Calendario de actividades
Espacio público contemporáneo en América Latina
Un mundo que se escurre bajo los pies
Había una vez… en Dinamarca
Ilustración infantil en la literatura danesa
Cineteca Nacional de Chile
Toltén habla de Toltén
Toltén habla de Toltén
Mimbre (Sergio Bravo, 1957, 10 min)
Mimbre (Sergio Bravo, 1957, 10 min)
Selección de registros históricos: Colección Magallanes Film y Colección Museo Histórico Nacional
Día de los Patrimonios
ACTIVIDADES ESPECIALES | 27 Y 28 DE MAYO
Mi huerta y yo: un espacio agroecológico
De poéticas a políticasPremio Jameel
De poéticas a políticas. Premio Jameel, exhibits the work of the eight finalists of the sixth edition of the Jameel Prize. The work of these eight designers addresses the continued influence of Islamic tradition on creative practice in the present, through graphic design, installation, activism, typography and textile design.
This exhibition, organized by CCLM together with the Victoria and Albert Museum (V&A) in London, in association with Art Jameel (Saudi Arabia and United Arab Emirates), is the first time the Jameel Prize has focused on contemporary design. It is also the first time the Prize and these designers have been presented in South America.
The eight contemporary designers of the sixth edition of the Jameel Prize, presented at CCLM, are: Golnar Adili (Iran), Hadeyeh Badri (United Arab Emirates), Kallol Datta (India), Farah Fayyad (Lebanon), Sofia Karim (UK), Jana Traboulsi (Lebanon), Bushra Waqas Khan (Pakistan) and the winner, Ajlan Gharem (Saudi Arabia).
About the Victoria and Albert Museum and the Jameel Prize
The Victoria and Albert Museum, London, UK (V&A) is the world’s leading museum of art, design and performance. The V&A’s collections are unrivalled in their scope and diversity, spanning 5000 years of human creativity. The museum was established in 1852 to make works of art available to all and to inspire British designers and manufacturers.
The V&A’s collection of material from the Islamic period in the Middle East is one of the best of its kind in the world. It came into being because the museum’s founders considered the art and design of the Islamic world to be an important potential source of inspiration for British designers in the nineteenth century. The Jameel Gallery of Islamic Art at the V&A is the main display of the museum’s collection of Islamic art and design, and the renewal of the gallery in 2006 was funded by Mohammed Jameel and his family.
To build on the success of the relaunched Jameel Gallery, and to celebrate the continuing relationship between the Islamic production of the past and the practices of artists and designers in our own time, Mohammed Jameel proposed the establishment of a Jameel Prize. Since the first edition in 2009, the Prize has been organised by the V&A with the support of Art Jameel, the Jameel family’s organisation for art and heritage. The Jameel Prize showcases the ways in which Islamic tradition remains a rich source of inspiration for contemporary artists and designers today. It responds to the spirit in which the V&A’s Islamic collections were formed, while remaining attuned to the twenty-first century.
About the artists
Jana Traboulsi is an artist and graphic designer from Lebanon. Her book, Kitab al-Hawamish, or Book of Margins, investigates the role of marginalia and the marginal in Arabic book production. For Traboulsi, ‘the marginal’ refers not only to the literal perimeter of the page, but to the many subtle and secondary aspects of Arabic book design that are no longer common in contemporary publishing. A rigorously researched project, Traboulsi spent a great deal of time examining historical Arabic manuscripts. One source of inspiration was the palimpsestic nature of such books, which often had a central text embedded within its own interpretation or commentary. Books were not always straightforwardly linear, as multiple texts could appear side by side.
Ajlan Gharem, is an artist and mathematics teacher based in Riyadh, Saudi Arabia. His practice explores how Saudi communities understand and articulate their culture amidst globalisation and changing international power dynamics. His installation Paradise Has Many Gates is a mosque made of steel tubes and chicken wire. Built to scale, large enough to be occupied by a congregation, the mosque follows traditional form. The main space is rectangular, with a dome on its ceiling, on which sits a metal finial topped with a crescent moon. A chandelier suspended from the dome swings over the mosque floor, which is covered with carpet marking the direction of prayer. Arched windows line the perimeter and to one side is a minaret, bearing another finial, which holds speakers to convey the call to prayer, and strips of green fluorescent light.
