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After Dirar’s dual show with Syrian artist Sabhan Adam in ‘Beauty and The Beast’ in 2014, Hossam Dirar comes with “Invitation Au Voyage”, a ref- erence to Charles Baudelaire’s 1857 poem in Les Fleurs du Mal. Dirar seeks to create an imaginary world to liberate his viewer in a temporary escapade on a two‐wheel ride, very much en vogue. The art of choosing an object, the bicycle, is to reveal a mood, an invita- tion to meet furthest away from politics, wars, in- justices, in a fantasized, idealized location au-delà. Dirar uses the journey, both in time and in space, in order to convey this sense of heightened freedom that we are missing in many cities of the world, par- ticularly in the Arab cities like Cairo. The presence of the feminine figure in all his paintings enables a romantic invitation, an outlet of a dream-state as well as a journey, conveying female emancipation so particular to Dirar’s artwork. Egyptian-born, Hossam Dirar (1978) combines fragmented images of faces, at times of the whole body. He paints chaotic, impulsive and richly multi-layered texturized palettes to express indi- vidual identity. He conceives his work as a re-in- terpretation of his memory, of that brief encounter, overlapping between the multi-cultural characters of where they met and his personal take of that instant of visual pleasure. Perhaps the invisible that the artist is chasing in his work is the phantom idea of beauty, trying to continue the tradition of per- sonifying time.
Invitation Au Voyage by Hossam Dirar
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Fatenn Mostafa
Interesting statistic on how many people report and believe in UFO's
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Time goes by. And the years go past. And somehow and for some unknown reasons, we remain in love, infatuated by its sand, smitten by its sun, struck by its Nile, burdened by its glorious past, and bonded to its people. Sayed Saad el Din helps us understand, put some Sufi reasoning into this piercing feeling of attachment, of belonging to a land where kindness still exists hidden underneath the sand, where warmth wraps the mind and soul past a blazing sun, where harmony is concealed behind turmoil, and where hope prevails, though tomorrow is capricious. And as we look at "the heart (which) has its reasons that reason does not know” (Pascal), it seems that Sayed Saad el Din may know after all. Because he chose optimism over despair and because he chose beauty over exasperation. Saad el Din knows that our love can never end and will never end and lures us into a wonderfully sincere and touching world where perfection is no coincidence and mystery is the answer. And while Sayed Saad el Din attempts to draw the veil from some of the ambiguities that overshadow our life, he ceremoniously reveals the essence as well as the perfection that lie behind the imperfections. He lays bare our instinct for freedom that cannot be reversed and that must grow to a powerful force if there is to be hope. Sayed Saad el Din ultimately restores the greatest secrets to that enigma, in which we live and ever will remain. And that enigma is Egypt. Like an architect, every detail is scrutinized and yet we feel the abstraction of the moment and the intensity of the simple chores that constitute the largest part of the daily life of ordinary Egyptians. Circles, wheels, hoops, ropes, spirals and balls smoothly float in the sky, gently spin on the sand, magically roll in the water, leading us towards infinity, like a prayer or a windmill – a passionate metaphor to the world we live in and to a country we are so attached to. Born in 1944, Sayed Saad el Din was raised and schooled soaked in the rustic sun of Qena in Upper Egypt. After enrolling in the Faculty of Engineering in Minya to please his parents, he soon realized his genuine calling was in fact art making. Relentlessly in pursuit of his passion, he left Minya at the age of 17, headed alone to the big capital, Cairo, and began his formal art studies at the Leonardo Di Vinci Institute under the mentorship of modernist painter Sayed Abdel Rassoul. From then on, his life as an authentic Egyptian painter and sculptor would unfold, with scholarship grants, numerous local and international awards, public commissioning and residencies abroad.
