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the Kulture Files

Tête-à-tête

A Study in Solitude Reza Doust: interview by Neha Rohera

Guest Writer

Parental Guidance Suggested by Fatmah Al-Qadfan

Architectural Spotlight

Aspiring toward Democracy Majlis al-Umma by Naji Moujaes

Furniture Design

Muy.brary Wall by PAD10

Guest Writer

A Complex Weave by Yousef Hindi

Travel Diary

The Golden Triangle of Art by Neha Rohera

Event Listings

Snapshots

Venice Biennale 2011 by Naji Moujaes & Sylvette Blaimont

Vol. 02 October 2011

VENICE BIENNALE ILLUMINATIONS EGYPT PAVILION

30 Days of Running in the Place. Exhibitor: Ahmed Basiony (1978-2011). On January 28, 2011, Ahmed Basiony died from gunshot wounds inflicted by snipers on the Friday of Wrath in Tahrir Square, scene of the 2011 Egyptian Revolution. At the age of 32, Ahmed’s life lasted as long as Mubarak’s regime. Basiony can be considered an emblem of hope for millions of Egyptians who were determined for change. The works on view were a two-fold production of works by the artist. These have been intentionally designed to reflect a random display of incidents.

Vol. 02 October 1, 2011

Editor’s Note

In 2002, ‘The Revolution Will Not Be Televised’, was a real-time documentary for a revolution that never was. In 2011, the revolution was commodified; Ahmad Basiony became a real-time martyr at the Venice Biennale. The documented will be archived before the document is titled. The revolutions are being consumed real-time with an aestheticized bias towards their fabrication. Packaging them in formats fit for instant transmission is the revolution. Fascination is more towards the medium, forget about the message. ‘History’ will unfold in tweets. Revolutions are all around us to watch on 600 TV channels. Do they really matter especially since they have been coerced by the system? In our era revolutions are being faked; see Ukraine and

Lebanon. The real revolution is not the one we seek from around us. It should be within us: Become the Revolution! Revolution is calm, where the silent introspection of an artist inhabits the in-between of the text and the image, the east and the west. Revolution is knowledge, where the value of things and judgment is not to be imported but groomed and matured by knowledge. Revolution is rigor and perseverance, where designing within preset parameters trespasses the resolution of the pragmatic to the meticulous original. Revolution is planning, where drawings developed between Zurich, Hawaii, and Finland come together in one pre-fab’ulous building of more than 12,800 elements. Revolution is in The Order of Things, where all starts in what we end with: Velázquez’s Las Meninas.


Tête-à-tête

Reza Doust identifies himself as someone who wishes to look at the world with a different perspective every single day. To him, art serves many functions apart from decorating our homes and workplaces. According to him, “Art can have many other important functions on which we should contemplate more profoundly. Art can revolutionize our perception of life, break taboos and change draconian traditions; and by so doing, it can help society become more lively and creative.” After three decades of being an artist, Reza firmly believes in the importance of the right medium to express oneself. Along with his art, he shares the knowledge he has gained along the way. You speak about production vs. creation. What is your standpoint on the two (sometimes) coexisting concepts? Every artist needs to have two main qualities in order to create art. The artist needs a unique capacity for recollection and to discover not only obvious but also subtle relations between visual elements that enable them to express thoughts, imagination and sentiment. This requires a profound understanding of appropriate techniques and methods that can

best express the artist’s purpose. As such, any great artwork in the world is a masterful combination of these two qualities. That is, they are not only creations of the artist’s mind, but also a result of deep understanding of the right techniques and methods of expression. The artist’s language of choice helps the recipient get closer to what the artist has been striving to convey. The language of art or the method of expression is responsible for whether the work can stand the test of time. Some of your works display hermit-like themes of solitude and calmness. Does the reclusiveness spill into the canvas from real life or vice-versa? I spend long hours sketching and drawing people and landscapes in coffee shops, public places and during my travels. This is a practice that has never left me since the beginning of my career as a highschool student. After I had to leave my homeland in 1993, due to drastic changes in the society to which I wholeheartedly belonged, changes that made it impossible for artists to freely express themselves, my life led me to an unplanned seclusion. Perhaps I needed isolation to put everything into fresh

