Sketchbook Magazine http://sketchbookmagazine.com An online guide to design & illustration Wed, 02 Sep 2015 13:28:57 +0000 en-US hourly 1 http://wordpress.org/?v=3.6.1 Art and its Institutions in the age of Physical Absentiahttp://sketchbookmagazine.com/2015/09/culture/art-and-its-institutions-in-the-age-of-physical-absentia/?utm_source=rss&utm_medium=rss&utm_campaign=art-and-its-institutions-in-the-age-of-physical-absentia http://sketchbookmagazine.com/2015/09/culture/art-and-its-institutions-in-the-age-of-physical-absentia/#comments Wed, 02 Sep 2015 13:21:33 +0000 wafa http://sketchbookmagazine.com/?p=7090   Engagement and interdependency or unconditional incorporation in the institutional trap? “Governmental institutions are always the guardian of tradition, and art is the guardian of innovation. If there’s no friction between institutions and artists, it’s abnormal”.Alexander Melamid (quoted in Heilbrun and Gray, 1993:...

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Engagement and interdependency or unconditional incorporation in the institutional trap?

“Governmental institutions are always the guardian of tradition, and art is the guardian of innovation. If there’s no friction between institutions and artists, it’s abnormal”.Alexander Melamid (quoted in Heilbrun and Gray, 1993: 248)

In the book “Rosalind Krauss and American Philosophical Art Criticism – From Formalism to Beyond” David Carrier emphasizes how visual art often is accompanied by words. Naturally nothing is new about this statement, which refers to the modernist art and its post, with its typical strategy to provoke the shock of the new.

Carrier continues to describe how art critics constantly evaluate contemporary art and how art historians reconstruct the meaning of works from earlier times. The words that accompanied the art of modernism, its post and beyond have specific importance since much of this art has been identified as such only because it is accompanied by a theorizing process as well as institutional commitment and engagement.
A confirmation of this comes by the hands of art critic and philosopher Arthur Danto who back in his 1964 essay “The Art World” wrote the following: “To see something as art requires something the eye cannot describe: an atmosphere of artistic theory, knowledge of the history of art: an art world.” Since the 60s the art world has expanded in all directions, and the art world of today happens to include the artists, the arts institutions, and the audiences.
After Danto established this new term, the art world, Robert J. Yanal stated that it was Danto’s essay that coined the term “Art World” and outlined the first institutional theory of art parallel to institutional criticism.
Institutional critique, a privileged discourse, is best known through the critical artistic practice that developed in the late 60s and early 70s, to flourish again in the 90s with a systematic inquiry by the work of artists like Michael Asher, Marcel Broodthaers, Daniel Buren, Andrea Fraser, Fred Wilson and Hans Haacke.
The appearance of new artistic practices after the 70s with focus on instant processes and on meaningful conceptual manifestos, posed radical challenges to the museum and gallery system. Despite how the arts, backwards and forwards, undoes itself through its own products, the new experimentations led to the relative disappearance of designership, skills and similar artistic traditions, but it did not offer efficient alternatives to the institutional art system or manage to change its role or limit its dominance. At a time where contemporary art, more than ever before, has become one of the essential components of modern-day society, the conceptualization of artistic practices of the 90s and beyond has managed to trigger a shift in the way art is perceived, produced and promoted. Yet again, the position of art institutions to determine what constitutes artistic importance such as Innovation or Brilliant Art remains regulated by the art institutions themselves.
This is not to say that the arts is identified or exists only inside art institutions. Rather, the institutional structure provides the most visible site for artistic practices. Art institutions have a larger radius of resonance in respect to its function of legitimizing artistic importance, and many outside the institutional network still depend on this dominant system for legitimization.
The actual legitimization process can also be awkward. Back in the mid-1990s Hal Foster underlined how the institution may overshadow the work that it otherwise highlights. Foster raised a valid point. Through policies and actions art institutions can affect and influence the production, distribution, and reception of art, and they can indeed have a profound impact on individual artists as they pursue jobs guiding society to think in new ways. Choosing between catering for society and serving personal experimentation, contemporary artists remain unconditionally incorporated in the institutional trap. They are softly directed to interact with the mechanized policy and economy of the art institutions, including the recognized global art events, fairs and biennales. Back to David Carrier and Arthur Danto, in addition to their accounts on the importance of words in legitimizing the work of art, evidently contemporary art institutions still play a role in recognizing and promoting the arts, and still have the upper hand in coining the mood of the latest artistic developments.
Relational interdependency
Art writer Stephen Wright has asked if art today can occur without artists, without artworks, or without an art-world? The answer is not about yes or no, but about who, how and where. During the last 10 years and parallel to the activities undertaken by contemporary artists, we witnessed the birth of a new category, which is generating aesthetical content, but not necessarily for aesthetical reasons. The new category is made by artivists or architests – in this connection a hybrid between artist, archivist and activists. The artivist or architest uses his artistic talents to fight and struggle against injustice and oppression, by any medium necessary. The artivist / architest merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. He knows that to make an observation is to have an obligation.
Like artists, artivists / architests are advocates of the collaborative aesthetical project, applying means of communication and interactivities to appeal to people’s senses. In the communal domain artists remain among the few semi-independent providers of public commentary on burning social and political issues, however they are no longer alone in this. Artists are being accompanied by a competing group, the artivists / architests, but unlike artists, artivists / architests mostly operate outside of mainstream institutions and their contribution is still regarded as interloping. Nevertheless, at least the term made its way into academic writing around 2008, with Chela Sandoval and Guisela Latorre publishing a piece on Chicano/a artivism and the work of Molefi Kete Asante.
Back to the art world and its institutions, which continue to represent a self-promoting mechanism, an established network, and a system economy. The institutional art world remains in the eyes of the general public the most recognized entrepreneur, the competitive public facilitator legitimizing aesthetical experiences and the protector of quality.
The relational interdependency between the artist and the art institutions (the art world) has always been bittersweet and conditional. The predominant principles that influence the behavior of numerous art institutions are related to questions of ethics, pragmatism and political correctness. They cautiously maneuver between the intentions of artists and the aesthetical needs of society.
Artists, on the other hand, seek ways to articulate and circumvent the ambivalent relation. However, although they frequently and criticality challenge the very status and authority of the institutional art system, numerous artists eventually end up tolerating and playing by the institutional rules of engagement. What constitute the relation between artists and art institutions is not the intentions, the goodwill, or the credibility of the artists, because artists cannot define or decide what is good or bad art, and good art is not whatever artists promise us it is.
If art institutions want to avoid being forced into a straitjacket imposed by the assumptions of artists, they systematically and constantly have to set up new values, in terms that their audiences and funders can appreciate and subscribe to.
Therefore efficacious art institutions are arts led but audience focused. They do not and cannot count only on the number of audiences, but must include qualified works, which provide information, deepen our understanding, and at the same time produce knowledge and new experiences.
The challenge here for cultural institutions is how to combine all this and remain able to generate dynamic relationships between artists, their art, and the audience, particularly in a time where the borderlines that define the relationships are becoming increasingly blurry to a degree of nearly disappearing. Artists, institutions and audiences are practically in a process of role shifting or position exchange. Equally globalized in today’s world, artists and audiences are nourishing on more or less standardized intellectual inventions, they share related social conditions, and the flow of news and information.
At this conjunction the art, the audiences, and the art institutions face a more fluid, challenging environment. They are left to face tough times because art and culture is no longer confined to the elites in most societies and practicing art is no longer the preserve of artists. The audiences, in turn, are unpredictable but more engaged, critical and better informed. They live a complicated life with multiple sources of identity, and they demand more complex and diversified cultural experiences.
Attracting the new critical audiences, dispossessed underground groups like artivists / architests are making good progress outside the institutional realm by simultaneously submitting content to the public sphere as well as to cyber space. The birth of cyber space as a new democratic space has generated a new art system and a whole new class of information aesthetics. Like artists, artivist / architests are using the virtual world as an alternative space, to exist, communicate and interact, posing new competition to the audiences of the traditional art institutions.
With the expansion of the system of aesthetics and the shift in audience behavior, art institutions are facing a new relational role. In contemporary times, the role of art institutions is shifting, not only to form imaginary and utopian realities, but also to present ways of living and models of responsibilities within the existing social reality. Art institutions can bring art to people through its patterns of support and collaboration. They also play a greater role than often recognized in bringing people to art. The significance of art and culture on contemporary social conditions could mean that art and cultural institutions are there to raise awareness of issues that society might otherwise miss, and play a crucial role in shaping societies by building peer to peer support, provide knowledge, experience, and liberal participation.
I would like to end this text with a story from the 30s. In 1936, a committee of experts was established in India to check the conditions of museums in the country. The foremost museological problem was the fact that the vast majority of museum visitors were illiterate people (a non-specialized audience) that went there, not to know or learn, but to wonder. The colloquial Hindustani term for museum was AJAIB-GHAR or the “house of wonder”. However, art museums were places where history and historic artifacts were preserved. Contemporary art institutions are places where knowledge is produced. They are playing their historic role by providing exhibitions and information. The audiences on the other hand, although growing by number, their valuation, knowledge and admiration of art still needs to be cultivated and more incorporated.
Elena Delgado, curator of Madrid’s Museo de América is in no doubt about the role of contemporary art institutions and how her institution operates, educates, entertains, informs and produces knowledge in real time, or rather, in quick time.
Delgado said:
“The significance of a museum lies not only in its collections, but also in the reflections and insights it is able to trigger around the objects, the knowledge it provides and the multiple visions and interpretations it offers on the heritage in its care (…) As metaphorical “free zones”, museums must strive to take their place at the intersections, in those spaces where individuals and distinct cultural identities can act and interact, transform and be transformed (…) In order to become a space for negotiation, museums must disown those homogenizing and discriminating values which are still very closely connected to their role in legitimizing historic identity (…) One task for cultural and educational institutions should be the development of strategies to help citizens learn to live with conflict, with the other and with difference, by promoting attitudes which lead to the intersection of cultures and of knowledge.”

