9.th Tarkib Baghdad Contemporary Arts Festival 2023

9.

TARKIB Baghdad Contemporary Arts Fes tival 04.05. - 07.05.2023 @ Muntada Al Masrah

‫ﻣﻬﺮﺟﺎن ﺗﺮﻛﻴﺐ ﺑﻐﺪاد ﻟﻠﻔﻨﻮن اﻟﻤﻌﺎﺻﺮة اﻟﺘﺎﺳﻊ‬ ٢٠٢٣ / ٥ / ٧ - ٤ ‫ﻓﻲ ﻣﻨﺘﺪى اﻟﻤﺴﺮح‬

‫ﺗﺤﺮﻳﺮ ﻣﻨﻈﻤﺔ ﺗﺮﻛﻴﺐ ﻟﻠﺜﻘﺎﻓﺔ و اﻟﻔﻨﻮن‬

edited by Tarkib Organization for Arts and Culture

TARKIB Baghdad Contemporary Arts Festival is Iraq’s only multi-disciplinary arts festival which takes place on four days every year, in order to connect the audience to the city’s contemporary art.

The ninth edition of TARKIB Baghdad Contemporary Arts Festival took place in Muntada Al Masrah. The heart of the festival was the visual art program with a group exhibition dedicated to new multifaceted installations and conceptual artworks from 12 emerging and mid-career artists.

Muntada Al Masrah is a traditional Shanasheel building and subordinate to the Cinema and Theater Department of the Iraqi Ministry of Culture, Tourism and Antiquities. It is dedicated to the young Iraqi theater and music scene. Beside a place for theater and dance performances it offers spaces for rehearsals and practice.

During the festival Muntada Al Masrah was transferred into an imaginary theater stage where visitors could explore spatial experiences and the diversity of art practices while walking and talking about the wide range discourse of topics addressed by the presenting artists.

Many of the themes put a spotlight on social and environmental situations in Iraq, but also put a limelight on Iraq’s historical, architectural and natural wonders.

Tarkib devoted one memory room commemorating the visual artist and art historian Dr. Balasim Mohammed and another one remembered the actor Saad Majeed, both were closely connected to the work of Tarkib. The festival featured a special concert by the percussion band Sanjat and a reading from the book of poems “Malak”.

This year’s edition is kindly supported by the French Institute Iraq, the French Embassy in Iraq, UNAMI HR and Al Alwan Company.

Exhibiting Artis ts: Hussam Mohammed | Zainab Aldehaimy | Zaid Saad | Loay Al Hadhary | Noor Abd Ali | Noor Al Waily | Amir Akram | Maees Hadi | Sarhand Khaled | Muhaned Taha | Tsnem Sallhy | Atef Al Jaffal

‫ﻣﻬﺮﺟﺎن ﺗﺮﻛﻴﺐ ﺑﻐﺪاد ﻟﻠﻔﻨﻮن اﻟﻤﻌﺎﺻﺮة ﻫﻮ ﻣﻬﺮﺟﺎن اﻟﻔﻨﻮن اﻟﻮﺣﻴﺪ ﻣﺘﻌﺪد اﻟﺘﺨﺼﺼﺎت ﻓﻲ‬ ‫اﻟﻌﺮاق واﻟﺬي ﻳﻘﺎم ﻋﻠﻰ ﻣﺪار أرﺑﻌﺔ أﻳﺎم ﻣﻦ ﻛﻞ ﻋﺎم‪ ،‬ﻣﻦ أﺟﻞ رﺑﻂ اﻟﺠﻤﻬﻮر ﺑﺎﻟﻔﻦ اﻟﻤﻌﺎﺻﺮ‬ ‫ﻟﻠﻤﺪﻳﻨﺔ‪.‬‬ ‫أﻗﻴﻤﺖ اﻟﺪورة اﻟﺘﺎﺳﻌﺔ ﻟﻤﻬﺮﺟﺎن ﺗﺮﻛﻴﺐ ﺑﻐﺪاد ﻟﻠﻔﻨﻮن اﻟﻤﻌﺎﺻﺮة ﻓﻲ ﻣﻨﺘﺪى اﻟﻤﺴﺮح‪ .‬ﻛﺎن‬ ‫ﻗﻠﺐ اﻟﻤﻬﺮﺟﺎن ﻫﻮ ﺑﺮﻧﺎﻣﺞ اﻟﻔﻨﻮن اﻟﻤﺮﺋﻴﺔ ﻣﻊ ﻣﻌﺮض ﻣﺸﺘﺮك ﻣﺨﺼﺺ ﻟﻼﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﺠﺪﻳﺪة‬ ‫ﻣﺘﻌﺪدة اﻻﺧﺘﺼﺼﺎت وا‪p‬ﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﻤﻔﺎﻫﻴﻤﻴﺔ ﻣﻦ ‪ ١٢‬ﻓﻨﺎﻧﺎ ﺷﺎب و ﻣﻦ ﻫﻢ ﻓﻲ ﻣﻨﺘﺼﻒ‬ ‫ﻣﺴﻴﺮﺗﻬﻢ اﻟﻔﻨﻴﺔ‪.‬‬ ‫ﻣﻨﺘﺪى اﻟﻤﺴﺮح ﻫﻮ ﻣﺒﻨﻰ ﺷﻨﺎﺷﻴﻞ ﺗﻘﻠﻴﺪي ﺗﺎﺑﻊ ﻟﺪاﺋﺮة اﻟﺴﻴﻨﻤﺎ واﻟﻤﺴﺮح ﻓﻲ وزارة اﻟﺜﻘﺎﻓﺔ‬ ‫واﻟﺴﻴﺎﺣﺔ واﻻﺛﺎر اﻟﻌﺮاﻗﻴﺔ‪ .‬وﻫﻮ ﻣﺨﺼﺺ ﻟﻠﺸﺒﺎب اﻟﻤﺴﺮﺣﻴﻴﻦ و ﻟﻠﻤﻮﺳﻴﻘﻰ اﻟﻌﺮاﻗﻴﻴﻦ‪ .‬إﻟﻰ ﺟﺎﻧﺐ‬ ‫ﻣﻜﺎن ﻟﻠﻌﺮوض اﻟﻤﺴﺮﺣﻴﺔ وﻋﺮوض اﻟﺮﻗﺺ‪ ،‬ﻓﺈﻧﻪ ﻳﻮﻓﺮ ﻣﺴﺎﺣﺎت ﻟﻠﺒﺮوﻓﺎت واﻟﺘﺪرﻳﺒﺎت‪.‬‬ ‫ﺧﻼل اﻟﻤﻬﺮﺟﺎن‪ ،‬ﺗﻢ ﺗﺤﻮﻳﻞ ﻣﻨﺘﺪى اﻟﻤﺴﺮح إﻟﻰ ﻣﺴﺮح ﺧﻴﺎﻟﻲ ﺣﻴﺚ ﺗﻤﻜﻦ اﻟﺠﻤﻬﻮر ﻣﻦ اﺳﺘﻜﺸﺎف‬ ‫اﻟﺘﺠﺎرب اﻟﻤﻜﺎﻧﻴﺔ وﺗﻨﻮع اﻻﻋﻤﺎل اﻟﻔﻨﻴﺔ أﺛﻨﺎء اﻟﻤﺸﻲ واﻟﺘﺤﺪث ﺑﺤﻮار واﺳﻊ اﻟﻨﻄﺎق ﻋﻦ اﻟﻤﻮﺿﻮﻋﺎت‬ ‫اﻟﺘﻲ ﺗﻨﺎوﻟﻬﺎ اﻟﻔﻨﺎﻧﻮن اﻟﻤﺸﺎرﻛﻮن‪ .‬ﺳﻠﻄﺖ اﻟﻌﺪﻳﺪ ﻣﻦ ا‪p‬ﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﻀﻮء ﻋﻠﻰ ا‪p‬وﺿﺎع‬ ‫اﻻﺟﺘﻤﺎﻋﻴﺔ واﻟﺒﻴﺌﻴﺔ ﻓﻲ اﻟﻌﺮاق‪ ،‬وﻟﻜﻨﻬﺎ ﺳﻠﻄﺖ اﻟﻀﻮء أﻳﻀﺎ ﻋﻠﻰ ﻋﺠﺎﺋﺐ اﻟﻌﺮاق اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫واﻟﻤﻌﻤﺎرﻳﺔ واﻟﻄﺒﻴﻌﻴﺔ‪.‬‬ ‫ﺧﺼﺺ ﺗﺮﻛﻴﺐ ﻏﺮﻓﺔ اﺳﺘﺬﻛﺎر واﺣﺪة ﺗﺨﻠﻴﺪا ﻟﺬﻛﺮى اﻟﻔﻨﺎن اﻟﺘﺸﻜﻴﻠﻲ وﻣﺆرخ اﻟﻔﻦ اﻟﺪﻛﺘﻮر ﺑﻼﺳﻢ‬ ‫ﻣﺤﻤﺪ واﺧﺮى ﻟﺬﻛﺮى اﻟﻤﻤﺜﻞ ﺳﻌﺪ ﻣﺠﻴﺪ‪ ،‬وﻛﻼﻫﻤﺎ ﻣﺮﺗﺒﻄﺎن ارﺗﺒﺎﻃﺎ وﺛﻴﻘﺎ ﺑﻌﻤﻞ ﺗﺮﻛﻴﺐ‪ .‬وﺗﻀﻤﻦ‬ ‫اﻟﻤﻬﺮﺟﺎن ﺣﻔﻼ ﺧﺎﺻﺎ ﻟﻔﺮﻗﺔ ا ﻳﻘﺎع ﺻﻨﺠﺎت وﻗﺮاءة ﻣﻦ ﻛﺘﺎب أﺷﻌﺎر ”ﻣﻼك“‪.‬‬ ‫ﻧﺴﺨﺔ ﻫﺬا اﻟﻌﺎم ﻣﺪﻋﻮﻣﺔ ﻣﻦ ﻗﺒﻞ اﻟﻤﻌﻬﺪ اﻟﺜﻘﺎﻓﻲ اﻟﻔﺮﻧﺴﻲ ﺑﺎﻟﻌﺮاق‪ ،‬واﻟﺴﻔﺎرة اﻟﻔﺮﻧﺴﻴﺔ ﻓﻲ‬ ‫اﻟﻌﺮاق ‪ ،‬وﺑﻌﺜﺔ ا‪p‬ﻣﻢ اﻟﻤﺘﺤﺪة ﻟﻤﺴﺎﻋﺪة اﻟﻌﺮاق ”ﻳﻮﻧﺎﻣﻲ“‪ ،‬وﺷﺮﻛﺔ ﻛﻠﺮ‪.‬‬

‫‪ :‬اﻟﻔﻨﺎﻧﻴﻦ اﻟﻤﺸﺎرﻛﻴﻦ‬ ‫ﺣﺴﺎم ﻣﺤﻤﺪ | زﻳﻨﺐ اﻟﺪﻫﻴﻤﻲ | زﻳﺪ ﺳﻌﺪ | ﻟﺆي اﻟﺤﻀﺎري | ﻧﻮر ﻋﺒﺪ ﻋﻠﻲ | ﻧﻮر اﻟﻮاﺋﻠﻲ | اﻣﻴﺮ اﻛﺮم |‬ ‫ﻣﻴﺲ ﻫﺎدي | ﺳﺮﻫﻨﺪ ﺧﺎﻟﺪ | ﻣﻬﻨﺪ ﻃﻪ | ﺗﺴﻨﻴﻢ اﻟﺼﺎﻟﺤﻲ | ﻋﺎﻃﻒ اﻟﺠﻔﺎل‬

1_TABAQEYE Hussam Mohammed TABAQEYE is a large-scale rotating iron ball covered with sketches drawn by children ages around 12 years addressing Iraq’sW electricity problem related to the country’s social inequality.

Stratification is a technique to classify data, people, and objects into distinct groups or layers.

For Hussam Mohammed, stratification refers to the classification of the community into different social classes and how the socioeconomic status impacts thoughts, feelings, and behavior.

He asked pupils aged around 12 years of the sixth stage in a primary school to illustrate their perception of electricity in Iraq.

Their visual answers were different according to the natural character of each single child and the

socioeconomic background child’s family.

of

the

Some have electricity in abundance, others have no electricity, which reflects the deep disparity in social conditions in Iraq.

Some are very rich, while the majority of the population is very poor. According to the Ministry of Planning, the Iraq poverty rate rose to 25% in 2022. Considering the fact that Iraq has not conducted a population census yet and many other data are missing to set poverty threshold, one can imagine that the real number are far higher.

