ILLUSTRATION

PAINTING

LETTERING

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Hussein Bicar

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on <span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; margin: 0px; padding: 0px; border: 0px solid; font-style: inherit; font-variant: inherit; font-weight: normal; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; font-optical-sizing: inherit; font-size-adjust: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; font-language-override: inherit; vertical-align: baseline; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; outline: 0px;">Hussein Bicar — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">We welcome collaborators of all kinds: researchers and scholars working on adjacent histories, writers drawn to his life and work, family members or friends with personal recollections, collectors and institutions holding works or archival materials, and anyone with knowledge, sources, or perspectives to share.

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">Contributions can take many forms — a short-medium biographical essay or a short reflection.

If you'd like to help us write this and contribute to the archive and the community, get in touch: moe@arabicdesignarchive.com

GRAPHIC DESIGN

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Helmi el-Touni

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Helmi el-Touni — one that reflects the breadth of her practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

CARICATURE

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Bahgat Osman

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Bahgat Osman — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

PUPPET DESIGN

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Badr Hamada

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Badr Hamada — one that reflects the breadth of her practice and her place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

MOTION GRAPHICS

FILM

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Shewekar Khalifa 

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Shewekar Khalifa — one that reflects the breadth of her practice and her place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">We welcome collaborators of all kinds: researchers and scholars working on adjacent histories, writers drawn to her life and work, family members or friends with personal recollections, collectors and institutions holding works or archival materials, and anyone with knowledge, sources, or perspectives to share.

TYPE DESIGN

CALLIGRAPHY

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Fathy Gouda

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Fathy Gouda — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

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Abdulkader Arnaout 

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Abdulkader Arnaout — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

Bibliography

→&nbsp;Nachabe Taan, Yasmine. <a href="https://khattbooks.com/product/abdulkader-arnaout-designing-as-visual-poetry-2/?doing_wp_cron=1779878006.5290389060974121093750">Abdulkader Arnaout</a>: Designing as Visual Poetry. Amsterdam: Khatt Books, 2017.

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Said Ibrahim

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Said Ibrahim — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

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Nabil Tag

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Abdulkader Arnaout — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

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Ahmed Ellabbad

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on <span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; margin: 0px; padding: 0px; border: 0px solid; font-style: inherit; font-variant: inherit; font-weight: normal; font-stretch: inherit; font-size: inherit; line-height: inherit; font-family: inherit; font-optical-sizing: inherit; font-size-adjust: inherit; font-kerning: inherit; font-feature-settings: inherit; font-variation-settings: inherit; font-language-override: inherit; vertical-align: baseline; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; outline: 0px;">Ahmed Ellabbad — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

MINIATURE PAINTING

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Mohamed Temmam

Mohamed Temmam (Mohamed Temam) was born on the 23rd of February, 1915 (Hijri: 9 Rabi‘ II, 1333) in the Casbah of Algiers. He grew up in a neighborhood called Sidi M’hamed Cherif where his neighbors included a number of artisans and artists, among them the brothers Mohamed and Omar Racim who would continue to inspire and support Temmam’s artistic development throughout his career. The young Temmam attended École Sarrouy, a so-called “native” primary school (école indigène) established by the colonial authorities—later repurposed by the French military as an interrogation and torture center during the Algerian Revolution.

As a teenager, Temmam excelled in the visual arts. He trained in a traditional ceramics workshop led by the French ceramicist Ernest Soupireau, which was associated with the Service des Arts Indigènes, a French institution established to “revive” Algerian artisanal crafts—or at least those deemed palatable or authentic enough to the colonial administration. He also trained with Algerian artists, notably Omar Racim. Shortly after being released from the infamous Barberousse prison in 1921, Racim established an Islamic art school in the Casbah, where Temmam learned to practice miniature painting, calligraphy, and illumination. There he would also meet a number of his longtime artistic colleagues, such as Mostefa Ben Debbagh, Ali Khodja, Boutaleb Mahieddine, M’hamed Haminoumna, and others.

At the age of 16, Temmam entered the École des Beaux-Arts of Algiers in 1931, where he followed his dual interests in classical Islamic arts and European academic painting. In 1936, he received a prestigious scholarship from the Governor General of French Algeria to attend the École nationale supérieure des Arts Décoratifs in Paris, a city where he would eventually spend nearly 30 years. He returned to Algiers briefly in 1937 to organize an exhibition—his first—attesting to his early interest in developing a curatorial practice alongside his artistic practice.

