Reverberating Echoes: Contemporary Art Inspired by Traditional Islamic Art

2017 ◽  
Vol 2 (2) ◽  
Author(s):  
El-Sayed El-Aswad
Keyword(s):  
Contemporary Art ◽  
Islamic Art

scholarly journals Stories of Continuity. Contemporary Art and Collection of Islamic Art

2017 ◽  
Vol 16 (1) ◽  
pp. 8-21
Author(s):  
Monia Abdallah
Keyword(s):  
Contemporary Art ◽  
British Museum ◽  
Islamic Art

Nos últimos trinta anos, o Islã, entendido como civilização islâmica, tem sido, em vários sentidos, crescentemente associado à noção de arte contemporânea. Por exemplo, muitos grandes museus no mundo incluem, em suas coleções de arte islâmica histórica, trabalhos pertencentes a suas coleções de arte contemporânea originárias do Oriente Médio. Essa associação entre artecontemporânea e arte islâmica levou à noção de Arte Islâmica Contemporânea, que se baseia na ideia de permanência da arte islâmica. Assim, a arte islâmica pode ser vista como um “umanacronismo de uma arte medieval que nunca morreu” (Amy Goldin) e recebe a atribuição de um caráter trans-histórico: arte, produzida hoje em países muçulmanos ou por artistas ligados ao Islã por seus lugares de nascimento ou por ascendência, é compreendida como prolongamento da arte islâmica hoje. Essa interpretação também funda-se na ideia de permanência da civilização islâmica e em uma concepção ahistórica do tempo. Esse artigo analisará essa concepção alternativa de periodização da arte islâmica estudando o caso do British Museum erelacionando-a ao discurso de vários historiadores e autores não-ocidentais. O tema em questão vai além do campo da arte: esse renascimento da arte islâmica é um meio de estabelecer,através da arte, a continuidade cultural da civilização islâmica.

Jordan National Gallery of Fine Arts

2018 ◽  
Author(s):  
Sarah Ann Rogers
Keyword(s):  
Contemporary Art ◽  
Royal Society ◽  
Fine Arts ◽  
Video Art ◽  
National Gallery ◽  
Islamic Art ◽  
Non Profit ◽  
Governmental Organization ◽  
Islamic World ◽  
Founding Director

The Royal Society of Fine Arts, a private, non-profit, non-governmental organization with the goal of promoting the visual arts in Jordan and the region, established the Jordan National Gallery of Fine Arts in 1980. Located in two buildings in the historic district of Jabal al Weibdeh in the capital of Amman, the National Gallery houses over two thousand five hundred paintings, drawings, sculptures, ceramics, photographs, weavings, installations, and video art by modern and contemporary artists from Arab, Islamic, and developing countries. One of the institution’s most important projects was the 1989 exhibition, Contemporary Art from the Islamic World, which opened at the Barbican Centre in London. Edited by founding director Dr Wijdan F. Al-Hashemi and accompanied by an extensive catalogue, the exhibition represented the most extensive show of modern Islamic art in Europe, with over two hundred pieces and inclusive of over a hundred artists from twenty-three countries in the Islamic world. In 2009, the National Gallery launched a second pioneering project: the Mobile Museum. Each week, a van converted into a gallery shares the work of Jordanian artists, along with art workshops and artist talks, with villages throughout Jordan’s rural countryside.

“Muslims to Take Over Institute for Contemporary Art”: The 1976 World of Islam Festival

2008 ◽  
Vol 42 (1-2) ◽  
pp. 40-47 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Islamic Art ◽  
Single Event ◽  
The West ◽  
The World ◽  
Visual Expression ◽  
Do So

The terms “Islamic” and ‘Arab” are not ideal instruments for classifying modern or contemporary art, for they are meta-categories that can variously encompass Muslims and non-Muslims, and Arabs and non-Arabs. Nonetheless, as historians of modern art in Islamic regions, we seem to have inherited a longstanding commitment to Islamic art as an epistemologically unique practice that produced limitless abstract patterns and other “non-Western” visual expression. It is time to move beyond such overburdened lineages. In this paper, I aim to historicize the formulations of a specific Arabo-Islamic aesthetic that emerged in the 1970s. I do so by a study of a single event and its metacultural claims: the World of Islam Festival held in London in 1976. The Festival projected optimistic countercultural options for art and civilization that remain instructive today, while the complexity of its organizing structures demonstrates the limitations of the West/rest paradigm in interpreting its artistic products.

scholarly journals World of Islam Festival (Londres 1976) : Naissance d’un nouveau paradigme pour les arts de l’Islam

2014 ◽  
Vol 39 (1) ◽  
pp. 1-10
Author(s):  
Monia Abdallah
Keyword(s):  
Contemporary Art ◽  
Cultural Continuity ◽  
Islamic Art ◽  
New Paradigm ◽  
New Model ◽  
Muslim Countries ◽  
Islamic Civilization

This essay traces the origin and stakes of the association between historical Islamic art and works of contemporary art by artists from Muslim countries. The idea that underpins this association—that there is a form of continuity between these works—first appeared in London in 1976 during the World of Islam Festival. This event laid the foundation for the understanding of Islamic art as a vehicle for cultural continuity, so that contemporary art by artists from Muslim countries came to be seen as an extension of Islamic art and became perceived by many as a contemporary Islamic art, that is to say, the art of the Islamic civilization of today. This article argues that the notion of Islamic civilization that the World of Islam Festival vehiculated continues to be felt in the new paradigm for Islamic art that it initiated. This essay analyzes how this event unintentionally spawned a new model for understanding not only Islamic art, but also Islamic civilization, a civilization that is now once again considered alive.

Feminisms and Contemporary Art in Indonesia

2017 ◽  
Author(s):  
Wulan Dirgantoro
Keyword(s):  
Contemporary Art
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