perspective; in order to make sense of the new world that I was thrown into. I think I needed loneliness to recollect my thoughts and find new ways to express them. I have always felt joy in sharing my solitude through my public exhibitions. Do you see yourself as a social critic? I am not sure whether attaching odd bits of my thoughts together, reflecting whatever in the environment or my life that affects me and presenting the result to public can be considered social criticism or not. I am sensitive to everything that is relevant to my life, namely love, friendship, peace, freedom, bread and tea. Theses sensitivities are my excuses for painting. What would you say is your trademark as an artist? This question can be posed to viewers of my art. My desire is to look at the world in a whole new way every morning when I open my eyes. I wish I could work in a method totally different from my previous works. Nevertheless, I think I have a strong attachment to my native culture, and my work is perpetually affected by it. This attachment could be a trademark of my work.


A Study in Solitude

Reza Doust

interview by Neha Rohera

Have you charted your evolution as an artist? How does your earliest work compare to your more recent forays? My introduction to painting came at an early age through Persian miniature. Later on, I received academic training in classical and modern art. When I was busy studying art and various schools of painting, the world around me started to change in a radical way. I witnessed and participated in a revolution that resulted in more oppression and was followed by a ruthless war. I had to emigrate from my homeland. All these provided me with a myriad of subjects to work with. My academic training and technical skills have also enabled me to work fast and smoothly. What has been your greatest challenge (personal or professional) so far and how have you overcome it? I think it is a great challenge for every artist to be honest and true to oneself. There is always the risk of getting into the pitfall of what others expect from you. I have worked hard to be myself and to not bow to others who have always encouraged me to repeat myself.

What is your perspective on the cultural scene in Kuwait? Is enough being done to tap into the local talent? Kuwait is not detached from the widespread, fast moving and diverse manifestations of modernity. Our lives are profoundly impacted by art. Every object that is used in our everyday lives has been designed by an artist. The general enthusiasm for modernity has made us more dependant on art than ever. Young and creative artists of Kuwait are not excluded from the dynamic movements of contemporary art. During my recent visit to Kuwait where I held an exhibition of my works, I had the opportunity to see a number of exhibitions from young Kuwaiti artists. I was amazed to see various elements of their native culture and tradition shown in the works of the young artists, using new methods of expression that were clearly distinctive from those of their predecessors. I lived in Kuwait from 1993 to 2008 and have closely observed the art movement in Kuwait. Hence, my perspective is based on my relative familiarity with the art community in Kuwait.

In what ways can we make art and culture a more integral part of Kuwait? During recent years, only two new art galleries have been opened in Kuwait. The number of existing art galleries cannot in any way meet the needs. I think other measures must be instigated to bring art to the masses; this includes incorporating arts in the school curriculum, educating and employing more qualified art teachers, establishing schools of arts and organizing more group activities and workshops. The media can also play a significant role in promoting art and art education, as well as encouraging public support for the arts. Please feel free to add anything you wish to share with readers of the Kulture Files. I would like to add that only one of the many functions of visual arts is to decorate our houses and workplaces. Let’s allow our eyes to freely see what they are not accustomed to seeing. Let’s encourage our artists to be free and stay true to their inner self. Let’s encourage our artists to break away from old traditions and create truly new artworks. Let’s not repeat ourselves.


Parental Guidance Suggested Fatmah H. Al-Qadfan

Years of shrewd preparation have conditioned Arabs to turn in unison to their television sets during Ramadan and consume somebody’s latest concoction of bright light, color, noise and movement. Experience has taught us to refer to these concoctions as ‘dramas’, ‘series’ and ‘shows’ – or in Arabic – mosalsalat. We anticipate them; we discuss them, we savor them and of course we take pleasure in criticizing them. But because we consume them with such relish, producers compete (to put it politely) with each other for television spots and consequently advertisers vie for the best shows. Unfortunately, this deadly competition for viewers’ attention only accelerates the decline in quality of whatever floods our screens every Ramadan. And although we, the consumers, voice our opinions at gatherings – and more recently on Internet forums – we have no control over what is shown in our own homes. Traditional drama series that run during the Ramadan season are usually of 30 episodes and primarily fall under the broad category of family drama. They sometimes, but not very successfully, focus on specific genres such as detective, medical, high school or political dramas. Unlike most popular American shows (like Grey’s Anatomy) that introduce new complications within each episode and resolve them or provide some sort of closure, Arabic dramas tend to veer away from this systematic weave of introducing and resolving stories and stick to the more traditional story arc of a single immense climax and resolution. Subplots and complications start in the first episodes, quickly escalating and intertwining as they near the climax. The intense cliffhangers at the end of each episode are meant to drive the overall plot. This choice is merely stylistic though, as shows in the Middle East don’t need to lock in viewers. They don’t fear the threat of cancellation; once a show is on the air, it is guaranteed the rest of the season. This sense of security or entitlement that show producers feel is not the only problem in the Middle East. The lack of specific ratings despite the general