Circles In The Sand by Sayed Saad El Din
Circles In The Sand by Sayed Saad El Din
Fatenn Mostafa
In Renée, Guirguis honors his muse and lifetime companion. And when Guirguis is with Renée, nothing else matters. It is not far fetched to draw the analogy that Guirguis Lotfy is to Egyptian visual arts what Salah Jahin (1930-1986) is to Egyptian poetry. Both celebrate Egypt's cultural fabric while not shying away from its shortcomings. Tirelessly, Lotfy depicts our feasts, celebrations, rituals and traditions - some still practiced today, others long forgotten. Pharaonic, Islamic or Coptic, his stunning canvases offer a personal take on these little moments of bonding and shared history or on some trivial and mundane scenes with ordinary people. Describing his artistic process as literally looking out his window and painting what he sees, Lotfy shows an indefatigable commitment to his muse and attempts to bring forth both her beauty and contradictions. As he captures the essence of our Egyptian-ness, he reminds us that neither religion nor ideology can tear us apart. Don’t let yourself be fooled by the apparent simplicity and naivety of his crowded paintings! Guirguis Lotfy seeks to resuscitate an elaborate ancient Egyptian painting technique practiced two millennia ago in religious iconography and the famed Fayoum Portraits. By using bee wax or tempera colors dissolved in egg yolk with some gold leaf, Lotfy ensures the transmission of Coptic art - an identity, rather than a religion. Together, Guirguis and Renée bring the past into today to provide answers for a better tomorrow. And like a storyteller, every detail is recollected, nostalgically pinching us in the heart as we feel the innocence and familiarity of those moments. Lovers, husbands, wives, children, carriages, donkeys, the fresca man, the porter, the fortune teller, the musician, the café, watermelons, Ramadan and Alexandria, all 'reveal the light that comes from people, much like saints were once portrayed in ancient paintings'. All look up in the sky towards infinity, like a calm prayer and give us a cherished snapshot of the world we live in; of the country we are so attached to and of the people we belong to. For Lotfy, Renée is Egypt. She is one and many. She is yesterday, today and tomorrow. She is his most haunting and conditional muse and he intends on making them both eternal. Born in 1955, Guirguis Lotfy lives and works in Alexandria, Egypt. After receiving a BFA from Alexandria Faculty of Fine Arts in 1980, Lotfy went on to pursue his MFA on “Coptic painting from the 4th to the 8th Century” in 1990 and his PhD on “Coptic Art and its influence on Modern Art” in 1994 from the Cairo Faculty of Fine Arts. Hamed Owais (1919-2011) and Hamed Nada (1924-1990), two of Egypt’s modern pioneer artists, were closely involved at different stages in the supervision of Guirguis Lotfy’s masters and doctorate degrees respectively.
Renée by Guirguis Lotfy
Renée by Guirguis Lotfy
Fatenn Mostafa
In his first solo exhibition, Alexandria-based visual artist Hady El Boraey seeks to understand man’s fascination behind what lies beyond one’s borders. Challenging the mindset that the only solution for a better life requires a physical migration, Boraey questions the power of the psychological borders within our minds. With a distinctive painting technique and a thrilling imagination, Boraey has created a rich and textured world of fantasy depicting the illusion of another better life that could be had, by simply crossing the border – be it physical or psychological.
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After Dirar’s dual show with Syrian artist Sabhan Adam in ‘Beauty and The Beast’ in 2014, Hossam Dirar comes with “Invitation Au Voyage”, a ref- erence to Charles Baudelaire’s 1857 poem in Les Fleurs du Mal. Dirar seeks to create an imaginary world to liberate his viewer in a temporary escapade on a two‐wheel ride, very much en vogue. The art of choosing an object, the bicycle, is to reveal a mood, an invita- tion to meet furthest away from politics, wars, in- justices, in a fantasized, idealized location au-delà. Dirar uses the journey, both in time and in space, in order to convey this sense of heightened freedom that we are missing in many cities of the world, par- ticularly in the Arab cities like Cairo. The presence of the feminine figure in all his paintings enables a romantic invitation, an outlet of a dream-state as well as a journey, conveying female emancipation so particular to Dirar’s artwork. Egyptian-born, Hossam Dirar (1978) combines fragmented images of faces, at times of the whole body. He paints chaotic, impulsive and richly multi-layered texturized palettes to express indi- vidual identity. He conceives his work as a re-in- terpretation of his memory, of that brief encounter, overlapping between the multi-cultural characters of where they met and his personal take of that instant of visual pleasure. Perhaps the invisible that the artist is chasing in his work is the phantom idea of beauty, trying to continue the tradition of per- sonifying time.