Khaled Ramadan
Cairo, autumn 2013

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Forum Box, exhibtion space Helsinki 14

 

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Beirut6 summer 14

 

About Khaled Ramadan:
Born in Beirut in 1965, Ramadan is an architest, filmmaker, curator and cultural writer working between Europe, Asia and the Arab world, focusing on the MENA region and the Arab world in a global context. His fields of specialties include the intersections of the history of constructed media, the fusion of alternative art with aesthetic journalism and media research in relation to internet art content providers. He works with universities, think tanks, museums, foundations and media institutions. He has taught at universities and academies across Northern and Southern Europe, Asia and the Middle East. He worked as senior advisor for the Manifest Foundation, NL; Spanish Art Council; Maldives Ministry of Culture; the Danish Art Council and the Nordic Institute for Contemporary Art (NIFCA). He published several books and articles in international publications, e.g. Trans-Visuality (Forth coming University of Dublin) BRUMARIA (Spain), Manifesta Journal, NL; and Peripheral Insider, Copenhagen University Press. In 2009 Al-Jazeera TV produced a documentary about Ramadan’s activities. He is member of the International Association of Curators of Contemporary Art (IKT) and The International Association of Art Critics (AICA). He co-curated among others, the Maldives Pavilion at the 55th Venice Biennale 2013; Manifesta 8, Spain; Guangzhou Triennial, Guangdong Museum of Modern Art, China; and projects for UCCA, Beijing, and Museo Nacional Centro de Arte Reina Sofía, Madrid. http://www.khaledramadan.org/

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MALJA – A Red Bull Space: COUNTDOWN TO OPENING ON JANUARY 30THhttp://sketchbookmagazine.com/2015/01/spotlight/malja-a-red-bull-space-countdown-to-opening-on-january-30th/?utm_source=rss&utm_medium=rss&utm_campaign=malja-a-red-bull-space-countdown-to-opening-on-january-30th http://sketchbookmagazine.com/2015/01/spotlight/malja-a-red-bull-space-countdown-to-opening-on-january-30th/#comments Tue, 27 Jan 2015 08:54:58 +0000 wafa http://sketchbookmagazine.com/?p=7062 MALJA – A RED BULL SPACE: COUNTDOWN TO OPENING ON JANUARY 30TH First community hub in the Middle East to support and connect all types of Art in the most innovative way   Bahrain 18th January 2015-   Nested under...

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malja

MALJA – A RED BULL SPACE:

COUNTDOWN TO OPENING ON JANUARY 30TH

First community hub in the Middle East to support and connect

all types of Art in the most innovative way

 

Bahrain 18th January 2015-

 

Nested under the trees at the entrance of Amwaj Islands, Malja, Bahrain’s first open creative space is set to open its doors on January 30th at 4 pm with it’s first show Double tap and live graffiti performances, followed by the opening ceremony at 6:00 pm.

After taking over Al Osra’s old supermarket, creative hands and minds have been working for the past three months to transform this hidden place into a communal location to create, promote and support Arts in Bahrain and the Middle East:

spoon Consultants are leading the design of the 350 sqm multi-functional project space featuring their unique façade installation. The indoor and outdoor space is brought to light by LumenArts Lighting Consultants who are responsible for all the illumination.

Jody Peck [Artist] and Noof Al Refaei [Sikkeh Gallery] contributed with some of the interior featured furniture, while Sara Valente [spoon] and Reine Lahoud took lead on the Landscape side.

 

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On the curators’ front, Tarik Omar and Hasan Hujairi are consulting on the sound room equipment and developing workshop ideas related to music and studio production. Meanwhile, Frances Stafford and Yasmin Sharabi art consultants, will manage the annual gallery which will be held in Malja’s main hall.

A team of story tellers are documenting Malja’s coming to life. Behind the camera, JEO’s Productions team of producers and cameramen are capturing every moment from the construction to the people involved.

In photos and writing, Noor Noorudin, Quentin de Pimodan, Melchior de Tinguy and Ali Haji are telling the story of Malja, on the blog www.maljabahrain.com designed by Maroon Frog.

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It will be a place for creative minds to learn, create, develop and perform by supporting and connecting all types of arts in the most innovative way.

For that Malja will be home to:

  • RBMA Quarter Tone Frequency Sound Space: 28.5 sqm dedicated for an Electronic Music Production facility and general music usage.
  • An Art Room: 33 sqm, room that gives space for special projects, creation and dance groups
  • The Gallery:  215 sqm with a stage available to host concerts for up to 250 people and art galleries
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Part artist incubator, part gallery and art cultural curator, Malja’s core purpose is to give critical acclaim to involved artists, while breaking down regional barriers as well as financial and institutional constraints between them. It is a place to give artists a space, tools, and intimacy to unleash their creative side.

