An Arabic, Devanagari & Indian language calligraphy project
Haqeeqat means truth or reality in both Arabic and Hindustani/Urdu.
‘Haqeeqat’ is a calligraphic/typographic journey, focused on creating street art and signage using Arabic, Devanagari and Indian scripts.
The aim is to explore linguistics and etymology, together with calligraphy, sign making and street art to ultimately draw intersecting paths between languages and cultures.
9th panorama of the european film
2-12 november 2016
cinema zawya – cinema karim
point 90 cinemas – plaza cinemas – institut francais d’egypte de mounira
goethe-institut kairo – instituto italiano – cimatheque – alternative film center
cinema rio (port-said) – cinema arkan (port-said)
cinema dunia (ismailia) – cinema amir (alexandria)
“When you read a period in black and white or sepia you give it a particularity; it has its own magic. But sometimes when you dive too much into the moment, all the black and white fades. And you read the papers, speeches, songs, and slogans as if you’re reading something from the moment you’re living.”
Exploring one revolution in the light of another, this performance pieces together stories of Egypt’s 1919 revolution, inevitably drawing parallels to the present.
World War I left Egyptians drained, defiant and on the brink of revolution. What unravels in the years that follow is one of the biggest peasant revolts in Egyptian history and a vibrant musical theatre-movement that brought a multifaceted revolution to the stage.
Almost 100 years later, in the light of the country’s ‘new dawn’, the performance sifts through moth-ridden state archives and broken records, magnifies old photos and confidential correspondences, composes gaps and fragments.
It is an attempt to understand history through the present and to decipher the essence of an era often spoken of but seldom listened to, deciphering the essence of a revolution untold.
Musical Research, Vocal Coach, Song Composition:
Producer, Lights, Video & Creative Advice:
mawred.org (culture resource – al mawred al thaqafy)
my nineties is an art project that addresses the era of the nineties through a multidisciplinary presentation: a book that documents some of what has been already written in the newspapers, magazines and research papers about the television and media in this era; a documentary film featuring some of the symbols of the media industry of this era; a video installation and a live audiovisual performance.
project team: mohamed allam – project manager
peter fares – exhibition coordinator
hassan elhalwagy – writer emad maher – film director rami abadeer - music
adham bakry - designer
transformation & partnerschaft
a book designed for goethe institute for their cultural initiatives and projects in egypt, tunis and the mena region
in arabic, english and german
6 contemporary arts
branding, signage & print
6 contemporary arts is an international space hosting works for their authentic and groundbreaking approach to the practice of contemporary arts worldwide.
6 salah eldin st. zamalek, cairo
stencil graffiti mural
kafr el zayat vocational training center, egypt
paraíso ocupado is a campaign to counter social segregation in barra da yijuca, a neighborhood in the west zone of rio de janeiro, brazil. the project aims to revive a littleknown master plan for an urban development project designed by lucio costa, the famous brazilian architect and urban planner, in the 1960s. In his drawings, costa imagined a modernistic infrastructure including several ‘islands’ of circular towers housing people from different social classes, located among parks designed to preserve the region’s natural landscape.
tawseela provides comfortable bus transportation by membership or by reservation
the idea started as a way to protest against the november 2010 parliamentary elections\the black cross sign stencil was sprayed on the stickers on the eve of the january 2011 uprising
this was my first street art attempt
creative resistance fund is intended for activists and culture workers in situations of distress as a result of their professional work. distress situations may include verbal threats, imprisonment or legal persecution, violent attack, professional or social exclusion, or harassment.
1,001 things (alf haga we haga) seeks to present the myriad ways in which we view our homes and identify with the objects in them by creating a home composed of the personal possessions of as many people as possible.
participants are invited to donate an object – and tell its story – that for them best answers
the question: “what makes your home feel like your home?”
the installation is part of the contemporary image collective’s (cic) ‘working title’ project.
lessons in revolting is a performance by
ruud gielens, laila soliman, aida elkashef, aly khamees, aly sobhy, karima mansour, laila soliman, maryam, maurice louca, mustafa said, omar mostafa and salma said
A physical and visual political column
take to the streets
cameo appearance on haisam abu samra’s youtube show hoba vlog
as part of the “maspero” exhibition curated by ali abdel mohsen
the radio and television building was built in 1959 and is known as ‘maspero’, named after french egyptologist gaston maspero. the design was initially based on a french architect’s plan for a similar circular television building in france, but gamal abd elnasser (egypt’s president after the 1952 coup) ordered a tower to be built on the circular formed base of the building.