To put it simply: if we don’t like it, it shouldn’t be on TV.

label of ‘family drama’ means that viewers of all ages are encouraged to watch these shows regardless of their appropriateness. Television networks elsewhere around the world rely on an inceptive pilot episode to decide whether a show can be successfully realized. If a show is technically possible then other factors come into play such as audience measurement systems, parental guidelines, and other rating metrics that are used to focus new projects towards specific or ‘target’ audiences. After all, networks realize that it is the viewers who make or break the show. In the Middle East, however, the power of the consumer is still trivialized when it comes to the media. Aside from vague government censorship and unspoken social taboos, most Arab countries do not have official television content rating systems. Viewers are powerless in the Middle East. Disgruntled parents and viewers are constantly being told, “If you don’t like it, don’t watch it.” The Middle East and North Africa (MENA) region is currently experiencing what demographers call a youth bulge – one in five persons is between the ages of 15 and 24, with 95 million youths in 2005 (Assaad and Roudi-Fahimi 2007). The majority of this age group can be found in front of their television sets during Ramadan, especially now that Ramadan falls during their summer vacation. Ramadan dramas gallantly tackle contentious issues like love, marriage, racial stereotypes, classism, alcohol and drug abuse, infidelity, blackmail, honor killings, murder and bribery. Not all of these topics are appropriate for an audience of teenagers. Although TV in the Arab world still refrains from showing intense sexual situations (though not out of concern for the younger audience), the innuendos and references are plentiful. The effect TV shows have on the bulk of our population are completely disregarded. Audience measurement rating systems that analyze audience size and composition would be helpful in creating crucial parental guidelines. Television content rating systems are already implemented around the world, and are adapted to local values and priorities. What we need to realize, as a community of 280 million people living in the MENA region, is that we do have control. To put it simply: If we don’t like it, it shouldn’t be on TV.


Aspiring toward Democracy Majlis al-Umma Naji G. Moujaes

The Assembly Building in Kuwait ‘Majlis al Umma’ was completed in 1984. It was a 1968 invited competition, where beside Jorn Utzon, Studio Nervi, B.V. Doshi, Rifat Chadirji, Basil Spence/Bonnington/Collins, and a local Kuwaiti consortium (Kuwaiti Engineer’s office, National Engineering Bureau, Kuwait Architectural Consulting, Pan Arab Consulting Office, and Gulf Engineering Office) were invited. Jorn Utzon, the architect of the Sydney Opera House and a Pritzker Prize winner, proposed a three storey complex where all functions stem from a central spine, ‘Central Street’, that leads to the covered ‘Hall’ where parliamentarians meet with their Kuwaiti voters. The ‘hall’, an encounter between the sea and the city, the voter and the voted, is the beginning of a planning system that sees no end to its natural growth, catering for a democracy in the making. The complex covers an area of 18,000 sqm (150 x 120m). The three-storeyed complex comprises a basement with all services and two upper storeys consistig of offices, meeting and conference areas, the 50 seat “Assembly Hall” with tiers for 1000 spectators. The reinforced concrete structure is comprised of 12,800 precast elements of 150 distinct types, except for the foundation raft, the “Assembly Hall” floor slab and floor toppings which are cast in situ. The ‘hall’, the most prominent architectural element, is a 40 x 80m shaded outdoor area with eleven 7.5m wide semi-cylindrical concrete draped roof elements post-tensioned by steel cables, resting on two rows of columns. The roof bends 40 degrees over a span of 40 meters, with the internal height of columns at 12 meters and the outer ones at 24 meters. At some point in time this element was almost going to be value engineered, where Jorn Utzon asked to meet the Speaker of the National Assembly. After the Speaker of the National Assembly was told of the importance of the ‘hall’ and its architectural significance by Utzon, he said, “But it’s not important.” Utzon moved forward and, grasping the Speaker’s hand, pressed his claim: “We simply must have it.” Two weeks later the approval came through. The National Assembly was made of white cement concrete with smooth exposed concrete finish. After the Iraqi invasion, it was renovated and painted white.