By mixing these different types of art, Malja wants to offer the creative minds with a unique experience and captivate art aficionados with concepts that take their passion to a whole new level.

On the opening week (Jan 30th – Feb 4th), Malja’s program will feature several artists from different disciplines who will give a sneak peek into the type of programs to expect at Malja.

To learn more about the opening and the full program visit: www.maljabahrain.com and join the conversation on social media;

Mustafa and tarek

 

Conor + mustafa

Facebook: www.facebook.com/maljabahrain

Instagram: @maljabahrain

#Maljabahrain #Bahrainculture

 

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Malja is a non for profit venue and is opened from 12:00pm to 10:00pm 7 days a week. For more information you can call: 32-323-000

Malja partners include: BMMI; Amwaj Islands Management, Batelco, Virgin Megastore, Likwid Productions, Hala Bahrain Show and Time Out Magazine.

 

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Fifth Annual Nuqat Conference Continues to Make Profound Connectionshttp://sketchbookmagazine.com/2014/11/spotlight/fifth-annual-nuqat-conference-continues-to-make-profound-connections/?utm_source=rss&utm_medium=rss&utm_campaign=fifth-annual-nuqat-conference-continues-to-make-profound-connections http://sketchbookmagazine.com/2014/11/spotlight/fifth-annual-nuqat-conference-continues-to-make-profound-connections/#comments Sun, 30 Nov 2014 08:41:27 +0000 wafa http://sketchbookmagazine.com/?p=7055 Nuqat Lectures Hands shoot up, eager to have the microphone as an exciting discussion unfolds in the packed auditorium of the Amricani Cultural Center on November 13. It is the first day of the annual Nuqat conference, titled “The Missing...

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Nuqat Lectures

Hands shoot up, eager to have the microphone as an exciting discussion unfolds in the packed auditorium of the Amricani Cultural Center on November 13. It is the first day of the annual Nuqat conference, titled “The Missing Link: Practicing the Collective Approach” and already there is a contagious optimism in the air, with confident opinions being shared about the creative industries of the Middle East.

 

Language

The morning began with a talk about the Arabic language – Suzanne Talhouk gave a dynamic presentation about the endangered status of Arabic in schools, media and culture and struck a chord with the audience. Throughout the conference, most bi-lingual speakers chose to present in Arabic and many audience members followed suit. The equal emphasis on expression in both English and Arabic made it a unique conference, loaded with a revolutionary spirit and innovative vision for the future – one can already see that the talks and conversations of Nuqat are going to lead to innovative new experiments in the bi-lingual cultural production of the Middle East.

 

Identity politics

“Come back to Kuwait and give back to your community. This is your home,” says audience member Djinane Al Suwayeh to after listening to a talk by Ali Khadra of Canvas Magazine, referring to the creative brain drain that occurs in the country when people leave to study abroad and don’t return. Whilst Khadra criticized Western media for its portrayal of Muslims and Arabs in his talk, he also noted that the Arab world seemed to have less interest in its own culture, pointing to the discrepancy in the number of sales that are made of Canvas, his magazine on Middle Eastern art in Europe and North America vs. a considerably lower number of sales in the Middle East.

 

For many audience members Alanoud Al Sharekh’s talk about Bedouins in Kuwait broke the very loaded silence about cultural identity in the Middle East. She discussed the elitism inherent in the way that Kuwait’s voting districts have been mapped, and the ways this disenfranchises Bedouin populations and identity. Seeing as the conference theme was about collectivity and collaboration, this was a very apt topic to discuss, and one that inspired many attendees to rethink their complicity in the tense politics of the region. Said Equait founder and audience member Faisal Al Fuhaid, “I have Bedouin blood in me … you don’t normally see people speak about Bedouins in a positive light and discuss their impact on the Arab world so it was really refreshing for me to see.”

 

Misconceptions and stereotypes about Saudi Arabia were also challenged by the likes of filmmaker Ahd Kamel, curators Aya Alireza and Raneem Farsi, creative collective Onquod and the endearing artist Ahmed Mater, all hailing from the Kingdom to discuss their efforts at opening new channels of creative communication between people through art, public interventions and film.

 

Creative Education and Art Therapy – Social initiatives

Finding avenues for people to express and heal their traumas was also a running message throughout the lecture program, showcasing Zaina Daccache’s drama therapy work in Lebanese prisons and Dr. Amar Behbehani presentation of balancing creativity and mental health. Education initiatives such as the Palestinian organization Campus in Camps and the Beirut-based Creative Space Beirut also shared their inspiration for institutionalizing their respective creative outlets for underprivileged youth. Both organizations spring forth from the belief that design is a universal right and is an essential part of raised standards of living, especially in communities with strained resources such as refugee camps.

 

Nuqat Workshops

Sharing design knowledge and creative expertise were the main tenets of the Nuqat workshops. The Sadu House was transformed into a buzzing hub, where participants were challenged to deconstruct and construct a number of concepts and objects. The first workshop in the Middle East on wearable technology was hosted by Fab Lab and led by Sarah Hermez (Lebanon), as was Jazeera Airways pioneering the way for a design workshop led by Mahmud and Massoud Hassani (Afghanistan). Said Wakim Zeidan, a Nuqat founder and key organizer, “the Nuqat workshops this year more than ever brought together design and the corporate world, achieving our aim of widening the Nuqat’s scope and ability to provide creative education to people in different industries including business and engineering.”

 

A high level of engagement was reached with the Nuqat sponsors including IKEA, whose workshop led by Younes Duret had a key end goal of supporting local designers by exhibiting their work at the IKEA location in Avenues Mall, as well as being a venue for scouting talent for designing a Middle Eastern line of products. Gatehouse Bank similarly followed through with their corporate social responsibility goals of empowering young entrepreneurs by supporting a workshop on design thinking led by Yara Al Adib. The spirit of Nuqat’s mission to avail opportunities for creative brainstorming, problem solving and execution was materialized and celebrated by workshop leaders and participants. Among the workshop results were IKEA bookshelves turned into a child’s first garden, done by 248am blogger Mark Makhoul.

 

Nuqat Collaborations

Nuqat launched an exciting collaboration with 29Letters type design firm from Beirut this year, holding a bi-lingual type competition judged by an international jury of professional type designers. Though no first prizes were awarded, the initiation of what will be an annual competition holds exciting promise for the future of bi-lingual media and communication. Also launched this year at the Nuqat conference was Madeenah, a plaform dedicated to giving cultural tours of Kuwait, activating interest in archiving and experiencing the city for tourists and locals alike. They plan to carry out collective research studies and interactive online maps. Says one of the founders, Deema Alghunaim, “we want people to slow down and get out of their cars to see the city.”

 

Audience attendance was impressive, with turnout being about half local audiences and half international, with guests from Saudi Arabia, Bahrain, Qatar, UAE, Oman and Canada. Guests hoping to come in from Syria had visa issues and weren’t able to make it, which leaves one with a gnawing sense that for true creative freedom to be achieved, politicians in the Middle East are the ones who would gain the most from attending Nuqat’s conference on collaboration.

