Suchergebnisse

Written in memory of the late Cyril Aldred, one of the world's most highly regarded experts in Egyptian art, the 30 original and thought-provoking essays in this volume, by an international team of leading scholars, are a major contribution to Egyptian art history, to Egyptology and to art history in general.

The wave of uprisings known as the "Arab Spring" that swept over the Middle East and North Africa from December 2010 to early 2013 left its imprint on the political and social life in the countries concerned. This transient moment also marked a change in various forms of artistic expressions. Street art, graffiti and calligraffiti are among the most striking forms of art that developed during this short period. Artists recorded and commented on events and the developments of the political situation. They drew upon their people's cultural memory to impart their messages and expressed dissension, civil disobedience and resistance by combining images and scripts. The present essay addresses questions pertaining to the fields of material culture, memory and heritage studies. It explores the materiality of visual art and the translation of political contestation into street art, graffiti and calligraffiti in Egypt. In my use of the term, materiality refers to the physical properties and texture of street art, graffiti and calligraffiti. It also denotes their intangible dimension, their meanings and their relations to people. Translation relates here to cultural contacts and to the interplay between texts, images and contexts from the vantage point of intermediality. The essay probes the ways political slogans were visualised, drawn and inscribed on the walls of the urban space in Cairo and then disseminated on a plethora of Internet platforms and social media. It posits that these media are helping to elaborate the cultural memory and intangible heritage of events from a very recent past. Key words: street art – graffiti – calligraffiti – "Arab Spring" – Egypt - materiality - translation – cultural memory - heritage. ; Engaged Ephemeral Art: Street Art and the Egyptian Spring.

The wave of uprisings known as the "Arab Spring" that swept over the Middle East and North Africa from December 2010 to early 2013 left its imprint on the political and social life in the countries concerned. This transient moment also marked a change in various forms of artistic expressions. Street art, graffiti and calligraffiti are among the most striking forms of art that developed during this short period. Artists recorded and commented on events and the developments of the political situation. They drew upon their people's cultural memory to impart their messages and expressed dissension, civil disobedience and resistance by combining images and scripts. The present essay addresses questions pertaining to the fields of material culture, memory and heritage studies. It explores the materiality of visual art and the translation of political contestation into street art, graffiti and calligraffiti in Egypt. In my use of the term, materiality refers to the physical properties and texture of street art, graffiti and calligraffiti. It also denotes their intangible dimension, their meanings and their relations to people. Translation relates here to cultural contacts and to the interplay between texts, images and contexts from the vantage point of intermediality. The essay probes the ways political slogans were visualised, drawn and inscribed on the walls of the urban space in Cairo and then disseminated on a plethora of Internet platforms and social media. It posits that these media are helping to elaborate the cultural memory and intangible heritage of events from a very recent past. Key words: street art – graffiti – calligraffiti – "Arab Spring" – Egypt - materiality - translation – cultural memory - heritage.

This paper contextualizes the Art and Liberty group within the scope of Egyptian modern art. In doing so, it argues that this movement does not simply translate "central" Parisian surrealism to so-called "peripheral" Cairo. Rather, Art and Liberty represents a pivot in a continuum of Egyptian modern art and an important node in the transnational expansion of surrealism in the late 1930s. To situate the movement in a larger arc, this article spans the 1910s to the 1950s. An analysis of famous sculptor Mahmoud Mukhtar (1891–1934) first represents the nationalist and classicist origins of Egyptian modern art. Second, an examination of the Long Live Degenerate Art manifesto explicates the complexity of the group's ideology in its early days. Third, Kamel Telmisany's (1915–72) shift from expressionist painter and draftsman to realist filmmaker signals how aesthetics and mediums adapted to new iterations of the Art and Liberty ideology. Fourth, painter Abdel Hadi el-Gazzar (1925–66) and the Contemporary Art Group epitomize the impact of Art and Liberty after World War II. This chronological progression illustrates how the Egyptian Art and Liberty group reacted vociferously against nationalism in politics and art, both locally and regionally. In doing so, they shifted the audience of modern Egyptian art and created a new, transnational public. For these reasons, the author calls this movement the "Beautiful Black Cloud" of modern Egyptian Art. It was violent, stormy, and did not always look "pretty," but it was beautiful in its legacy.

The wave of uprisings known as the Arab Spring that swept over the Middle East and North Africa from December 2010 to early 2013 left its imprint on political and social life in the countries concerned. This ephemeral moment also marked a change in various forms of artistic expression. Street art, graffiti, and calligraffiti are among the most striking art forms of this short period. Artists recorded and commented on events and developments in the political situation. They drew upon their people's cultural memory to impart their messages and expressed dissension, civil disobedience, and resistance by combining images and scripts. This article is about the materiality of visual art and the translation of political contestation into street art, graffiti, and calligraffiti in Egypt. It probes the ways slogans were visualised, drawn, and inscribed on the walls of the urban space in Cairo and then disseminated on the internet and social media. Translation relates here to transcultural contacts and the interplay between texts, images, and contexts from the vantage point of intermediality.

The Egyptian art style is mysterious and unique, among which the art of afterlife and positive rate are particularly prominent artistic features. From ancient times to the present, the pursuit of beauty has never stopped, and skin care products are almost an indispensable part of women's lives, through which women hope to make their skin glow and slow down the aging process. Therefore, this design sought to create a skincare product packaging, applying Egyptian art style to the packaging to directly and clearly present women's needs for skincare products, while achieving the effect of promoting skin care products and attracting consumers.