Domestic Relations: The Couch Series


October 15th – November 11th, 2012


6 Contemporary Arts – Curated by Aïda Eltorie

Eman Abdou

Eman Abdou captures us with a brand new series of eloquent yet ironic objects of power: The Couch. Occupying a genre of domesticity, whether set across a scene of the collective ‹family› or the empirical individuality, do we meet the passive participant to the Egyptian condition that might have or might not have partaken into the changes still being sought in this new world order. An attempt of political proclamation, concealed by the emblem of a couch dressed in a typical floral motif to the Egyptian peasant culture, do we recognize the unity of a collective discernment towards the demands of change.

Abdou had begun this collective in 2011, as risings were still taking their toll, questions were left for ponder, activists varied in their choices of classification, and with a determination to bring back power to «the people,» do we witness a more simplified and user-friendly approach to what Jacques Rancière states as ‹the people› (or demos) are entitled to share all freedom. In his description for the «avant-garde» does Rancière explain ‹the party› as «an advanced detachment that derives its ability to lead from its ability to read and interpret the signs of history.» That being said, do we witness a relationship between political parties and aesthetic. Rancière refocuses the people’s power on their ability to present themselves and onto the aesthetic humanitarian and the aesthetic righteous, leaving us with the open-ended question; What do the people have to give back to their community?

In The Couch, does Abdou retain her faith back to «the people» and explores the role of a household object, be it a couch sitting in your living room, secretly holding up private conversations about the counteracted domestic tank; a contoured warfare object lying across the living room walls, with its flowered motifs and beautified attempts to bring back social order. It is in Abdou›s Domestic Relations, does she dare to initiate an exploration into her own personal renderings of an emotional state to collective uncertainties. The couch, a silent participant in the household, hosts the attempts of rest or continuous redundancy, and through its collectivity does it reveal the powers of a silenced voice.

Biography / EMAN ABDOU

Eman Abdou is a Cairo-based visual artist. In 2001, she graduated first of her year from the Faculty of Fine Arts› Painting Department, Helwan University, and since then painting has been her major field of interest for her practice besides working and experimenting in different media. Abdou started working as a teacher assistant at the Faculty of Fine Arts, Helwan University and by 2004 she moved to England and lived in Loughborough for three years, where she got an excellent chance to study delivering learning at Loughborough College. In 2009 she completed her MA degree from the Faculty of Fine Arts, Helwan University, and her thesis was titled “The Effects of Conceptual Art on Contemporary Art.”

Abdou is currently pursuing her PhD at Helwan University entitled “Egyptian Art and its Relation to Politics Since 1990 Until Now,” and assistant lecturer at the Painting Department over the past years, Abdou has participated in the Intensive Study Program (ISP) at The Townhouse Gallery for contemporary art on the ‹Historiography of Modern and Contemporary Art in the Middle East.› She has also been teaching different art courses to a wide variety of international students, and participated in selective group exhibitions in Egypt and abroad, such as The Wallpaper Exhibition in Art & Design, Barcelona (2011); and published in books such as Egyptian Rights and Duties (2011).

About 6

6 Contemporary Arts prmiere’s its new exhibition hall with a new look and a new identity. Hosting works for their authentic and groundbreaking approach to the practice of contemporary arts worldwide. 6 Contemporary Arts is seeking to avoid the regional cliche, and focus more on the significance of what’s happening in the international art scene now, by recognizing young, rising talents alongside well-established genres in its regional capacity, allowing for a wider spectrum of artistic practice to transcend its domineering capacities, and constantly build anew.

The name of the gallery is directly associated to its location, 6 Salahedin St. in the uptown of Zamalek, Cairo. Attached to the prominent Le Souk antiquarian hosting rare and mint condition beauties of true historical ingenuity. The gallery, is a complete counterpart to the antiquarian, allowing for a mature domestic environment to give birth to its ever-changing novelty, 6 Contemporary Arts.