Invitation Au Voyage by Hossam Dirar
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Fatenn Mostafa
Interesting statistic on how many people report and believe in UFO's
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Time goes by. And the years go past. And somehow and for some unknown reasons, we remain in love, infatuated by its sand, smitten by its sun, struck by its Nile, burdened by its glorious past, and bonded to its people. Sayed Saad el Din helps us understand, put some Sufi reasoning into this piercing feeling of attachment, of belonging to a land where kindness still exists hidden underneath the sand, where warmth wraps the mind and soul past a blazing sun, where harmony is concealed behind turmoil, and where hope prevails, though tomorrow is capricious. And as we look at "the heart (which) has its reasons that reason does not know” (Pascal), it seems that Sayed Saad el Din may know after all. Because he chose optimism over despair and because he chose beauty over exasperation. Saad el Din knows that our love can never end and will never end and lures us into a wonderfully sincere and touching world where perfection is no coincidence and mystery is the answer. And while Sayed Saad el Din attempts to draw the veil from some of the ambiguities that overshadow our life, he ceremoniously reveals the essence as well as the perfection that lie behind the imperfections. He lays bare our instinct for freedom that cannot be reversed and that must grow to a powerful force if there is to be hope. Sayed Saad el Din ultimately restores the greatest secrets to that enigma, in which we live and ever will remain. And that enigma is Egypt. Like an architect, every detail is scrutinized and yet we feel the abstraction of the moment and the intensity of the simple chores that constitute the largest part of the daily life of ordinary Egyptians. Circles, wheels, hoops, ropes, spirals and balls smoothly float in the sky, gently spin on the sand, magically roll in the water, leading us towards infinity, like a prayer or a windmill – a passionate metaphor to the world we live in and to a country we are so attached to. Born in 1944, Sayed Saad el Din was raised and schooled soaked in the rustic sun of Qena in Upper Egypt. After enrolling in the Faculty of Engineering in Minya to please his parents, he soon realized his genuine calling was in fact art making. Relentlessly in pursuit of his passion, he left Minya at the age of 17, headed alone to the big capital, Cairo, and began his formal art studies at the Leonardo Di Vinci Institute under the mentorship of modernist painter Sayed Abdel Rassoul. From then on, his life as an authentic Egyptian painter and sculptor would unfold, with scholarship grants, numerous local and international awards, public commissioning and residencies abroad.
Circles In The Sand by Sayed Saad El Din
Circles In The Sand by Sayed Saad El Din
Fatenn Mostafa
In Renée, Guirguis honors his muse and lifetime companion. And when Guirguis is with Renée, nothing else matters. It is not far fetched to draw the analogy that Guirguis Lotfy is to Egyptian visual arts what Salah Jahin (1930-1986) is to Egyptian poetry. Both celebrate Egypt's cultural fabric while not shying away from its shortcomings. Tirelessly, Lotfy depicts our feasts, celebrations, rituals and traditions - some still practiced today, others long forgotten. Pharaonic, Islamic or Coptic, his stunning canvases offer a personal take on these little moments of bonding and shared history or on some trivial and mundane scenes with ordinary people. Describing his artistic process as literally looking out his window and painting what he sees, Lotfy shows an indefatigable commitment to his muse and attempts to bring forth both her beauty and contradictions. As he captures the essence of our Egyptian-ness, he reminds us that neither religion nor ideology can tear us apart. Don’t let yourself be fooled by the apparent simplicity and naivety of his crowded paintings! Guirguis Lotfy seeks to resuscitate an elaborate ancient Egyptian painting technique practiced two millennia ago in religious iconography and the famed Fayoum Portraits. By using bee wax or tempera colors dissolved in egg yolk with some gold leaf, Lotfy ensures the transmission of Coptic art - an identity, rather than a religion. Together, Guirguis and Renée bring the past into today to provide answers for a better tomorrow. And like a storyteller, every detail is recollected, nostalgically pinching us in the heart as we feel the innocence and familiarity of those moments. Lovers, husbands, wives, children, carriages, donkeys, the fresca man, the porter, the fortune teller, the musician, the café, watermelons, Ramadan and Alexandria, all 'reveal the light that comes from people, much like saints were once portrayed in ancient paintings'. All look up in the sky towards infinity, like a calm prayer and give us a cherished snapshot of the world we live in; of the country we are so attached to and of the people we belong to. For Lotfy, Renée is Egypt. She is one and many. She is yesterday, today and tomorrow. She is his most haunting and conditional muse and he intends on making them both eternal. Born in 1955, Guirguis Lotfy lives and works in Alexandria, Egypt. After receiving a BFA from Alexandria Faculty of Fine Arts in 1980, Lotfy went on to pursue his MFA on “Coptic painting from the 4th to the 8th Century” in 1990 and his PhD on “Coptic Art and its influence on Modern Art” in 1994 from the Cairo Faculty of Fine Arts. Hamed Owais (1919-2011) and Hamed Nada (1924-1990), two of Egypt’s modern pioneer artists, were closely involved at different stages in the supervision of Guirguis Lotfy’s masters and doctorate degrees respectively.