When he returned to Paris the same year, he met his lifelong companion, the Kabyle singer Bahia Farah. Temmam, who avidly attended Maghrebi orchestra concerts in Paris, was also a musician himself, classically trained in Andalusian-style violin and lute which he continued to play throughout his life.

When World War II broke out in 1939, Temmam fought in the French Army as a corporal before being captured in German-occupied northeastern France. He was held as a prisoner of war from 1940 until 1943. Not much is known about his time in the internment camp, but he did find ways to continue creating art, painting portraits of officers and their wives and transforming the makeshift prayer room made by fellow Muslim prisoners with his calligraphy. Even there he made a name for himself; it’s rumored that Marshal Petain, who was the head of the collaborationist Vichy government, wrote a letter addressed to Temmam’s prisoner number at the camp to recognize his talent.

After his release, Temmam worked at the Sèvres porcelain factory, where he contributed to official French state commissions, while continuing to produce his own work and exhibiting in both Algeria and Europe, including one group show organized by Mohamed Racim in Scandinavia in 1946. After the Setif and Guelma massacres in 1945, he left his position as Sèvres and became more involved with the immigrant and exile community. Like many other Algerians living in Paris, he frequented El Djazair, a cabaret in Quartier Latin with a neo-Moorish interior whose stucco he carved, and where he, Bahia Farah, and their friends sometimes performed musical acts.

During the Algerian Revolution from 1954-1962, Temmam remained active within the resistance networks operating from France. Together with his companion Bahia Farah, who organized a musical group as part of the FLN Artistic Troupe, they contributed their skills to promote the cause of Algerian liberation abroad. During this time, Temmam also designed graphic art for vinyl record sleeves and other visual material for North African artists like Mohamed Abdelwahad and Mohamed Marocain.

After 1962, he returned to Algeria together with Farah and became deeply involved in the state-led cultural initiatives of the newly independent nation. He was a founding member of the national artists’ union UNAP established in 1967 and taught as a professor at the Ecole des Beaux Arts. He served as the director of the National Museum of Antiquities and Islamic Art for 25 years, from 1963 until his death. The museum, which has a permanent gallery named in his honor, still holds much of his work in its collections, attesting to the diversity of his skills with artworks in mediums that range from calligraphic works on paper, miniature paintings, painted wooden chests, ceramic tiles, and oil paintings.

Over the course of his career, Temmam—who became known affectionately as Sid ‘Ali—contributed designs for more than 75 postage stamps as well as dinar coins, contributing to the visual identity of a newly sovereign Algerian state.

Many assume that Temmam's works took on a political slant only after independence, when he became known for blending European academic painting techniques of perspective, modelling, and portraiture into an Islamic miniature tradition to envision scenes of Algerian life free of colonial imagery. But the art historian Anissa Bouayed has shown that Temmam's political awareness started much earlier, when he was a student of Omar Racim, an artist known also for his nationalist writings. At only 18 years old, Temmam reinterpreted a 19th-century French painting by Ange Tissier of a meeting between Napoleon and the Algerian resistance Emir Abdelkader. Temmam’s version places both figures on equal footing, he removes the figure of the Emir’s mother kneeling before the emperor, and recontextualizes the scene to take place in an Ottoman Algerian interior rather than a French chateau—transforming the image into a one of visual resistance. 

In 1984, Bahia Farah succumbed to illness, a loss from which Temmam would never fully recover. He died four years later on July 15th, 1988, in Algiers, leaving behind a legacy as a dedicated and deeply talented artist who worked across many different media and modes of art making, as a painter, illuminator, calligrapher, graphic designer, ceramicist, curator, and musician.

Ava Hess is an Iranian-American curator and PhD Candidate in Art History at the University of California Los Angeles (UCLA). She is currently based in Tunisia where she is researching under-glass painting, printmaking, and figural Islamic art in the Maghrib for her dissertation.

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Nasri Khattar

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Nasri Khattar — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

SET DESIGN

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Nagy Shaker

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→&nbsp;Nawar, Haytham. <a href="https://khattbooks.com/product/nagy-shaker-an-experimental-graphic-artist-of-the-egyptian-avant-garde-copy/?doing_wp_cron=1779872720.3472290039062500000000">Nagy Shaker</a>: An Experimental Graphic Artist of the Egyptian Avant-Garde. Amsterdam: Khatt Books, 2023.

