institutions and private collectors\, nationally and internationally. \nAgha works in a cross-disciplinary fashion with mixed media\, creating artwork that explores global and environmental politics\, cultural multiplicity\, and social and gender roles in our current cultural and global scenario. As a result\, her artwork is conceptually challenging\, producing complicated weaves of thought\, artistic action and social experience. \nThis event is free to the public. The Center for Art in Wood interprets\, nurtures\, and champions creative engagement and expansion of art\, craft\, and design in wood to enhance the public’s understanding and appreciation of it. A suggested donation of $5 per person enables us to provide programs and exhibitions throughout the year. \nImage above: Anila Quayyum Agha\, Intersection shown at Philbrook Museum\, Tulsa\, OK\, 2019 \nDONATE \nQuestions? Please contact Katie Sorenson\, Director of Outreach and Communications\, at katie@museumforartinwood.org. \nTo learn more about The Mashrabiya Project and Seeing Through Space\, click HERE.
URL:https://new.museumforartinwood.org/event/the-mashrabiya-project-seeing-through-space-artist-talk-anila-quayyum-agha/
LOCATION:The Center for Art in Wood\, 141 N 3rd Street\, Philadelphia\, PA\, 19106\, United States
CATEGORIES:The Mashrabiya Project
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SUMMARY:The Mashrabiya Project - Seeing Through Space Artist Talk: Hoda Tawakol
DESCRIPTION:The Mashrabiya Project – Seeing Through Space Artist Talk: Hoda Tawakol | Thurs. Oct. 13\, 2022 | 11 am – 12 pm EDT | LIVE on ZOOM\nClick HERE to RSVP \nThe Center for Art in Wood is proud to present a series of free virtual lectures with artists featured in the upcoming exhibition Seeing Through Space\, opening March 3\, 2023\, and running through July 23\, 2023. This series is meant to connect the public with the artists and engage in thoughtful discussions about mashrabiya in the context of architecture\, art\, craft\, and community. Our inaugural lecture will feature Hamburg-based artist Hoda Tawakol. \nHoda Tawakol’s practice is built on the twin pillars of wit and criticality. Her colorful\, engaging textile works—collages\, sculptures\, installations—ripple with vitality\, while tackling compelling issues of gender and bodily control. At once captivating and disarming\, the works spring from a range of media\, yet focus largely on the female body\, its distortions and transformations across a woman’s lifecycle. The artist’s hallmark fabric sculptures of date palm trees\, while stemming from the plant realm\, wittily probe bodily questions of gender fluidity. This is a universe of transformation: the body forever hovers between physical and ethereal\, reality and abstraction\, presence and absence. \nTawakol herself is culturally liminal. Egypt-born\, raised in France and Germany by an interchanging trio of ‘mothers\,’ she not only navigates an ‘in-between’ that percolates through her identity\, she layers this suspension into her practice. Her works are spirited—boisterous\, wall-filling textile collages\, rambunctious fabric installations\, and plump sculptures that revel in the uncanny. Yet wrapped within these vigorous creations lie deeper questions around biopower\, control\, and corporal manipulation. \nTawakol’s practice vibrates with feminist energy. While her hand-dyed and intimately sewn textile pieces clearly signpost questions of women’s labor\, she also interrogates the wider yet more insidious forces (social\, biological\, cultural) impacting the female body. Sculptural gestures of abstraction and manipulation probe gender restrictions; superposed grids and lattices conjure sensations of confinement\, concealment\, repression; allusions to ancient rituals and embodied practices fathom death and procreation. \nWhile her artistic stance is precise—stay vivacious yet critical\, vaguely salacious yet deeply earnest—her material mastery is vast. A diversity of unpredictable hand-dyeing techniques—batik\, spotting\, painting\, tie-dye—vivify her textile work. Similarly\, her watercolour and ink compositions on paper are the fruit of a teetering negotiation with chance\, and a surprising relinquishing of control. Her sculptures\, whether assertively figurative or cryptically morphed\, enlist a variety of materials with which she consistently experiments. \nHoda Tawakol’s work has been exhibited in numerous institutions and galleries in Germany\, including  Schirn Kunsthalle in Frankfurt\, Weserburg Museum of Modern Art in Bremen\, Religio Westfälisches Museum für religiöse Kultur in Telgte\, Kunstverein in Hamburg\, Kunsthaus in Hamburg\, and Produzentengalerie in Hamburg and Berlin. Internationally\, she has shown at Sfeir-Semler gallery in Germany and Lebanon\, Beton Art Space in Denmark\, and at 10th Velada Santa Lucía in Venezuela. \nHer work appears in the following collections: The Salama bint Hamdan Al Nahyan Foundation (SHF)\, Abu Dhabi; The Progressive Art Collection\, USA; Huma Kabakci Collection\, Turkey\, UK; Sammlung Haus N\, Germany; Weserburg Museum Collection\, Germany\, among others. \nTop image: Hoda Tawakol\, Mashrabiya #5\, from the “Idolatry” series\, 2017. Wood. Photo: Courtesy of the artist\nPortrait of HodaTawakol by Helge Mundt\nHoda Tawakol biography by Kevin Jones\nThis event is free to the public. The Center for Art in Wood interprets\, nurtures\, and champions creative engagement and expansion of art\, craft\, and design in wood to enhance the public’s understanding and appreciation of it. A suggested donation of $5 per person enables us to provide programs and exhibitions throughout the year. \nDONATE \nQuestions? Please contact Katie Sorenson\, Director of Outreach and Communications\, at katie@museumforartinwood.org. \nTo learn more about The Mashrabiya Project and Seeing Through Space\, click HERE.
URL:https://new.museumforartinwood.org/event/the-mashrabiya-project-seeing-through-space-artist-talk-hoda-tawakol/
LOCATION:The Center for Art in Wood\, 141 N 3rd Street\, Philadelphia\, PA\, 19106\, United States
CATEGORIES:The Mashrabiya Project
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