‫‪ - ٢‬ﻃﺒﻘﻴﺔ‬ ‫ﺣﺴﺎم ﻣﺤﻤﺪ‬

‫ﻃﺒﻘﻴﺔ ﻋﺒﺎرة ﻋﻦ ﻛﺮة ﺣﺪﻳﺪﻳﺔ ﺿﺨﻤﺔ دوارة ﻣﻐﻄﺎة ﺑﺮﺳﻮﻣﺎت رﺳﻤﻬﺎ أﻃﻔﺎل ﺑﻌﻤﺮ ‪ 12‬ﻋﺎﻣﺎ وﺗﻌﺎﻟﺞ‬ ‫ﻣﺸﻜﻠﺔ اﻟﻜﻬﺮﺑﺎء ﻓﻲ اﻟﻌﺮاق اﻟﻤﺘﻌﻠﻘﺔ ﺑﻌﺪم اﻟﻤﺴﺎواة اﻻﺟﺘﻤﺎﻋﻴﺔ ﻓﻲ اﻟﺒﻼد‪.‬‬ ‫اﻟﺘﻘﺴﻴﻢ اﻟﻄﺒﻘﻲ ﻫﻮ أﺳﻠﻮب ﻟﺘﺼﻨﻴﻒ اﻟﺒﻴﺎﻧﺎت وا‪p‬ﺷﺨﺎص واﻟﻜﺎﺋﻨﺎت إﻟﻰ ﻣﺠﻤﻮﻋﺎت أو ﻃﺒﻘﺎت‬ ‫ﺗﻤﻴﻴﺰﻳﺔ‪ .‬ﺑﺎﻟﻨﺴﺒﺔ ﻟﺤﺴﺎم ﻣﺤﻤﺪ‪ ،‬ﻳﺸﻴﺮ اﻟﺘﻘﺴﻴﻢ اﻟﻄﺒﻘﻲ إﻟﻰ ﺗﺼﻨﻴﻒ اﻟﻤﺠﺘﻤﻊ إﻟﻰ ﻃﺒﻘﺎت‬ ‫اﺟﺘﻤﺎﻋﻴﺔ ﻣﺨﺘﻠﻔﺔ وﻛﻴﻒ ﺗﺆﺛﺮ اﻟﺤﺎﻟﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ ﻋﻠﻰ ا‪p‬ﻓﻜﺎر واﻟﻤﺸﺎﻋﺮ واﻟﺴﻠﻮك‪.‬‬ ‫ﺣﺴﺎم ﻣﺤﻤﺪ ﻃﻠﺐ ﻣﻦ ﺗﻼﻣﻴﺬه اﻟﺬﻳﻦ ﺗﺒﻠﻎ أﻋﻤﺎرﻫﻢ ‪ 12‬ﻋﺎﻣﺎ ﻣﻦ اﻟﻤﺮﺣﻠﺔ اﻟﺴﺎدﺳﺔ اﺑﺘﺪاﺋﻲ‬ ‫ﺗﻮﺿﺢ ﺗﺼﻮرﻫﻢ ﻟﻠﻜﻬﺮﺑﺎء ﻓﻲ اﻟﻌﺮاق‪ .‬ﻛﺎﻧﺖ إﺟﺎﺑﺎﺗﻬﻢ اﻟﻤﺮﺋﻴﺔ ﻣﺨﺘﻠﻔﺔ وﻓﻘ ﻟﻠﻄﺎﺑﻊ اﻟﻄﺒﻴﻌﻲ‬ ‫ﻟﻜﻞ ﻃﻔﻞ واﻟﺨﻠﻔﻴﺔ اﻻﺟﺘﻤﺎﻋﻴﺔ واﻻﻗﺘﺼﺎدﻳﺔ ‪p‬ﺳﺮة اﻟﻄﻔﻞ‪.‬‬ ‫اﻟﺒﻌﺾ ﻣﻨﻬﻢ ﻟﺪﻳﻪ ﻛﻬﺮﺑﺎء وﻓﻴﺮة‪ ،‬واﻟﺒﻌﺾ ا ﺧﺮ ﻻ ﻳﻤﻠﻜﻮن ﻛﻬﺮﺑﺎء‪ ،‬ﻣﻤﺎ ﻳﻌﻜﺲ اﻟﺘﻔﺎوت اﻟﻌﻤﻴﻖ‬ ‫ﻓﻲ اﻟﻈﺮوف اﻻﺟﺘﻤﺎﻋﻴﺔ ﻓﻲ اﻟﻌﺮاق‪ .‬ﺑﻌﻀﻬﺎ ﻏﻨﻲ ﻟﻠﻐﺎﻳﺔ‪ ،‬ﻓﻲ ﺣﻴﻦ أن ﻏﺎﻟﺒﻴﺔ اﻟﺴﻜﺎن ﻓﻘﺮاء ﻟﻠﻐﺎﻳﺔ‪.‬‬ ‫ارﺗﻔﻊ ﻣﻌﺪل اﻟﻔﻘﺮ ﻓﻲ اﻟﻌﺮاق إﻟﻰ ‪ %٢٥‬ﻋﺎم ‪) ٢٠٢٢‬ﺑﺤﺴﺐ وزارة اﻟﺘﺨﻄﻴﻂ(‪.‬‬

2_SALAD Zainab Aldehaimy SALAD was an immersive sound installation that delves into the intersection of war and childhood.

The work explored the deep-seated association between the sound of prayer and fear. This association was formed through the artist’s experience of growing up in Aladamiyah, Baghdad, where times of prayer were often accompanied by violent clashes. This work combines sound footage taken from the internet of clashes in Baghdad and a recording of a prayer from a local mosque in 2004, manipulating the sound to replicate the artist’s visceral childhood memories.

The research behind this work aims to gather a cloud of pre-existing online content that can shed light on Iraq’s complex contemporary history. The ongoing instability

of the political situation in Iraq has led to an absence of comprehensive and unbiased records of the events of the past few decades. In response to this lack of transparent documentation and her own curiosity to understand what was happening around her as a child, Zainab used documentation found on the internet to compile a plausible truth.

The work is titled SALAD as the Arabic word Zalata (salad) is an expression used by Iraqis to describe events that happen often.

‫‪_٢‬زﻻﻃﻪ‬ ‫زﻳﻨﺐ اﻟﺪﻫﻴﻤﻲ‬

‫ﻛﺎن )زﻻﻃﻪ( ﻋﻤﻞ ﺗﺮﻛﻴﺒﻲ ﺻﻮﺗﻲ ﻏﺎﻣﺮا ﻳﺘﻌﻤﻖ ﻓﻲ ﺗﻘﺎﻃﻊ اﻟﺤﺮب واﻟﻄﻔﻮﻟﺔ‪ .‬اﺳﺘﻜﺸﻒ اﻟﻌﻤﻞ‬ ‫ﻋﻼﻗﺔ ﻋﻤﻴﻘﺔ اﻟﺠﺬور ﺑﻴﻦ ﺻﻮت اذان اﻟﺼﻼة واﻟﺨﻮف‪ .‬ﺗﺸﻜﻠﺖ ﻫﺬه اﻟﺮاﺑﻄﺔ ﻣﻦ ﺧﻼل ﺗﺠﺮﺑﺔ‬ ‫اﻟﻔﻨﺎﻧﺔ ﻓﻲ ﻧﺸﺄﺗﻬﺎ ﺑﻤﻨﻄﻘﺔ ا‪p‬ﻋﻈﻤﻴﺔ ﺑﺒﻐﺪاد‪ ،‬ﺣﻴﺚ ﻛﺎﻧﺖ أوﻗﺎت اﻟﺼﻼة ﻓﻲ اﻟﻐﺎﻟﺐ ﻣﺼﺤﻮﺑﺔ‬ ‫ﺑﺼﺪاﻣﺎت ﻋﻨﻴﻔﺔ‪ .‬ﻳﺠﻤﻊ ﻫﺬا اﻟﻌﻤﻞ ﺑﻴﻦ ﺗﺴﺠﻴﻼت ﺻﻮﺗﻴﺔ ﻣﺄﺧﻮذة ﻣﻦ ا ﻧﺘﺮﻧﺖ ﻋﻦ اﻻﺷﺘﺒﺎﻛﺎت‬ ‫ﻓﻲ ﺑﻐﺪاد وﺗﺴﺠﻴﻞ ﺻﻮت ا ذان ﻣﻦ ﻣﺴﺠﺪ ﻣﺤﻠﻲ ﻓﻲ ﻋﺎم ‪ ،2004‬ﻣﻊ اﻟﺘﻼﻋﺐ ﺑﺎﻟﺼﻮت ﻟﺘﻜﺮار‬ ‫ذﻛﺮﻳﺎت اﻟﻄﻔﻮﻟﺔ اﻟﻌﻤﻴﻘﺔ ﻟﻠﻔﻨﺎﻧﺔ‪.‬‬ ‫ﻳﻬﺪف اﻟﺒﺤﺚ وراء ﻫﺬا اﻟﻌﻤﻞ إﻟﻰ ﺟﻤﻊ ﺳﺤﺎﺑﺔ ﻣﻦ اﻟﻤﺤﺘﻮى اﻟﻤﻮﺟﻮد ﻣﺴﺒﻘﺎ ﻋﻠﻰ ا ﻧﺘﺮﻧﺖ واﻟﺬي‬ ‫ﻳﻤﻜﻦ أن ﻳﻠﻘﻲ اﻟﻀﻮء ﻋﻠﻰ ﺗﺎرﻳﺦ اﻟﻌﺮاق اﻟﻤﻌﺎﺻﺮ اﻟﻤﻌﻘﺪ‪ .‬أدى ﻋﺪم اﻻﺳﺘﻘﺮار اﻟﻤﺴﺘﻤﺮ ﻟﻠﻮﺿﻊ‬ ‫اﻟﺴﻴﺎﺳﻲ ﻓﻲ اﻟﻌﺮاق إﻟﻰ ﻏﻴﺎب ﺳﺠﻼت ﺷﺎﻣﻠﺔ وﻏﻴﺮ ﻣﻨﺤﺎزة ‪p‬ﺣﺪاث اﻟﻌﻘﻮد اﻟﻘﻠﻴﻠﺔ اﻟﻤﺎﺿﻴﺔ‪ .‬ردا‬ ‫ﻋﻠﻰ ﻫﺬا اﻟﻨﻘﺺ ﻓﻲ اﻟﺘﻮﺛﻴﻖ اﻟﺸﻔﺎف وﻓﻀﻮﻟﻬﺎ اﻟﺨﺎص ﻟﻔﻬﻢ ﻣﺎ ﻛﺎن ﻳﺤﺪث ﺣﻮﻟﻬﺎ ﻋﻨﺪﻣﺎ ﻛﺎﻧﺖ‬ ‫ﻃﻔﻠﺔ ‪ ،‬اﺳﺘﺨﺪﻣﺖ زﻳﻨﺐ اﻟﻮﺛﺎﺋﻖ اﻟﻤﻮﺟﻮدة ﻋﻠﻰ ا ﻧﺘﺮﻧﺖ ﻟﺘﺠﻤﻴﻊ ﺣﻘﻴﻘﺔ ﻣﻨﻄﻘﻴﺔ‪.‬‬ ‫ﻳﺤﻤﻞ اﻟﻌﻤﻞ ﻋﻨﻮان زﻻﻃﻪ ‪p‬ﻧﻪ ﺗﻌﺒﻴﺮ ﻳﺴﺘﺨﺪﻣﻪ اﻟﻌﺮاﻗﻴﻮن ﻟﻮﺻﻒ ا‪p‬ﺣﺪاث اﻟﺘﻲ ﻳﺘﻜﺮر ﺣﺪوﺛﻬﺎ‬

3_I DON’T NEED IT Zaid Saad The building of walls and fences has recently regained popularity among policymakers in Europe and the U.S. alike, to curb illegal immigration. Border walls do not stop immigration but shift migration patterns and harm integration. It entails many financial and non-financial costs for migrants, destination countries and societies at large.

Zaid Saad is reflecting in his art the ‘journey of death’, how refugees and migrants name their journey of crossing borders to reach a specific destination country, from the perspective of a refugee.

He showed a two by one and half metre handmade BRC fence with barbed wire up top. He refers to the displayed photo showing fleeing refugees while passing

a barbed wired borderline. In his installation sculpture, he is trying to express what people exactly in this moment feel: heavy pressure, extreme fear, tremendous uncertainty. The inner turmoil might feel emotionally heavy, like concrete is.

Therefore, he installed in the middle of the wall a concrete block, which represent the refugees. The ‘refugee block’ is connected to the ground on each side with an orange rope. The orange rope expresses both the roots in both territories, but also the danger from the border police of both sides. In many countries, border officials use brutal violence to push back refugees and migrants who walk across their borders.

‫‪ -٣‬ﻻ ارﻳﺪه‬ ‫زﻳﺪ ﺳﻌﺪ‬

‫اﺳﺘﻌﺎد ﺑﻨﺎء اﻟﺠﺪران وا‪p‬ﺳﻮار ﻣﺆﺧﺮ ﺷﻌﺒﻴﺘﻪ ﺑﻴﻦ ﺻﺎﻧﻌﻲ اﻟﺴﻴﺎﺳﺔ ﻓﻲ أوروﺑﺎ واﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة‬ ‫ﻋﻠﻰ ﺣﺪ ﺳﻮاء‪ ،‬ﻟﻠﺤﺪ ﻣﻦ اﻟﻬﺠﺮة اﻟﻐﻴﺮ ﺷﺮﻋﻴﺔ‪ .‬ﻻ ﺗﻮﻗﻒ اﻟﺠﺪران اﻟﺤﺪودﻳﺔ اﻟﻬﺠﺮة وﻟﻜﻨﻬﺎ‬ ‫ﺗﻐﻴﺮ أﻧﻤﺎط اﻟﻬﺠﺮة وﺗﻀﺮ ﺑﺎﻻﻧﺪﻣﺎج‪ .‬وﻫﻮ ﻳﻨﻄﻮي ﻋﻠﻰ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺘﻜﺎﻟﻴﻒ اﻟﻤﺎﻟﻴﺔ وﻏﻴﺮ اﻟﻤﺎﻟﻴﺔ‬ ‫ﻟﻠﻤﻬﺎﺟﺮﻳﻦ وﺑﻠﺪان اﻟﻤﻘﺼﺪ واﻟﻤﺠﺘﻤﻌﺎت ﻛﻜﻞ‪.‬‬ ‫ﻳﻌﻜﺲ زﻳﺪ ﺳﻌﺪ ﻓﻲ اﻋﻤﺎﻟﻪ اﻟﻔﻨﻴﺔ ”رﺣﻠﺔ اﻟﻤﻮت“‪ ،‬وﻛﻴﻒ ﻳﺴﻤﻲ اﻟﻼﺟﺌﻮن واﻟﻤﻬﺎﺟﺮون رﺣﻠﺘﻬﻢ‬ ‫ﻟﻌﺒﻮر اﻟﺤﺪود ﻟﻠﻮﺻﻮل إﻟﻰ وﺟﻬﺔ ﻣﻌﻴﻨﺔ‪ ،‬ﻣﻦ ﻣﻨﻈﻮر اﻟﻼﺟﺊ‪.‬‬ ‫ﻳﻈﻬﺮ ﺟﺪارا ﻣﻌﺪﻧﻲ ﻣﺼﻨﻮﻋﺎ ﻳﺪوﻳﺎ ﺑﺎرﺗﻔﺎع ﻣﺘﺮﻳﻦ ﻓﻲ ﻣﺘﺮ و ﻧﺼﻒ ﻣﻊ أﺳﻼك ﺷﺎﺋﻜﺔ ﻓﻲ ا‪p‬ﻋﻠﻰ‪.‬‬ ‫وﻫﻮ ﻳﺸﻴﺮ إﻟﻰ اﻟﺼﻮرة اﻟﻤﻌﺮوﺿﺔ اﻟﺘﻲ ﺗﻈﻬﺮ ﻻﺟﺌﻴﻦ ﻫﺎرﺑﻴﻦ وﻫﻢ ﻳﻤﺮون ﺑﺨﻂ ﺣﺪودي ﺷﺎﺋﻚ‪.‬‬ ‫ﻓﻲ ﻋﻤﻠﻪ اﻟﺘﺮﻛﻴﺒﻲ‪ ،‬ﻳﺤﺎول اﻟﺘﻌﺒﻴﺮ ﻋﻤﺎ ﻳﺸﻌﺮ ﺑﻪ اﻟﻨﺎس ﺑﺎﻟﻀﺒﻂ ﻓﻲ ﻫﺬه اﻟﻠﺤﻈﺔ‪ :‬ﺿﻐﻂ ﺷﺪﻳﺪ‪،‬‬ ‫وﺧﻮف ﺷﺪﻳﺪ‪ ،‬وﻋﺪم ﻳﻘﻴﻦ ﻫﺎﺋﻞ‪ .‬ﻗﺪ ﻳﺒﺪو اﻻﺿﻄﺮاب اﻟﺪاﺧﻠﻲ ﺛﻘﻴﻼ ﻋﺎﻃﻔﻴﺎ‪ ،‬ﻣﺜﻞ اﻟﺨﺮﺳﺎﻧﺔ‪.‬‬ ‫ﻟﺬﻟﻚ ﻧﺼﺐ ﻓﻲ ﻣﻨﺘﺼﻒ اﻟﺠﺪار ﻛﺘﻠﺔ ﺧﺮﺳﺎﻧﻴﺔ ﺗﻤﺜﻞ اﻟﻼﺟﺌﻴﻦ‪” .‬ﻛﺘﻠﺔ اﻟﻼﺟﺌﻴﻦ“ ﻣﺜﺒﺘﻪ ﺑﺎ‪p‬رض ﻣﻦ‬ ‫ﻛﻞ ﺟﺎﻧﺐ ﺑﺤﺒﻞ ﺑﺮﺗﻘﺎﻟﻲ‪ .‬ﻳﻌﺒﺮ اﻟﺤﺒﻞ اﻟﺒﺮﺗﻘﺎﻟﻲ ﻋﻦ اﻟﺠﺬور ﻓﻲ ﻛﻼ اﻟﻤﻨﻄﻘﺘﻴﻦ‪ ،‬وﻟﻜﻦ أﻳﻀﺎ ﻋﻦ‬ ‫اﻟﺨﻄﺮ ﻣﻦ ﺷﺮﻃﺔ اﻟﺤﺪود ﻣﻦ ﻛﻼ اﻟﺠﺎﻧﺒﻴﻦ‪ .‬ﻓﻲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺒﻠﺪان‪ ،‬ﻳﺴﺘﺨﺪم ﻣﺴﺆوﻟﻮ اﻟﺤﺪود‬ ‫اﻟﻌﻨﻒ اﻟﻮﺣﺸﻲ ﻟﺼﺪ اﻟﻼﺟﺌﻴﻦ واﻟﻤﻬﺎﺟﺮﻳﻦ اﻟﺬﻳﻦ ﻳﺴﻴﺮون ﻋﺒﺮ ﺣﺪودﻫﻢ‪.‬‬

