234:
33:
1591:
1572:
1184:
320:
560:
340:
525:. In an interview, she said that she was interested in the recent resurgence of geopolitical borders, such as the Mexico–United States border and the separation of the Islamic and Western worlds. She also reflected on her own experiences with immigration bureaucracies. As part of her practice, Kaabi-Linke takes prints of city walls, which she finds expressive of the city's history.
1603:
1552:
288:, a borough of Berlin. Her pavement mosaic uses stones that correspond to the national origins of the borough's residents, which is a largely immigrant population. She described her practice, at that time, as an archaeology of contemporary life. As of 2016, Kaabi-Linke is represented by Lawrie Shabibi of Dubai and Experimenter of Kolkata.
358:
the same year. In the installation, a cage-like structure hangs from the ceiling and casts quadrilateral shadows onto the ground. Kaabi-Linke drew inspiration from a bridge in Venice where Arab and
African street vendors used carpets to show counterfeit wares. The work was shown at the 54th Venice
447:
wrote that the bullet holes on the walls of the bunker symbolized the wounds of
Germany's involvement in the war. The magazine compared the work's format to that of early Christian art and considered the work "an allegory for the political strategy of covering up the past for a more favorable
516:, in which a disembodied mouth chants questions from an immigration visa interrogation, to which church congregants chant the replies. The video installation had previously debuted at the 2012 Liverpool Biennale. Kaabi-Linke's 2015 solo show at the
520:
explored themes of international borders. A performance at the show ran its duration, wherein volunteers circled two poles while unraveling the 3,000 kilometers of thread, to create a symbolic wall that represents the length of the border the
531:
described Kaabi-Linke's six Dallas pieces as having high conceptual impact for addressing heavy political themes (e.g., politics of borders, identity, and military) with delicate media (e.g., hair, language, and thread).
440:
frame that visualizes war through its depiction of a World War II-era Berlin bunker. Civilians were forced to build the depicted bunker, which held private artworks from the Boros
Collection as of the exhibition.
406:
and
Tunisia, respectively. The flowers would decay against the background of the flag. The same year, after meeting many survivors of domestic violence during her 2012 residency in the London
280:
Experimenter gallery. One of the judges juxtaposed the social content of her work against the political reservations of other exhibitions in the show. Earlier that year, she completed her
300:, paint chips from city walls in Tunis, Kyiv, Paris, Berlin, Cologne and other Tunisian cities are positioned horizontally and suspended from the ceiling in a cluster. Caitlin Woolsey of
1437:
476:(2013), an ink and wax painting, comes from a print of a Tunisian resort's eroded wall to reflect on the inescapable erosion of man's creations and the decline of tourism in Tunisia.
804:
1463:
420:
exhibited alongside other works in the theme of masculine overreach at her 2015 second solo show in the Lawrie
Shabibi gallery of Dubai. The show explored the emergence of
1491:
1422:
880:
485:
Stephanie Bailey wrote that Kaabi-Linke was both concise and sincere", with a "severity" offset by the "lightness" with which she navigates topical issues. The
1638:
244:
The artist held her first solo show in Tunis in 2009, and subsequent solo shows in Berlin (2010), the Mosaic Rooms of Earl's Court (London, 2014), and the
166:, a hanging cage-like sculpture that casts geometric shadows onto the floor akin to the carpets of Venetian street vendors. The piece was acquired by the
1136:
620:
360:
171:
1517:
1369:
536:
233:
910:
1668:
1663:
1643:
210:
when she was 12 when her father took a job there. Kaabi-Linke recalled the move as difficult, particularly in losing the opportunity to study
449:
202:
in 1978. She is of
Ukrainian and Tunisian heritage, her father a sports academic and her mother a chemist. Kaabi-Linke was raised between
1673:
1653:
1648:
985:
794:
377:
established the artist as among the few "capable of crafting complex socio-political histories into an organic, autonomous poetry".
551:
Kaabi-Linke is married and has two sons, born in early 2013 and late 2017. She lives in Berlin and Kyiv and speaks six languages.
539:
announced Kaabi-Linke as the winner of the 4th edition of the Ithra Art Prize. She was granted USD 100,000 to create work for the
1122:
957:
522:
305:
1658:
219:
155:
68:
1495:
1040:
725:
1581:
472:(2015) captured sand, cement, and pollen inside bubble wrap to reflect the masculine impulse to exploit the environment.
624:
261:
215:
167:
151:
64:
1556:
870:
1010:
631:
540:
381:
1633:
1522:
1262:
1096:
602:
343:
32:
755:
1235:
931:
697:
1069:
1628:
1183:
506:
249:
187:
159:
108:
830:
230:. While in France, she met her German husband, Timo, who would later curate many of Kaabi-Linke's shows.
