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Invitation Au Voyage by Hossam Dirar
After Dirar’s dual show with Syrian artist Sabhan Adam in ‘Beauty and The Beast’ in 2014, Hossam Dirar comes with “Invitation Au Voyage”, a ref- erence to Charles Baudelaire’s 1857 poem in Les Fleurs du Mal.
Dirar seeks to create an imaginary world to liberate his viewer in a temporary escapade on a two‐wheel ride, very much en vogue. The art of choosing an object, the bicycle, is to reveal a mood, an invita- tion to meet furthest away from politics, wars, in- justices, in a fantasized, idealized location au-delà.
Dirar uses the journey, both in time and in space, in order to convey this sense of heightened freedom that we are missing in many cities of the world, par- ticularly in the Arab cities like Cairo. The presence of the feminine figure in all his paintings enables a romantic invitation, an outlet of a dream-state as well as a journey, conveying female emancipation so particular to Dirar’s artwork.
Egyptian-born, Hossam Dirar (1978) combines fragmented images of faces, at times of the whole
body. He paints chaotic, impulsive and richly multi-layered texturized palettes to express indi- vidual identity. He conceives his work as a re-in- terpretation of his memory, of that brief encounter, overlapping between the multi-cultural characters of where they met and his personal take of that instant of visual pleasure. Perhaps the invisible that the artist is chasing in his work is the phantom idea of beauty, trying to continue the tradition of per- sonifying time.
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Circles In The Sand by Sayed Saad El Din
This document summarizes an art exhibition by Egyptian artist Sayed Saad el Din titled "Circles in the Sand". The exhibition explores themes of attachment to one's homeland through metaphorical images. While examining the reasons for this attachment that "reason does not know", el Din reveals the essence and perfection behind life's imperfections. Through circles and spirals floating in the sky or rolling in water, el Din's artwork leads the viewer towards infinity and mystery, portraying the world and the country we are so attached to.
Renée by Guirguis Lotfy
In Renée, Guirguis honors his muse and lifetime companion. And when Guirguis is with Renée, nothing else matters.
It is not far fetched to draw the analogy that Guirguis Lotfy is to Egyptian visual arts what Salah Jahin (1930-1986) is to Egyptian poetry. Both celebrate Egypt's cultural fabric while not shying away from its shortcomings. Tirelessly, Lotfy depicts our feasts, celebrations, rituals and traditions - some still practiced today, others long forgotten. Pharaonic, Islamic or Coptic, his stunning canvases offer a personal take on these little moments of bonding and shared history or on some trivial and mundane scenes with ordinary people.
Describing his artistic process as literally looking out his window and painting what he sees, Lotfy shows an indefatigable commitment to his muse and attempts to bring forth both her beauty and contradictions. As he captures the essence of our Egyptian-ness, he reminds us that neither religion nor ideology can tear us apart. Don’t let yourself be fooled by the apparent simplicity and naivety of his crowded paintings! Guirguis Lotfy seeks to resuscitate an elaborate ancient Egyptian painting technique practiced two millennia ago in religious iconography and the famed Fayoum Portraits. By using bee wax or tempera colors dissolved in egg yolk with some gold leaf, Lotfy ensures the transmission of Coptic art - an identity, rather than a religion.
Together, Guirguis and Renée bring the past into today to provide answers for a better tomorrow. And like a storyteller, every detail is recollected, nostalgically pinching us in the heart as we feel the innocence and familiarity of those moments. Lovers, husbands, wives, children, carriages, donkeys, the fresca man, the porter, the fortune teller, the musician, the café, watermelons, Ramadan and Alexandria, all 'reveal the light that comes from people, much like saints were once portrayed in ancient paintings'. All look up in the sky towards infinity, like a calm prayer and give us a cherished snapshot of the world we live in; of the country we are so attached to and of the people we belong to. For Lotfy, Renée is Egypt. She is one and many. She is yesterday, today and tomorrow. She is his most haunting and conditional muse and he intends on making them both eternal.