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Emile Menhem

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→ Balaa, Lara. <a href="https://khattbooks.com/product/emile-menhem-invigorating-arab-journalism-through-graphic-design-2/?doing_wp_cron=1779871828.0285639762878417968750">Emile Menhem</a>: Invigorating Arab Journalism Through Graphic Design. Amsterdam: Khatt Books, 2019.

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Alexander Hagop Saroukhan

Alexander Saroukhan: The Pioneer of Political Caricature in Egypt

Alexander Saroukhan was born on October 1, 1898, in the town of Ardanoush, part of the Batumi district in Georgia, Caucasus, which was then part of the Russian Empire. He spent his early years, from age two to eleven, in the city of Batum with his family, where he received his primary education at the Gymnasium (Russian primary school), together with his younger brother, Levon. In 1909, they moved to Istanbul (Constantinople) and enrolled in the Viennese High School of the Mekhitarist Fathers in Pangaltı.

During World War I, Saroukhan and his brother Levon remained as boarders at the Mekhitarist Fathers’ school while their family returned to Ardanoush. Their stay at the school saved them from the Armenian Genocide perpetrated by the Turks, as the high school was under the protection of Austria, then an ally of the Ottoman Empire.

In 1922, amid renewed threats against the Armenians of Istanbul, Saroukhan and his brother joined their uncle, Arakel Saroukhan, in Belgium, where he was a director at the Mantashev Oil Company. From that point on, they were permanently separated from their parents and sisters.

Recognizing his nephew’s artistic talent, their uncle sent him to Vienna to study fine arts and lithography, where he completed his studies in two years.

In 1924, following a proposal from an Egyptian student studying printing at the same institute to work as a cartoonist for a newspaper he intended to publish, Saroukhan moved to Cairo. However, the newspaper ceased publication after only two issues. To support himself, he worked as an art teacher at the Kalousdian and Berberian schools.

In January 1925, he realized his dream by publishing the satirical magazine Armenian Cinema, which ran for fifty issues.

In 1927, at the invitation of Mohamed El Tabei, he joined Rose El Youssef as a political cartoonist. Later, in 1934, he joined Akher Sa’a, also founded by El Tabei. This marked the beginning of his long career in Egyptian media. In 1946, he joined Akhbar El Yom, where he worked alongside the renowned cartoonist Mohamed Abdel Moneim Rakha until his death on January 1, 1977. One of his most notable creations is the character Al-Masri Effendi, who came to represent public opinion and the common man.

He participated in group exhibitions and held solo exhibitions in Egypt, Armenia, Canada, the United States, Syria, Lebanon, and France. He also collaborated with numerous Arab, French, and English newspapers and magazines, and his works were published in many Armenian newspapers.

Among his most famous works is the book Cette Guerre (This War), published after World War II in 1945 in French and English, reflecting the events of the war through caricature. The book was based on The Political Year 1938, an album of cartoons published in French in Cairo in 1939 by La Bourse égyptienne. A second edition of Cette Guerre (This War) was published in 2025.

Saroukhan was also the owner and director of La Caravane, a weekly magazine presenting social, satirical, and political subjects, mainly addressing World War II through articles and cartoons. La Caravane, which ran for 162 issues, was published in Cairo in French from December 1938 to January 1942 and was distributed in Egypt and abroad.  

He also authored illustrated books such as Look at Your Words, Kherfooni, and We Through Our Glasses (in Armenian), in addition to satirical plays including We Do Not Know Armenian, among others. He also enriched Enger Panchouni by the writer Yervant Odian and The Honorable Beggars by Hagop Baronian with his insightful caricatures.

In 1960, he received the Cartoon for Peace Award from the People-to-People Committee in the United States.

Saroukhan remained a defender of the just causes of the Armenian people and an active member of several Armenian associations, alongside his cultural and media activities. He was granted Egyptian citizenship by President Gamal Abdel Nasser in October 1954.