4_ECHO Loay Al Hadhary The sculptor Loay Al Hadhary presented the figure of a dead dog and its reflections in mirrors with the echo of barking dogs. He likes to refer to anecdotes, because it is a gently way to let people understand certain happenings and situations.

His room-installation ECHO refers to ‘the anecdote of a dog in a museum’.

“Once a dog ran into a museum, whose inside was covered with mirrors. When the dog saw its many reflection, it began instinctively bared its fangs, and all of its reflections did the same. The terrified dog barked loudly. The reflections mimicked and repeated.

The wretched dog was discovered the next morning by museum security personnel, dead. There was nothing in the museum that might injure the dog. The dog perished

as a result of its struggle with its own reflection.”

The moral of the story: Everything that happens around us is a reflection of our own ideas, feelings, desires, and deeds. The universe is a giant mirror in which people can strike a good pose. For Loay Al Hadhary, it is a request to the people to stand in front of the mirror in the best way a person is able and willing to do it.

‫‪ -٤‬ﺻﺪى‬ ‫ﻟﺆي اﻟﺤﻀﺎري‬

‫ﻳﻘﺪم اﻟﻨﺤﺎت ﻟﺆي اﻟﺤﻀﺎري ﻣﻨﺤﻮﺗﺔ ﻛﻠﺐ ﻣﻴﺖ واﻧﻌﻜﺎﺳﺎﺗﻪ ﻓﻲ اﻟﻤﺮاﻳﺎ ﻣﻊ ﺻﺪى ﻧﺒﺎح اﻟﻜﻼب‪ .‬ﻟﺆي‬ ‫ﻳﺤﺐ ا ﺷﺎرة إﻟﻰ اﻟﺤﻜﺎﻳﺎت‪p ،‬ﻧﻬﺎ ﻃﺮﻳﻘﺔ ﻟﻄﻴﻔﺔ ﻟﻠﺴﻤﺎح ﻟﻠﻨﺎس ﺑﻔﻬﻢ ﺑﻌﺾ ا‪p‬ﺣﺪاث واﻟﻤﻮاﻗﻒ‪.‬‬ ‫ﻳﺸﻴﺮ ﺻﺪى ﻓﻲ ﺗﺮﻛﻴﺐ ﻏﺮﻓﺘﻪ إﻟﻰ ”ﺣﻜﺎﻳﺔ ﻛﻠﺐ ﻓﻲ ﻣﺘﺤﻒ“‪.‬‬ ‫”ﺑﻤﺠﺮد أن دﺧﻞ ﻛﻠﺐ إﻟﻰ ﻣﺘﺤﻒ ﻛﺎن داﺧﻠﻪ ﻣﻐﻄﻰ ﺑﺎﻟﻤﺮاﻳﺎ‪ .‬وﻋﻨﺪﻣﺎ رأى اﻟﻜﻠﺐ اﻧﻌﻜﺎﺳﺎﺗﻪ‬ ‫اﻟﻜﺜﻴﺮة‪ ،‬ﺑﺪأ ﻏﺮﻳﺰﻳﺎ ﻓﻲ اﻟﻜﺸﻒ ﻋﻦ أﻧﻴﺎﺑﻪ‪ ،‬وﻛﻞ اﻧﻌﻜﺎﺳﺎﺗﻪ ﻓﻌﻠﺖ اﻟﺸﻲء ﻧﻔﺴﻪ‪ .‬ﻧﺒﺢ اﻟﻜﻠﺐ‬ ‫اﻟﻤﺮﻋﻮب ﺑﺼﻮت ﻋﺎلٍ ‪ .‬ﻣﻜﺮرا ‪ ..‬اﻟﻜﻠﺐ اﻟﺒﺎﺋﺲ اﻛﺘﺸﻔﻪ رﺟﺎل أﻣﻦ اﻟﻤﺘﺤﻒ ﺻﺒﺎح اﻟﻴﻮم اﻟﺘﺎﻟﻲ ﻣﻴﺘﺎ‪.‬‬ ‫ﻟﻢ ﻳﻜﻦ ﻓﻲ اﻟﻤﺘﺤﻒ أي ﺷﻲء ﻗﺪ ﻳﺆذي اﻟﻜﻠﺐ‪ .‬ﻫﻠﻚ اﻟﻜﻠﺐ ﻧﺘﻴﺠﺔ ﺻﺮاﻋﻪ ﻣﻊ اﻧﻌﻜﺎﺳﻪ‪.‬‬ ‫اﻟﻤﻐﺰى ﻣﻦ اﻟﻘﺼﺔ‪ :‬ﻛﻞ ﻣﺎ ﻳﺤﺪث ﺣﻮﻟﻨﺎ ﻫﻮ اﻧﻌﻜﺎس ‪p‬ﻓﻜﺎرﻧﺎ وﻣﺸﺎﻋﺮﻧﺎ ورﻏﺒﺎﺗﻨﺎ وأﻓﻌﺎﻟﻨﺎ‪ .‬اﻟﻜﻮن‬ ‫ﻫﻮ ﻣﺮآة ﻋﻤﻼﻗﺔ ﻳﻤﻜﻦ ﻟﻠﻨﺎس أن ﻳﺘﺨﺬوا ﻓﻴﻬﺎ وﺿﻌﻴﺔ ﺟﻴﺪة‪ .‬ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻔﻨﺎن ﻟﺆي اﻟﺤﻀﺎري‪ ،‬ﻫﻮ‬ ‫ﻃﻠﺐ ﻟﻠﻨﺎس أن ﻳﻘﻔﻮا أﻣﺎم اﻟﻤﺮآة ﺑﺄﻓﻀﻞ ﻃﺮﻳﻘﺔ ﻳﻜﻮن ا ﻧﺴﺎن ﻗﺎدرا وراﻏﺒﺎ ﻓﻲ اﻟﻘﻴﺎم ﺑﻬﺎ‪.‬‬

5_QUESTIONING JUDGEMENT Noor Abd Ali Noor Abd Ali is questioning in her two paintings the judgement of people by their appearance. Surrealism is her style, because it gives her the space to isolate her protagonists from the environment and put a spotlight on her message. The work, in its child-like simplicity, captures a man and a woman, wearing specific accessories coloured in neo orange. Both genders are often stereotyped and blamed by only one accessory.

A simple piece of jewelry or cloth is interpreted as a danger. The heads of the two surreal figures are represented as cleavers, which are symbols of destruction. They reflect the dangerous effect of judging people, but also the call to break down this stigma.

‫‪ -٥‬اﻟﺘﺴﺎؤل ﻓﻲ اﻟﺤﻜﻢ‬ ‫ﻧﻮر ﻋﺒﺪ ﻋﻠﻲ‬

‫ﺗﺘﺴﺎﺋﻞ اﻟﻔﻨﺎﻧﻪ ﻧﻮر ﻋﺒﺪ ﻋﻠﻲ ﻣﻦ ﺧﻼل ﻟﻮﺣﺘﻴﻬﺎ ﻓﻲ اﻟﺤﻜﻢ ﻋﻠﻰ اﻟﻨﺎس ﻣﻦ ﻣﻈﻬﺮﻫﻢ‪ .‬اﻟﺴﺮﻳﺎﻟﻴﺔ‬ ‫ﻫﻮ أﺳﻠﻮﺑﻬﺎ‪p ،‬ﻧﻪ ﻳﻤﻨﺤﻬﺎ ﻣﺴﺎﺣﺔ ﻟﻌﺰل أﺑﻄﺎﻟﻬﺎ ﻋﻦ اﻟﺒﻴﺌﺔ وﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﻠﻰ رﺳﺎﻟﺘﻬﺎ‪ .‬ﻳﺼﻮر‬ ‫اﻟﻌﻤﻞ‪ ،‬ﻓﻲ ﺑﺴﺎﻃﺘﻪ اﻟﺸﺒﻴﻬﺔ ﺑﺎﻟﻄﻔﻞ‪ ،‬رﺟﻞ واﻣﺮأة ﻳﺮﺗﺪﻳﺎن إﻛﺴﺴﻮارات ﻣﺤﺪدة ﻣﻠﻮﻧﺔ ﺑﺎﻟﻠﻮن‬ ‫اﻟﺒﺮﺗﻘﺎﻟﻲ اﻟﻤﺸﻊ‪ .‬ﻏﺎﻟﺒﺎ ﻣﺎ ﻳﺘﻢ ﺗﺼﻮﻳﺮ ﻛﻼ اﻟﺠﻨﺴﻴﻦ ﺑﺸﻜﻞ ﻧﻤﻄﻲ وﻳﺘﻢ إﻟﻘﺎء اﻟﻠﻮم ﻋﻠﻴﻬﻢ ﻣﻦ‬ ‫ﻗﺒﻞ اﻛﺴﺴﻮار واﺣﺪ ﻓﻘﻂ‪ .‬ﻓﻴﺘﻢ ﺗﻔﺴﻴﺮ ﻗﻄﻌﺔ ﺑﺴﻴﻄﺔ ﻣﻦ اﻟﻤﺠﻮﻫﺮات أو اﻟﻘﻤﺎش ﻋﻠﻰ أﻧﻬﺎ‬ ‫ﺧﻄﺮ‪ .‬ﻳﺘﻢ ﺗﻤﺜﻴﻞ رأﺳﻲ اﻟﺸﻜﻠﻴﻦ اﻟﺴﺮﻳﺎﻟﻴﻴﻦ ﻋﻠﻰ ﺷﻜﻞ ﻓﺄس‪ ،‬وﻫﻲ رﻣﻮز ﻟﻠﺪﻣﺎر‪ .‬ﻓﻬﻲ ﺗﻌﻜﺲ‬ ‫اﻟﺘﺄﺛﻴﺮ اﻟﺨﻄﻴﺮ ﻟﻠﺤﻜﻢ ﻋﻠﻰ اﻟﻨﺎس‪ ،‬و ﻟﻜﻨﻬﺎ ﺗﻌﻜﺲ أﻳﻀﺎ اﻟﺪﻋﻮة إﻟﻰ ﻛﺴﺮ وﺻﻤﺔ اﻟﻌﺎر ﻫﺬه‪.‬‬

6_BATAYIH Noor Al Waily The Iraqi Marshes, known as the Garden of Eden, are created by the Tigris and Euphrates Rivers system in the lower part of the Mesopotamian basin in Southern Iraq.

In the Islamic Age the lakes and marshes were called “Batahiy”, “the lands covered with torrents”.

The marsh lands are of unique environmental and cultural features that rarely meet in similar habitats worldwide. Once in the past they covered a territory about 15.000 - 20.000 km2, but human interferences and the impact of climate change caused to the draining of this unique wetland.

Noor Al Waily is concerned about Iraq’s natural treasure. She imagined in her big-size comic a magical land that looks like the marshes with biodiversity and cultural features typical for this

area. She chose paper as the material to draw on, because paper is as fragile as the Marshes are. She added big-size paper boats to her comic because they represent life for her. Like life, the paper boat would not last forever, like the Iraqi Marshlands, if humans are not taking the right and necessary steps to protect this magical spot.