Reference: Jorn Utzon Logbook Vol IV/ Prefab. Edition Blondal


Muy.brary

Wall

by PAD10


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by PAD10 Muy.brary Wall: A long library wall-unit snakes its way up the stairs of a duplex apartment, connecting living to sleeping – public to private and engaging the visitor midway at a split level entry vestibule. The unit transforms from a deep kneehole desk along the north light window to a shallow low bookshelf unit in the bedrooms area. White lacquered MDF vertical silhouettes, derived from Eadweard Muybridge’s ‘Nude Descending Stairs’ interlock with clear acrylic shelves. The fluid interplay of drawers, cabinets, and shelves along 25 meters comes to a pause here and there to feature objects in shelves and cabinets with linear and planar LED backlit colored lenses.

Credits: Design: Naji Moujaes, Kawther al-Saffar, Raymund Yadao. Fabrication & Assembly: 4F.E.S.T.

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Assembly diagram -Part II

Photos by: Sylvette Blaimont

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A Complex Weave Yousef Hindi

Over-dyed Vintage Anatolian Carpets

Is the carpet you want really the carpet you need? “What is your favorite type of carpet?” It’s probably the most asked question I hear. Unfortunately, that is like asking a chef his favorite food or asking a parent to choose from their children. My answer is always the same, “I love them all but for different reasons.” With so many designs, colors and patterns available, it’s becoming increasingly difficult to pick a favorite. We are all introduced to the carpet world the same way – through our parents. Before the age of ten we already know the smooth carpet hanging in the dining room is a pure silk Qum and the thick piled carpet at grandpa’s house is a traditional wool Kashan. We are raised to appreciate the traditional Persian rug and taught to admire the quality and craftsmanship that went into its creation. By the age of twenty we have been conditioned into accepting our parents’ taste in carpets as our own. It isn’t until we go shopping for our own that we realize where our true taste lies. I see it all the time. They come into the showroom

asking for a traditional carpet, “I want an Isfahan carpet…because it is the best type, isn’t it?” they ask. The process of finding the right carpet involves knowing the right size, colors and design to compliment the room it will be in and I usually discover is that the carpet one wants isn’t the carpet one really needs. The main dilemma they encounter is feeling a sense of nostalgia towards the traditional designs but it just doesn’t fit into a modernized home and lifestyle. So when Khalid came into the showroom and told me he wanted a classic carpet but his wife wanted something modern, I told him I had something that might satisfy them both. That’s when I showed them the Vintage Over-Dye carpets. Vintage Over-Dye carpets were first developed in Europe and quickly spread throughout the carpet world. They are known in some countries as color reform carpets and re-dye carpets but all follow the same principle of production: 1) Take some old rugs that no one wants. 2) Neutralize them to remove their old color. 3) Over-dye them to give them a new vibrant color. Using special washing and dying techniques, classic designs and modern color were fused together to create something truly special: traditionally designed carpets revamped with a colorful twist; creating a perfect marriage of the duo. It is my job to help people find what they want, but I take great joy in helping someone realize what they actually need. They learn a little something about themselves in the process. They develop their own taste, while still keeping true to their upbringing and traditions. Their love for carpets was instilled in them by their parents; I’m just making sure the love stays there until they have had a chance to pass it on to the next generation, as my father did for me and his father did for him.


