Conservation as a Principle of Minimal Intervention

Azra Bečević-Šarenkapa studied textiles at the Textile-Tehnological Faculty in Zagreb, Croatia and finished her Master of conservation at the Durham University in UK. Currently she is working as the Senior Conservator at the National Museum of Bosnia and Herzegovina. I had a pleasure of sitting down with her and discussing her 17 year long contribution to many museums in Bosnia and the region.

The Made In..Gallery, Venice

"Some art clearly reflects the cultures of the Middle East and some shows that Middle Eastern artists work in a similar fashion as in the West: they —we— are not different. And both types of work create a positive change of the image of the Middle East in Italy." (Enas Elkorashy)

Saudi Identity and Speaking Back

"I think that art can help displace this gaze, but it has to be a reciprocal effort. One of my most enjoyable moments when I show my work is seeing people's reactions change after reading my statements." (Eiman Elgibreen)

From Spain to Morocco, Benjamin-Constant in His Time

"Benjamin-Constant makes the balance among a clear palette inspired by his trips to Morocco, the depth of blacks from Rembrandt, and the colorful vividness from Delacroix, his two main masters. His facility to create such a decorative atmosphere or striking imagery explains that he was sometimes criticized for privileging aesthetics and composition over the people portrayed, but it is the work’s aesthetic sense that is exactly what we appreciate now." (Nathalie Bondil)

A Global Vision of Art

“The combination of emotion, personal experience and consciousness tends to provide the perfect ingredients for a meaningful work of art.” (Kashya Hildebrand)

A Contemporary Woman Master of the Pen

"There is an idiom in the culture of the East: 'No mashk can be without love.' To love what you are doing is one of the fundamental principles of being successful." (Hilal Kazan)

Islamic Art Hands-On

"Learning through doing is critical, it’s not simply about acquiring a critical analytical understanding of the designs. A sensitivity to the contemplative dimension of the work, both as a student and as a teacher, is essential." (Richard Henry)

Testament to the Symbiosis of Difference

"The conceptual ambiguity of the resulting patterns, a theme also represented in the large projects I have created over the years, create an interactive experience in which the onlooker’s subjective experiences of alienation and belonging become part of the piece and its identity." (Anila Quayyum Agha)

‘Silent Synchrony’

"This visual abundance created by the transposition of images, colours, techniques and light and shadow also brings me back to my childhood and the countless hours I spent observing the magical world created through the eye of a kaleidoscope..." (Samta Benyahia)