‫‪ - ٦‬اﻟﺒﻄﺎﺋﺢ‬ ‫ﻧﻮر اﻟﻮاﺋﻠﻲ‬

‫ا‪p‬ﻫﻮار اﻟﻌﺮاﻗﻴﺔ‪ ،‬اﻟﻤﻌﺮوﻓﺔ ﺑﺎﺳﻢ ﺟﻨﺔ ﻋﺪن‪ ،‬ﺗﻜﻮﻧﺖ ﺑﻮاﺳﻄﺔ ﻧﻈﺎم ﻧﻬﺮي دﺟﻠﺔ واﻟﻔﺮات ﻓﻲ‬ ‫اﻟﺠﺰء اﻟﺴﻔﻠﻲ ﻣﻦ ﺣﻮض ﺑﻼد ﻣﺎ ﺑﻴﻦ اﻟﻨﻬﺮﻳﻦ ﻓﻲ ﺟﻨﻮب اﻟﻌﺮاق‪ .‬ﻓﻲ اﻟﻌﺼﺮ ا ﺳﻼﻣﻲ ﻛﺎﻧﺖ ﺗﺴﻤﻰ‬ ‫اﻟﺒﺤﻴﺮات واﻟﻤﺴﺘﻨﻘﻌﺎت ”اﻟﺒﻄﺎﺋﺢ“ ‪” ،‬ا‪p‬راﺿﻲ اﻟﻤﻐﻄﺎة ﺑﺎﻟﺴﻴﻮل“‪ .‬ﺗﺘﻤﻴﺰ أراﺿﻲ اﻟﻤﺴﺘﻨﻘﻌﺎت‬ ‫ﺑﺴﻤﺎت ﺑﻴﺌﻴﺔ وﺛﻘﺎﻓﻴﺔ ﻓﺮﻳﺪة ﻧﺎدرا ﻣﺎ ﺗﻠﺘﻘﻲ ﻓﻲ ﺑﻴﺌﺎت ﻣﻤﺎﺛﻠﺔ ﻓﻲ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‪ .‬ذات ﻣﺮة‬ ‫ﻓﻲ اﻟﻤﺎﺿﻲ‪ ،‬ﻏﻄﺖ ﻣﺴﺎﺣﺔ ﺗﺒﻠﻎ ﺣﻮاﻟﻲ ‪ 20.000 - 15.000‬ﻛﻴﻠﻮﻣﺘﺮ ﻣﺮﺑﻊ‪ ،‬ﻟﻜﻦ اﻟﺘﺪﺧﻼت اﻟﺒﺸﺮﻳﺔ‬ ‫وﺗﺄﺛﻴﺮ ﺗﻐﻴﺮ اﻟﻤﻨﺎخ ﺗﺴﺒﺐ ﻓﻲ اﺳﺘﻨﺰاف ﻫﺬه ا‪p‬رض اﻟﺮﻃﺒﺔ اﻟﻔﺮﻳﺪة‪.‬‬ ‫اﻟﺮﺳﺎﻣﺔ ﻧﻮر اﻟﻮاﺋﻠﻲ ﻗﻠﻘﺔ ﺑﺸﺄن ﺛﺮوة اﻟﻌﺮاق اﻟﻄﺒﻴﻌﻴﺔ‪ .‬ﺗﺨﻴﻠﺖ ﻓﻲ رﺳﻮﻣﻬﺎ اﻟﻜﻮﻣﻜﺲ ﻛﺒﻴﺮة‬ ‫اﻟﺤﺠﻢ أرﺿﺎ ﺳﺤﺮﻳﺔ ﺗﺸﺒﻪ اﻟﻤﺴﺘﻨﻘﻌﺎت ﻣﻊ اﻟﺘﻨﻮع اﻟﺒﻴﻮﻟﻮﺟﻲ واﻟﺨﺼﺎﺋﺺ اﻟﺜﻘﺎﻓﻴﺔ اﻟﻨﻤﻮذﺟﻴﺔ‬ ‫ﻟﻬﺬه اﻟﻤﻨﻄﻘﺔ‪ .‬اﺧﺘﺎرت اﻟﻮرق ﻛﻤﺎدة ﻻﺳﺘﺨﺪاﻣﻬﺎ ﻓﻲ اﻟﺮﺳﻢ‪p ،‬ن اﻟﻮرق ﻫﺶ ﻣﺜﻞ اﻟﻤﺴﺘﻨﻘﻌﺎت‪.‬‬ ‫أﺿﺎﻓﺖ ﻗﻮارب ورﻗﻴﺔ ﻛﺒﻴﺮة اﻟﺤﺠﻢ إﻟﻰ رﺳﻮم اﻟﻜﻮﻣﻜﺲ ‪p‬ﻧﻬﺎ ﺗﻤﺜﻞ اﻟﺤﻴﺎة ﺑﺎﻟﻨﺴﺒﺔ ﻟﻬﺎ‪ .‬ﻣﺜﻞ‬ ‫اﻟﺤﻴﺎة‪ ،‬ﻟﻦ ﻳﺪوم اﻟﻘﺎرب اﻟﻮرﻗﻲ إﻟﻰ ا‪p‬ﺑﺪ‪ ،‬ﻣﺜﻞ ا‪p‬ﻫﻮار اﻟﻌﺮاﻗﻴﺔ‪ ،‬إذا ﻟﻢ ﻳﺘﺨﺬ اﻟﺒﺸﺮ اﻟﺨﻄﻮات‬ ‫اﻟﺼﺤﻴﺤﺔ واﻟﻀﺮورﻳﺔ ﻟﺤﻤﺎﻳﺔ ﻫﺬه اﻟﺒﻘﻌﺔ اﻟﺴﺤﺮﻳﺔ‪.‬‬

7_JOURNEY THROUGH TIME: EXPLORING IRAQ’S ANCIENT ZIGGURAT Amir Akram “Journey Through Time: Exploring Iraq’s Ancient Ziggurat” by the architect Amir Akram was a virtual reality experience that took visitors on a fascinating journey through the rich history and culture of Iraq. The experience is centered around the Ziggurat of Babylon, one of the most iconic structures from ancient Mesopotamia.

Amir Akram designed his imagination of the city of Babylon beside the river Tigris and its Ziggurat.

His temple is based on models of different researches and designs.

He included educational videos about the features of ziggurats and the Babylonian astronomy.

A Ziggurat was a temple to the main god of each city. Each city in Mesopotamia had a primary god.

Murdock was the god of Babylon.

Enki was the god of Eridu and Isthar was the goddess of Ninevah. In Amir’s temple visitors could discover the main gods, specifically in the shrine on the top and other sculptures featuring the Sumerian, Babylonian and Akkadian era.

‫‪-٧‬رﺣﻠﺔ ﻋﺒﺮ اﻟﺰﻣﻦ‪:‬‬ ‫اﺳﺘﻜﺸﺎف اﻟﺰﻗﻮرات اﻟﻘﺪﻳﻤﺔ ﻓﻲ اﻟﻌﺮاق‬ ‫أﻣﻴﺮ أﻛﺮم‬

‫ﻛﺎﻧﺖ ”رﺣﻠﺔ ﻋﺒﺮ اﻟﺰﻣﻦ‪ :‬اﺳﺘﻜﺸﺎف اﻟﺰﻗﻮرة اﻟﻘﺪﻳﻤﺔ ﻓﻲ اﻟﻌﺮاق“ ﻟﻠﻤﻬﻨﺪس اﻟﻤﻌﻤﺎري أﻣﻴﺮ أﻛﺮم‬ ‫ﺗﺠﺮﺑﺔ واﻗﻊ اﻓﺘﺮاﺿﻲ أﺧﺬ اﻟﺰوار ﻓﻲ رﺣﻠﺔ راﺋﻌﺔ ﻋﺒﺮ ﺗﺎرﻳﺦ وﺛﻘﺎﻓﺔ اﻟﻌﺮاق اﻟﻐﻨﻴﺔ‪ .‬ﺗﺘﻤﺤﻮر اﻟﺘﺠﺮﺑﺔ‬ ‫ﺣﻮل زﻗﻮرة ﺑﺎﺑﻞ‪ ،‬وﻫﻲ واﺣﺪة ﻣﻦ أﻛﺜﺮ اﻟﻬﻴﺎﻛﻞ ﺷﻬﺮة ﻓﻲ ﺑﻼد ﻣﺎ ﺑﻴﻦ اﻟﻨﻬﺮﻳﻦ اﻟﻘﺪﻳﻤﺔ‪.‬‬ ‫ﺻﻤﻢ اﻟﻤﻌﻤﺎري أﻣﻴﺮ أﻛﺮم ﻣﻦ ﺧﻴﺎﻟﻪ ﻣﺪﻳﻨﺔ ﺑﺎﺑﻞ ﺑﺠﺎﻧﺐ ﻧﻬﺮ دﺟﻠﺔ وزﻗﻮراﺗﻬﺎ‪ .‬ﻳﻌﺘﻤﺪ ﻣﻌﺒﺪه ﻋﻠﻰ‬ ‫ﻧﻤﺎذج ‪p‬ﺑﺤﺎث وﺗﺼﻤﻴﻤﺎت ﻣﺨﺘﻠﻔﺔ‪ .‬ﻗﺎم ﺑﺘﻀﻤﻴﻦ ﻣﻘﺎﻃﻊ ﻓﻴﺪﻳﻮ ﺗﻌﻠﻴﻤﻴﺔ ﺣﻮل ﻣﻼﻣﺢ اﻟﺰﻗﻮرة‬ ‫وﻋﻠﻢ اﻟﻔﻠﻚ اﻟﺒﺎﺑﻠﻲ‪.‬‬ ‫ﻛﺎﻧﺖ اﻟﺰﻗﻮرة ﻣﻌﺒﺪا ﻟ¡ﻟﻪ اﻟﺮﺋﻴﺴﻲ ﻓﻲ ﻛﻞ ﻣﺪﻳﻨﺔ‪ .‬ﻛﺎن ﻟﻜﻞ ﻣﺪﻳﻨﺔ ﻓﻲ ﺑﻼد ﻣﺎ ﺑﻴﻦ اﻟﻨﻬﺮﻳﻦ إﻟﻪ‬ ‫أﺳﺎﺳﻲ‪.‬‬ ‫ﻣﻮردوك إﻟﻪ ﺑﺎﺑﻞ‪ .‬إﻧﻜﻲ إﻟﻪ إرﻳﺪو وإﻳﺜﺎر ﻫﻲ إﻟﻬﺔ ﻧﻴﻨﻮى‪ .‬ﻳﻤﻜﻦ ﻟﻠﺰوار ﻓﻲ ﻣﻌﺒﺪ أﻣﻴﺮ اﻛﺘﺸﺎف‬ ‫ا ﻟﻬﺔ اﻟﺮﺋﻴﺴﻴﺔ‪ ،‬وﺗﺤﺪﻳﺪا ﻓﻲ ﻗﻤﺔ اﻟﻤﻌﺒﺪ واﻟﺘﻤﺎﺛﻴﻞ ا‪p‬ﺧﺮى اﻟﺘﻲ ﺗﺼﻮر اﻟﻌﺼﺮ اﻟﺴﻮﻣﺮي واﻟﺒﺎﺑﻠﻲ‬ ‫وا‪p‬ﻛﺪي‪.‬‬

8_THE SOUND OF BORDERS Maees Hadi

“The Sound of Borders” by the architectural designer Maees Hadi mirrors her multidisciplinary practice influenced by research and spatial design. Her work is based on a sophisticated research of bird sounds from the Sabah Al Ahmad Natural Reserve in Kuwait.

The Reserve was officially announced as a national park in 1988, but was partly misused during the 1990 Iraqi invasion of Kuwait as an important base for Saddam Hussein’s army. The research aimed to analyze how this military base effected the sound of birds on the western borders of the reserve. The project used data mining as the primary methodology for investigation. During a com-

prehensive research study Maees Hadi collected data of 250 birds over a period of ten years. The results were presented as a statistic table on a poster and in form of a video in an abstract sculptural style.

‫‪-٨‬ﺻﻮت اﻟﺤﺪود‬ ‫ﻣﻴﺲ ﻫﺎدي‬

‫ﻳﻌﻜﺲ ”ﺻﻮت اﻟﺤﺪود“ ﻟﻠﻤﺼﻤﻤﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻣﻴﺲ ﻫﺎدي ﻣﻤﺎرﺳﺘﻬﺎ ﻣﺘﻌﺪدة اﻟﺘﺨﺼﺼﺎت‬ ‫اﻟﻤﺘﺄﺛﺮة ﺑﺎﻟﺒﺤﺚ واﻟﺘﺼﻤﻴﻢ اﻟﻤﻜﺎﻧﻲ‪ .‬ﻳﻌﺘﻤﺪ ﻋﻤﻠﻬﺎ ﻋﻠﻰ ﺑﺤﺚ ﻣﺘﻄﻮر ﻋﻦ أﺻﻮات اﻟﻄﻴﻮر ﻣﻦ‬ ‫ﻣﺤﻤﻴﺔ ﺻﺒﺎح ا‪p‬ﺣﻤﺪ اﻟﻄﺒﻴﻌﻴﺔ ﻓﻲ اﻟﻜﻮﻳﺖ‪.‬‬ ‫ﺗﻢ ا ﻋﻼن رﺳﻤﻴﺎ ﻋﻦ اﻟﻤﺤﻤﻴﺔ ﻛﻤﻨﺘﺰه وﻃﻨﻲ ﻓﻲ ﻋﺎم ‪ ،1988‬وﻟﻜﻦ ﺗﻢ إﺳﺎءة اﺳﺘﺨﺪاﻣﻬﺎ ﺟﺰﺋﻴﺎ‬ ‫ﺧﻼل اﻟﻐﺰو اﻟﻌﺮاﻗﻲ ﻟﻠﻜﻮﻳﺖ ﻋﺎم ‪ 1990‬ﻛﻘﺎﻋﺪة ﻣﻬﻤﺔ ﻟﺠﻴﺶ ﺻﺪام ﺣﺴﻴﻦ‪ .‬ﻫﺪف اﻟﺒﺤﺚ إﻟﻰ‬ ‫ﺗﺤﻠﻴﻞ ﻛﻴﻔﻴﺔ ﺗﺄﺛﻴﺮ ﻫﺬه اﻟﻘﺎﻋﺪة اﻟﻌﺴﻜﺮﻳﺔ ﻋﻠﻰ أﺻﻮات اﻟﻄﻴﻮر ﻋﻠﻰ اﻟﺤﺪود اﻟﻐﺮﺑﻴﺔ ﻟﻠﻤﺤﻤﻴﺔ‪.‬‬ ‫اﺳﺘﺨﺪم اﻟﻤﺸﺮوع اﻟﺘﻨﻘﻴﺐ ﻋﻦ اﻟﺒﻴﺎﻧﺎت ﻛﻤﻨﻬﺠﻴﺔ أوﻟﻴﺔ ﻟﻠﺘﺤﻘﻴﻖ‪ .‬ﺧﻼل دراﺳﺔ ﺑﺤﺜﻴﺔ ﺷﺎﻣﻠﺔ ‪،‬‬ ‫ﻗﺎﻣﺖ ﻣﻴﺲ ﻫﺎدي ﺑﺠﻤﻊ ﺑﻴﺎﻧﺎت ﻋﻦ ‪ 250‬ﻃﺎﺋﺮا ﻋﻠﻰ ﻣﺪى ﻋﺸﺮ ﺳﻨﻮات‪ .‬ﺗﻢ ﻋﺮض اﻟﻨﺘﺎﺋﺞ ﻛﺠﺪول‬ ‫إﺣﺼﺎﺋﻲ ﻋﻠﻰ ﻣﻠﺼﻖ و ﺑﺸﻜﻞ ﻓﻴﺪﻳﻮ ﺑﺄﺳﻠﻮب ﻧﺤﺖ ﺗﺠﺮﻳﺪي‬

9_CITY OF SHADOWS Sarhand Khaled

The video art by the architect Sarhand Khaled from Suleymaniya is a metapher for the complex and multifaceted nature of Iraqi cities and their history. The shadows represent the layers of history, culture and tradition that have accumulated over time and the challenges of uncovering and understanding the full depth of these complex layers.

