Achille zavatta biography graphic organizer
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This post fryst vatten the fourth in a series about the Stuart Cary Welch Islamic and South Asian Photograph Collection written bygd the project’s staff and student catalogers in the Digital Images and Slides Collections of the Fine Arts Library.
Written bygd Nicolas Roth
The Stuart Cary Welch Islamic and South Asian Photograph Collection fryst vatten a great resource for research, and not just for art historians. A PhD candidate in the Department of South Asian Studies, inom have had the privilege of working with the images in the collection as a student cataloger since the beginning of this year. Exploring Stuart Cary Welch’s often masterfully beautiful images of artwork and architecture from South Asia and the wider Islamic World is a joy in its own right. There are photographs of works not published elsewhere, and while these often present a frustrating challenge for us as catalogers, they are nonetheless a bit like buried treasure when one comes upon them. Yet even of comparatively well-kn
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mfc MichÚle Didier | Editor - Gallery, News
For 15th Gwangju Biennale “Pansori, A Soundscape of the 21st century”, Saâdane Afif presents an in-situ new projet The Pavilion of Eternity. After walking the streets of Yangnim neighborhood, Afif invests in an abandoned police station that resonates with his quest of a transitional space. He names the venue a Pavilion of Eternity, recalling opening and closing verses of Arthur Rimbaud's poem Eternity:
It has been found again.
What? – Eternity.
It is the sea gone
With the sun.
Saâdane Afif invests in the decrepit police station with a radical gesture by using the building as a portal to a work that will take shape through the voice of Pansori singer Sora Kim through a series of concerts.
Pavilion of Eternity :
The Pavilion of the Eternity, 2024, Mixed media, performance program, Dimension variable, in collaboration with Pansori singer and composer Sora Kim and percussionist Eunkyung Gyun, sponsored b
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Princess Alia Al-Senussi is a key figure in the development of cultural relationships between the West and the Global South, and in the growth of the art scene in Saudi Arabia. In a conversation moderated by LUX’s Leaders and Philanthropists Editor, Samantha Welsh, Alia Al-Senussi speaks with South Asian philanthropist and collector Durjoy Rahman about significant art world debates and developments at the nexus of the developed and developing worlds
LUX: Durjoy, is the relationship between art in the Global South and the rest of the world changing?
Durjoy Rahman: I have been collecting for the over 25 years, and I have always been passionate about creativity, both personally and professionally. Living in Dhaka, I have realised there is a lot of untapped creativity that can probably be moulded and presented to a wider audience, to increase visibility, benefitting Bangladesh, South Asia and, in a bigger picture, the Global South.
These days there is a very fashionable p