samedi 15 novembre 2014

Εισαγωγή στην Αραβική Καλλιγραφία


Η Ελληνική Επιστημονική Εταιρία Σπουδών Μέσης Ανατολής
στά πλάισια του μαθήματος
Εισαγωγή στό Ισλάμ¨Αραβικός Πολιτισμός Ι

Σας προσκαλεί στη βιωματική διδασκαλία και διάλεξη με θέμα:



Εισαγωγή στην Αραβική Καλλιγραφία,
Από το γράμμα στη λέξη

με την εικαστικό Ειρήνη Γκόνου

την Παρασκευή 21 Νοεμβρίου 2014, ώρα 10πμ
στη Φιλοσοφική Σχολή, αίθουσα 638
Πανεπιστημιούπολη Ζωγράφου

samedi 4 octobre 2014

Whispering Reeds in Woven Gardens


Whispering Reeds in Woven Gardens is an exhibition of the visual artist Irini Gonou composed of seven in situ ritual installations integrating the restorative elements of the Islamic garden with the protective power of the written word in Arabic script.


“As a jannah or a bustan the Islamic garden and its archetype of paradise is nature in its tamed state and the serenity and harmony this provides. The arrangement and structure of my woven gardens - with articulated fields of plant-imbued fabrics irrigated with water-like indigo blue areas - are a reference to the Islamic garden paradigm. In the sequel, cotton, linen or silk cloths are dyed naturally with roots, barks, leaves or flowers and filled with their protective qualities. I explore the concept that in many traditional societies and cultures cloth is believed to be a living thing, it records life.  And, as a storyteller narrates, filled with signs and permeated with plants, it can be a messenger emitting healing and protective essences.  


In Islamic culture script is considered to have magical force and the written word provides supernatural protection


My whispering reeds - which are both ornamental amulets and writing implements - are inscribed in Arabic with the verses of the Syrian poet Adonis, offering in this way their protection through art”.
                                                                                            Irini Gonou


The exhibition "Whispering Reeds in Woven gardens is part of the 
1st International Conference Aspects of Islamic gardens: Multi-meanings of paradise, organized by I.M.A.R.E.T. (Institute Mohamed Ali for the Research of the Eastern Tradition) and EMATTECH (Eastern Macedonia & Thrace Institute of Technology).


The exhibition will take place from October10th to the end of December 2014 at Imaret and at the Mohammed Ali Museum in Kavala, Greece


For further information you can visit the links:


samedi 27 septembre 2014

About Imaret


"Nowhere is Mohammed Ali’s interest in the town of his birth more apparent than with the magnificent complex (Külliye) of charitable buildings he began constructing in 1807. Located below the fortress in the lower walled city, Imaret is a rare example in Europe, a masterpiece of 19th century Ottoman Baroque, which also features elements of timber secular structures. The variety of decoration, the quality of the delicate structures, the interaction between indoor and open spaces and the adaptability of the functional structures create an original complex of high aesthetic value.
The complex included an elementary school and two higher level colleges dedicated to the instruction of the traditional Islamic curriculum, modern sciences and mathematics. It is one of the earliest examples of western style technical school providing secular education in the Ottoman Empire and reflects Mohammed Ali’s program of modernization.

The complex had 61 rooms for up to 300 boarding students, two study halls, a library, a printing press and a soup kitchen (Imaret) to feed students, travelers and the poor, regardless of religion. To meet the religious and hygiene needs of its occupants, the complex also contained a place for prayer, fountains for ablutions and a hamam. Cisterns underneath the structure guaranteed a continuous source of water.

With the passage of time, the charitable and educational purposes of the foundation declined. According to surviving records, the School continued to function as late as 1902, and the soup kitchen as late as 1923. After the Lausanne Treaty and the exchange of populations between Greece and Turkey, the complex housed Greek refugees from Asia Minor (1927-1960). In 1954, Imaret was listed as a protected historical monument. A series of (never realized) agreements between Greece and Egypt to restore the monument followed. In August 2001, a contract was signed between the Egyptian Waqf Organization and the Missirian family, who undertook the demanding task of restoring both Imaret and the House of Mohammed Ali and attributing the monuments to new uses.