For Sarhand Khaled architecture and music are both art forms brought together by rhythm and proportions. They share a clear cultural lineage. Exploring these profound similarities and their interconnectedness, he is using musical notes and Abbasid arches as shadows what not only creates a

visual representation of traditional buildings but also represents the harmony and beauty of the Iraqi architectural and cultural heritage.

The use of shadows is a reference to the shadows of the past, the shadows of the traditional architecture that still exists in Iraq, and the shadows of the cultural identity that has been impacted by demolition through conflict and turmoil. “CITY OF SHADOWS” serves as a reminder about the importance of Iraqi architecture and the necessity of its preservation.

‫‪-٩‬ﻣﺪﻳﻨﺔ اﻟﻈﻼل‬ ‫ﺳﺮﻫﻨﺪ ﺧﺎﻟﺪ‬

‫اﻟﻔﻴﺪﻳﻮ اﻟﻔﻨﻲ ﻟﻠﻤﻬﻨﺪس اﻟﻤﻌﻤﺎري ﺳﺮﻫﻨﺪ ﺧﺎﻟﺪ ﻣﻦ اﻟﺴﻠﻴﻤﺎﻧﻴﺔ ﻫﻮ ﻋﺒﺎرة ﻋﻦ ﻣﺴﻮدة ﻟﻄﺒﻴﻌﺔ‬ ‫اﻟﻤﺪن اﻟﻌﺮاﻗﻴﺔ اﻟﻤﻌﻘﺪة وﻣﺘﻌﺪدة ا‪p‬وﺟﻪ وﺗﺎرﻳﺨﻬﺎ‪ .‬ﺗﻤﺜﻞ اﻟﻈﻼل ﻃﺒﻘﺎت اﻟﺘﺎرﻳﺦ واﻟﺜﻘﺎﻓﺔ‬ ‫واﻟﺘﻘﺎﻟﻴﺪ اﻟﺘﻲ ﺗﺮاﻛﻤﺖ ﺑﻤﺮور اﻟﻮﻗﺖ و ﺗﺤﺪﻳﺎت اﻟﻜﺸﻒ ﻋﻦ اﻟﻌﻤﻖ اﻟﻜﺎﻣﻞ ﻟﻬﺬه اﻟﻄﺒﻘﺎت‬ ‫اﻟﻤﻌﻘﺪة وﻓﻬﻤﻬﺎ‪.‬‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﺴﺮﻫﻨﺪ ﺧﺎﻟﺪ‪ ،‬ﻓﺈن اﻟﻤﻮﺳﻴﻘﻰ واﻟﻌﻤﺎرة ﻟﻬﺎ أوﺟﻪ ﺗﺸﺎﺑﻪ ﺧﺎﺻﺔ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺎ‪p‬ﺷﻜﺎل‬ ‫واﻟﻨﺴﺐ‪ .‬ﻻﺳﺘﻜﺸﺎف ﺗﺮاﺑﻄﻬﺎ‪ ،‬اﺳﺘﺨﺪم اﻟﻨﻮﺗﺎت اﻟﻤﻮﺳﻴﻘﻴﺔ وا‪p‬ﻗﻮاس اﻟﻌﺒﺎﺳﻴﺔ ﻛﻈﻼل ﻻ‬ ‫ﺗﺨﻠﻖ ﻓﻘﻂ ﺗﻤﺜﻴﻼ ﻣﺮﺋﻴﺎ ﻟﻠﻤﺒﺎﻧﻲ اﻟﺘﻘﻠﻴﺪﻳﺔ وﻟﻜﻨﻬﺎ ﺗﻤﺜﻞ أﻳﻀﺎ اﻧﺴﺠﺎم وﺟﻤﺎل اﻟﺘﺮاث اﻟﻤﻌﻤﺎري‬ ‫واﻟﺜﻘﺎﻓﻲ اﻟﻌﺮاﻗﻲ‪.‬‬ ‫اﺳﺘﺨﺪام اﻟﻈﻼل ﻫﻮ إﺷﺎرة إﻟﻰ ﻇﻼل اﻟﻤﺎﺿﻲ‪ ،‬وﻇﻼل اﻟﻌﻤﺎرة اﻟﺘﻘﻠﻴﺪﻳﺔ اﻟﺘﻲ ﻻ ﺗﺰال ﻣﻮﺟﻮدة ﻓﻲ‬ ‫اﻟﻌﺮاق‪ ،‬وﻇﻼل اﻟﻬﻮﻳﺔ اﻟﺜﻘﺎﻓﻴﺔ اﻟﺘﻲ ﺗﺄﺛﺮت ﺑﺎﻟﻬﺪم ﻣﻦ ﺧﻼل اﻟﺼﺮاع واﻻﺿﻄﺮاب‪” .‬ﻣﺪﻳﻨﺔ اﻟﻈﻼل“‬ ‫ﺑﻤﺜﺎﺑﺔ ﺗﺬﻛﻴﺮ ﺑﺄﻫﻤﻴﺔ اﻟﻌﻤﺎرة اﻟﻌﺮاﻗﻴﺔ وﺿﺮورة اﻟﺤﻔﺎظ ﻋﻠﻴﻬﺎ‪.‬‬

10_CHANNELS Muhaned Taha CHANNEL by the environmental artist Muhaned Taha is a video art addressing Iraq’s air pollution threat. According to IQAir World Air Quality Report 2022, Iraq ranked the second most polluted country in the world. The average PM2.5 concentration was 16 times higher than the World Health Organization (WHO) annual air quality guideline value. Iraq has another stamp: unhealthy.

The poor air quality is the result of vehicle emissions, war-induced pollution, usage of generators, and fires from oil and gas refineries, to mention only a few. But in fact, the main cause of air pollution is the people themselves.

Muhaned Taha presents five videos in old televisions, assembled as a garbage mountain. Each video talks

about the effect of humankind and nature on air from the perspective of the nature. Visitors can see breathing mouths, industrial influences, wars worldwide, a forecast for the future and natural events which all together have an influence on climate change.

‫‪ -١٠‬ﻗﻨﻮاة‬ ‫ﻣﻬﻨﺪ ﻃﻪ‬

‫ﻟﻠﻔﻨﺎن اﻟﺒﻴﺌﻲ ﻣﻬﻨﺪ ﻃﻪ ﻫﻮ ﻓﻴﺪﻳﻮ ﻓﻨﻲ ﻳﻌﺎﻟﺞ ﺗﻬﺪﻳﺪ ﺗﻠﻮث اﻟﻬﻮاء ﻓﻲ اﻟﻌﺮاق‪ .‬وﻓﻘ ﻟﺘﻘﺮﻳﺮ ﺟﻮدة‬ ‫اﻟﻬﻮاء اﻟﻌﺎﻟﻤﻲ ‪ ،IQAir 2022‬اﺣﺘﻞ اﻟﻌﺮاق اﻟﻤﺮﺗﺒﺔ اﻟﺜﺎﻧﻴﺔ ﻓﻲ اﻟﻌﺎﻟﻢ ا‪p‬ﻛﺜﺮ ﺗﻠﻮﺛﺎ‪ .‬ﻛﺎن ﻣﺘﻮﺳﻂ‬ ‫ﺗﺮﻛﻴﺰ ‪ PM2.5‬أﻋﻠﻰ ﺑـ ‪ 16‬ﻣﺮة ﻣﻦ اﻟﻘﻴﻤﺔ ا رﺷﺎدﻳﺔ اﻟﺴﻨﻮﻳﺔ ﻟﺠﻮدة اﻟﻬﻮاء اﻟﺼﺎدرة ﻋﻦ ﻣﻨﻈﻤﺔ‬ ‫اﻟﺼﺤﺔ اﻟﻌﺎﻟﻤﻴﺔ‪ .‬ﻟﻠﻌﺮاق ﻃﺎﺑﻊ آﺧﺮ‪ :‬ﻏﻴﺮ ﺻﺤﻲ‪.‬‬ ‫إن ﻧﻮﻋﻴﺔ اﻟﻬﻮاء اﻟﺮدﻳﺌﺔ ﻫﻲ ﻧﺘﻴﺠﺔ ﻻﻧﺒﻌﺎﺛﺎت اﻟﻤﺮﻛﺒﺎت‪ ،‬واﻟﺘﻠﻮث اﻟﻨﺎﺟﻢ ﻋﻦ اﻟﺤﺮوب‪ ،‬واﺳﺘﺨﺪام‬ ‫اﻟﻤﻮﻟﺪات‪ ،‬واﻟﺤﺮاﺋﻖ ﻣﻦ ﻣﺼﺎﻓﻲ اﻟﻨﻔﻂ واﻟﻐﺎز‪ ،‬ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ﻻ اﻟﺤﺼﺮ‪ .‬اﻟﺴﺒﺐ اﻟﺮﺋﻴﺴﻲ ﻟﺘﻠﻮث‬ ‫اﻟﻬﻮاء ﻫﻮ اﻟﻨﺎس أﻧﻔﺴﻬﻢ‪.‬‬ ‫ﻳﻘﺪم ﻣﻬﻨﺪ ﻃﻪ ﺧﻤﺴﺔ ﻣﻘﺎﻃﻊ ﻓﻴﺪﻳﻮ ﻓﻲ ﺗﻠﻔﺰﻳﻮﻧﺎت ﻗﺪﻳﻤﺔ ﻣﺠﻤﻌﺔ ﺑﺸﻜﻞ ﺟﺒﻞ ﻗﻤﺎﻣﺔ‪.‬‬ ‫ﻳﺘﺤﺪث ﻛﻞ ﻓﻴﺪﻳﻮ ﻋﻦ ﺗﺄﺛﻴﺮ اﻟﺠﻨﺲ اﻟﺒﺸﺮي واﻟﻄﺒﻴﻌﺔ ﻋﻠﻰ اﻟﻬﻮاء ﻣﻦ ﻣﻨﻈﻮر اﻟﻄﺒﻴﻌﺔ‪ .‬ﻳﻤﻜﻦ‬ ‫ﻟﻠﺰوار رؤﻳﺔ أﻓﻮاه ﺗﺘﻨﻔﺲ‪ ،‬واﻟﺘﺄﺛﻴﺮات اﻟﺼﻨﺎﻋﻴﺔ‪ ،‬واﻟﺤﺮوب ﻓﻲ ﺟﻤﻴﻊ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‪ ،‬واﻟﺘﻨﺒﺆ ﺑﺎ‪p‬ﺣﺪاث‬ ‫اﻟﻤﺴﺘﻘﺒﻠﻴﺔ واﻟﻄﺒﻴﻌﻴﺔ اﻟﺘﻲ ﻟﻬﺎ ﺗﺄﺛﻴﺮ ﻋﻠﻰ ﺗﻐﻴﺮ اﻟﻤﻨﺎخ‪.‬‬

11_CONNECTION LONELINESS ISOLATION Tsnem Al Salhi The contemporary figurative artist Tsnem Sallhi mainly works with painting and photography and let the two mediums merge together.

She is interested in the construction and destruction of the Iraqi society and how this is reflected within each individual. Her art techniques are mainly based on the concept of construction and destruction. She presented a collection of six of her experimental photos visualizing the feelings of connection, loneliness and solitude. Her audience-participatory work invited the visitors to add their emotions and feelings on the photographs by using either a cutting tool or acrylic colours.

“The project is an attempt to visualize the feelings of connection, loneliness and isolation.

Our human experience will always revolve around these three words.

How we see and fell these words and how it embodies our life full of tools to shortcut distance, how technology like social media and television affected our way of communication, to what extent we are alone and when isolation is our only solution to be as we are without any influences.”