Renée by Guirguis Lotfy
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Fatenn Mostafa
In his first solo exhibition, Alexandria-based visual artist Hady El Boraey seeks to understand man’s fascination behind what lies beyond one’s borders. Challenging the mindset that the only solution for a better life requires a physical migration, Boraey questions the power of the psychological borders within our minds. With a distinctive painting technique and a thrilling imagination, Boraey has created a rich and textured world of fantasy depicting the illusion of another better life that could be had, by simply crossing the border – be it physical or psychological.
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Born in 1982, Mekhail graduated from Helwan Fine Arts Institute in 2004, after which he trained during 4 years under the tutelage of Egyptian pivotal artist, Adam Henein. Armed with outstanding craftsmanship and intensive training, Mekhail carved a distinctive and independent direction for himself, culminating in winning the 2011 Sculpture Award at the Ministry of Culture's Youth Salon. Mekhail’s passion for Egypt’s glorious past is prominent in his rich body of work. He manages to blend Pharaonic, Coptic and Greek lines onto his work. His forms are usually semi-abstractions of the human figure - suggestive celebration of the sensual female body or icons of our proud Egyptian Coptic and Muslim heritage. As we struggle about our Egyptian identity, Maged Mekhail gently reminds us of what we stand for - a diverse, rich and tolerant people who have shaped the past and are able to embrace the future.
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PROVA - ESTUDO CONTEMPORÂNEO E TRANSVERSAL: COMUNICAÇÃO ASSERTIVA E INTERPESSOAL - 51/2024 QUESTÃO 1 Considere a seguinte situação fictícia: Durante uma reunião de equipe em uma empresa, Ana é responsável por apresentar um relatório detalhado sobre o desempenho do último trimestre. No entanto, ao preparar sua apresentação, ela inclui uma quantidade excessiva de informações, abordando cada aspecto do relatório em grande detalhe. Quando Ana começa a apresentar, seus colegas começam a ficar entediados e distraídos, pois a sobrecarga de informações torna difícil acompanhar os pontos mais importantes. A partir dos conhecimentos abordados em “Comunicação assertiva e interpessoal”, assinale o que é exemplificado no caso exposto. Alternativas Alternativa 1: A sobrecarga de informações é benéfica para a comunicação, pois garante que todos os detalhes sejam transmitidos de forma completa. Alternativa 2: A quantidade excessiva de informações durante a apresentação de Ana é uma estratégia eficaz para garantir que todos os aspectos do relatório sejam compreendidos. Alternativa 3: A falta de informação é menos prejudicial para a comunicação do que o excesso dela, pois permite uma transmissão mais clara e concisa de mensagens. Alternativa 4: A sobrecarga de informações, como a apresentada por Ana, pode prejudicar a comunicação, tornando difícil para os colegas distinguir os pontos mais importantes do relatório. Alternativa 5: A comunicação eficaz depende exclusivamente da quantidade de informações transmitidas, independentemente de haver sobrecarga ou falta delas. QUESTÃO 2 A interação face a face acontece em um contexto de copresença: os participantes estão imediatamente presentes e partilham um mesmo espaço e tempo. As interações face a face têm um caráter dialógico, no sentido de que implicam ida e volta no fluxo de informação e comunicação. Além disso, os participantes podem empregar uma multiplicidade de deixas simbólicas para transmitir mensagens, como sorrisos, franzimento de sobrancelhas e mudanças na entonação da voz. Esse tipo de interação permite que os participantes comparem a mensagem que foi passada com as várias deixas simbólicas para melhorar a compreensão da mensagem. Fonte: Krieser, Deise Stolf. Estudo Contemporâneo e Transversal - Comunicação Assertiva e Interpessoal. Indaial, SC: Arqué, 2023. Considerando as características da interação face a face descritas no texto, analise as seguintes afirmações: I. A interação face a face ocorre em um contexto de copresença, no qual os participantes compartilham o mesmo espaço e tempo, o que facilita a comunicação direta e imediata. II. As interações face a face são predominantemente unidirecionais, com uma única pessoa transmitindo informações e a outra apenas recebendo, sem um fluxo de comunicação bidirecional. III. Durante as interações face a face, os participantes podem utilizar uma variedade de sinais simbólicos, como expressões faciais e mudanças na entonação da voz, para transmitir
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