The Golden Triangle of Art Neha Rohera Madrid’s Golden Triangle of Art is home to three of the world’s best museums – Museo del Prado, Museo Nacional Centro de Arte Reina Sofia and the Museo Thyssen-Bornemisza. Together, they make up the largest concentration of art in the world, making for august company indeed. Spanning the area between the Plaza de Cibeles and the Plaza de Atocha, it is no wonder that the neighborhood of Paseo del Prado is a favorite haunt of locals and tourists alike. The Museo Prado is known, among other honors, for the distinction of housing almost 50 artworks by Diego Velázquez. Widely considered one of Spain’s greatest painters, his masterpiece Las Meninas finds a place of pride here. Francisco Goya is also widely represented at the Prado. With 140+ paintings by the Spanish native, the Prado deserves its reputation for displaying the most important and largest collection of Spanish art in the world. Established in the early nineties, the Reina Sofia is the modern art museum that forms one-third of the golden trio. A veritable treasure trove of 20th century art, the museum counts a number of works by Salvador Dali, Joan Miró and Pablo Picasso. Guernica by Picasso is the institution’s most famous resident. Julio González, Pablo Serrano and Juan Gris are some of the other artists whose works are displayed at the Reina Sofia. Inaugurated in the same year as the Reina Sofia, the Thyssen-Bornemisza started out as a private collection; a fact that is reflected in its varied and eclectic collection of over a thousand works by geniuses. An illustrious lineup of paintings by Dégas, Manet, Monet, Renoir, Van Gogh make up the room reserved for Impressionists, a highlight of the permanent collection. In a haste to visit all three institutions of art, many travelers make the error of covering all three in

The Velázquez entrance of the Prado

The charming Thyssen-Bornemisza Museum

The Reina Sofia with its famed glass elevators

the span of a single day. As I personally discovered, viewing just one each day makes for a more pleasurable and appreciable viewing. Apart from paintings, the three museums also offer very different experiences in terms of architecture and location. The Prado is surrounded by well-manicured lawns and is located close to the Royal Botanical Gardens and Retiro Park. The Reina Sofia, on the other hand, is in the midst of an urban sprawl with its distinctive glass elevators, evoking visions of modern Madrid. The Thyssen, across the road from the Prado, sits pretty with its charming façade. The Groupama Seguros building is an often overlooked edifice. Situated just before the Paseo del Prado, a street-facing clock rings in bihourly with a musical show featuring wooden puppets created by Mingote. The figures include King Carlos III, The Duchess of Alba with her dog, Francisco Goya and the bullfighter Pedro Romero. While Madrid is defined by far more than just these landmarks, a trip to the city would be sorely incomplete without exploring the Triangle.

The Museo del Prado, Museo Nacional Centro de Arte Reina Sofia and the Museo Thyssen-Bornemisza make up the largest concentration of art in the world.

The musical clock


Event

Listings Better Books and Café presents Movie Nights for both adults and children. At a cost of KD 1, guests can enjoy a specially selected movie along with popcorn and juice. The movie schedule is as follows: Children’s Movie Night Schedule October 6, 2011: Harry Potter and the Deathly Hallows Part 2 October 13, 2011: The Lion King October 20, 2011: Ratatouille October 27: Twilight November 3, 2011: X-Men Adult’s Movie Night Schedule October 5, 2011: Travelers and Magicians - shot in the Kingdom of Bhutan October 12, 2011: El Amor Brujo (Love, the Magician) - a Spanish classic October 19, 2011: The Hound of the Baskervilles (1939) October 26, 2011: Frankenstein (1994) November 2, 2011: A Midsummer Night’s Dream Shakespeare’s classic comedy The screening begins at 6:00 pm on Wednesdays (for adults) and Thursdays (for children). Tickets will be sold in advance on a first come first serve basis with an absolute maximum capacity of 20 viewers for each film. Reservations are not mandatory, but recommended. Better Books reserves the right to expel unruly or otherwise disruptive children. Better Books and Café is located near Rashid Hospital on Amman Street, Salmiya. For more details please contact BetterBooksKuwait@hotmail.com or call at 6663 7351.

Dar al-Athar al-Islamiyyah’s Cultural Season 17 promises to be full of new workshops, concerts and lectures by eminent experts.