maspero has come to be an icon of egypt’s propaganda machine, broadcasting state television and radio for over 50 years. during the January 2011 Egyptian uprising state media systematically condemned and vilified the protest movement, on october 9th of that year a protest against the burning of churches in upper egypt was quelled under maspero by such force that 27 people died.
as a symbol of state tyranny and oppression the building has been viewed by revolutionaries as a structure that must be occupied and cleansed, which would be a milestone for the revolution’s achievements and a conquest of the state’s mouthpiece of lies.
the mural provides accessibility and permeability of the structure by showing the building’s architectural drawings, outlining the entrance points and circulation and equally important it provides an alternative visual reference to maspero which is less threatening and more empowering.
collecting grime abandoned electrical appliances
as a child i was surrounded by vintage appliances manufactured in the 70s and 80s which had a very strong impact on me as a designer,
this series pays homage to modernist industrial design of that era and to the units themselves
2006 & 2012
casablanca - rabat – fez – ifrane – chefchaouen
prints, advocacy & brand management
2007 – 2011
a project founded by todd lester
the goal of freedimensional is to support culture in the service of free expression, justice and equality.
freedimensional advances social justice by hosting activists in art spaces and using cultural resources to strengthen their work.
Hope all is well with you. It has been a long time since we have seen you in the office.
I am writing you today because USAID has required us to collect college diplomas from all consultants, would it be too much trouble if I asked you to send me a copy of your diploma?
Sorry in advance for the hassle,
Thank you for your mail!
Yes it has been a while since I dropped by the Bamyan office…
It’s really an honor that USAID has requested my college diploma.
Wish I had something to show them but unfortunately as you may know, I don’t have a university degree. I would offer to show my high school diploma but I don’t have one either.
What I can do though is tell my story…
It would be great if you could print it and deliver it to them instead of showing a diploma. Maybe the inspiring story of a self educated entrepreneur might open the opportunity for me to feature in one of USAID’s exciting tv shows.
I was born in the small town of Portsaid, Grew up working with my father as a crab fisherman on a small boat, Until one day a big american luxury cruise ship collided with our humble boat and we lost everything… Like many families in this country we decided to move to Cairo and seek a better future. It took us years of hustling and dabbling in different ventures and markets to find our niche… the papyrus market. My father forged and copied cheap papyrus in the outskirts of the city while I stalked tourists in downtown touting and taunting them to buy our papyrus. Eventually I made enough money to buy my own donkey, then from a donkey I moved up to buy a horse, Now I was officially in the tourism industry!
One day as I was chasing down tourists at the pyramids nagging them to ride my horse I came across a beautiful voluptuous foreign lady called Heather. To my surprise she was more interested in me than in my horse, I immediately felt my self worth and at that moment I knew I could be something big in this world.
After abandoning the tourism industry and my family, My sole purpose in life was to love and live with Heather at her fancy flat. She taught me how to use her computer and while she was gone I would surf the internet and play around with different software. After 5 years of using her computer and doing some jobs online, I became Egypt’s leading graphic designer and I didn’t need to depend on Heather anymore. She would later say; “I wish I never taught that papyrus boy the difference between a sketchbook and a macbook.”
Really hope USAID recognize my potential and that my story will mean more to them than a college diploma.
maat el kalam, translates to “words are dead” and is a contemporary, egyptian slang proverb meaning “there is nothing more to say”.
the show captured moments in five countries of the arab world by linking the context of photographs with the arabic typography or calligraphy within them, whether signage, street graffiti or posters.
the exhibition revealed both differences and similarities across various arab cities, through the current struggle between international standardisation and personal customisation of arabic type.
bakry examines the blurred lines that have grown up between traditional typographies and the new technologies of graphic design. his multilayered images contain intriguing often surprising, sometimes humorous messages from the street.
the hammam project develops scenarios for the adaptive reuse of the hammam as a public service center for islamic mediterranean cities. In an interdisciplinary negotiation process, the team generates strategies and new design concepts for adapting the old hammam features to a contemporary Islamic life, at the same time assessing possibilities for contributing to the life quality of the whole urban neighbourhood. the study applies a concept of strong sustainability.
the hammam study uses a case study approach, which starts the investigation from the local situation (socio-cultural, economical, ecological and urbanistic) of six specific hammams in six different mediterranean countries:
algeria, egypt, morocco, palestine, syria, turkey.
sahafet welad el balad (go Local): community media development for democracy in egypt is a pilot project for the development of independent local and hyper local media outlets outside of cairo, as an essential component of supporting democratic practice at the grass-roots level while boosting freedom of expression and media excellence in post-revolution egypt. sa7afa.org