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Saloua Raouda Choucair: Beirut’tan Tate Modern’e

Bu video size Tate.org.uktarafından getirilmiştir

Lübnanlı sanatçı Saloua Raouda Choucair Orta Doğu bölgesine soyutluğu getirmesiyle ünlüdür. 1940'lardan bu yana Beyrut sanat sahnesinde ender görülen bir kadın sesi olarak kariyeri boyunca Batı soyutlamasını İslam tasarımının gelenekleriyle birleştirmiştir. Ancak Lübnan'da iç savaşta ve devam eden huzursuzluk döneminde çalışırken, kendi ülkesinin dışında tanınmamaktadır. 97 yaşında, bu sanat öncüsü geç de olsa, birinci müze sergisiyle takdir edilmiştir. Burada Beyrut'a yolculuk yapıp sanatçının kızını Choucair'in eserlerinin yolculuğuna başladığı dairede buluyoruz.
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this is my tate conservation studio relocated to Beirut sure care has become very well-known in recent years in her own country she isn't widely collected a huge proportion of this very prolific artist work is stored in her own apartment I think in total 160 objects are flying to the united kingdom for the Tate Show I'm not nervous about the packing because they are really taking good care of everything it's just to get to get there so I'm just hoping they will arrive safely and come back it would be a very nice moment for me to walk in a museum and go and see my mother work hang on a wall imean exposed in the right place not at home now only I've been seeing them living with them on my life there is a real resonance of she care within the apartment even though she is profoundly affected by the Alzheimer's disease that she suffers from she's omnipresent spiritually I feel she's everywhere I mean my mother is here and she's aging gracefully peacefully and losing her vocabulary so she cannot speak I'm here instead telling you things about her I wish it is it would have been wonderful her energy just to see her energy I mean growing up with her was fun because she was playing all the time but everybody respected her passion and her family I mean that she was extremely passionate about it people took her seriously because she really believed in what she wanted to do shu kare had been in Paris in the 1940s and had been working in phonology studio and I think there along with her training she had absorbed the classical painting technique her sculpture is a completely different kettle of fish I'm sure something happened in her mind in Paris it put her on a track but she felt that she always had this track in her my mother didn't waver a lot you know she went in a really very straight line her soul was completely in two forms and shapes she's incredibly inventive with the materials that she's used different kinds of marble polished wood both fired clay on fired clay glazed clay fiberglass reroute is very important to her this is where she was born she's a real beauty and she loved her city she didn't live the conflict of Lebanon with the depression I mean she was depressed definitely everybody was depressed and Lebanon at that time but there was always a new things happening in science and oh my god this is so interesting so she was always motivated he wasn't sick of modern time she wasn't nostalgic she believed in the future she believes in science and in exploring space and exploring the DNA and exploring all this at Isola to sorry I and I Sarah in Hibernia lives now and Vadim fee en DIC hata model little sailor at Le Tissier modelito Sahara Monday little pudgy Nikhil sunyani hadima in hitachi maracas and if you are naked in baby holy no Anna had therapy yeah the Ptolemy ya ali lamp show so and we should [ __ ] wha happen island i would say internationally work is very very little understood very under-recognized which of course is the importance of having the exhibition at tape in the last decade that say or even two decades her work has been increasingly acknowledged particular in Beirut one would say that generally throughout her life up until that point she was really overlooked in some cases perhaps purposefully so she was a woman of course she's also Druze and bare root is a very complex as we know in terms of the different factions and frictions and of course also the the fact of Civil War so it was impossible for any artists to have an international career let alone a local career ha ha ha kill her never men men adidas lemme manila mesa slamming a dervish awara kara will llueva kill it ma certain body a hanky hem verse metal Abaddon we're being and hadn't a new urges tamil henderson yet making where the end mallu look at where the ND anniversary ta Keo subsea so there's one painting any exhibition that gives you some sense of the circumstances in which shoe care was working which of course were extreme the painting that we've included was affected by a bomb that exploded very near to her apartment glass shattered the painting it's it's partially destroyed but I felt it was very important to include in the exhibition in order to understand that here is an artist producing this type of work completely surrounded by a very different set of circumstances and yet her work is remaining completely true to itself let's say and true to her her own interests and and fascinations she's an extremely rational artist it was not in her artistic language to bring in subjects such as the Civil War or about perhaps raising a child or being a wife or a mother or indeed any of the other sort of personal stories these were irrelevant art making I'm still discovering and I've been looking into those pieces forever and I still see new things in them I know she's happy and I know that she's happy that we are enjoying it