October 5, 2011: Vienna Boys Choir, concert at the al-Maidan Cultural Centre, 7:00 pm October 9, 2011: Book Club discussion on Islamic Arts (Arts & Ideas) at the al-Maidan Cultural Centre, 7:00 pm October 10, 2011: Madina Mayurqa, a major city in alAndalus, lecture by Dr. Guillem R. Bordoy at the al-Maidan Cultural Centre, 7:00 pm October 11, 2011: Film Night – 12 Angry Lebanese at the Amricani Cultural Centre, 7:00 pm October 12, 2011: Young Kuwaiti Performers, concert at the al-Maidan Cultural Centre, 7:00 pm October 17, 2011: 7:00 pm October 18, 2011: Abundance in the Desert, lecture by Ray Farrin at the Amricani Cultural Centre, 7:00 pm October 19, 2011: Dreams and Passion Flamenco Concert at the al-Maidan Cultural Centre, 7:00 pm October 25, 2011: Introduction to Glass Painting, workshop at the Amricani Cultural Centre October 26, 2011 Augsburger Puppenkiste Marionette Theatre at the al-Maidan Cultural Centre, 7:00 pm October 31, 2011: The Aljafería of Saragossa, lecture by Dr. Juan A. Souto at the al-Maidan Cultural Centre, 7:00 pm

Cinemagic Screenings are back in action. Cinemagic movies are screened in the old Souk Salmiya, on the roof on top of Alghanim Electronics and LG (entrance is to the right of LG; take elevator to the roof). There is a KD 1 charge which includes refreshments, popcorn and much more. The October schedule is as follows. You can contact them at 2572 0945. October 6, 2011 – The Fall (2008) October 8, 2011 – The Illusionist (2010) October 13, 2011 – The Visitor (2007) October 15, 2011 – Wings of Desire (1987) October 20, 2011 – Hunger (2008) October 22, 2011 – La Haine (1995) October 27, 2011 – Big (1988) October 29, 2011 – The Shining (1980)

November 1, 2011: Introduction to Glass Painting, workshop at the Amricani Cultural Centre November 2, 2011: Kuwaiti Talent Concert at the alMaidan Cultural Centre, 7:00 pm November 14, 2011: Artistic Currents along the Gulf in Ancient Times, lecture by Dr. Trudy S. Kawami at the alMaidan Cultural Centre, 7:00 pm November 15, 2011: Sensations of a Moving Machine, lecture by Deema al-Ghunaim at the Amricani Cultural Centre, 7:00 pm November 15, 2011: Book Club discussion on Jerusalem at the Amricani Cultural Centre, 7:00 pm November 16, 2011: Kuwait Camerata Chamber Orchestra at the al-Maidan Cultural Centre, 7:00 pm November 21, 2011: Arab Objects of Art in Western Hands, lecture by Dr. Anna Contadini at the al-Maidan Cultural Centre, 7:00 pm November 22, 2011: Ceramics (part 1 of 2), workshop at

the Amricani Cultural Centre November 23, 2011: Trio Ensemble Concert at the alMaidan Cultural Centre, 7:00 pm

November 28, 2011: The Kingdom of Saba, lecture by Dr. Iris Gerlach at the al-Maidan Cultural Centre, 7:00 pm November 29, 2011: Ceramics (part 2 of 2), workshop at the Amricani Cultural Centre November 30, 2011: Folk Music Concert at the al-Maidan Cultural Centre, 7:00 pm

December 5, 2011: The Oriental Pearl in the Maritime Trade, lecture by Dr. Annie Montigny at the al-Maidan Cultural Centre, 7:00 pm December 6, 2011: 7:00 pm December 7, 2011: Recital for Two Pianos, concert at the al-Maidan Cultural Centre, 7:00 pm December 12, 2011: Soundscapes of the Hijaz – Traditional Music of Western Saudi Arabia, lecture by Dr. Lisa Urkevich at the al-Maidan Cultural Centre, 7:00 pm December 13, 2011: Architecture by Reima and Raili Pietilä, lecture by Jarno Peltonen at the al-Maidan Cultural Centre, 7:00 pm December 13, 2011: Book Club discussion on The Long Way Back at the Amricani Cultural Centre, 7:00 pm December 14, 2011: Polish Music Night, concert at the al-Maidan Cultural Centre, 7:00 pm December 19, 2011: A Focus on the Egalitarian message of the Qur’an, lecture by Dr. Souad T. Ali at the al-Maidan Cultural Centre, 7:00 pm December 20, 2011: Lecture by Futha AlAbdulrazzaq at the Amricani Cultural Centre, 7:00 pm December 21, 2011: An Evening of Acoustic Rock, concert at the al-Maidan Cultural Centre, 7:00 pm December 28, 2011: Egyptian Music Night, concert at the al-Maidan Cultural Centre, 7:00 pm


Arab_Fall is an exhibition by the critically acclaimed design duo ‘Bokja’. Hoda Baroudi and Maria Hibri are based in Beirut and will exhibit their work at the Sultan Gallery, Kuwait. The event opens on October 4, 2011 at 7:00 pm in the presence of the artists. The exhibition will be open to public from October 5 until October 20, 2011. The gallery is closed on weekends. The Sultan Gallery is located in Subhan.