 

What is perhaps most magical about Nuqat is the extent to which it models its own concepts. Inspired by the conference, Al Fuhaid began to “think about mainly getting out of my comfort zone and try to collaborate with people who come from a different background and have a different way of solving problems.”  The Nuqat conference itself acted as the “The Missing Link,” helping participants to practice collaboration and bringing together creative practitioners from a wide range of backgrounds to share skills and make connections.

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Fashion Forward 2014http://sketchbookmagazine.com/2014/10/fashion/fashion-forward-2014/?utm_source=rss&utm_medium=rss&utm_campaign=fashion-forward-2014 http://sketchbookmagazine.com/2014/10/fashion/fashion-forward-2014/#comments Thu, 16 Oct 2014 12:40:12 +0000 wafa http://sketchbookmagazine.com/?p=7030 Collection Notes:  DAY 1 – Saturday October 4th   16:00 Starch Foundation Bird on a Wire The relationship between hunter and prey is a fascinating one. Rooted not only in the animal kingdom between two different species, the hun is...

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Collection Notes:  DAY 1 – Saturday October 4th

 

16:00

Starch Foundation

Bird on a Wire

The relationship between hunter and prey is a fascinating one. Rooted not only in the animal kingdom between two different species, the hun is present between creatures of the same species. The hunter so dominating in a situation of power, transforms instantly to become frail and weak when faced with a more powerful creature.

This thin line of transformation is what the collection explores.

A clash of frailty and power is analyzed through transparencies versus stiff, shiny fabrics and spikes and softness whilst keeping a silhouette of a creature ready to either run or jump from its opponent.

 

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Jo Baaklini

Atelier Jo Baaklini blends artful storytelling with crafted production, producing Prêt-à-Porter clothing with an appeal to both men & women.

Inspired by an eclectic range of sources, from Japonisme to 80s aesthetics in cinéma, this collection explores juxtaposition; contrasting light cottons with heavy wools, dark hues next to bright colours, and playful painted patterns on functional, straight cuts to create an ensemble that is simultaneously nostalgic and forward looking.

Timi Hayek

Viento y tierra, wind and earth, describes this collection in two words. There are no colors, and no prints. Just layers of translucent flowing pleats juxtaposed with rough textured surfaces, all in different shades of off-white, cascading from the body. Taking inspiration from dance and forest nymphs from my previous collection, as well as my travels to Sri Lanka where the school children wear all white uniforms to keep cool in the hot breeze and most are barefoot, Viento y tierra consists mainly of unique one-of pieces, made to enjoy in the sun or in the rain, with dancing feet and a free spirit.

17:00

The Emperor 1688

For Spring Summer 2015 The Emperor 1688 looks to memory, memory of travel, memories of adventure, to a time where smart phones and pictures were not as instant as they are now. The focus of the collection shifts to a time when our memory was the only source we had to remind us of our adventures abroad. Specific colours, textures and fibres trigger a memory once you are home, back to your urban life.

 

This season the Golkar brothers look specifically to Monsieur Yves Saint Laurant and his adventures in Morocco and his lifelong obsession with the North African climate.  He returned home to Paris with a sense of romance he attached to Morocco.

 

The Golkar brothers looked specifically at colours that are synonymous with Yves Saint Laurant’s Morocco, from the blues of Le Jardin Majorelle, to the earth tones of the deserts of North Africa and the dusty tones of the summer skies.   Using prints and woven fabrics that trigger a subtle memory of North African Art and Architecture.

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18:00

House of Ronald

 

This season, Ronald has turned his eye to nature for inspiration. Artfully transforming wood textures and patterns into motifs for his printed fabrics, he has created designs heavily influenced by architectural shapes. The outfits are very structured, with sharp edges and cutouts, while the overall silhouette is 1970s inspired. The overall feel of the collection is very feminine and airy, yet bold and seductive. It features a range of silks, cottons, crepes, and satins, in a palette of neutrals, gold, aqua, and greys. The result is a very modern rendition of “nature elements”, transformed into a striking display of printed tops, skirts, trousers, and dresses.

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20:00

Maral

MARAL believes that “life is in colors”… she has been adept in playing with colors and its hues, and their interplay has fascinated her. This is amply displayed in her collections which are bright and with rich. The effective use of a neutral white base allows the rich colors to stand out and make a statement in her entire collection.

Her Persian roots can be witnessed, as she blends its traditional and royal designs with a contemporary touch. Her creations while being modern, also has the hint of the glory of Persian traditions. The collection is created in resplendent silks with striking silhouettes. With delicate handiwork and excellent finishing, each ensemble is mesmerizing.

With the designs arising from an innate sense of style, understanding of colors and an eye for detail, Maral aims to bring out the inner goddess in every woman through her magnificent collection. For Maral each and every ensemble is a work of art.

 

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21:00

Jean Louis Sabaji

The scenario Jean-Louis Sabaji planned out this season was far from being romantic; but concentrated on birds, their plumage and the skin beneath all the feathers.

This is the point where an outbreak of Jean-Louis’s famous techniques in one collection which simultaneously included silicone, unfinished organza, beading and braiding.

 

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Collection Notes:  Day 2, Sunday October 5th

16:00

Taller Marmo

For Spring Summer 2015, Taller Marmo combines influences of the oriental West with occidental influences from the East. Moved by Marchesa Casati at the beginning of the

20th Century, Talitah Getty in Morocco, and Googoosh from an Iranian pre-evolution in the 1970’s, the collection captures the culture and feel of those two distinctive eras.

This Season, Riccardo Audisio & Yago Goicoechea, introduced sleek silhouettes within the collection, adding a 1970’s touch and incorporating early 1900’s ornamented detailing.

 

The collection, predominantly composed of body conscious evening dresses was intended to bring about a resort lifestyle feel, consisting of cocktail dresses, kaftans and swimsuits.

 

Taller Marmo’s SS15 dresses come in a variety of different lengths to symbolize the sunrise, the morning, the afternoon, the sunset and the night on the dunes of the desert, an indication of exoticness. The intarsia techniques were employed by sewing together the sun and the half-moon with the rest of the dress to bring about a special and refined finishing.

 

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17:30

Hasan Hejazi

Hasan Hejazi’s collection for Spring/Summer ‘15, presented in partnership with Audi, features a clean fresh colour palette in luxurious embroidered fabrics and silks. The show will feature some of Hasan’s favourite archive pieces, famously worn by his celebrity clientele, as well as an all-new collection for his inaugural show at Fashion Forward.  The show’s highlight will be the premiere of a unique dress inspired by Audi to mark Hasan’s debut.  Renowned for statement gowns that demand attention, this one-off piece has been created in collaboration with Audi and Hasan has taken his inspiration from Audi’s design cues of purity, intrigue, creativity, sophistication and originality.

 

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18:00

Danny Tabet

”Smoke and Mirrors” is the SS2015 Dany Tabet Couture collection METAL SAND SUN AND FOSSIL

It is a journey to a modern-world desert, but not one full of magical stories of traders and treasure hunters…
The Dany Tabet Desert is a place where the harnessed energies of precious metals is ruling the world, where Mother Earth is ravaged every day in hope of discovering fossil energy, where humble caravans leave to provide room for the tanks, and where shy stars lose their sparkle behind the mirror effect of bombs.
My desert is no place for an adventurer or pioneer.
My desert is an oriental kaleidoscope where no man will find an oasis to rest.