Born in 1955, Guirguis Lotfy lives and works in Alexandria, Egypt. After receiving a BFA from Alexandria Faculty of Fine Arts in 1980, Lotfy went on to pursue his MFA on “Coptic painting from the 4th to the 8th Century” in 1990 and his PhD on “Coptic Art and its influence on Modern Art” in 1994 from the Cairo Faculty of Fine Arts. Hamed Owais (1919-2011) and Hamed Nada (1924-1990), two of Egypt’s modern pioneer artists, were closely involved at different stages in the supervision of Guirguis Lotfy’s masters and doctorate degrees respectively.
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Invitation Au Voyage by Hossam Dirar
After Dirar’s dual show with Syrian artist Sabhan Adam in ‘Beauty and The Beast’ in 2014, Hossam Dirar comes with “Invitation Au Voyage”, a ref- erence to Charles Baudelaire’s 1857 poem in Les Fleurs du Mal.
Dirar seeks to create an imaginary world to liberate his viewer in a temporary escapade on a two‐wheel ride, very much en vogue. The art of choosing an object, the bicycle, is to reveal a mood, an invita- tion to meet furthest away from politics, wars, in- justices, in a fantasized, idealized location au-delà.
Dirar uses the journey, both in time and in space, in order to convey this sense of heightened freedom that we are missing in many cities of the world, par- ticularly in the Arab cities like Cairo. The presence of the feminine figure in all his paintings enables a romantic invitation, an outlet of a dream-state as well as a journey, conveying female emancipation so particular to Dirar’s artwork.
Egyptian-born, Hossam Dirar (1978) combines fragmented images of faces, at times of the whole
body. He paints chaotic, impulsive and richly multi-layered texturized palettes to express indi- vidual identity. He conceives his work as a re-in- terpretation of his memory, of that brief encounter, overlapping between the multi-cultural characters of where they met and his personal take of that instant of visual pleasure. Perhaps the invisible that the artist is chasing in his work is the phantom idea of beauty, trying to continue the tradition of per- sonifying time.
UFO infographic
This document discusses an infographic about UFO sightings in 2012 created by World UFO Day. The infographic contains data from the Mutual UFO Network (MUFON) about UFO sightings. World UFO Day allows sharing of the infographic with attribution and asks that any questions be directed to their email. Two comments on the post discuss sharing the infographic on a blog and questioning government statements about early UFO sightings.
Circles In The Sand by Sayed Saad El Din
This document summarizes an art exhibition by Egyptian artist Sayed Saad el Din titled "Circles in the Sand". The exhibition explores themes of attachment to one's homeland through metaphorical images. While examining the reasons for this attachment that "reason does not know", el Din reveals the essence and perfection behind life's imperfections. Through circles and spirals floating in the sky or rolling in water, el Din's artwork leads the viewer towards infinity and mystery, portraying the world and the country we are so attached to.
Renée by Guirguis Lotfy
In Renée, Guirguis honors his muse and lifetime companion. And when Guirguis is with Renée, nothing else matters.
It is not far fetched to draw the analogy that Guirguis Lotfy is to Egyptian visual arts what Salah Jahin (1930-1986) is to Egyptian poetry. Both celebrate Egypt's cultural fabric while not shying away from its shortcomings. Tirelessly, Lotfy depicts our feasts, celebrations, rituals and traditions - some still practiced today, others long forgotten. Pharaonic, Islamic or Coptic, his stunning canvases offer a personal take on these little moments of bonding and shared history or on some trivial and mundane scenes with ordinary people.
Describing his artistic process as literally looking out his window and painting what he sees, Lotfy shows an indefatigable commitment to his muse and attempts to bring forth both her beauty and contradictions. As he captures the essence of our Egyptian-ness, he reminds us that neither religion nor ideology can tear us apart. Don’t let yourself be fooled by the apparent simplicity and naivety of his crowded paintings! Guirguis Lotfy seeks to resuscitate an elaborate ancient Egyptian painting technique practiced two millennia ago in religious iconography and the famed Fayoum Portraits. By using bee wax or tempera colors dissolved in egg yolk with some gold leaf, Lotfy ensures the transmission of Coptic art - an identity, rather than a religion.
