Professor Saed Salloum
b. 1970, Syria
Syria, University of Damascus, Faculty of Fine Arts, Painting Department
He is a member of the Union of Fine Artists of Syria (1996-2018).
He is a founding member of the Association of Researchers and
Fine Art Critics/In Charge of Critics (2018)
HE IS A PROFESSOR OF
FINE ARTS AT THREE
UNIVERSITIES IN SYRIA, THE
UNIVERSITY OF FINE ARTS IN
DAMASCUS, UNIVERSITY OF
FINE ARTS IN SUAIDAA AND
UNIVERSITY OF FINE ARTS
IN KALAMOUN. HE TEACHES
PAINTING, ART HISTORY
AND AESTHETICS OF ART
He has been drawing since his childhood. In elementary school, he used to spend most of his spare time drawing and colouring. He has done various workshop at the University of Damascus and other centres. He has multiple publications about analysis and the theory of art.
HE HAS PARTICIPATED IN SEVERAL INTERNATIONAL COLLECTIVE EXHIBITIONS IN SYRIA, ITALY, SPAIN, KUWAIT, SAUDI ARABIA, SUDAN, IRAQ AND VENEZUELA
IN 2003 AND 2012, HE HAD INDIVIDUAL
EXHIBITIONS IN THE EXHIBITION HALL
OF THE FACULTY OF FINE ARTS.
IN 2015, HE HAD AN INDIVIDUAL
EXHIBITION IN THE EXHIBITION
HALL AT DAR AL-OPERA (HOUSE OF
SYRIAN OPERA) IN DAMASCUS.
HE WAS A MEMBER OF THE
COMMITTEE THAT EVALUATES THE
EDUCATIONAL MATERIAL OF FINE
ARTS AND AESTHETIC EDUCATION IN
THE MINISTRY OF EDUCATION FOR
THE FIVE-YEAR PLAN, 2013-2018.
He has published a number of caricatures in Syrian newspapers Saed Salloum’s artistic approach is expressive
VENICE BIENNALE – Saed Salloum
LOCATION: San Servolo Island, Venice Chiesetta della Misericordia
His work at the Biennial reflects his vision on the human presence in this era.
Syrian Civilisation is Still Alive
Commissioner/Curator: Emad Kashout.
Abdalah Abouassali, Giuseppe Biasio, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia.
With their participation in Syrian Civilisation is Still Alive, the invited artists
embrace the dialogical dimension of their works beyond national borders.
A VERSION OF THIS ARTICLE APPEARED IN PRINT IN SELECTIONS, 21 ARTISTS AND A BIENNIAL #49, PAGES 128-133.