 

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20:00

Endemage

 

This Season, Endemage draws inspiration from Zanzibar, famous for its beautiful beaches and tropical scenery, which was the main brilliance for this collection. Zanzibar was part of the Sultanate of Oman and has strongly influenced the Omani culture through the beautiful vibrant colors, prints, and fabrics, which the Zakwani sisters have elegantly incorporated into their SS15 collection. The collection features a range of off-shoulder garments, ruffles and flowy hemlines composed of white, lilac and teal colour palette. Endemage have embellished this with patterns of leaves and pineapples using embroidery and lace with details of pearls and sequins. Using a mixture of signature organza, net, lace and a customized Endemage embroidered fabric has created an indulgent, feminine and unique collection.

 

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21:00

Tahir Sultan

Season Four represents Sultan’s fourth consecutive FFWD season. A graduate of Central Saint Martin’s, the highly celebrated Kuwaiti / Indo designer launched his own label in 2008 and in 2012 became the first Kuwaiti designer to show at London Fashion Week. Sultan’s superior imagination for his new collection, named “Infinite Days & Infinite Nights” is inspired by the iconic W Retreat & Spa – Maldives, re-interpreting its white sand beaches and turquoise lagoons, vibrant house-reef, rich aquatic life and playfully incorporating embroideries and prints referencing local Maldivian reefs and wildlife.

 

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22:00

Zareena

“On a trip to Lebanon, Zareena visited the Jeita Grotto, and was amazed at how nature would create what she calls one of the natures most creative features. The inspiration for the collection comes from nature’s ability to deliver beautiful scenery from random single creations when put together in a magical way.

Zareena’s main theme is abstract shapes and lines that become works of art when combined and placed on the designs in an artistic manner. Zareena’s sense of placement and choice of colors are marks of her brand, that any enthusiast would recognize. Zareena does not like to confine herself to certain colors, therefore, within any of her collections you will see a wide range of daring color combinations. The fabrics are always have the sense of flow and femininity in them. She uses natural fabrics for her collections.

Following the theme, Zareena has three groups of designs within the collection, the whites, which portray nature’s beauty personified in flower formations, the abstract formations with it’s cornucopia of colors, and the golds, nature’s ultimate precious belonging.

The collection preview includes 50 creations.”

 

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Collection Notes:  Day 3, Monday October 6th

 

15:30

Bashar Assaf

This collection does not claim to be ethereal but it attempts to capture all that is. Prints of rock formations and plastic wrap on cotton and silk, flowing floor length skirts in magic mint and bra tops in air superiority blue, wrap dresses in crêpe or wide leg pants in sheer georgette. Men in straight silhouettes, women too. Ethereal Spring 2015 is a collection inspired by all that is “too perfect for this world”.

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17:00

Asudari

This Spring/Summer season, Asudari explores notions of untying the past, playfulness and freeing the self through their signature digital prints and geometric patterns. Throughout the collection, bows provide a strong motif illustrating the human desire to unlock memories, process past events and unbind the chords that keep us tied to repressive emotions. The bow appears in various guises, proportions and states of formality. They are whole and fragmented, traditional and loosely tied culminating in undone bows flowing loosely down garments in streams of ribbon. Aside from the digital prints, prints are translated through the use of embroidery, paillettes and 3D printing.

Contributing to that notion of relaxed freedom, parts of the collection are rendered in satins, silks and chiffons within a colour palette that encapsulates the mood of the season.

 

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18:00

Madiyah Al Sharqi

This season Al Sharqi follows the signature influences of the 70’s by introducing elegant off-shoulder pieces, ruffles and billowing sleeves, drawing inspiration from her muse; Marie Antoinette. Her Spring/Summer collection features an array of garments, from gowns to sleek separates by incorporating effortless silhouettes composed of a fresh color palette in lavender, peach, khaki and white tones. Al Sharqi’s custom use of layering fabrics such as jacquards, crepe and lace continues to be the signature of the brand within this collection, luxuriated with the use of embellishments composed of unique crystals and carefully selected stones.

 

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18:30

Hâshé

Raised in a family that highly regards and appreciates art, Ava Hashemi drew the inspiration behind this collection from the middle-eastern art and architecture. The mirror-like embellishments in this collection resemble the mirror works on the ceiling of her grandparent’s house.

Since this is the first collection Hâshè is showcasing in Dubai, the collection aims to capture the spirit of Dubai; hence the use of vibrant colors and structured silhouettes.

This collection is named “Reflection” since Ava believes it’s a reflection of her background and childhood.

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20:30

Dima Ayad

For her Spring Summer 2015 collection, Ayad offers a range of options and garments that come in a variety of clean and feminine cuts, the key being simplicity. Her range includes a combination of gazar organza, jacquard and jersey in fresh block colours including sunny yellow, lilac, silver, navy blue, and hints of nude undertones. The silhouettes are a combination of classics re-engineered, voluminous skirts with matching fitted tops and of course her signature crop top re-introduced in this collection with a twist.

 

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21:30

Ceremony

Ceremony woman has always been a classy, cosmopolitan character. The collection is active and international, a merger of east and west. It is evening-centric, fluid gowns, cigarette trousers, ladylike cocktail frocks and swooshing floor-length dresses.

 

While dreaming up spring colors and silhouettes, shades appeared in romantic nude silk and silk chiffons, Royal Blue and Russian Rolette Red raw silk, and of course white and black both in tulle, silk again and French Lace.

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22:00

Amato

The inspiration behind this collection comes from a space odyssey, neo classic imagery, cloning and sci- fi movies but also from love stories. It is like a waltz in space.

I looked at alien-like deep sea creatures with transparent bodies, droid space soldiers and cloning and mixed them with drama and romance.

The colour palette is mainly white, with various textures such as lace, tulle, linens, ribbons and ceramics creating an effect that is futuristic and minimal yet romantic and intricate at the same time.

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MyU: New App in Kuwait Enhances Student Experiencehttp://sketchbookmagazine.com/2014/09/spotlight/myu-new-app-in-kuwait-enhances-student-experience/?utm_source=rss&utm_medium=rss&utm_campaign=myu-new-app-in-kuwait-enhances-student-experience http://sketchbookmagazine.com/2014/09/spotlight/myu-new-app-in-kuwait-enhances-student-experience/#comments Wed, 17 Sep 2014 07:58:07 +0000 wafa http://sketchbookmagazine.com/?p=7020   Meet Bader Alessa. The 26-year old from Kuwait is revolutionizing the student experience in the GCC, and he’s doing it one smart phone at a time.   Bader is the founder of MyU, a free smartphone application that allows...

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Meet Bader Alessa. The 26-year old from Kuwait is revolutionizing the student experience in the GCC, and he’s doing it one smart phone at a time.

 

Bader is the founder of MyU, a free smartphone application that allows students to connect with each another and with Professors within their University. Students, clubs, and organizations who register onto the application can post about social events or academic matters, and share the news in a Facebook-style feed with other students. Professors who download the application can create virtual “classroom” groups, where they can also share updates with their students, including readings, exam grades, and even respond to questions posted by students. MyU has currently hit universities in Kuwait and has won several awards. It is set to expand to other universities in Kuwait and beyond. We sat down with Bader to find out more.

 

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This is an exciting application! How did the idea come to you?