علاقـــات منزليـــة

ايمان عبده

تفاجئنا‭ ‬إيمان‭ ‬عبده‭ ‬بمجموعة‭ ‬جديدة‭ ‬من‭ ‬أدوات‭ ‬السُلطة‭ ‬البليغة‭ ‬وإن‭ ‬كانت‭ ‬ساخرة‭: ‬رمز‭ ‬“الكنبة”‭ ‬يحتل‭ ‬مكانة‭ ‬في‭ ‬الحياة‭ ‬المنزلية‭ ‬سواء‭ ‬كان‭ ‬ذلك‭ ‬إزاء‭ ‬المشهد‭ ‬العائلى،‭ ‬أو‭ ‬التجربة‭ ‬الفردية،‭ ‬حيث‭ ‬نقابل‭ ‬المشارك‭ ‬السلبى‭ ‬فى‭ ‬الحالة‭ ‬المصرية،‭ ‬الذى‭ ‬قد‭ ‬يكون‭ ‬شارك‭ ‬أو‭ ‬لم‭ ‬يشارك‭ ‬فى‭ ‬هذا‭ ‬النظام‭ ‬العالمى‭ ‬الجديد‭. ‬إنها‭ ‬محاولة‭ ‬لتقديم‭ ‬رؤية‭ ‬سياسية‭ ‬تحت‭ ‬ستار‭ ‬الكنبة،‭ ‬بعد‭ ‬تغطيتها‭ ‬بموتيفة‭ ‬من‭ ‬رسوم‭ ‬زهرية‭ ‬تميز‭ ‬الثقافة‭ ‬المصرية‭ ‬الريفية‭…. ‬فهل‭ ‬نتعرف‭ ‬من‭ ‬خلالها‭ ‬علي‭ ‬وسيلة‭ ‬جماعية‭ ‬تطالب‭ ‬بالتغيير؟

بدأت‭ ‬إيمان‭ ‬عبده‭ ‬هذه‭ ‬المجموعة‭ ‬عام‭ ‬‮٢٠١١‬‭ ‬،‭ ‬بينما‭ ‬كان‭ ‬الربيع‭ ‬العربى‭ ‬فى‭ ‬أوجه،‭ ‬وكان‭ ‬هناك‭ ‬العديد‭ ‬من‭ ‬الأسئلة‭ ‬المتروكة‭ ‬للتأمل،‭ ‬والنشطاء‭ ‬مختلفون‭ ‬فى‭ ‬إختياراتهم‭ ‬و‭ ‬تصنيفاتهم،‭ ‬و‭ ‬فى‭ ‬ظل‭ ‬هذا‭ ‬المناخ‭ ‬المصمم‭ ‬على‭ ‬إعادة‭ ‬“‭ ‬السلطة‭ ‬للشعب”‭ ‬،‭ ‬هل‭ ‬نشهد‭ ‬طريقاً‭ ‬سهلاً‭ ‬و‭ ‬مبسطا‭ ‬لأراء‭ ‬جاك‭ ‬رانسيير،‭ ‬المعبرة‭ ‬عن‭ ‬أحقية‭ ‬الشعب‭ ‬فى‭ ‬الحرية‭ ‬الكاملة‭.‬

فى‭ ‬وصفه‭ ‬“‭ ‬للتقدمية‭ ‬“‭ ‬يشرح‭ ‬رانسيير‭ ‬معنى‭ ‬“الحزب”‭ ‬بأنه‭ ‬“‭ ‬فصيل‭ ‬متقدّم‭ ‬يستمد‭ ‬قدرته‭ ‬على‭ ‬القيادة‭ ‬من‭ ‬قدرته‭ ‬على‭ ‬قراءة‭ ‬وتفسير‭ ‬علامات‭ ‬التاريخ‭.‬”‭ ‬في‭ ‬ضوء‭ ‬هذا،‭ ‬هل‭ ‬نشهد‭ ‬علاقة‭ ‬بين‭ ‬الأحزاب‭ ‬السياسية‭ ‬وعلم‭ ‬الجمال؟‭ ‬يعيد‭ ‬رانسيير‭ ‬تركيز‭ ‬قوة‭ ‬الشعب‭ ‬على‭ ‬مقدرة‭ ‬كل‭ ‬فرد‭ ‬على‭ ‬التعبير‭ ‬وعلى‭ ‬جماليات‭ ‬كل‭ ‬ما‭ ‬هو‭ ‬إنساني‭ ‬و‭ ‬أخلاقي،‭ ‬ليترك‭ ‬لنا‭ ‬سؤال‭ ‬بدون‭ ‬إجابة‭: ‬ماذا‭ ‬على‭ ‬الناس‭ ‬أن‭ ‬يقدّموا‭ ‬في‭ ‬المقابل‭ ‬لمجتمعهم؟