The British Academy of International Arts

Pioneer Kuwaiti artist and sculptor Sami Mohammed will present an exhibition of his latest works at Tilal Gallery. The exhibition opens on October 2, 2011 at 7:00 pm. The works will be on display from October 3 until October 13, 2011. Tilal Gallery is located in Shuwaikh. The opening hours are – 10:00 am - 2:00 pm and 5:30 pm - 9:30 pm.

(BAIA) will present a performance of Shakespeare’s The Winter’s Tale with original music and styling. A preview of the show starts at 7:00 pm on October 20, 2011. The shows will be held on October 21 and 22, 2011 at 2:00 pm and 7:00 pm. The venue for the event is the Shakespeare Theatre in Salwa. For more information and tickets, please call 6005 2087, 2562 3604 Ext. 154 or email: boxoffice@thebaia.com

Ahmadi Music Group’s 2011-12 season kicks off with Last Night of the Prom(s), in association with the British Embassy. The concert will be held at the British Embassy gardens on October 26, 27 and 28, 2011. Tickets cost KD 15 each and can be purchased online from www.ahmadimusicgroup.eventbrite.com. You can also email them at tickets@ahmadimusicgroup.com for more information on tickets.

Local blues band ‘The Mojolaters’ will perform at the rooftop venue of the Al-Manshar Rotana Hotel on October 6, 2011. The rock ‘n’ roll ‘n’ blues concert also includes a buffet at the price of KD 12 + 15% service charge per head. An evening of music and delicious food, under the stars! For more information, please contact the Al-Manshar Rotana Hotel at 2393 1000.

The movie My Architect will be screened on Thursday, October 6, 2011 at 4:30 pm in the Debatable Conference Room at the PAD 10 office in Kuwait City. PAD 10 is located in Sharq on Mubarak al-Kabir Street, Mubarak al-Kabir Tower, Block 6, Building 49, Floor 10.

Dar Al Funoon has the pleasure to invite you to a photo exhibition Pulse, Snap and Beyond... Bader Al Bassam On the 17th of October, 2011 at 7 pm. Featured in this exhibition are the memorable images that Bader shot during his numerous trips to Cuba, Turkey, Yemen and Russia. The exhibition continues through 27th October 2011.

Under the patronage of Dr. Sulaiman Al.Askari, Editor-in-Chief of Al Arabi magazine, FA Gallery presents a group show of Egyptian artists including Atef Ahmed, Essam Darwish, Khaled Hafez and others on Wednesday, October 12, 2011 at 7:00 pm. The show is entitled ‘Familiar Features – between Reality and Myth’. The event will be on display until November 1, 2011.


USA Pavilion Gloria Exhibitors: Jennifer Allora & Guillermo Calzadilla The artistic collaborative Jennifer Allora and Guillermo Calzadilla have developed six new works in an exhibition entitled Gloria. These interrelated works – Track and Field, Armed Freedom Lying on a Sunbed, Body in Flight (Delta), Body in Flight (American), Algorithm and Half-Mast/ Full-Mast – transform the interior and exterior of the pavilion into a dynamic, dreamlike space using sculpture, performance, video and sound elements. These monumental works utilize the quasi-Surrealist strategies of free association and unexpected juxtaposition in order to pose questions about the relationships among art, politics and international identity in the 21st century.

VENICE BIENNALE ILLUMINATIONS USA PAVILION

PAD 10 E info@pad10.com T +965 2 2498255/6/7 F +965 2 2498254 Kuwait City Sharq Mubarak Al-Kabir Tower Mubarak Al-Kabir Street Blk 6, Bldg 49, 10 floor P.O.Box 68364 Keifan 71964 Kuwait www.pad10.com Prinited at Four Films Printing Group

Photo by: Sylvette Blaimont

A PAD 10 Publication. All rights reserved to:

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