Restoration began in November 2001 and was completed in June 2004, according to the strictest international conservation standards. The project is seen as the most important of its kind undertaken by the private sector in Greece. The main principles of the restoration were to respect the original forms and structures of the complex, and to adapt it to the new uses, with a minimum level of restructuring".


http://www.imaret.org.gr/

mercredi 3 septembre 2014

Chohreh Feyzdjou: l'oeuvre au noir


Iranian artist
Born in Tehran in 1955
Died in Paris in 1996








http://universes-in-universe.org/eng/nafas/articles/2014/chohreh_feyzdjou

https://www.youtube.com/watch?v=K97ei-MK_zo





vendredi 27 juin 2014

"ο σύντροφος πριν από το δρόμο"


Τελευταίο μάθημα του εαρινού τριμήνου 2014 του σεμιναρίου "Γραφές της Μεσογείου" που οργανώνει και φιλοξενεί στο Μουσείο Ισλαμικής Τέχνης, το Μουσείο Μπενάκη.


"ο σύντροφος πριν απ'το δρόμο"






Mε την Κατερίνα, την Ελένη, την Μαρία, την Νέλλη, την Ελένη, την Θένια, την Μαίρη και την Δήμητρα. 

Άλλες δώδεκα συναντήσεις εξερευνώντας τα μονοπάτια της γραφής και της καλλιγραφίας στο χρόνο και στον χώρο.

Καλή μας συνέχεια!!!



jeudi 6 mars 2014

Magic scripts - Apotropaic texts






Bergen Resource Centre for International Development, Jekteviksbakken 31 

Opening with presentation by Irini Gonou: Monday 10 March at 14:30.
The exhibition is an art quest which explores the healing and protective power of the written word as a specific cultural idiom of the Arabic script and early North African cultures.
The artist uses natural materials such as cotton fabric, handmade paper and natural inks, reeds, leaves and linen twine. Working with these raw materials, she explores medical-magical-protective properties and their symbolic meanings. "In my works the poetic language replaces the magic formulas considering anew the healing properties of art in modern societies", explains Irini Gonou.

Born in Athens, Irini Gonou graduated from the Ecole Nationale Superieure des Beaux-Arts and the Ecole Nationale Superieure des Arts Decoratifs in Paris, where she lived for eleven years. Since 1980 she has shown her art work in thirty three solo exhibitions in Greece, Germany, UK, France, USA and Belgium. Her solo exhibition Al-Khatt, the magic script in 2008 was a visual dialog at the Benaki Museum of Islamic Art in Athens. She has participated in numerous group exhibitions in Greece and abroad. Her artworks are included in Museum collections as well as Municipal Galleries, private Museums and Foundations, and a variety of private collections in Greece and abroad. Gonou lives and works in Athens and teaches a calligraphy workshop on the Mediterranean Scripts at the Museum of Islamic Art of Athens.
There will be an opening of the exhibition where the artist presents her work on Monday 10 March at 14:30. The exhibition will be open from 09:00-15:00 on Tuesday 11 March and Wednesday 12 March.


The text comes out of the site:  http://www.resourcecentre.no/news/?478=magic-scripts-apotropaic-texts