في‭ ‬“علاقات‭ ‬منزلية”‭ ‬هل‭ ‬تستعيد‭ ‬إيمان‭ ‬عبده‭ ‬ثقتها‭ ‬في‭ ‬“الشعب”‭ ‬عن‭ ‬طريق‭ ‬الكشف‭ ‬عن‭ ‬إحدي‭ ‬العناصر‭ ‬المنزلية‭ ‬وهي‭ ‬رمز‭ ‬الكنبة‭ ‬القابضة‭ ‬في‭ ‬غرفة‭ ‬معيشتك‭ ‬والمحتفظة‭ ‬بأحاديثك‭ ‬الخاصة‭ ‬كأنها‭ ‬دبابة‭ ‬منزلية‭ ‬–‭ ‬أداة‭ ‬حرب‭ ‬–‭ ‬ذات‭ ‬سطح‭ ‬متعرج‭ ‬راقدة‭ ‬قبالة‭ ‬حوائط‭ ‬غرفة‭ ‬المعيشة‭ ‬وبإضافة‭ ‬موتيفاتها‭ ‬من‭ ‬الرسوم‭ ‬الزهرية‭ ‬تحاول‭ ‬الفنانة‭ ‬أن‭ ‬تضفي‭ ‬عليها‭ ‬الجمال‭ ‬في‭ ‬محاولة‭ ‬لإستعادة‭ ‬النظام‭ ‬الاجتماعي‭. ‬تترجم‭ ‬إيمان‭ ‬عبده‭ ‬في‭ ‬“علاقات‭ ‬منزلية”‭ ‬الحالة‭ ‬العاطفية‭ ‬من‭ ‬إنعدام‭ ‬أي‭ ‬يقيين‭ ‬جماعي‭ ‬بإختيارها‭ ‬“الكنبة”‭ ‬مبعث‭ ‬الراحة‭ ‬والكسل‭ ‬في‭ ‬المنزل‭ ‬كالمشارك‭ ‬الصامت‭ ‬فهي‭ ‬تكشف‭ ‬عن‭ ‬سلطات‭ ‬صوت‭ ‬يتم‭ ‬إسكاته‭.‬

إيمــــان‭ ‬عـــبده

إيمان‭ ‬عبده‭ ‬فنانة‭ ‬تشكيلية‭ ‬مقيمة‭ ‬بالقاهرة‭. ‬تخرجت‭ ‬عام‭ ‬2001‭ ‬من‭ ‬قسم‭ ‬التصوير‭ ‬بكلية‭ ‬الفنون‭ ‬الجميلة،‭ ‬جامعة‭ ‬حلوان،‭ ‬و‭ ‬يعد‭ ‬التصوير‭ ‬الزيتي‭ ‬مجال‭ ‬إهتمامها‭ ‬الرئيسي‭ ‬بجانب‭ ‬ممراستها‭ ‬الفنية‭ ‬بالخامات‭ ‬و‭ ‬الوسائط‭ ‬المختلفة‭.‬

بدأت‭ ‬إيمان‭ ‬عملها‭ ‬كمعيدة‭ ‬في‭ ‬كلية‭ ‬الفنون‭ ‬الجميلة‭ ‬بجامعة‭ ‬حلوان‭ ‬وبحلول‭ ‬عام‭ ‬2004‭ ‬إنتقلت‭ ‬إلي‭ ‬إنجلترا‭ ‬وعاشت‭ ‬في‭ ‬لفبرا‭ ‬لمدة‭ ‬ثلاث‭ ‬سنوات‭ ‬حيث‭ ‬أتيحت‭ ‬لها‭ ‬فرصة‭ ‬رائعة‭ ‬لدراسة‭ ‬‮«‬فعاليات‭ ‬التدريس‮»‬‭ ‬في‭ ‬جامعة‭ ‬لفبرا‭. ‬حصلت‭ ‬علي‭ ‬درجة‭ ‬الماجستير‭ ‬عام‭ ‬2009‭ ‬من‭ ‬كلية‭ ‬الفنون‭ ‬الجميلة‭ ‬جامعة‭ ‬حلوان‭ ‬وكان‭ ‬عنوان‭ ‬الرسالة‭ ‬‮«‬‭ ‬تأثير‭ ‬الفن‭ ‬المفاهيمي‭ ‬علي‭ ‬الأعمال‭ ‬الفنية‭ ‬المعاصرة‮»‬

