ETEL ADNAN AT THE INSTITUT DU MONDE ARABE. Exhibition from October 17, 2016 to January 1st, 2017.

From 17 October 2016 to 1 January 2017 - Institut du Monde arabe.

  • Etel Adnan, Rihla ... (Journey to Mount Tamalpais).

    Rihla ila Jabal Tamalpais (Journey to Mount Tamalpais), 2008. Watercolour and indian ink on Japanese book, 30 x 10,5 cm x 54 pages : 30 x 567 cm. Donation Claude & France Lemand. Musée, Institut du monde arabe, Paris. © Etel Adnan. Courtesy Galerie Claude Lemand, Paris.

  • Etel Adnan, The Mountain 1

    The Mountain 1, 2014. Watercolour and indian ink on paper, 52 x 70 cm. © Etel Adnan. Courtesy Galerie Claude Lemand, Paris.

18 October 2016 – 1st January 2017
Salle d’actu­al­ités (level -2)

From Tuesday to Friday, 10h-18h
Other days, 10h-19h

Institut du monde arabe
1, rue des Fossés-Saint-Bernard
Place Mohammed V
75236 Paris Cedex 05

Claude Lemand.
“Painter and poet, born in 1925, Etel Adnan is a Lebanese/American. She studied phi­los­ophy in Paris, Berkely and Harvard. She writes poetry, essays, sto­ries and plays. She’s a painter, and makes remark­able artist’s books. Her first exhi­bi­tion hap­pened in California in 1960, while she was teaching phi­los­ophy. She exhib­ited in the United States, England, France, Germany, and the Arab World. Many pri­vate and public col­lec­tions have acquired her works. After spending the major part of her life in California, she resides now mainly in Paris.”

Etel Adnan.
“Among the var­ious works I have pro­duced, I have to men­tion par­tic­u­larly the artist’s books that I started to make since 1964. They are Japanese "books" that are folded, made in Kyoto. I buy them in San Francisco, New York or Paris, in Japanese stores. I usu­ally write on them poems from the major XXth cen­tury Arab Poets, mainly from Badr Shaker al Sayyab. I accom­pany these hand written poems with water­colours and draw­ings. I made a point of not using clas­sical cal­lig­raphy, although it’s an art-form I value extremely, in order to use my own hand writing for its very imper­fec­tion. The result is a real trans­la­tion of the orig­inal Arabic poems into a visual equiv­a­lence. This Japanese format - where the paper unfolds - cre­ates an hor­i­zontal plane that seems to be infinite, and that goes beyond the tra­di­tional frame of painted works. This way, the texts and the images are lib­er­ated. I would like to remind the reader that I have been the first Arab painter besides Shaker Hassan al Saïd to start a trend in Arab Art, the one con­cerning the use of per­sonal, non tra­di­tional and cal­li­graphic writing, in Arab Art.” (Etel Adnan)

Copyright © Galerie Claude Lemand 2012.

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