A short documentary on Saroukhan, directed by Moataz Ragheb in 2012, was produced in Egypt by the Ministry of Culture. Saroukhan’s works are held in several museums and collections, including the National Gallery of Armenia and the Charents Museum of Literature and Arts in Yerevan, Armenia; the library and museum of the Mekhitarist Monastery in Vienna, Austria; the Mekhitarist Monastery on Saint Lazarus Island in Venice, Italy; the Mahmoud Khalil Museum in Giza, Egypt; the Fayoum Caricature Museum in Egypt; and the Baron Empain Palace in Heliopolis, Cairo.

In 2006, a street in the New Nozha district of Cairo was named after Saroukhan as the Pioneer of Political Caricature in Egypt, pursuant to a Cairo Governor’s decree. In 2019, a plaque bearing his name was installed at the entrance of his house in Heliopolis as part of the “Lived Here” initiative by the National Organization for Urban Harmony and the Cairo Governorate, in recognition of eminent figures in Egypt.

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Ramses Younan

This page is still being written. We're working to build a thoughtful entry on Ramses Younan — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

We welcome collaborators of all kinds: researchers and scholars working on adjacent histories, writers drawn to his life and work, family members or friends with personal recollections, collectors and institutions holding works or archival materials, and anyone with knowledge, sources, or perspectives to share.

Contributions can take many forms — a short-medium biographical essay or a short reflection.

EDITORIAL DESIGN

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Marc Rudin (Jihad Mansour)

Biography

Marc Rudin was born on 29 September 1945, and spent his childhood with his parents and two sisters in Berne. Since his mother is from Western Switzerland, he grew up bilingual.

Marc was passionate about sports from a young age and engaged in athletics, ski racing and climbing in the Ostermundigen quarries.

His talent for drawing and music became apparent at an early age. As a young boy, he often ventured out alone and sketched the landscape of the surrounding area. It is therefore only natural that he later chose to become a professional graphic designer. In 1962 he attended the preliminary course at the School of Arts and Crafts and in 1963 he began an apprenticeship as a graphic artist with J. Mauerhofer in Ostermundigen, Berne. At the Berne School of Applied Arts he was strongly influenced by Hans Schwarzenbach. After successfully completing his apprenticeship, he worked briefly as a graphic designer at Scintilla in 1967/68, then at the Kurt Wirth studio, at Hablützel and Jaquet, and subsequently became a designer for the fashion magazine Harper's Bazar and designed posters for the cable car enterprise Firstbahn as well as the SBB. In 1967 he married and his daughter was born.

During the 60's Marc became a member of the forum “Politicum Bern” and later of the RSB (“Revolutionary Socialist Movement”). On 22 June 1968, he participated in hoisting the flag of the “National Front for the Liberation of South Vietnam” on the top of the Berne Cathedral Tower.

In the fall of 1969, the family moved to Paris and he worked at the Reiwald advertising agency. Politically and artistically, Marc became involved with the French Maoist political party “Gauche Prolétarienne” and in the activist workers' committee “Comité de Lutte” at Renault. He maintained contacts with the North African immigrants who worked in car production and identified with the anti-colonialist struggles and with the liberation struggle of the Palestinians.

In 1972 Marc separated from his wife and returned to Berne, where he became involved in the “Schinagu d'Sach fürs Vouk”. In May 1973 he participated in a squatter house-occupation action in Berne on Forstweg.

In 1974, he became involved in the strike at the Burger &amp; Jacobi piano factory in Biel and in the workers' committee “Ça ira”, “Sich nid lo tschaupe” (Don't get kicked).

After the disbandment of the “Schinagu”, Marc devoted himself to folk music, playing in various groups and building musical instruments himself based on old models. He could often be found in the “Café des Pyrénées” playing chess.

In Milan (1975/76) he participated in the realization of graffiti on squatted houses in the “Porta Ticinese” neighborhood and established his first direct contacts with Palestinians. In 1976 he travelled to Lebanon for a short stay and realized his first posters for the Palestinian resistance.

Back in Switzerland, Marc played old and new forms of folk music in various group formations, including with “Husmusig Jeremias”, and went on tour in Germany with the “Schränzern” as a street musician.

In May 1980, Marc was sentenced to four years in prison in absentia by the “District Court of Saane Fribourg” for his involvement in the bombing attack of November 1979 against the IMEF bank in Fribourg.