Kallol Datta is a clothing designer from Kolkata, India. Growing up in the UAE and Bahrain, Datta was exposed to and fascinated by clothing from across West Asia and the Middle East, including North Africa, the Indian Subcontinent and Korean Peninsula. The discovery of garments from all over the world in the wardrobe of his late grandfather, who travelled extensively for the UN, offered Datta a further library of global references.
Datta’s work draws inspiration from this wealth of sources. His clothing mines the shapes and silhouettes of the abaya, manteau, hanbok, hijab and caftan, among many others, and Datta uses experimental pattern-cutting techniques to create sculptural forms on the body.
Hadeyeh Badri is a designer and textile artist based in Dubai, for whom weaving offers a rich creative language. Badri discovered weaving while a student at the School of the Arts Institute in Chicago, USA, and the loom quickly became the site for her exploration of love and grief.
The three weavings in Poetry to Politics pay homage to Hadeyeh’s late aunt, Shahnaz Badri. Shahnaz was diagnosed with Parkinson’s disease in her mid-thirties, and Hadeyeh became her carer in the final years of her life.
Sofia Karim is an architect, artist and activist based in London. Karim invites artists, campaigners and thinkers from across the world to design samosa packets that engage with local and international struggles, in protest and solidarity. The project began when Karim bought samosas from a street vendor in Dhaka. These packets are traditionally made from scrap paper, and she noticed that hers was made from court listings detailing cases between the Bangladeshi state and its citizens. When her own uncle, the photographer Shahidul Alam, was unlawfully imprisoned in Bangladesh for his activism, these everyday objects struck her as a sad portrait of the country’s broken justice system.
Golnar Adili is a multi-media artist and designer based in New York. Her practice examines aspects of her identity and family relationships, particularly through Persian language and poetry. Although Adili was born in the USA, her family returned to Iran shortly after the 1979 Revolution. Her father was swiftly exiled from the country and his family, and Adili’s early life was marked by this separation. The distance from her father, and the longing she has felt for him, infuse and inform Adili’s creative practice.
Since her father’s death in 2002, Adili has explored the archive of family documents and correspondence he left behind. This meticulous collection includes not only every letter her father received, but photocopies of each reply he sent out.
Bushra Waqas Khan
Bushra Waqas Khan lives and works in Lahore, Pakistan. Khan trained as a printmaker at the National College of Arts in Lahore, but in her current practice she creates elaborate miniature dresses. These dresses use affidavit paper, or stamp paper, as the source for their patterns. This paper is used for all official documents in Pakistan – birth, death, marriage, divorce, property, and so on. It signifies authority and ownership, and is characterised by elaborate decoration. The design of the paper’s header typically includes national emblems of Pakistan like the chaand tara (star and crescent moon), set within generic floral motifs and arabesque flourishes. The monetary value is written in English and Urdu, and the decorative elements are never perfectly symmetrical, to make the paper difficult to forge.
Farah Fayyad is a Lebanese graphic designer currently based in Amsterdam. Fayyad’s practice is characterised by exploration of two distinct disciplines: Arabic typography and screen-printing. Her contemporary Arabic typeface is based on the historic Kufic calligraphy, which was the first calligraphic style to gain prominence in handwritten Qur’ans from the 8th century onwards.
In her contemporary font Kufur, Fayyad echoes Kufic’s horizontal emphasis and thick strokes, capturing the bold, graphic character of the original. A challenge in Arabic type design is to program digital typefaces to behave in the complex ways a hand-written calligraphic script does.
Friends of CCLM: Free access
Childrens under 12 years: Free access
People over 60 years: Free access
Tuesday entry free upon reservation here
MOBILITY PASS | Attendees older than 15 years of age must present their mobility pass at the entrance to the cultural centre in accordance with current health regulations. People without a mobility pass will only be able to attend on Tuesdays between 10:00 am and 12:00 pm and on Thursdays between 4:00 pm and 6:00 pm. All of the above in accordance with the provisions of the health authority within the framework of the Step by Step plan.
© Victoria and Albert Museum