Tsnem Al Salhi

‫‪-١١‬اﻻﺗﺼﺎل اﻟﻮﺣﺪة اﻻﻧﻌﺰال‬ ‫ﺗﺴﻨﻴﻢ اﻟﺼﺎﻟﺤﻲ‬

‫ﺗﻌﻤﻞ اﻟﻔﻨﺎﻧﺔ اﻟﺘﺼﻮﻳﺮﻳﺔ اﻟﻤﻌﺎﺻﺮة ﺗﺴﻨﻴﻢ اﻟﺼﺎﻟﺤﻲ ﺑﺸﻜﻞ أﺳﺎﺳﻲ ﻓﻲ اﻟﺮﺳﻢ واﻟﺘﺼﻮﻳﺮ‬ ‫اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ وﺗﺴﻤﺢ ﻟﻠﻮﺳﻄﻴﻦ ﺑﺎﻻﻧﺪﻣﺎج ﻣﻌﺎ‪ .‬ﺗﻬﺘﻢ ﺑﺎﻟﺒﻨﺎء و اﻟﺘﺪﻣﻴﺮ اﻟﺤﺎﺻﻞ ﻓﻲ اﻟﻤﺠﺘﻤﻊ‬ ‫اﻟﻌﺮاﻗﻲ وﻛﻴﻒ ﻳﻨﻌﻜﺲ ذﻟﻚ ﻋﻠﻰ ﻛﻞ ﻓﺮد‪ .‬ﺗﻌﺘﻤﺪ ﺗﻘﻨﻴﺎﺗﻬﺎ اﻟﻔﻨﻴﺔ ﻋﻠﻰ ﻣﻔﻬﻮم اﻟﺒﻨﺎء واﻟﺘﺪﻣﻴﺮ‬ ‫ﺑﺸﻜﻞ أﺳﺎﺳﻲ‪ .‬ﻗﺪﻣﺖ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺳﺖ ﺻﻮر ﺗﺠﺮﻳﺒﻴﺔ ﺗﺼﻮر ﻣﺸﺎﻋﺮ اﻻﺗﺼﺎل واﻟﻮﺣﺪة واﻟﻌﺰﻟﺔ‪.‬‬ ‫دﻋﺎ ﻋﻤﻠﻬﺎ اﻟﺘﺸﺎرﻛﻲ اﻟﺠﻤﻬﻮر ﺿﺎﻓﺔ ﻣﺸﺎﻋﺮﻫﻢ و اﺣﺎﺳﻴﺴﻬﻢ ﻋﻠﻰ اﻟﺼﻮر ﺑﺎﺳﺘﺨﺪام أداة‬ ‫ﺗﻘﻄﻴﻊ أو أﻟﻮان اﻻﻛﺮﻳﻠﻴﻚ‪.‬‬ ‫”اﻟﻤﺸﺮوع ﻫﻮ ﻣﺤﺎوﻟﺔ ﻟﺘﺼﻮر ﻣﺸﺎﻋﺮ اﻻﺗﺼﺎل واﻟﻮﺣﺪة واﻟﻌﺰﻟﺔ‪ .‬ﺳﺘﺘﻤﺤﻮر ﺗﺠﺮﺑﺘﻨﺎ ا ﻧﺴﺎﻧﻴﺔ داﺋﻤﺎ‬ ‫ﺣﻮل ﻫﺬه اﻟﻜﻠﻤﺎت اﻟﺜﻼث‪ .‬ﻛﻴﻒ ﻧﺮى ﻫﺬه اﻟﻜﻠﻤﺎت و ﻧﺸﻌﺮ ﺑﻬﺎ وﻛﻴﻒ أﻧﻬﺎ ﺗﺠﺴﺪ ﺣﻴﺎﺗﻨﺎ اﻟﻤﻠﻴﺌﺔ‬ ‫ﺑﺎ‪p‬دوات ﻻﺧﺘﺼﺎر اﻟﻤﺴﺎﻓﺔ‪ ،‬وﻛﻴﻒ ان اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ ﻣﺜﻞ وﺳﺎﺋﻞ اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ واﻟﺘﻠﻔﺰﻳﻮن‬ ‫أﺛﺮت ﻋﻠﻰ ﻃﺮق ﺗﻮاﺻﻠﻨﺎ‪ ،‬إﻟﻰ أي ﻣﺪى ﻧﺤﻦ وﺣﻴﺪﻳﻦ وﻋﻨﺪﻣﺎ ﺗﻜﻮن اﻟﻌﺰﻟﺔ ﻫﻲ اﻟﺤﻞ اﻟﻮﺣﻴﺪ ﻟﺪﻳﻨﺎ‬ ‫ﻟﻨﻜﻮن ﻛﻤﺎ ﻧﺤﻦ دون أي ﺗﺄﺛﻴﺮ ”‪.‬‬ ‫ﺗﺴﻨﻴﻢ اﻟﺼﺎﻟﺤﻲ‬

12_SANTA Atef Al Jaffal The Arabic word “Santa” describes the status of pure silent without any sounds or voices. This status is for Atef one expression of the phenomena of procrastination.

Procrastination, or the conscious put off of tasks, is an emotion regulation problem. People who are procrastinating are aware that they are avoiding the task in question, instead doing something else and they know that doing so is probably a bad idea or can have negative consequences. And yet, they are doing it anyway.

Procrastination is not a defect in one’s character or an inability to time management, but a way of coping with challenging emotions and negative moods: boredom, anxiety, insecurity, frustration, resentment, self-doubt, to name only a few.

Procrastination is a common syndrome, also in Iraq. But, Iraqi people are not aware about it, because it is not publicly discussed like in other countries in the world. Atef Al Jaffal uses the medium of performance to create an awareness among the community about certain mental health challenges.

In his performance SANTA, he is exploring the feelings and the inner struggle of a person who is procrastinating. In contrast to his previous performances with a lot of actions, the performance is slow, like the conscious process of a procrastinating person. In order to profound understanding and visualization, he moved from one letter sign sketched on paper to the next.

‫‪-١٢‬ﺻﻨﻄﻪ‬ ‫ﻋﺎﻃﻒ اﻟﺠﻔﺎل‬

‫ﻛﻠﻤﺔ ”ﺻﻨﻄﻪ“ اﻟﻌﺮﺑﻴﺔ ﺗﺼﻒ ﺣﺎﻟﺔ اﻟﺼﻤﺖ اﻟﻤﻄﻠﻖ دون أي ﺿﺠﻴﺞ أو أﺻﻮات‪ .‬وﻫﺬه اﻟﻤﻜﺎﻧﺔ‬ ‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻌﺎﻃﻒ ﺗﻌﺒﻴﺮ ﻋﻦ ﻇﺎﻫﺮة اﻟﺘﺴﻮﻳﻒ‪ .‬اﻟﺘﺴﻮﻳﻒ ‪ ،‬أو اﻟﺘﺄﺟﻴﻞ اﻟﻮاﻋﻲ ﻟﻠﻤﻬﺎم ‪ ،‬ﻫﻮ ﻣﺸﻜﻠﺔ‬ ‫ﻓﻲ ﺗﻨﻈﻴﻢ اﻟﻌﺎﻃﻔﺔ‪ .‬ﻳﺪرك ا‪p‬ﺷﺨﺎص اﻟﻤﻤﺎﻃﻠﻮن أﻧﻬﻢ ﻳﺘﺠﻨﺒﻮن اﻟﻤﻬﻤﺔ اﻟﻤﻌﻨﻴﺔ ‪ ،‬وﺑﺪﻻ ﻣﻦ ذﻟﻚ‬ ‫ﻳﻔﻌﻠﻮن ﺷﻴﺌﺎ آﺧﺮ و ﻳﻌﻠﻤﻮن أن اﻟﻘﻴﺎم ﺑﺬﻟﻚ رﺑﻤﺎ ﻳﻜﻮن ﻓﻜﺮة ﺳﻴﺌﺔ أو ﻳﻤﻜﻦ أن ﻳﻜﻮن ﻟﻪ ﻋﻮاﻗﺐ‬ ‫ﺳﻠﺒﻴﺔ‪ .‬وﻣﻊ ذﻟﻚ ‪ ،‬ﻓﺈﻧﻬﻢ ﻳﻔﻌﻠﻮن ذﻟﻚ ﻋﻠﻰ أي ﺣﺎل‪.‬‬ ‫اﻟﺘﺴﻮﻳﻒ ﻟﻴﺲ ﻋﻴﺒﺎ ﻓﻲ ﺷﺨﺼﻴﺔ اﻟﻔﺮد أو ﻋﺪم اﻟﻘﺪرة ﻋﻠﻰ إدارة اﻟﻮﻗﺖ ‪ ،‬وﻟﻜﻨﻪ ﻃﺮﻳﻘﺔ ﻟﻠﺘﻌﺎﻣﻞ‬ ‫ﻣﻊ اﻟﻤﺸﺎﻋﺮ اﻟﺼﻌﺒﺔ واﻟﻤﺰاج اﻟﺴﻠﺒﻲ‪ :‬اﻟﻤﻠﻞ ‪ ،‬اﻟﻘﻠﻖ ‪ ،‬اﻧﻌﺪام ا‪p‬ﻣﻦ ‪ ،‬ا ﺣﺒﺎط ‪ ،‬اﻻﺳﺘﻴﺎء ‪ ،‬اﻟﺸﻚ‬ ‫اﻟﺬاﺗﻲ ‪ ،‬ﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل ﻻ اﻟﺤﺼﺮ‪.‬‬ ‫اﻟﺘﺴﻮﻳﻒ ﻫﻮ ﻣﺘﻼزﻣﺔ ﺷﺎﺋﻌﺔ أﻳﻀﺎ ﻓﻲ اﻟﻌﺮاق‪ .‬ﻟﻜﻦ اﻟﺸﻌﺐ اﻟﻌﺮاﻗﻲ ﻟﻴﺲ ﻋﻠﻰ ادراك ﺗﺎم ﺑﺬﻟﻚ‬ ‫‪p‬ﻧﻪ ﻻ ﻳﻨﺎﻗﺶ ﻋﻠﻨﺎ ﻛﻤﺎ ﻫﻮ اﻟﺤﺎل ﻓﻲ دول أﺧﺮى ﻓﻲ اﻟﻌﺎﻟﻢ‪ .‬ﻳﺴﺘﺨﺪم ﻋﺎﻃﻒ اﻟﺠﻔﺎل اﻟﻌﺮض‬ ‫اﻻداﺋﻲ ﻟﺨﻠﻖ وﻋﻲ ﺑﻴﻦ اﻟﻤﺠﺘﻤﻊ ﺣﻮل ﺑﻌﺾ ﺗﺤﺪﻳﺎت اﻟﺼﺤﺔ اﻟﻨﻔﺴﻴﺔ‪.‬‬ ‫ﻓﻲ أداﺋﻪ ﺻﻨﻄﻪ ‪ ،‬ﻳﺴﺘﻜﺸﻒ اﻟﻤﺸﺎﻋﺮ واﻟﻤﻌﺎﻧﺎة اﻟﺪاﺧﻠﻴﺔ ﻟﻠﺸﺨﺺ اﻟﺬي ﻳﻤﺎﻃﻞ‪ .‬ﻋﻠﻰ ﻋﻜﺲ أداﺋﻪ‬ ‫اﻟﺴﺎﺑﻖ ﻣﻊ اﻟﻜﺜﻴﺮ ﻣﻦ ا ﺟﺮاءات ‪ ،‬ﻓﺈن ا‪p‬داء ﺑﻄﻲء ‪ ،‬ﻣﺜﻞ اﻟﻌﻤﻠﻴﺔ اﻟﻮاﻋﻴﺔ ﻟﻠﺸﺨﺺ اﻟﻤﻤﺎﻃﻞ‪ .‬ﻣﻦ‬ ‫أﺟﻞ اﻟﻔﻬﻢ اﻟﻌﻤﻴﻖ واﻟﺘﺨﻴﻞ‪ ،‬ﺗﻨﻘﻞ ﻣﻦ ﻋﻼﻣﺔ اﻟﺤﺮف اﻟﻤﺴﺮوم ﻋﻠﻰ ورﻗﺔ إﻟﻰ أﺧﺮى‪.‬‬

13_IN MEMORY TO BALASIM Tarkib Dr. Balasim Mohammed (1954 - 2021) was a painter, calligrapher, designer, art critic, art historian, art theorist and professor. He was supporting Tarkib from the very beginning, when everybody else put the stamp on us: “This is not art.”. Instead, when we had the first edition of Tarkib Baghdad Contemporary Arts Festival in Burj Babl for Media Development, he said: “Hella, Tarkib is real Iraqi art.”.

Therefore, we from Tarkib decided to dedicate our festival to Dr. Balasim Mohammed since the seventh edition in 2021, the year when he passed away. This year, we opened a special memory room for him, with a video and an augmented reality experience connected to his work and life and us. Additionally, visitors were invited

to share a memory with him in the “Balasim Memory Book”.

“Personally, my concept is based on the ‘Human Ordeal’ and the impact of the public. There, the human being transforms into another being that is unfamiliar. My painting is an attempt to find a special composition style that moves the viewer. When I am painting, there is a space full of beings that I recall to recompose them. When I finish my own work, it becomes the people’s ownership.”

Balasim Mohammed Jassam, 2018

‫‪-١٣‬ﻣﻦ اﻟﺬاﻛﺮة ﻟﻠﺪﻛﺘﻮر ﺑﻼﺳﻢ‬ ‫ﺗﺮﻛﻴﺐ‬

‫ﻛﺎن اﻟﺪﻛﺘﻮر ﺑﻼﺳﻢ ﻣﺤﻤﺪ )‪ (٢٠٢١_١٩٥٤‬رﺳﺎﻣﺎ و ﺧﻄﺎﻃﺎ وﻣﺼﻤﻤﺎ وﻧﺎﻗﺪا ﻓﻨﻴﺎ وﻣﺆرﺧﺎ ﻓﻨﻴﺎ‬ ‫وﻣﻨﻈﺮا واﺳﺘﺎذا ﺟﺎﻣﻌﻴﺎ‪ .‬ﻛﺎن ﻳﺪﻋﻢ ﺗﺮﻛﻴﺐ ﻣﻨﺬ ﺑﺪاﻳﺎﺗﻨﺎ‪ ،‬ﻋﻨﺪﻣﺎ وﺿﻊ اﻟﺠﻤﻴﻊ اﺣﻜﺎﻣﻬﻢ ﻋﻠﻴﻨﺎ‪:‬‬ ‫”ﻫﺬا ﻟﻴﺲ ﻓﻨﺎ“‪ .‬ﻋﻠﻰ اﻟﻨﻘﻴﺾ ﻣﻦ ذﻟﻚ‪ ،‬ﻋﻨﺪﻣﺎ أﻗﻤﻨﺎ اﻟﻨﺴﺨﺔ ا‪p‬وﻟﻰ ﻣﻦ ﻣﻬﺮﺟﺎن ﺗﺮﻛﻴﺐ ﺑﻐﺪاد‬ ‫ﻟﻠﻔﻨﻮن اﻟﻤﻌﺎﺻﺮة ﻓﻲ ﺑﺮج ﺑﺎﺑﻞ ﻟﻠﺘﻄﻮﻳﺮ ا ﻋﻼﻣﻲ ‪ ،‬ﻗﺎل‪” :‬ﻫﻴﻼ‪ ،‬ﺗﺮﻛﻴﺐ ﻫﻮ ﻓﻦ ﻋﺮاﻗﻲ ﺣﻘﻴﻘﻲ“‪.‬‬ ‫ﻟﺬﻟﻚ ﻗﺮرﻧﺎ ﻧﺤﻦ ﻓﻲ ﺗﺮﻛﻴﺐ اﻫﺪاء ﻣﻬﺮﺟﺎﻧﻨﺎ ﻟﻠﺪﻛﺘﻮر ﺑﻼﺳﻢ ﻣﺤﻤﺪ ﻣﻨﺬ اﻟﻨﺴﺨﺔ اﻟﺴﺎﺑﻌﺔ ﻋﺎم‬ ‫‪ ٢٠٢١‬وﻫﻮ اﻟﻌﺎم اﻟﺬي واﻓﺘﻪ اﻟﻤﻨﻴﺔ‪ .‬ﻫﺬا اﻟﻌﺎم‪ ،‬اﻗﻤﻨﺎ ﻟﻪ ﻏﺮﻓﺔ ذاﻛﺮة ﺧﺎﺻﺔ ﺑﻪ‪ ،‬ﺑﻤﻘﻄﻊ ﻓﻴﺪﻳﻮ‬ ‫وﺗﺠﺮﺑﺔ واﻗﻊ ﻣﻌﺰز ﻣﺮﺗﺒﻄﺔ ﺑﻌﻤﻠﻪ وﺣﻴﺎﺗﻪ وﺑﻨﺎ‪ .‬ﺑﺎ ﺿﺎﻓﺔ إﻟﻰ ذﻟﻚ‪ ،‬ﺗﻤﺖ دﻋﻮة اﻟﺠﻤﻬﻮر ﻟﻤﺸﺎرﻛﺔ‬ ‫ذﻛﺮﻳﺎﺗﻬﻢ ﻣﻌﻪ ﻓﻲ ”دﻓﺘﺮ ذﻛﺮى ﺑﻼﺳﻢ“‪.‬‬ ‫”ﺷﺨﺼﻴﺎ‪ ،‬ﻳﻌﺘﻤﺪ ﻣﻔﻬﻮﻣﻲ ﻋﻠﻰ“ﻣﺤﻨﺔ ا ﻧﺴﺎن ”وﺗﺄﺛﻴﺮ اﻟﺠﻤﻬﻮر‪ .‬ﻫﻨﺎك‪ ،‬ﻳﺘﺤﻮل ا ﻧﺴﺎن إﻟﻰ ﻛﺎﺋﻦ‬ ‫آﺧﺮ ﻏﻴﺮ ﻣﺄﻟﻮف‪ .‬رﺳﻮﻣﻲ ﻫﻲ ﻣﺤﺎوﻟﺔ ﻳﺠﺎد أﺳﻠﻮب ﺗﻜﻮﻳﻦ ﺧﺎص ﻳﺤﺮك اﻟﻤﺸﺎﻫﺪ‪ .‬ﺣﻴﻨﻤﺎ أرﺳﻢ‪،‬‬ ‫ﻫﻨﺎك ﻣﺴﺎﺣﺔ ﻣﻠﻴﺌﺔ ﺑﺎﻟﻜﺎﺋﻨﺎت اﺳﺘﺮﺟﻌﻬﺎ ﻋﺎدة ﺗﻜﻮﻳﻨﻬﺎ‪ .‬ﻋﻨﺪﻣﺎ أﻧﺘﻬﻲ ﻣﻦ ﻋﻤﻠﻲ اﻟﺨﺎص‪ ،‬ﻳﺼﺒﺢ‬ ‫ﻣﻠﻚ ﻟﻠﻨﺎس“‪ .‬ﺑﻼﺳﻢ ﻣﺤﻤﺪ ﺟﺴﺎم‪.٢٠١٨ ،‬‬

14_IN MEMORY TO SAAD MAJEED Tarkib Saad Majeed (1956 - 2022) is considered one of the most prominent actors in TV drama series in Iraq.

