Mohammad El Rawas, Train I, 1975. Oil on canvas, 198.5 x 247 cm. Mohammad El Rawas looks at visual culture as a bottomless cornucopia of opportunities. A series of prints in the nineteen-eighties introduced his liberal appropriation of images high and low, old and new, which he merrily kept on recycling through series of Joseph… Continue reading Means of transportation to apprehend Mohammad el Rawas
Georges Doche, Untitled, undated. I initially went to visit En Dialogue for Barrage (1940-1988), but the works of his on show failed to truly ignite my interest, lacking, for the most part, the intensity I saw in some of his other paintings. But I stayed for Doche (1940-2018) – for a set of three hieratic figures,… Continue reading International men of mystery
Retrospective exhibitions are often an occasion to pontificate about the evolution of a style, of themes, of techniques. Rafik Majzoub’s Chronicle Blueprint 1995-2018, however, casts as much of a retrospective look on a body of work than on the life of an artist who captured his turbulent states of being over three decades. Majzoub is… Continue reading What’s a Rafik Majzoub Retrospective?
Jamil Molaeb paints a luminous love letter to Jerusalem, a homage to “the holiest of the holy,”as he describes the city, which shuns any kind of reference to contemporary socio-economic and political goings-on: his Jerusalem is stuck in an imaginary dream-like time, where birds roam freely and palm trees grow tall in between houses. Broken down… Continue reading Jamil Molaeb’s Jerusalem