I completed my undergraduate studies in the United States, and by the time I returned to Kuwait in 2011, I noticed that a revolution was taking place in social media and mobile communications. Being nostalgic for my days as a student and interested in the tech world, I immediately wanted to become part of this tech revolution and create something to help enhance the student experience in Kuwait.

 

What were the challenges that you faced in developing this app?

Although I was excited about developing this application back in 2011, my academic background is in environmental engineering and I was actually illiterate in technology. Despite this, I was reluctant to approach a company and ask them to build the application for me. I wanted to be involved in the entire process, from design to content development to marketing. And so I signed up for online classes, completed hours and hours of readings, and taught myself how to program. Although understanding technology was a huge learning curve, I also had to learn about people – my target consumer, what they wanted, and what they didn’t want. I found that identifying what people want was the biggest challenge of all and it is something that I continue to learn about everyday.

 

Tell us, how exactly does the app work?

Students who sign up for the application can create pages and share news with all others students at their university or college who have also downloaded the app, in a newsfeed-style format. They can also communicate with one another through direct messages. Instead of scrolling through emails and hunting down posters in the hallways, students can access all information related to the University in a single place and connect with their classmates at the click of a button. Students with pressing questions can also reach their Professors directly on their mobile phones, through the application. The service also presents a range of advantages for Professors, too. Instead of having to email individual students one by one, they can disseminate information to their entire class at the click of a single button and share readings, or even exam grades. Professors’ announcements are received instantly by their students in the form of push notifications. The service is not intended to replace existing University systems but to supplement those systems with a faster and more convenient alternative.

 

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We hear you’ve received great feedback so far!

Yes! In the short life of MyU, the application won two awards in Kuwait and was granted a three-week acceleration program in San Francisco with mentors from Google, LinkedIn and Dropbox. We have also received great feedback from students and professors at GUST where the app was featured as the next generation university communication,  and at the College of Business Administration of Kuwait University where we had professors using myU for 100% of their class communication!

 

Do you have plans to expand?

Yes. We hope to expand to other Universities in Kuwait, and to other GCC states like Bahrain. Another great feature of the application is that it is not intended as a formal or University-sponsored system, so all we would really need to expand to a new University is interest from its student body.

 

What is your advice for upcoming entrepreneurs?

The technology industry is booming right now, and it is the future.  People are more connected than ever before and the potential that this creates is huge. I encourage anyone with an interest to explore and develop that interest, no matter how risky it may seem. I would also advise young entrepreneurs to go ahead and test their products as soon as they can: I opened up MyU to downloads during the beta stage because I thought it was important to receive feedback from my target consumer as soon as possible. This has proven really effective because it allows me to respond to their needs during the development stage, instead of launching the application and then going back and making changes. I would say start small, have a strategy, and go for it!

 

Thanks Bader! Stay tuned for more updates on this exciting new application which we are sure is going to be an even bigger hit in the future!

 

 

 

 

 

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VYU Studios – Shaking up the photography experience in Bahrain!http://sketchbookmagazine.com/2014/09/fashion/vyu-studios-shaking-up-the-photography-experience-in-bahrain/?utm_source=rss&utm_medium=rss&utm_campaign=vyu-studios-shaking-up-the-photography-experience-in-bahrain http://sketchbookmagazine.com/2014/09/fashion/vyu-studios-shaking-up-the-photography-experience-in-bahrain/#comments Wed, 03 Sep 2014 13:07:20 +0000 wafa http://sketchbookmagazine.com/?p=7016 VYU Studios – Shaking up the photography experience in Bahrain! RIFFA – June 2014: Vyu Studios is a high-end professional photography and videography studio, founded based on a mission to revolutionize the photography experience in Bahrain. A far cry from the...

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VYU Studios – Shaking up the photography experience in Bahrain!

RIFFA – June 2014: Vyu Studios is a high-end professional photography and videography studio, founded based on a mission to revolutionize the photography experience in Bahrain. A far cry from the average 15-minute photography studio, Vyu Studios boasts a fully outfitted studio in the heart of Riffa. They first opened their doors in 2011 and have been dedicated to providing exemplary service and truly elevating the local standards of photography ever since.

 

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The founders drew their inspiration from an unsatisfactory experience with international, as well as local, photographers, and wanted to provide a service that was reliable, trustworthy and high quality. Hence, the types of equipment used are a wide variety of advance technologies that encompasses full HD video cameras, HDSLR cameras, in house printing facilities, and a blue ray option for its videos.

“Our vision is to enhance the photography business in the Kingdom through usage of advanced technology, a staff that enjoys a high quality of service and an eye for capturing the good times in a special occasion, to keep as a visual memory for years to come” Said one of the founders during a visit to their studio.

 

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Vyu Studios specializes in weddings, engagement, as well as Henna parties. It’s qualified staff is trained to start coverage as soon as wedding preparations begin, covering every minor detail, reflecting the luxury and thinking out of the box for creative angles. However, this does not stop the ambitious founders from widening the range of expertise to cover other events such as launching events, birthdays and collaborate with local initiatives, such as fashion designer Reem Buqais, for The Bow Tie Project, as well as local designer by Farah and international food chain Vapiano.

Vyu Studios embodies the leadership in Bahraini citizens to take initiative and work by values such as experience, efficiency, perfection in service and most importantly protection of client interests through embracing their privacy.

To see some of the studio’s work, follow them on instagram @vyustudios, or Facebook: VYU Studios. For further details on the services they provide, call +973 1777 0323 or visit Villa 973, Block 915, 1516 Road No 1516, Riffa, during the hours between 10:00 am – 6:30 pm Monday to Thursday, 4:00 pm – 9:00 pm on Saturday, and 10:00 am – 6:30 pm on Sunday, where their friendly staff would be more than delighted to assist you.

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About Vyu Studios

Bahrain’s premier high-end professional photography and videography studio, that specializes in weddings, events coverage, and lifestyle photography. They first opened their doors in 2011 and have been dedicated to providing exemplary service and truly elevating the local standards of photography ever since.

 

For press inquiries please contact:

17770323

 

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Mishael Al Rajhi Resort 14 Collection Invitationhttp://sketchbookmagazine.com/2014/07/fashion/mishael-al-rajhi-resort-14-collection-invitation/?utm_source=rss&utm_medium=rss&utm_campaign=mishael-al-rajhi-resort-14-collection-invitation http://sketchbookmagazine.com/2014/07/fashion/mishael-al-rajhi-resort-14-collection-invitation/#comments Mon, 21 Jul 2014 12:43:15 +0000 wafa http://sketchbookmagazine.com/?p=7001 Mishael Al Rajhi FASHION HOUSE NEWS: It’s our utmost pleasure to invite you to… Bisat El Reeh Al Harthi Center, Jeddah The Thoube Resort 14 collection will be in Jeddah for the Exhibition from 9AM-2PM / 3-8 July. Join us...

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Mishael Al Rajhi

FASHION HOUSE NEWS: It’s our utmost pleasure to invite you to…

Bisat El Reeh Al Harthi Center, Jeddah

The Thoube Resort 14 collection will be in Jeddah for the Exhibition from 9AM-2PM / 3-8 July. Join us for joie de vivre nights filled with sparkling moments at Booth #7.

