In ART, General
Following the last issue of Selections, Frequently Asked Questions in Art, we continue our quest to analyse what surrounds us in the art world. However, this time, for our 21 Artists and a Biennial issue, we take you backstage to expose you to the world of research in the 21st century. Because the most important part of our work is research, we analyse both the material we receive and what we find, basing ourselves on today’s most common search tools: online search engines, online encyclopaedia, social media, carefully written press releases, email exchanges with the artist’s gallery and the artist him/herself. After laying down the information we’ve gathered onto our pages, we invite you to make your own analysis.


Portrait of Katya Traboulsi. Image courtesy of the artist

KATYA A. TRABOULSI

Beirut-based multimedia artist, Born in 1960

HER WORKS ARE
CHARACTERISED
BY HER BOLD
USE OF COLOUR

 

HER WORK HAS BEEN EXHIBITED INTERNATIONALLY SINCE 1986 IN


Traboulsi working with ceramics. Image courtesy of the artist.

Traboulsi working
with ceramics. Image
courtesy of the artist.

PARIS
LONDON
DUBAI
KUWAIT
NORTH AMERICA
THE ALGERIAN MUSEUM OF MODERN ART
THE INTERNATIONAL ARMORY
SHOW IN NEW YORK.
VENICE
THE MIDDLE EAST INSTITUTE IN
WASHINGTON WITH PERPETUAL
IDENTITIES PROJECT (UPCOMING, 2019)
THE UNITED NATIONS NY WITH PERPETUAL
IDENTITIES PROJECT (UPCOMING, 2019)

 

 

“I have been blessed with the ability of this expression through forms and colors..
This is what I do, and this is who I am.”

Katya Traboulsi, An Age of Rage, 2018. Acrylic on Canvas, 190 x 200 cm. Image courtesy of the artist.

Katya Traboulsi, An
Age of Rage, 2018.
Acrylic on Canvas,
190 x 200 cm. Image
courtesy of the artist.


Katya Traboulsi, Connections, 2013. Mixed Media, 2 x 2 m. Images courtesy of the artist

Katya Traboulsi,
Connections, 2013.
Mixed Media, 2 x 2 m.
Images courtesy of the
artist

“Other than expressing myself as a soldier in art through paintings and medium that correspond to my inspirations, animals, nature and people are my second skin.”

 

 

Traboulsi published Generation War, a body of work that traces the story of photojournalists who witnessed the civil war during the 1980s – an homage to their efforts and a political project that seeks to record the country’s complex histories.

 

Traboulsi working on the shell Japan, Brass base and top, Porcelain, 80 x 20 cm. Image courtesy of the artist

Traboulsi working on the shell Japan, Brass base and top, Porcelain,
80 x 20 cm. Image courtesy of the artist

“In times of war,
unconsciousness is a survival instinct.”

PERPETUAL IDENTITIES
A PROJECT DEDICATED TO THE GLORY OF HUMANITY


These 46 shells, clothed in the arts and crafts of 46 countries, become bodies of designs, themes and skills, bearing the glory of every people and inviting them to join in the universal banquet of humanity. The shell becomes “Book,” an inventory of myths, of traditions of embodied know-how, and invites the discovery of the other. Its deadly one-way trajectory becomes an exchange. The shell becomes “Arrow” and sows not death, but knowledge and civilization in the territory of the other. Its scope becomes sociological, theological and philosophical.

“My creations are inspired by historical events. The artisans that took part in the projects are the perpetual memory of that history, glorifying through their handicraft talents and the heritage of their identity.”

 

Present with “its liquid” at the Venice Biennale by showing seven pieces of the collection Perpetual Identities

“BY EXHIBITING DURING THE VENICE BIENNALE, I DID NOT KNOW
WHAT TO EXPECT. BUT IT TURNS OUT THAT I MET DIFFERENT
PEOPLE, FROM DIFFERENT COUNTRIES AND IT WAS VERY PLEASANT
TO EXCHANGE IDEAS AND ESPECIALLY TO MEET THROUGH MY
INSTALLATION, WITH THE SAME IDEA OF UNITY AND PEACE.”

VENICE BIENNALE – KATYA A. TRABOULSI
Location: Palazzo Ca’ Zanardi (Cannaregio 4132, Venice)

“Perpetual Identities” installation at the Vennice Biennale. Image courtesy of the artist.

“Perpetual Identities” installation at the Vennice Biennale. Image courtesy of the artist.


A VERSION OF THIS ARTICLE APPEARED IN PRINT IN SELECTIONS, 21 ARTISTS AND A BIENNIAL #49, PAGES 86 – 92.

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