Islamic Art 9


Te Translator from the series How Iraqi Are You? (2015) by Hayv Kahraman, oil on linen, 249 x 193 cm. Photo courtesy of Defares Collection


display as on the artefacts themselves. One of his contributions to Jameel Prize 5 is an installation titled Ephesian Fog (2016);


others, like


Ancient Trough Modern 26’ and ‘28 of collages, actually include postcards of objects in the V&A’s own collections, presenting the art of the past in a Modernist context. With her paintings Iraqi Hayv


Kahraman explores migration, the dynamics experienced by people from the Middle East living in diaspora, as well as gender-based issues in large- scale, figurative works. At Jameel Prize 5 she shows Te Translator from her series How Iraqi Are You? (2015), inspired by the illustrations in 13th- century Arabic manuscripts. With this series she aims to create a forgotten history from the perspective of an immigrant,


specifically her


mother, who was a translator between refugees and aid workers in Sweden. A second work, House in Gaylani, from her series Let the Guest be the Master (2014), was prompted by the sale of her childhood home in Baghdad.


Her composition


emphasises gender roles – the women remaining in the house, the men meeting in the courtyard.


much-needed contextual dimension and bridge between the Islamic craft heritage and contemporary practice, it actually complements the rapid development of contemporary art from the region.’ Te names of artists selected from previous editions read like a roll-call of those currently celebrated in today’s art world. Primarily due to its touring aspect, the Prize suddenly gives emerging and mid-career artists an international audience. Fancy mentions the Islamic craft heritage, so much of which is disappearing in areas of conflict, lack of tourism and inexpensively manufactured alternatives.


By


An exciting young fashion designer, Hala Kaiksow from Bahrain, launched her eponymous womenswear


label in 2016.


Sustainability is the name of her game, including weaving the textiles herself on a manual loom, along with Bahraini artisans. On display are two looks including Wandress Shepherd’s Coat (2015), made from wool and denim, a modified form of an Iranian shepherd’s coat from the turn of the 20th century, which has a cartridge


pleating detail that was inspired by a Cypriot shepherd’s water-bag, as well as Islamic geometry. She treats her designs like sculptures that move around the bodies that wear them. Another exhibit, Momohiki Jumpsuit, is derived from 19th century Japanese farmers’ trousers, which Kaiksow has adapted so that they can be worn by women. So what is the legacy of the Jameel


Prize? Mahnaz Fancy in Canvas magazine writes:


‘By providing a


working in media such as carpets, metalwork and inlaid marquetry, today’s artists give work to traditional craftspeople, encouraging the survival of those skills. Around 300,512 people have


already seen the preceding four exhibitions around the world. But the most thought-provoking impact is the one that can’t really be analysed – how attitudes are changed. Te impact created is a constantly evolving phenomenon, just as the entries to the prize are constantly changing in emphasis and media. For instance, an


example of how audience perceptions can


evolve is the insistence


of


openness of the prize to submissions of art and design, addressing those who do not consider design on a par with ‘fine art’. Te prize is open to architectural submissions, which like product design interact with craftsmanship, as do calligraphy and graphic design. Art married fashion winning the 2013 prize when the Turkish fashion label Dice Kayek drew on Ottoman sartorial style. Such


design considerations and


creative production contribute to cultural and economic development in the artists’ countries of origin. While the reports of Arab terrorism


continue to sadden and appal us, the Jameel Prize does tell another tale. ‘It stands as a testament to artists and designers who, in a myriad of subtle ways, encourage us to look at the world from another angle’


says


Venetia Porter. ‘A place where politics take second place to human aspiration and creativity’.


• Jameel Prize 5 runs until 25 November at the V&A, London, vam.ac.uk


Recently Acquired Japanese & Chinese Treasures & Delights Including an Outstanding


selection of ancient wonders from our larger inventory


New York Asia Week Opening


Thursday, September 6th 3p.m. - 8p.m.


Show Friday, September 7th


Japanese Bronze, Meiji Period Size: 14 3/4” tall


-


Saturday, September 15th 11a.m. - 6p.m.


THE FULLER BUILDING 41 EAST 57TH STREET - SUITE 1125, NEW YORK, NY 10022 212-644-1103 • WWW.TKASIAN.COM • INFO@TKASIAN.COM SEPTEMBER 2018 ASIAN ART


Chinese Armorial Porcelain From The Yongzheng and Qianlong Periods (c. 1700’s)


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