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WHY THOUB É? THOUBÉ is an attempt to marry the vibrant visions of summer and Mishael Al Rajhi’s travels with the spiritual significance and cultural wonderment during Ramadan. The inspiration has been drawn from a modern interpretation of the season’s festive vibe, tradition meeting serendipity on the cobblestone streets of Paris.

 

The hues and shades capture the season in a new light and whimsical sophistication, invoking thoughts of Eid at Champs Elysees, Iftars at Tiffany’s and a Parisian Ramadan.

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Mishael Al Rajhi employs a unique technique in playing with the fabrics and texture of her designs for THOUBÉ. We invite you to discover THOUBÉ, a wearable interpretation of serendipity and magical moments.

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KEEP IN TOUCH

Instagram | Twitter : @mishaelrajhi

For Inquiries: micci@mishaelrajhi.com

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Hello Rukunhttp://sketchbookmagazine.com/2014/07/spotlight/hello-rukun/?utm_source=rss&utm_medium=rss&utm_campaign=hello-rukun http://sketchbookmagazine.com/2014/07/spotlight/hello-rukun/#comments Sun, 20 Jul 2014 10:26:56 +0000 wafa http://sketchbookmagazine.com/?p=6992 We love this corner! New contemporary art and design gallery opens its doors to art and design enthusiasts in Riyadh   RIYADH, Saudi Arabia (July 15 2014) — Rukun gallery, a contemporary art and design gallery featuring a mix of sculptures,...

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We love this corner!

New contemporary art and design gallery opens its doors to art and design enthusiasts in Riyadh

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RIYADH, Saudi Arabia (July 15 2014) — Rukun gallery, a contemporary art and design gallery featuring a mix of sculptures, paintings, furniture and mixed media pieces, opened its doors to the public during the holy month of Ramadan. Guests enjoyed a casual evening over a reception that was held at the gallery located in Nojoud Centre in Riyadh.

The gallery aims to become a hub for creative minds displaying the merger of playfulness and craftsmanship and showing what this union is able to produce. The gallery also focuses on nurturing personal experiences with all of the pieces it displays.

The soft opening exhibition showcased unique art and design pieces from Europe such as Apparatus, Duffy London, in addition to exclusive pieces created by the gallery’s own design studio ‘Kun’. The opening was attended by Riyadh’s elite society, art and design enthusiasts, artists, fashion designers, members of the press, including design and fashion bloggers.

Gallery owner Noura Saud commented on the opening saying: “Ever since I could possibly remember, I have had a passion for art and design especially for pieces with a twist. Each design displayed in the gallery is personally handpicked by myself from around the world. I am excited to share with this community the beautiful art pieces that not only hold a rich history and originality, but are also functional and practical. It will truly be a worthwhile experience for any art and design aficionado.”

 

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Never forceful, each item displayed at the gallery is meant to have its presence as a stand-alone piece of design or art, and yet at the same time has the ability to integrate itself into any interior. Telling a story and portraying where each designer wishes to take their work is an integral part of this experience.

She also added: “We are also very proud to introduce our very own design studio “Kun” where we create our own original design pieces. Our studio’s philosophy at Kun deeply focuses on merging our history and culture with modern and contemporary designs as well as establishing a cross relationship between art and design.”

The design studio, Kun, is part of the larger entity “RUKUN”. The name is derived from Rukun, meaning, “to be” in Arabic. The studio is home to the designer’s unique and original creations where they turn plans on paper into physical objects that are innovative, customizable, and of outstanding quality and finishing.

Along with the contemporary and modern unique furniture, the gallery itself is a work of art in a minimalistic sense. The new exhibition space, complete with polished concrete floors, open plan and high ceilings, is located in the ultra-fashion retail district of Nojoud centre in Riyadh, KSA.

The gallery announced plans to hold a grand opening and to hold future monthly shows featuring works by well-renowned international artists and designers as well as emerging talents from the region.

 

 

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For more information about the gallery and the opening, please visit www.rukun.net or www.facebook.com/rukun.gallery

 

Follow us on:

Twitter: rukungallery

Instagram: rukun_gallery

Pinterest: rukungallery

For press inquiries, please contact:

NTI & Co.

Pr@nti.sa.com

About RUKUN Gallery:

Rukun is a contemporary design and art gallery based in Riyadh, Saudi Arabia that showcases unique creations sourced from around the world. Inspired by a variety of sources and taking it’s cues from the art world, each piece possesses an original quality that goes beyond the functionality of everyday design. Manipulation of materials and transforming our preconceived notions of the way they react is one of the main characteristics the gallery aims to display.

The gallery always welcomes new talent and strives to become a destination for both artists and designers of the region. Our space aims to be a hub for creative minds displaying the merger of playfulness and craftsmanship and showing what this union is able to produce.

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LOUD Art opens this year’s “Executing Culture Shock” exhibition show at Desert Designs Gallery in Khobarhttp://sketchbookmagazine.com/2014/06/spotlight/loud-art-opens-this-years-executing-culture-shock-exhibition-show-at-desert-designs-gallery-in-khobar/?utm_source=rss&utm_medium=rss&utm_campaign=loud-art-opens-this-years-executing-culture-shock-exhibition-show-at-desert-designs-gallery-in-khobar http://sketchbookmagazine.com/2014/06/spotlight/loud-art-opens-this-years-executing-culture-shock-exhibition-show-at-desert-designs-gallery-in-khobar/#comments Thu, 05 Jun 2014 09:50:55 +0000 wafa http://sketchbookmagazine.com/?p=6984 Let’s get LOUD in here! LOUD Art opens this year’s “Executing Culture Shock” exhibition show at Desert Designs Gallery in Khobar   2 June 2014 – LOUD Art together with NUQAT celebrated the opening of LOUD Art exhibition under the title...

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Let’s get LOUD in here!

LOUD Art opens this year’s “Executing Culture Shock” exhibition show at Desert Designs Gallery in Khobar

 

2 June 2014 – LOUD Art together with NUQAT celebrated the opening of LOUD Art exhibition under the title “executing culture shock”, a concept that was first introduced in Kuwait last year by NUQAT.

The show was attended by more than 1,000 visitors on the opening night (29 May) from the Eastern Province’s and KSA’s elite society, art fanatics, collectors, media, and officials and has received positive responses and applause.

Wakim Zeidan, founding member of Nuqat commented on this collaboration: “This is the first collaboration that Nuqat does in Saudi and with a promising Saudi initiative such as Loud Art. Hopefully, this will be our first move in a row of more collaborations, events and activities in the Kingdom. “Executing Culture Shock” has been a great topic for Nuqat and
we are proud to close it with Loud Art before announcing the new theme of
our next conference.

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The LOUD Art concept is the birth child of Desert Designs Art Gallery in Khobar and NTI & Co. that was first introuduced in 2012. It started off as an experimental platform with local amateur artists in the region. Artists were given a broad theme and the freedom to create art work within it to be showcased as part of a collaborative art show in Khobar.

Loud Art official spokesperson Raneen Bukhari said: “We are extremely proud and grateful for the support we have received throughout the years and are absolutely delighted to have partnered with Nuqat this year. We look forward to taking the show to Riyadh and Jeddah later in the year and offer more opportunities for young and emerging talent in KSA and the region”.

