Mashrabiya Art at the Philadelphia Museum of Art

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Amina’s experience of the outside world is filtered through the Mashrabiya screens on the windows. Kaabilinke said Mashrabiya itself will be a character in the novel. She created a set of Mashrabiya windows in translucent acrylic, based on ancient mosque and palace patterns. The pattern can only be clearly seen as a shadow on the gallery wall.

Nadia Kirby-Linke points out the intricate design of her artwork.
Nadia Kaabi-Linke created a mashrabiya pattern in translucent acrylic for a piece she calls “Amina’s Tears.” The pattern is only clearly visible as a shadow when light passes through the glass. (Emma Lee/WHYY)

Ms. Karbilinke calls her wall carvings “Amina’s Tears.”

“‘Amina’s Tears’ is a way to open up to the broken parts of ourselves and find the light within,” she said. She “does not reject difficulties, but rather approaches them, through the prism of the historical elements of Mashrabiya in the specific plots of Naguib’s books.”

Close-up of translucent mashrabiya artwork.
Nadia Kaabi-Linke created a mashrabiya pattern in translucent acrylic for a piece she calls “Amina’s Tears.” The pattern is only clearly visible as a shadow when light passes through the glass. (Emma Lee/WHYY)

Another artist in the show, Majida Hattari, is originally from Morocco and currently lives in Paris, where she primarily works as a photographer and is known for her luxurious and luxurious designs clad in boldly patterned fabrics and deep, plush pillows. Portraits are taken with carefully arranged stage settings.

Her work is deeply influenced by critical thought on Orientalism. Orientalism was a term coined by Edward Said in 1978 to refer to the colonial and often racist view that people in the West perceive of the peoples and cultures of the Middle East and Eastern countries.

In her work Orientalismes revisités à Philadelphie, Cattari portrays a cast of characters from Philadelphia, including members of the Bearded Ladies Cabaret and artifact collector Helene Drutt, who takes the stage as a sultan in a richly furnished palace. He photographed performing artists and figures from the local arts scene.

Majida Katari stands next to a Mashrabiya artwork.
Majida Katari supports her “Philadelphia Orientalism Revisited,” which requires viewing a series of photographs displayed on a video screen through a mashrabiya. (Emma Lee/WHYY)

The photo is displayed on a large screen TV, above which a mashrabiya screen is fixed. The viewer must approach the work, lean in, and search for the image through the screen.

“You have to try,” Katari said. “Then you ask, ‘Why do we have this filter?’” and “Why do we have these images?”

Hoda Twakol poses next to her artwork.
Hoda Twakol used the idea of ​​falconry lures, used to attract and control birds, and gave the birds human proportions, giving them feminine features reminiscent of the eyes, chest, and legs. This work is a companion piece to “Mashrabiya No.9”, which is made with Western-style lattice work. (Emma Lee/WHYY)

The exhibition also features a large-scale installation work by Anila Quayyum Agha, originally from Pakistan and currently based in the United States. Hoda Tawakol, originally from Egypt, currently based in Germany. Nidaa Badwan, originally from Gaza, currently based in Italy. and Susan Hefna, who is Egyptian and German.

Recliner pillows are placed on the floor of the Wood Museum gallery. Milliken Hope — Thoughts and Conversations. The ‘Mashrabiya Project’ aims to be a focal point for community activities within the museum, including gallery talks and collaborative woodworking projects.

Cushions and a sofa are placed in the center of the room.
Spaces for music, reading and other programming are part of the Mori Art Museum’s Mashrabiya project in the Old City. (Emma Lee/WHYY)

Returning to its organizational origins as the Woodturning Center (later the Center for Art in Wood and, earlier this year, the Museum for Art in Wood), the museum is introducing woodturning to the public. I’m inviting you to try it. lathe machine. Two of his pieces are installed in a temporary booth built in the center of the museum’s gift shop.



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