AL MASAR GALLERY | Contemporary Art
Al Masar Gallery for Contemporary Art at Art Dubai Modern | 2018
‘ THAT FEVERISH LEAP INTO THE FIERCENESS OF LIFE ‘
Art Dubai Modern | 21 – 24 March, 2018
“AL MASAR Gallery is proud to announce its participation at Art Dubai Modern, 2018, and is proud to present the works of the Contemporary Art Group, featuring rare and unique paintings by one of Al Masar’s eminent late artists , the founder of the Contemporary Art Group and late artists, members of the group” at this most important and unique Exhibition on modern Arab Art.
The Exhibition is in collaboration with Art Dubai, and in the support of
‘ The MISK Art Institute’ the Saudi cultural organization founded by Crown Prince Mohammed bin Salman. The Exhibition is Curated by Sam Bardouil & Till Filrath.
Hussein YAmin – Naie musician – Oil on celotex – 40,s
The exhibition “That Feverish Leap into the Fierceness of Life” presents a number of rare artworks by some of the leading late Egyptian Artists, members of the contemporary Art Group, and five other modernist artist groups and schools spanning five decades from five Arab cities: by the artists of the Contemporary Art Group in Cairo (1940s/1950s), and most important late arab Artists.
Al Masar Gallery is featuring the works of Late Artists, Hussein Youssef Amin, founder of the group, and Maher Raif, Salim Al Habaschi, and Mahmoud Khalil, the exhibition also features the works of late Artists Abdulhadi El-Gazzar and Samir Rafi whom are also members of the Contemporary Art group.
Maher Raif – Surreal Musicians – Pastel on paper – 38.5x 48.5 cm – 1954
The exhibition asserts the diversity that underpins their art-historical significance, as well as their socio-political agency. It sheds light on the contradictions, antagonisms, accomplishments, as well as the commonalities of various expressions of modernism throughout a long century of rigorous negotiation and creation. In doing so, the exhibition refutes the depiction of modernism in the Arab world as a monolithic phenomenon. Instead, it advocates an inclusive vision of art history where the particularities of the so-called “peripheral” are no longer seen as dichotomous with the perceived authority of the so-called “central,” and where, to cite Selim one more time, modernism becomes “that feverish leap into the fierceness of life.”