تعمل‭ ‬حاليا‭ ‬إيمان‭ ‬عبده‭ ‬كمدرس‭ ‬مساعد‭ ‬بقسم‭ ‬التصوير‭ ‬بجامعة‭ ‬حلوان‭ ‬وتواصل‭ ‬بحث‭ ‬رسالة‭ ‬الدكتوراة‭ ‬بعنوان‭ ‬‮«‬الأعمال‭ ‬الفنية‭ ‬المصرية‭ ‬وعلاقتها‭ ‬بالسياسة‭ ‬منذ‭ ‬1990م‭ ‬وحتي‭ ‬ألان‮»‬

شاركت‭ ‬إيمان‭ ‬في‭ ‬برنامج‭ ‬الدراسة‭ ‬المكثف‭ (‬أي‭ ‬إس‭ ‬بي‭) ‬في‭ ‬تاون‭ ‬هاوس‭ ‬جاليري،‭ ‬للفن‭ ‬المعاصر‭ ‬عن‭ ‬‮«‬تاريخ‭ ‬الفن‭ ‬الحديث‭ ‬والمعاصر‭ ‬في‭ ‬الشرق‭ ‬الاوسط‮»‬‭ ‬وقامت‭ ‬أيضا‭ ‬بتدريس‭ ‬دورات‭ ‬فنية‭ ‬مختلفة‭ ‬لعدد‭ ‬كبير‭ ‬ومتنوع‭ ‬من‭ ‬الطلبة‭ ‬الدوليين،‭ ‬وشاركت‭ ‬في‭ ‬معارض‭ ‬جماعية‭ ‬إنتقائية‭ ‬في‭ ‬مصر‭ ‬وخارجها،‭ ‬مثل‭ ‬‮«‬معرض‭ ‬ورق‭ ‬الحائط‮»‬‭ ‬بجاليرى‭ ‬الفن‭ ‬والتصميم،‭ ‬ببرشلونة‭ ‬2011،‭ ‬كما‭ ‬شاركت‭ ‬فى‭ ‬كتاب‭ ‬‮«‬حق‭ ‬وواجب‭ ‬المصرى‭ ‬‮«‬‭ (‬2011‭) ‬وهو‭ ‬كتاب‭ ‬فنى‭ ‬يهدف‭ ‬لنشر‭ ‬الثقافة‭ ‬الحقوقية‭ ‬كأساس‭ ‬للتوعية‭ ‬السياسية‭.‬

6 Contemporary Arts   قاعة عرض عالمية تستضيف الاعمال الفنية التي تتميز بالاصالة والابتكار في الفنون المعاصرة من كل أنحاء العالم، وتسعي لتجنب الاطارات الاقليمية لتواكب ما يحدث في المشهد الفني العالمي اليوم، فهي تقدر المواهب الشابة الصاعدة التي تتباين مع الانواع الفنية الراسخة في السياق الاقليمي، وبالتالي تسمح لطيف أوسع من الممارسة الفنية بان يتـجاوز امكانياته المهيمنة ويبني دائما من جديد.

يعبر اسم الجاليري مباشرة عن مكانه، 6 شارع صلاح الدين، في منطقة الزمالك بالقاهرة ويرتبط بالكيان المتميز “Le Souk” الذييحــتويعليمقتنياتأثريةأصليةونــادرة،ويعتــبر6 Contemporary Arts بمثابة نظيرا له.

بالاضافة الي برنامج المعرض، سيستضيف  6 Contemporary Arts  فعاليات مستمرة ترحب بضيوفه في كل الاوقات.

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