Together, Guirguis and Renée bring the past into today to provide answers for a better tomorrow. And like a storyteller, every detail is recollected, nostalgically pinching us in the heart as we feel the innocence and familiarity of those moments. Lovers, husbands, wives, children, carriages, donkeys, the fresca man, the porter, the fortune teller, the musician, the café, watermelons, Ramadan and Alexandria, all 'reveal the light that comes from people, much like saints were once portrayed in ancient paintings'. All look up in the sky towards infinity, like a calm prayer and give us a cherished snapshot of the world we live in; of the country we are so attached to and of the people we belong to. For Lotfy, Renée is Egypt. She is one and many. She is yesterday, today and tomorrow. She is his most haunting and conditional muse and he intends on making them both eternal.
Born in 1955, Guirguis Lotfy lives and works in Alexandria, Egypt. After receiving a BFA from Alexandria Faculty of Fine Arts in 1980, Lotfy went on to pursue his MFA on “Coptic painting from the 4th to the 8th Century” in 1990 and his PhD on “Coptic Art and its influence on Modern Art” in 1994 from the Cairo Faculty of Fine Arts. Hamed Owais (1919-2011) and Hamed Nada (1924-1990), two of Egypt’s modern pioneer artists, were closely involved at different stages in the supervision of Guirguis Lotfy’s masters and doctorate degrees respectively.
HADY BORAEY | BEYOND BORDERS | EGYPTIAN VISUAL ART
In his first solo exhibition, Alexandria-based visual artist Hady El Boraey seeks to understand man’s fascination behind what lies beyond one’s borders. Challenging the mindset that the only solution for a better life requires a physical migration, Boraey questions the power of the psychological borders within our minds. With a distinctive painting technique and a thrilling imagination, Boraey has created a rich and textured world of fantasy depicting the illusion of another better life that could be had, by simply crossing the border – be it physical or psychological.
Xgames4U JISC Project
The document summarizes the xGames project which aimed to develop easily configurable game templates to encourage vocational learners' engagement with theory elements. The objectives were to design pedagogically-sound game templates, document a case study, and produce support resources. Evaluation found over 90% of learners agreed the games increased knowledge and were engaging, while over 80% of lecturers found them easy to use and that learners collaborated. The games and support materials can be accessed online or by contacting the authors.
Amsmal english
The document summarizes the Regional Project on Cultural, Urban and Environmental Heritage in Latin America and the Caribbean operated by UNESCO from 1976-1995. The project provided technical cooperation, training, conservation centers, and expert services related to heritage across 26 countries. It established conservation centers, provided training to over 4,000 professionals, implemented emergency assistance for 23 World Heritage Sites, and raised over $21 million for heritage work in the region. The project helped establish national and sub-regional heritage projects and represented a successful model of decentralized technical cooperation in the field of cultural heritage.
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The literature review examines previous research on the influence of gender, ethnicity and social class on educational achievement. It discusses debates around viewing any single factor in isolation versus considering their interactions and intersections. Studies showing attainment differences within social groups are discussed to argue against
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Born in 1982, Mekhail graduated from Helwan Fine Arts Institute in 2004, after which he trained during 4 years under the tutelage of Egyptian pivotal artist, Adam Henein.
Armed with outstanding craftsmanship and intensive training, Mekhail carved a distinctive and independent direction for himself, culminating in winning the 2011 Sculpture Award at the Ministry of Culture's Youth Salon. Mekhail’s passion for Egypt’s glorious past is prominent in his rich body of work. He manages to blend Pharaonic, Coptic and Greek lines onto his work.
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Born in 1978 in Cairo, Egypt, Riham El Sadany works and lives between Egypt and the USA. With a PhD from Helwan Fine Arts university on Performance Arts, El Sadany draws upon a diverse range of influences, including surrealism, Picasso’s childlike spontaneity, and Frida Kahlo’s transforming of pain and struggle into stunning canvasses.
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Reunión de padres
Este documento presenta la información sobre el primer trimestre del curso 2o A y B. Detalla los objetivos académicos, los profesores a cargo de cada asignatura, el horario escolar, las políticas de evaluación y asistencia, y las actividades extracurriculares planeadas para el trimestre.
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The introduction provides background on previous research that has tended to view social groups like gender, ethnicity and social class in isolation rather than considering their intersections. The student then outlines Pierre Bourdieu's theory of social and cultural reproduction and its relevance to explaining educational inequalities.
The literature review examines previous research on the influence of gender, ethnicity and social class on educational achievement. It discusses debates around viewing any single factor in isolation versus considering their interactions and intersections. Studies showing attainment differences within social groups are discussed to argue against
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