In exile in Beirut and Damascus from 1979 to 1991, Marc worked as a poster designer for the PFLP (“Popular Front for the Liberation of Palestine”) under the name “Jihad Mansour”. During the 1982 invasion of Lebanon by the Israeli army, he participated in the defensive battles of the Palestinian resistance in Beirut. After the unsuccessful defense of Beirut, the fighters were evacuated to Damascus under international supervision.

In 1991, as the situation for illegals in Damascus became increasingly uncertain, Marc attempted to seek refuge in Turkey, was arrested at the border and transferred to Bayrampaşa Prison in Istanbul. Interpol identified Marc as one of the possible participants in the November 1988 robbery by the “Blekingegade Gang” in Copenhagen in which a young policeman lost his life. In 1992 Marc was extradited to Denmark, where he was sentenced to eight years in prison in October 1993 for robbery in support of the Palestinian resistance.

In the security wing of the prison in Horsens, Marc spent his imprisonment realizing drawings, linocuts and woodcuts and kept up a very extensive correspondence. To keep himself physically fit, he pursued an intensive sports program.

In June 1996, he married his longtime love Laura, who was thus finally able to visit him in prison.

In early 1997, Marc was transferred to Fribourg, Switzerland, where he was to be tried again for the bombing attack on the IMEF bank. Due to procedural errors, he was released from prison already in February.

In the summer of 1997, Marc realized a mural together with Colby Blumer in Quartierhof 5 in the Lorraine area in Berne. From then on, Marc lived in Zurich and worked as a vocational school teacher at the “Berufsschule für Gestaltung Zürich Medien Form Farbe” from 1997 until his retirement in 2011. He taught type history, typography and color theory with dedication and competence. Marc also dedicated himself privately to typography and developed several typefaces.

In the folk music group “Nahdisnah”, which he founded, he played cello and viola da gamba. Marc was politically active for years in the Labor Day organizing committee, “1. Mai Komitee Zürich” and in the PdA (Party of Labor) and designed various posters. He frequently travelled to Paris in order to spend time with his daughter and grandchildren. Diagnosed with Parkinson's in 2012, he fought it by jogging, swimming and climbing, and continued to make music and cultivating typefaces.

The disease increasingly limited his range of activity, and from 2020 onwards he was capable of doing very little. Parkinson's sapped his strength and also caused him severe back pain. From August 2021 he lived in the Limmat Health Center, where he was released from his suffering on April 7, 2023.

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Adly Rizkallah

This page is still being written. We're working to build a thoughtful entry on Adly Rizkallah — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.

JOURNALISM

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Hassan Fouad

<span style="scrollbar-color: unset !important; scrollbar-width: unset; box-sizing: border-box; border: 0px solid; --tw-translate-x: 0; --tw-translate-y: 0; --tw-rotate: 0; --tw-skew-x: 0; --tw-skew-y: 0; --tw-scale-x: 1; --tw-scale-y: 1; --tw-pan-x: ; --tw-pan-y: ; --tw-pinch-zoom: ; --tw-scroll-snap-strictness: proximity; --tw-ordinal: ; --tw-slashed-zero: ; --tw-numeric-figure: ; --tw-numeric-spacing: ; --tw-numeric-fraction: ; --tw-ring-inset: ; --tw-ring-offset-width: 0px; --tw-ring-offset-color: #fff; --tw-ring-color: rgb(59 130 246/0.5); --tw-ring-offset-shadow: 0 0 #0000; --tw-ring-shadow: 0 0 #0000; --tw-shadow: 0 0 #0000; --tw-shadow-colored: 0 0 #0000; --tw-blur: ; --tw-brightness: ; --tw-contrast: ; --tw-grayscale: ; --tw-hue-rotate: ; --tw-invert: ; --tw-saturate: ; --tw-sepia: ; --tw-drop-shadow: ; --tw-backdrop-blur: ; --tw-backdrop-brightness: ; --tw-backdrop-contrast: ; --tw-backdrop-grayscale: ; --tw-backdrop-hue-rotate: ; --tw-backdrop-invert: ; --tw-backdrop-opacity: ; --tw-backdrop-saturate: ; --tw-backdrop-sepia: ; margin: 0px; padding: 0px; outline: 0px; font-weight: normal;">This page is still being written. We're working to build a thoughtful entry on Hassan Fouad — one that reflects the breadth of his practice, his writings, and his place within the wider currents of twentieth-century art and visual culture. Until then, this space remains open.