In TV series, he played the evil character roles while in real life he was always willing to help, especially the generation of newcomers, such as he did for Tarkib, when we started in 2015.

In 2016, we held the second edition of Tarkib Baghdad Contemporary Arts Festival in Muntada Al Masrah. On request of Alaa Hussain and Saad Majeed we published the book of poem “Malak” on the occasion of this festival. The release of the book was a reading session, where Saad Majeed read from the book, musically accompanied by Karim Wasfi.

The second memory room was dedicated to Saad Majeed with a video

showing part of his reading in 2016. It is the same room, which was dedicated to Iraqi actresses and actors as part of the audience-participatory performance “Azeize” (2014/2015). The film strips hanging from the ceiling are a remaining piece of theater decoration from exactly this performance, which were promoted by Saad Majeed, among many others.

‫‪-١٤‬ﻣﻦ اﻟﺬاﻛﺮة ﻟﻠﻔﻨﺎن ﺳﻌﺪ ﻣﺠﻴﺪ‬ ‫ﺗﺮﻛﻴﺐ‬

‫ﻳﻌﺘﺒﺮ ﺳﻌﺪ ﻣﺠﻴﺪ )‪ (٢٠٢٢ _ ١٩٥٦‬ﻣﻦ أﺑﺮز اﻟﻤﻤﺜﻠﻴﻦ ﻓﻲ اﻟﻤﺴﻠﺴﻼت اﻟﺪراﻣﻴﺔ اﻟﺘﻠﻔﺰﻳﻮﻧﻴﺔ ﻓﻲ‬ ‫اﻟﻌﺮاق‪ .‬ﻓﻲ اﻟﻤﺴﻠﺴﻞ اﻟﺘﻠﻔﺰﻳﻮﻧﻲ‪ ،‬ﻟﻌﺐ أدوار اﻟﺸﺨﺼﻴﺔ اﻟﺸﺮﻳﺮة ﺑﻴﻨﻤﺎ ﻛﺎن داﺋﻤﺎ ﻋﻠﻰ اﺳﺘﻌﺪاد‬ ‫ﻟﻠﻤﺴﺎﻋﺪة ﻓﻲ اﻟﺤﻴﺎة اﻟﻮاﻗﻌﻴﺔ‪ ،‬وﺧﺎﺻﺔ ﻟﻠﺠﻴﻞ اﻟﺠﺪﻳﺪ‪ ،‬ﻛﻤﺎ ﻓﻌﻞ ﻣﻊ ﺗﺮﻛﻴﺐ‪ ،‬ﻋﻨﺪ ﺗﺄﺳﻴﺴﻪ ﻓﻲ‬ ‫ﻋﺎم ‪.٢٠١٥‬‬ ‫ﻓﻲ ﻋﺎم ‪ ،٢٠١٦‬اﻗﻤﻨﺎ اﻟﻨﺴﺨﺔ اﻟﺜﺎﻧﻴﺔ ﻟﻤﻬﺮﺟﺎن ﺗﺮﻛﻴﺐ ﺑﻐﺪاد ﻟﻠﻔﻨﻮن اﻟﻤﻌﺎﺻﺮة ﻓﻲ ﻣﻨﺘﺪى اﻟﻤﺴﺮح‪.‬‬ ‫ﺑﻨﺎء ﻋﻠﻰ ﻃﻠﺐ اﻻء ﺣﺴﻴﻦ وﺳﻌﺪ ﻣﺠﻴﺪ ﻧﺸﺮﻧﺎ ﻛﺘﺎب ﻗﺼﺎﺋﺪ ”ﻣﻼك“ ﺑﻤﻨﺎﺳﺒﺔ ﻫﺬا اﻟﻤﻬﺮﺟﺎن‪.‬‬ ‫وﻛﺎن إﺻﺪار اﻟﻜﺘﺎب ﻋﺒﺎرة ﻋﻦ ﺟﻠﺴﺔ ﻗﺮاءة‪ ،‬ﺣﻴﺚ ﻗﺮأ ﺳﻌﺪ ﻣﺠﻴﺪ ﻣﻦ اﻟﻜﺘﺎب ﺑﺮﻓﻘﺔ اﻟﻤﺎﻳﺴﺘﺮو‬ ‫ﻛﺮﻳﻢ وﺻﻔﻲ ﻣﻮﺳﻴﻘﻴﺎ‪.‬‬ ‫ﻏﺮﻓﺔ اﻟﺬاﻛﺮة اﻟﺜﺎﻧﻴﺔ ﺧﺼﺼﺖ ﻟﺴﻌﺪ ﻣﺠﻴﺪ ﺑﻔﻴﺪﻳﻮ ﻳﻈﻬﺮ ﺟﺰء ﻣﻦ ﻗﺮاءﺗﻪ ﻋﺎم ‪ .٢٠١٦‬وﻫﻲ ﻧﻔﺲ‬ ‫اﻟﻐﺮﻓﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﺨﺼﺼﺔ ﻟﻠﻤﻤﺜﻼت واﻟﻤﻤﺜﻠﻴﻦ اﻟﻌﺮاﻗﻴﻴﻦ ﻛﺠﺰء ﻣﻦ اﻟﻌﺮض ا‪p‬داﺋﻲ اﻟﺘﺸﺎرﻛﻲ‬ ‫ﻣﻊ اﻟﺠﻤﻬﻮر ”ﻋﺰﻳﺰة“ )‪ .(2015/2014‬ﺷﺮاﺋﻂ اﻟﻔﻴﻠﻢ اﻟﻤﺘﺪﻟﻴﺔ ﻣﻦ اﻟﺴﻘﻒ ﻫﻲ ﻗﻄﻌﺔ ﻣﺘﺒﻘﻴﺔ ﻣﻦ‬ ‫دﻳﻜﻮر اﻟﻤﺴﺮﺣﻴﺔ ﻣﻦ ﻫﺬا اﻟﻌﺮض ﺑﺎﻟﻀﺒﻂ‪ ،‬واﻟﺬي روج ﻟﻪ ﺳﻌﺪ ﻣﺠﻴﺪ‪ ،‬ﻣﻦ ﺑﻴﻦ آﺧﺮﻳﻦ ﻛﺜﻴﺮﻳﻦ‪.‬‬

15_SANJAT Percussion Band SANJAT is a percussion band consisting of a mixed-gender group of around 20 players dedicated to Iraq’s rhythmic richness. The band is presenting original musical pieces with a special and different rhythmic style, which are written by the percussionist Hussain Al Harbi. Hussain Al Harbi is employing rhythmic music in a way that reflects the diverse cultural depth that Iraq has, as each region has its own rhythmic shape and pattern.

SANJAT was founded in 2021 and started with their rehearsals in Bait Tarkib. The band is an integral part of Tarkib’s achievements to promote young Iraqi artists to set up a career in the art.

‫‪ -١٥‬ﺻﻨﺠﺎت‬ ‫ﻓﺮﻗﺔ اﻳﻘﺎع‬

‫ﺻﻨﺠﺎت ﻫﻲ ﻓﺮﻗﺔ إﻳﻘﺎﻋﻴﺔ ﺗﺘﻜﻮن ﻣﻦ ﻣﺠﻤﻮﻋﺔ ﻋﺎزﻓﻴﻦ اﻳﻘﺎع ﻣﻦ ﻛﻼ اﻟﺠﻨﺴﻴﻦ‪ ،‬ﺣﻮاﻟﻲ ‪ ٢٠‬ﻋﺎزﻓﺎ‬ ‫ﻣﻬﺘﻤﻴﻦ ﺑﺎﻟﺜﺮاء ا ﻳﻘﺎﻋﻲ اﻟﻌﺮاﻗﻲ‪ .‬ﺗﻘﺪم اﻟﻔﺮﻗﺔ ﻣﻘﻄﻮﻋﺎت ﻣﻮﺳﻴﻘﻴﺔ أﺻﻠﻴﺔ ﺑﺄﺳﻠﻮب إﻳﻘﺎﻋﻲ‬ ‫ﺧﺎص وﻣﺨﺘﻠﻒ ﻣﻦ ﺗﺄﻟﻴﻒ ﻋﺎزف ا ﻳﻘﺎع ﺣﺴﻴﻦ اﻟﺤﺮﺑﻲ‪ .‬ﻳﻮﻇﻒ ﺣﺴﻴﻦ اﻟﺤﺮﺑﻲ اﻟﻤﻮﺳﻴﻘﻰ ا ﻳﻘﺎﻋﻴﺔ‬ ‫ﺑﻄﺮﻳﻘﺔ ﺗﻌﻜﺲ اﻟﻌﻤﻖ اﻟﺜﻘﺎﻓﻲ اﻟﻤﺘﻨﻮع ﻟﻠﻌﺮاق‪ ،‬ﺣﻴﺚ ﻟﻜﻞ ﻣﻨﻄﻘﺔ ﺷﻜﻠﻬﺎ وﻧﻤﻄﻬﺎ ا ﻳﻘﺎﻋﻲ‪.‬‬ ‫ﺗﺄﺳﺴﺖ ﺻﻨﺠﺎت ﻓﻲ ﻋﺎم ‪ ٢٠٢١‬و ﺑﺪأت ﺗﺪرﻳﺒﺎﺗﻬﻢ ﻓﻲ ﺑﻴﺖ ﺗﺮﻛﻴﺐ‪ .‬اﻟﻔﺮﻗﺔ ﻫﻲ ﺟﺰء ﻻ ﻳﺘﺠﺰأ ﻣﻦ‬ ‫إﻧﺠﺎزات ﺗﺮﻛﻴﺐ ﻟﺘﺸﺠﻴﻊ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻌﺮاﻗﻴﻴﻦ اﻟﺸﺒﺎب ﻻﻧﺸﺎء ﻣﺴﻴﺮﻫﻢ اﻟﻔﻨﻲ‪.‬‬

16_MALAK Reading by Baha Khayoun from the book of poem “Malak” “MALAK” is a book of poem written by the young female writer Malak from Najaf and published on the occasion of 2. Tarkib Baghdad Contemporary Arts Festival which was held in Muntada Al Masrah in 2016.

The design and layout of the book as well as the inside illustrations were made by Dr. Balasim Mohammed. The release of the book was a dramatic reading with Saad Majeed, musically accompanied by Karim Wasfi. In 2023, Baha Khayoun commemorated the participating artists by reading a poem written

by Malak.

‫‪ - ١٦‬ﻣﻼك‬ ‫ﻗﺮاءة ﺑﻬﺎء ﺧﻴﻮن ﻣﻦ ﻛﺘﺎب ﻗﺼﺎﺋﺪ ﻣﻼك‬

‫”ﻣﻼك“ ﻫﻲ ﻗﺼﺎﺋﺪ ﻛﺘﺒﺘﻬﺎ ا‪p‬دﻳﺒﺔ اﻟﺸﺎﺑﺔ ﻣﻼك ﻣﻦ اﻟﻨﺠﻒ وﻧﺸﺮت ﻓﻲ ﻣﻬﺮﺟﺎن ﺗﺮﻛﻴﺐ ﺑﻐﺪاد‬ ‫ﻟﻠﻔﻨﻮن اﻟﻤﻌﺎﺻﺮة اﻟﻨﺴﺨﺔ اﻟﺜﺎﻧﻴﺔ اﻟﺬي اﻗﻴﻢ ﻓﻲ ﻣﻨﺘﺪى اﻟﻤﺴﺮح ﻋﺎم ‪ ، ٢٠١٦‬اﻟﺮﺳﻮم اﻟﺪاﺧﻠﻴﺔ و‬ ‫اﻟﺘﺨﻄﻴﻂ ﻣﻦ ﻋﻤﻞ د‪ .‬ﺑﻼﺳﻢ ﻣﺤﻤﺪ‪ .‬وﺟﺎء إﺻﺪار اﻟﻜﺘﺎب ﻗﺮاءة دراﻣﺎﺗﻴﻜﻴﺔ ﻣﻊ ﺳﻌﺪ ﻣﺠﻴﺪ ﻣﺮﻓﻘﺔ‬ ‫ﺑﻤﻮﺳﻴﻘﻰ ﻣﻦ ﻋﺰف اﻟﻤﺎﻳﺴﺘﺮو ﻛﺮﻳﻢ وﺻﻔﻲ‪ .‬ﻓﻲ ﻋﺎم ‪ ، ٢٠٢٣‬أﺣﻴﺎ اﻟﺬﻛﺮى ﺑﻬﺎء ﺧﻴﻮن ﻟﻠﻔﻨﺎﻧﻴﻦ‬ ‫اﻟﻤﺸﺎرﻛﻴﻦ ﻣﻦ ﺧﻼل ﻗﺮاءة ﻗﺼﻴﺪة ﻛﺘﺒﺘﻬﺎ ﻣﻼك‬

“Malak is a book with a collection of poems written by a 20 years old female writer from Najaf. Malak is her pseudonym. She writes her poems in secret as her family would never allow her to express her feelings and thoughts publicly as it is considered as to confess a sin.

