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  R E S E A RC H I N C O N T E X T 

“It's important for me to encourage our students to create spaces of their own—where they can start dialogue and continue to build community.”

Awde, who has been the beneficiary of numerous residencies himself—most recently attending the prestigious Light Work program in Syracuse, New York—is emphatic about the value of such homegrown initiatives, especially as they relate to students beginning their own creative practices and careers in Qatar. “It's important for me to encourage our students to create spaces of their own—where they can start dialogue and continue to build community. This is a value that our department as a whole is encouraging, both in Doha and Richmond, and something I have found fundamental to my own practice. What I value most about marra.tein are the conversations and connections it allows for and the opportunity it has given me to engage with the work of our residents. I hope marra.tein can stand as a model for our students to think through ways in which they can continue to foster an artistic community and discourse after their time at VCUQatar—and contribute to the academic, artistic, and cultural aspects of Doha,” he says. Beyond Doha and Beirut, Awde has strong ties to the arts community in Cairo. The city is the site of his latest exhibition of work—a group show at the Contemporary Image Collective (CIC) titled “Greetings to those who asked about me.” Running through December 3, 2015, the exhibition centers on the issue, real and metaphoric, of imprisonment, with a particular focus on the Middle East and Africa. Awde’s photographs, made with Polaroid and large format cameras and digital negatives of images sent to him via social media, are from the ongoing series “Imagined Measures,” focusing on young men of Kurdish-Syrian background in Beirut and Syria. Equal parts intimate and worldly in his approach to art making and to community building, George Awde’s career is thus far a study in the connective power of creativity—its potential to dissolve social, geographical and ideological borders. And whether behind a camera, in front of a classroom, or running a modest Beirut artist residency— connections are what matter most of all.

‫ واليت التقطها بكامريات البوالرويد والكامريات كبرية احلجم‬،‫أرسلت صور جورج عودة‬ ‫ وهم جمموعة من سلسلة صور‬،‫والكاميريات الرقمية عرب واسئل التواصل االجتماعي‬ ‫السوري يف كل من‬-‫ واليت تركز عىل الشباب الكردي‬،”Imagined Measures“ .‫بريوت وسوريا‬ ‫ وبناء‬،‫يوازن عودة بني عواطفه وخربته بشؤون احلياة والناس يف طريقه لصناعة الفن‬ – ‫ فوظيفة جورج عودة اآلن هي دراسة قوى الربط والتواصل يف اإلبداع‬،‫المجتمع‬ ‫ وسواء كان وراء الكامريا‬.‫إمكاناهتا حبل احلدود االجتماعية واجلغرافية واأليديولوجية‬ ‫ أو يدير مقرا للفنانني يف وسط بريوت – فالتواصل هو عىل‬،‫أو أمام أحد الفصول‬ .‫هيم‬ ‫االرجح أكرث ما‬

Issue 4 — 27

Profile for VCUQatar

Context Magazine 2014-2015: Issue 4  

Virginia Commonwealth University in Qatar's annual magazine

Context Magazine 2014-2015: Issue 4  

Virginia Commonwealth University in Qatar's annual magazine

Profile for vcuqatar
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