samedi 25 janvier 2014

Μαγικές γραφές στο Αλατζά Ιμαρέτ



«...Σώζεται άλλο ένα τζαμί του δέκατου πέμπτου αιώνα εξίσου
εντυπωσιακό (με το τζαμί του Χαμζά Μπέη) σε μέγεθος αλλά σε καλύτερη κατάσταση είναι το Αλατζά Ιμαρέτ, που ξεπροβάλλει από ένα χάσμα ανάμεσα σε σειρές μπετονένιες πολυκατοικίες, πάνω από τη στάση του λεωφορείου στην οδό Κασσάνδρου. Το συγκτότημα του Αλατζά Ιμαρέτ χρησίμευε ως σχολείο, χώρος προσευχής και αίθουσα διανομήςσυσσιτίου για τους φτωχούς, δείχνει πώς ξαναδούλεψαν οι Οθωμανοί μαστόροι παλιές μουσουλμανικές αρχιτεκτονικές μορφές στις περοχές όπου δεν υπήρχε παράδοση ισλαμικής αρχιτεκτονικής. Στον αρχέγονο αραβοπερσικό τύπο του μεντρεσέ ή θρησκευτικής σχολής, οι σπουδαστές και οι δάσκαλοι έκαναν τα μαθήματά τους σε δωμάτια διατεταγμένα γύρω από μιαν υπαίθρια αυλή. Οι Σελτζούκοι Τούρκοι προσάρμοσαν αυτό το μοντέλο στις δριμύτερες συνθήκες της κεντρικής Ανατολίας, στεγάζοντας την αυλή με τρούλο και προσθέτοντας συχνά ένα μικρό χώρο προσευχής στο πίσω
μέρος. Με τον καιρό, ο θολοσκέπαστος χώρος προσευχής μεγάλωσε κι άλλο κι έγινε ένα με το κύριο σώμα του κτηρίου-καταλήγοντας στο σχήμα που διάλεξε ο άγνωστος αρχιτέκονας του Αλατζά Ιμαρέτ. Μία μεγάλη ευρύχωρη στοά διατρέχει όλη την κύρια όψη και παρείχε άλλοτε καταφύγιο στους πρόσφυγες και τους ζητιάνους, αν και τώρα έχει εγκαταλειφθεί και γεμίσει με γκράφιτι. Ο πολύχρωμος μιναρές που ήταν στολισμένος με πέτρες σε ρομβοειδή μοτίβα κι είχε δώσει στο όλο κτίσματ’όνομά του (Αλατζά = χρωματιστός), έχει εκλείψει εδώ και χρόνια, αν και οι επισκέπτες της γειτονικής Βέροιας θα δουν έναν πολύ όμοιό του, μισογκρεμισμένο, σε μια
κάθετο του κεντρικού δρόμου. Ο τύπος αυτός μιναρέ ήταν ένας ύστατος ισχνός βαλκανικός απόηχος των πολυχροματικών πανδαισιώντου κεντροασιατικού και περσικού ισλάμ, που η επίδρασή του απλώθηκε,όπως επισημαίνει ο ιστορικός Μάκιελ Κιλ, από τις πόλεις της Μακεδονίαςστα δυτικά ως τις βόρειες ινδικές πεδιάδες και το Δρόμο του Μεταξιού στ’ανατολικά...»  

Μark MazowerΘεσσαλονίκη πόλη των φαντασμάτων,
εκδ. Αλεξάνδρεια 2006

mardi 14 janvier 2014

The 6th Luxor International Painting Symposium, the places

                                                                            the trip


                                                                           in Cairo


                                                                            in Luxor


 the hotel


the souk


 the local market


the Karnak temple


the Nubian village


the felouka trip


the exhibition place


going back home






mercredi 1 janvier 2014

Gamal Ez


Gamal Ez received his Master’s of Arts from the Dutch Royal Academy of Art (1997-2002). 
Born in Alexandria in 1963, Gamal completely his undergraduate work at Faculty of Fine Arts, El Minia in 1988, before moving to The Netherlands. He lives and works in The Hague and Rijswijk, Netherlands. 



                                                                                      House of paper 2006


                                                                        At Home 2006

                             
                                                              House of Glass 2007

"...In House of Glass he recreates a precarious-looking interior, an assemblage of objects including old windows with their panes, couches, ladders and stuffed animals. Everything is dripping in whitewash and small, assembled figurines are positioned as to almost suffocate the space. The piece awaits its viewers as if the entire collection of found objects has in fact been found as is. It radiates a feeling of a haunted house, the whitewashing mimicking white sheets that are often thrown over furniture in abandoned houses. There is in House of Glass, a permeating sense of voyeurism that is not present in his other works..." 


                                               

                                                                         Ozon 2007


                                                                        Motor 2006



                                                                        Survay Installation in two parts 2009

"...Gamal moved to the Netherlands in 1988 to study contemporary Western art at the Royal Academy of Art in The Hague. In this new context his work is repositioned. Once an artist is taken out of his or her natural setting the art simply cannot maintain its original connection to its subject matter. Gamal, as an Egyptian artist living abroad, was confronted with a very familiar conflict to those artists working in expatria: his identity. Now under a microscope to produce “contemporary Egyptian art” he lacked a source for his work. The art he produced in the Netherlands exhibits this divide. It is difficult to remain connected to a place when you are no longer present, and this was a challenge Gamal did not shy away from..."

The extracts are from a text of William Wells (director Townhouse Gallery, Cairo, Egypt) about Gamal Ez
http://www.gamalez.com/index.php?view=context&viewid=1

For a more extensive look about the artist and his work you can visit his web site:

http://www.gamalez.com/index.php?view=home