A total of 37 collaborating artists including Um Kalthoum Al Allawi, Yusef Al Ahmed, Ali Chaaban, Khalid Zahid, and Tagreed Bagshi showcased work that reflected their ideas of the concept of culture shock in a wittingly, humorous, satirical, and positive attitude that have entertained audiences and caught attention of Khobar’s social and art critics and art enthusiasts.

 

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This year, LOUD Art offered and organized a dedicated corner for 10 regional designers who specialize in designing and crafting quirky stationary and t-shirts such as Fyunka, By Farah, Fanilla Couture and more, to display and sell products ranging from t-shirts, phone covers, stationary, accessories and more.

LOUD Art this year celebrates the recognition and support of well renowned leaders and corporations in the Eastern province business industry Rawabi Holding and Shade, in addition to support from art media outlet Saudi Art Guide. The contribution of the aforementioned has resulted achieving great success and regional recognition for LOUD Art this year.

 Commenting on this Rawabi Holding Vice President of Corporate Services said: “Rawabi Holding strives to actively participate in the sustainable development of the communities where we operate, building on our mission to contribute to the economic development and quality of life in the countries where we operate. We continue to align with likeminded bodies within the community and have thus partnered with LOUD Art in an effort to support creative youth in making a positive impact within their community, enabling them to excel in the fields they are most passionate about.”

NUQAT together with LOUD Art organized an exclusive workshop by NUQAT speaker Tarek Atrissi on 30th and 31st June on Arabic lettering and Type Design. Workshops will be held at Desert Designs Gallery in Khobar. 

LOUD Art will be on until 7 June before it moves to Riyadh and Jeddah later this year (dates to be announced soon). Updates and announcements can be found on Instagram @loudart and @ddartgallery and @nti_co.

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For press inquiries, kindly contact:

Pr@nti.sa.com

 

Notes to Editors:

 

Organizers:

 

NTI & Co. - A Saudi Based company, established in 2011 by young local partners who shared a common goal. NTI consists of a team of young, innovative, and creative professionals that will thrive to reach Excellence. The team have expertise in Events, Art and PR, and combining all three elements together is what differentiates them from others in the market. NTI’s enthusiastic team includes Events Managers, Graphic Designers, Web Designers and Developers, Artists, Curators, and Public Relations Specialists who would work non-stop, mutually and independently, to ensure exceeding their clients’ satisfaction.

 

DESERT DESIGNS- A family-owned business for the last 23 years since 1990, with a vision of promoting Saudi heritage and handicrafts. The founders Farid Bukhari and his wife Qamar Ahmed both Saudi Nationals, Farid is a self-made successful business man, with 30 years of experience and Qamar an artist by profession. Both owners personally handpick and select traditional and tribal ‘bedouin’ art pieces and treasures from the past to enhance the present and nurture them in the gallery.

 

NUQAT- Firstly known as “Nuqat Ala Al Huroof”, has started in 2009 with one objective in mind which was to develop Arab creativity on all levels including design, advertising, architecture, fashion, production… Nuqat provides a platform of communication that connects and educates creatives in the Gulf and the Middle East, allowing them to explore and tackle creative change.

 

Media Partners

Saudi Art Guide - In Saudi Arabia’s expanding art scene, Saudi Art Guide is the unprecedented, first of its kind, guide to art discovery. A website, iPhone, iPad and Android app with a complete guide to exhibitions and events, gallery directory, art book launches, artist talks and much more. An extensive network of galleries around Saudi makes SAG the ultimate source to keep you up-to-date on all exhibitions, art events, auctions and art fairs, with the ability to sync our calendar with your iPhone, iPad and Android device.

 

Commercial Partners

 

Rawabi Holding

Three decades of providing a diversified range of products and services in the fields of oil, gas & petrochemicals, engineering & construction, power, telecom & IT, corrosion & industrial services, logistics and consumer products in Saudi Arabia and the Middle East has made Rawabi Holding a leading industrial player. Customer-focused Rawabi builds strategic partnerships with long term commitments to maintain a strong network of business relationships, working in a professional environment that combines technical expertise to provide the very best in quality products and services.

Rawabi Holding companies comprise of fully owned subsidiaries, partially owned companies and joint venture companies. With international partners from more than 25 countries and representing over 100 worldwide prominent companies, Rawabi Holding strives to provide its clients with a full array of services catering to their needs and exceeding their expectations.

 

Shade

Shade Corporation Ltd. is a multi-disciplined contracting company committed to ensuring its vision by “Building a Stronger Future”. Shade Corporation Ltd. is one of the leading Engineering, Procurement and Construction (EPC) contractors in the region. Since its inception, it expanded its services from General Contracting to Construction Management, Project Management, Design/Build, and Value Engineering; and have become integral players in the transportation, industrial, and building sectors. Above all else, its commitment to Safety and Quality is an integral part of its work environment, and has filtered into each employees personal values, both in and out of work, making it a culture that each live within.

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Khaleejesque Charity Art Exhibit – June 4-5, 2014http://sketchbookmagazine.com/2014/06/spotlight/khaleejesque-charity-art-exhibit-june-4-5-2014/?utm_source=rss&utm_medium=rss&utm_campaign=khaleejesque-charity-art-exhibit-june-4-5-2014 http://sketchbookmagazine.com/2014/06/spotlight/khaleejesque-charity-art-exhibit-june-4-5-2014/#comments Mon, 02 Jun 2014 13:28:05 +0000 wafa http://sketchbookmagazine.com/?p=6979   Khaleejesque Charity Art Exhibit – June 4-5, 2014 Khaleejesque announcing  “Khaleeji Reinterpreted”, a charity art exhibit celebrating 5 years of Khaleejesque! They will be creating a special info-graphic in the event to highlight and celebrate all the writers and...

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Khaleejesque Charity Art Exhibit – June 4-5, 2014

Khaleejesque announcing  “Khaleeji Reinterpreted”, a charity art exhibit celebrating 5 years of Khaleejesque!

They will be creating a special info-graphic in the event to highlight and celebrate all the writers and interns who contributed to Khaleejesque throughout the years.

What does it mean to be Khaleeji today? A question so many of us keep asking ourselves. Aiming to showcase the essence of our contemporary Khaleeji culture through the different perspectives of artists living in the Middle East, the charity art exhibit highlights curated artworks, installations and visuals from different local and regional creatives and artists.

“Khaleeji Reinterpreted” is a charity art exhibit that aims to support @Markaz21, a charity in Kuwait that provides basic services for individuals with mental and physical disabilities over the age of 21. A portion of the proceeds from the sale of artworks will go to Markaz 21’s mission.

 

Featuring:

- Heba Farahat (Saudi Arabia)

- Yusef Al Ahmad (Saudi Arabia)

- Sager Al Yaseen (Kuwait)

- Ola Dajani (UAE)

- Jenine Sharabi (Bahrain)

- Mohammad Al Kouh (Kuwait)

- Riham Al Reshaid (Kuwait)

- Bayan Abdullateef (Saudi Arabia)

- Mubarac Al Sabah (Kuwait)

- Abdullla Al Awadhi (Kuwait)

- Jassim Al Saddah (Kuwait)

 

When?

June 4, 2014 / 6-8pm - Opening reception

June 5, 2014 / 10am-8pm

 

Where?

Contemporary Art Platform @CAPKuwait

(2nd Floor, Life Center, Industrial Shuwaikh Block 2, St 28)

 

Please feel free to share the poster and Instagram image attached.

 

We hope to see you there!

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