Malak is the daughter of a powerful Sheikh. When her family discovered that she has a WhatsApp-Account they banned her into the house and she got divorced by her husband. The family blamed her to have contacts, let alone relationships with strange men, if remotely true.

Malak is a poet. She writes her poems in her mobile phone during the night while the family is sleeping. She writes, until the battery is empty. In the morning, after the family left the house, she charges the phone and send her poems to a friend in order to safe them and deletes the nighttime work from her mobile phone.

Malak is not permitted to read books. Books could open her mind for a different point of view, what the family would not accept.

Her family burnt all her books.

Friends sent her in a roundabout way books to Najaf. Her sister picked them up from a pharmacy.

The books are now concealed in a secret place in her family’s house.

One day, very recently, the family found out her tension for poems.

They threaten her with breaking her arms.

Malak’s poems mirror the processing of sensory stimuli, the wise perception and reflection of her

surrounding and the non-acceptance of her placed burden. She found the writing as a valve of her soul.

Malak stands for a bunch of cases of oppression against women in Iraq. It is not only the violence of terror, that has reached an intolerable dimension in Iraq. It is also the violence and oppression against women in the family and the society. After 2003 certain religio-cultural, misogynistic rituals makes comeback in Iraq, which put women into a cave of isolation.

Malak is a call for more freedom, justice and equality.” Tarkib, 2016

‫ﻣﻼك ﻛﺘﺎب ﺑﻪ ﻣﺠﻤﻮﻋﺔ ﻗﺼﺎﺋﺪ ﻛﺘﺒﺘﻬﺎ ﻛﺎﺗﺒﺔ ﺗﺒﻠﻎ ﻣﻦ اﻟﻌﻤﺮ ‪ 20‬ﻋﺎﻣﺎ ﻣﻦ اﻟﻨﺠﻒ‪ .‬ﻣﻼك ﻫﻮ اﺳﻤﻬﺎ‬ ‫اﻟﻤﺴﺘﻌﺎر‪ .‬ﺗﻜﺘﺐ ﻗﺼﺎﺋﺪﻫﺎ ﻓﻲ اﻟﺨﻔﺎء ‪p‬ن ﻋﺎﺋﻠﺘﻬﺎ ﻻ ﺗﺴﻤﺢ ﻟﻬﺎ ﺑﺎﻟﺘﻌﺒﻴﺮ ﻋﻦ ﻣﺸﺎﻋﺮﻫﺎ وأﻓﻜﺎرﻫﺎ‬ ‫ﻋﻼﻧﻴﺔ ﻛﻤﺎ ﻫﻮ ﻣﻌﺘﺒﺮ‪ .‬ﻣﻦ ﺣﻴﺚ اﻻﻋﺘﺮاف ﺑﺎﻟﺨﻄﻴﺌﺔ‪.‬‬ ‫ﻣﻼك اﺑﻨﺔ ﺷﻴﺦ ﻗﻮي اﻟﺴﻠﻄﺔ‪ .‬ﻋﻨﺪﻣﺎ اﻛﺘﺸﻔﺖ ﻋﺎﺋﻠﺘﻬﺎ أن ﻟﺪﻳﻬﺎ ﺣﺴﺎﺑﺎ ﻋﻠﻰ ﺗﻄﺒﻴﻖ واﺗﺴﺎب‪،‬‬ ‫ﻣﻨﻌﻮﻫﺎ ﻣﻦ دﺧﻮل اﻟﻤﻨﺰل وﻃﻠﻘﻬﺎ زوﺟﻬﺎ‪ .‬أﻟﻘﺖ ﻋﺎﺋﻠﺘﻬﺎ اﻟﻠﻮم ﻋﻠﻴﻬﺎ ﻟﺤﻴﺎزﺗﻬﺎ وﺳﺎﺋﻞ ﺗﻮاﺻﻞ ‪،‬‬ ‫ﻧﺎﻫﻴﻚ ﻋﻦ اﻟﻌﻼﻗﺎت ﻣﻊ رﺟﺎل ﻏﺮﺑﺎء ‪ ،‬إذا ﻛﺎن ذﻟﻚ ﺻﺤﻴﺤﺎ‪.‬‬ ‫ﻣﻼك ﺷﺎﻋﺮة‪ .‬ﺗﻜﺘﺐ ﻗﺼﺎﺋﺪﻫﺎ ﻋﻠﻰ ﻫﺎﺗﻔﻬﺎ اﻟﻤﺤﻤﻮل أﺛﻨﺎء اﻟﻠﻴﻞ ﺑﻴﻨﻤﺎ ا‪p‬ﺳﺮة ﻧﺎﺋﻤﺔ‪ .‬ﺗﻜﺘﺐ ﺣﺘﻰ‬ ‫ﺗﻔﺮغ اﻟﺒﻄﺎرﻳﺔ‪ .‬ﻓﻲ اﻟﺼﺒﺎح ‪ ،‬ﺑﻌﺪ ﻣﻐﺎدرة ا‪p‬ﺳﺮة اﻟﻤﻨﺰل ‪ ،‬ﺗﻘﻮم ﺑﺸﺤﻦ اﻟﻬﺎﺗﻒ وﺗﺮﺳﻞ ﻗﺼﺎﺋﺪﻫﺎ إﻟﻰ‬ ‫ﺻﺪﻳﻘﺘﻬﺎ ﻟﺘﺄﻣﻴﻨﻬﺎ وﺣﺬف ﻋﻤﻠﻬﺎ اﻟﻠﻴﻠﻲ ﻣﻦ ﻫﺎﺗﻔﻬﺎ اﻟﻤﺤﻤﻮل‪.‬‬ ‫ﻣﻦ ﻏﻴﺮ اﻟﻤﺴﻤﻮح ﻟﻤﻼك ﻗﺮاءة اﻟﻜﺘﺐ‪ .‬ﻳﻤﻜﻦ ﻟﻠﻜﺘﺐ أن ﺗﻔﺘﺢ ﻋﻘﻠﻬﺎ ﻟﻮﺟﻬﺔ ﻧﻈﺮ ﻣﺨﺘﻠﻔﺔ ‪ ،‬ﻣﺎ ﻟﻦ‬ ‫ﺗﻘﺒﻠﻪ ا‪p‬ﺳﺮة‪ .‬أﺣﺮﻗﺖ ﻋﺎﺋﻠﺘﻬﺎ ﺟﻤﻴﻊ ﻛﺘﺒﻬﺎ‪ .‬أرﺳﻞ ﻟﻬﺎ أﺻﺪﻗﺎؤﻫﺎ ﻛﺘﺒﺎ ﺑﻄﺮﻳﻘﺔ ﻣﻠﺘﻮﻳﺔ إﻟﻰ اﻟﻨﺠﻒ‪.‬‬ ‫اﺣﻀﺮﺗﻬﻢ أﺧﺘﻬﺎ ﻣﻦ ﺻﻴﺪﻟﻴﺔ‪ .‬اﻟﻜﺘﺐ ﻣﺨﻔﻴﺔ ا ن ﻓﻲ ﻣﻜﺎن ﺳﺮي ﻓﻲ ﻣﻨﺰل ﻋﺎﺋﻠﺘﻬﺎ‪.‬‬ ‫ذات ﻳﻮم ‪ ،‬ﻣﺆﺧﺮا ‪ ،‬اﻛﺘﺸﻔﺖ اﻟﻌﺎﺋﻠﺔ ﺗﻮﺗﺮﻫﺎ ﺑﺴﺒﺐ اﻟﻘﺼﺎﺋﺪ‪ .‬ﻫﺪدوﻫﺎ ﺑﻜﺴﺮ ذراﻋﻴﻬﺎ‪.‬‬ ‫ﺗﻌﻜﺲ ﻗﺼﺎﺋﺪ ﻣﻼك ﻣﻌﺎﻟﺠﺔ اﻟﻤﺆﺛﺮات اﻟﺤﺴﻴﺔ وا دراك اﻟﺤﻜﻴﻢ واﻧﻌﻜﺎس ﻣﺤﻴﻄﻬﺎ وﻋﺪم‬ ‫ﻗﺒﻮل اﻟﻌﺐء اﻟﻤﻠﻘﻰ ﻋﻠﻴﻬﺎ‪ .‬وﺟﺪت اﻟﻜﺘﺎﺑﺔ ﺑﻤﺜﺎﺑﺔ ﺻﻤﺎم ﻟﺮوﺣﻬﺎ‪.‬‬ ‫ﺗﻤﺜﻞ ﻣﻼك ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺣﺎﻻت اﺿﻄﻬﺎد اﻟﻤﺮأة ﻓﻲ اﻟﻌﺮاق‪ .‬ﻟﻴﺲ ﻋﻨﻒ اﻻرﻫﺎب وﺣﺪه ﻫﻮ اﻟﺬي‬ ‫وﺻﻞ اﻟﻰ ﺑﻌﺪ ﻻ ﻳﻄﺎق ﻓﻲ اﻟﻌﺮاق‪ .‬ﻓﻬﻮ أﻳﻀﺎ اﻟﻌﻨﻒ واﻻﺿﻄﻬﺎد اﻟﺬي ﺗﺘﻌﺮض ﻟﻪ اﻟﻤﺮأة ﻓﻲ ا‪p‬ﺳﺮة‬ ‫واﻟﻤﺠﺘﻤﻊ‪ .‬ﺑﻌﺪ ﻋﺎم ‪ ، ٢٠٠٣‬ﻋﺎدت ﻃﻘﻮس دﻳﻨﻴﺔ وﺛﻘﺎﻓﻴﺔ ﻣﻌﻴﻨﺔ ﻣﻌﺎدﻳﺔ ﻟﻠﻤﺮأة ﻓﻲ اﻟﻌﺮاق ‪ ،‬ﻣﻤﺎ‬ ‫وﺿﻊ اﻟﻨﺴﺎء ﻓﻲ ﻛﻬﻒ ﻣﻦ اﻟﻌﺰﻟﺔ‪.‬‬ ‫ﻣﻼك دﻋﻮة ﻟﻤﺰﻳﺪ ﻣﻦ اﻟﺤﺮﻳﺔ واﻟﻌﺪاﻟﺔ واﻟﻤﺴﺎواة ”‪ .‬ﺗﺮﻛﻴﺐ ‪٢٠١٦ ،‬‬

This booklet was published on the occasion of 9. TARKIB Baghdad Contemporary Arts Festival which took place in Muntada Al Masrah from May 4 to 7, 2023.

The ninth edition of the festival was kindly supported by the French Institute Baghdad, the French Embassy in Iraq and UNAMI Human Rights Office.

Special Thanks to our host: Ministry of Culture, Tourism and Antiquities, Cinema and Theater Department, Muntada Al Masrah Special Thanks to our documentation team: Color Media Production Corporate Design: ART TC (Hella Mewis, Atef Al Jaffal) Photos: Hella Mewis, Wasan Mohammed © Tarkib Organization for Arts and Culture All rights reserved. www.tarkib.net ‫ﺗﻢ ﻧﺸﺮ ﻫﺬا اﻟﻜﺘﻴﺐ ﺑﻤﻨﺎﺳﺒﺔ اﻟﺪورة اﻟﺘﺎﺳﻌﺔ ﻟﻤﻬﺮﺟﺎن ﺗﺮﻛﻴﺐ ﺑﻐﺪاد ﻟﻠﻔﻨﻮن اﻟﻤﻌﺎﺻﺮة اﻟﺬي‬ ٢٠٢٣ ‫ ﻣﺎﻳﻮ‬٧ ‫ إﻟﻰ‬٤ ‫أﻗﻴﻢ ﻓﻲ ﻣﻨﺘﺪى اﻟﻤﺴﺮح ﻟﻠﻔﺘﺮة ﻣﻦ‬ ‫ﺗﻢ دﻋﻢ ﻣﻬﺮﺟﺎن ﻫﺬا اﻟﻌﺎم ﺑﻠﻄﻒ ﻣﻦ ﻗﺒﻞ اﻟﻤﻌﻬﺪ اﻟﻔﺮﻧﺴﻲ ﻓﻲ ﺑﻐﺪاد و اﻟﺴﻔﺎرة اﻟﻔﺮﻧﺴﻴﺔ‬ ‫ﻣﻢ اﻟﻤﺘﺤﺪة ﻟﻤﺴﺎﻋﺪة اﻟﻌﺮاق اﻟﻴﻮﻧﺎﻣﻲ‬p‫ﻓﻲ اﻟﻌﺮاق و ﺑﻌﺜﺔ ا‬ :‫ﺷﻜﺮ ﺧﺎص ﻟﻤﻀﻴﻔﻴﻨﺎ‬ ‫ ﻣﻨﺘﺪى اﻟﻤﺴﺮح‬، ‫ داﺋﺮة اﻟﺴﻴﻨﻤﺎ واﻟﻤﺴﺮح‬، ‫وزارة اﻟﺜﻘﺎﻓﺔ واﻟﺴﻴﺎﺣﺔ وا ﺛﺎر‬ ‫ ﺷﺮﻛﺔ ﻛﻠﺮ ﻟﻼﻧﺘﺎج اﻟﻔﻨﻲ‬: ‫ﺷﻜﺮ ﺧﺎص ﻟﻔﺮﻳﻖ اﻟﺘﻮﺛﻴﻖ‬ .(‫ ارت ﺗﻲ ﺳﻲ )ﻫﻴﻼ ﻣﻴﻔﺲ و ﻋﺎﻃﻒ اﻟﺠﻔﺎل‬:‫ﺗﺼﻤﻴﻢ و ﺗﻨﺴﻴﻖ‬ ‫ وﺳﻦ ﻣﺤﻤﺪ‬، ‫ ﻫﻴﻼ ﻣﻴﻔﺲ‬:‫اﻟﺼﻮر‬ ٢٠٢٣

‫ﻣﻨﻈﻤﺔ ﺗﺮﻛﻴﺐ ﻟﻠﺜﻘﺎﻓﺔ و اﻟﻔﻨﻮن‬ ‫ﺟﻤﻴﻊ اﻟﺤﻘﻮق ﻣﺤﻔﻮﻇﺔ‬