1527:
1343:
1288:
410:, Kaabi-Linke wanted to publicize the prevalence of the often marginalized crime. She created a work,
1623:
502:
486:
309:
183:
179:
384:. The show, co-curated by her partner, focused on questions of Tunisian identity following the 2010
319:
588:
567:
517:
512:
Among prior works, the artist's 2014 exhibition at the London Mosaic Rooms featured a video piece,
414:, in 2012 using prints of scars from domestic violence, depicted in black powder smudges on paper.
385:
273:
245:
175:
103:
1607:
835:
662:
407:
313:
265:
214:. With her mother's encouragement, Kaabi-Linke began to draw. Later she studied painting at the
658:
424:
culture from themes of war heroism, exploitation, and violence, and machismo's relation to the
1416:
923:
918:
840:
707:
619:"But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa",
425:
403:
269:
227:
581:
457:
139:
1438:"Nadia Kaabi-Linke wins Ithra Art Prize 2021 for work that imagines a post-pandemic future"
760:
702:
359:
Biennale and was later purchased by the New York
Guggenheim Museum in 2016 as part of the
257:
1571:
1464:"Suspended Lives and Emerging Voices: Nadia Kaabi-Linke in Conversation with Lina Lazaar"
1158:
501:, part of the Kaabi-Linke's Art Basel Hong Kong Discoveries Prize showing, in 2014. The
1397:
1240:
962:
875:
559:
443:
126:-born, Berlin-based visual artist best known for her conceptual art and 2011 sculpture
1617:
1595:
1374:
592:
527:
1370:"Glittery Sylphs, Decorated Camels, Cracked Earthen Paintings, and Botched Machismo"
248:(2015). Kaabi-Linke received the 2009 Alexandria Biennale's Jury Prize and the 2011
795:"How Curator Sara Raza's New Show Smuggles Inconvenient Truths Into the Guggenheim"
211:
1317:
1302:
1074:
799:
729:
365:
285:
135:
131:
223:
927:
844:
711:
437:
1207:"Where to Now: Chkoun Ahna at the National Museum of Carthage, Tunis, 2012"
1014:
598:"The Future Rewound & The Cabinet of Souls", Mosaic Rooms, London, 2014
1565:
1551:
174:. Kaabi-Linke also won the Discoveries Prize for emerging art at the 2014
1176:
1163:
478:
433:
421:
316:). Kaabi-Linke said that her work is "unintentionally autobiographical".
277:
1602:
1266:
1100:
493:
at the April 2016 Dallas Art Fair, and the Burger
Collection purchased
399:
394:
53:
606:
380:
In May 2012, Kaabi-Linke exhibited in "Chkoun Ahna" at the
Tunisian
558:
318:
232:
207:
199:
147:
123:
49:
1263:"Notable Acquisition - Nadia Kaabi Linke by M+ Museum Hong Kong"
1206:
1123:"Place as Provisional: Site-Specific Art Commissions in Sharjah"
203:
143:
691:
689:
687:
685:
683:
681:
679:
1396:
Dubai, TenTwenty | Webdesign, Webshops & E.-marketing |.
456:(2012) invoked the burial of American soldiers from the 1942
272:. She won the Discoveries Prize for emerging art at the 2014
1137:"Nadia Kaabi-Linke - Starter: Filigrane Gesellschaftskritik"
986:"Art Basel: Discoveries Prize awarded to Nadia Kaabi-Linke"
354:
The 2011 Abraaj Group Art Prize commissioned Kaabi-Linke's
268:
in 2012, where she was inspired after meeting survivors of
1152:
1150:
1148:
1146:
1579:
904:
902:
900:
898:
218:, graduated in 1999, and received her Ph.D. from the
1011:"Alfred-Scholz-Platz: Gestaltung eines Stadtplatzes"
264:
in 2016. Kaabi-Linke held a residency at the London
332:
154:and received a Ph.D. in philosophy of art from the
95:
82:
74:
60:
42:
23:
1236:"Chkoun Ahna Opens Tunisia's Contemporary Chapter"
788:
786:
784:
782:
780:
778:
497:, in 2014. The M+ Museum of Visual Culture bought
190:, and exhibited in multiple solo and group shows.
1200:
1198:
1196:
864:
862:
860:
858:
856:
854:
749:
747:
369:wrote that it was a highlight of the exhibition.
308:policies and symbolized the mass that formed the
1344:"Nadia Kaabi-Linke: Forces that Shape our World"
1063:
1061:
909:Gerlis, Melanie; Adam, Georgina (May 17, 2014).
1041:"Nadia Kaabi-Linke presa pelos fios da memória"
831:"Echoes of Political Unrest at Venice Biennale"
1229:
1227:
1013:. Architekturpreis Berlin 2016. Archived from
824:
822:
460:, occupying foreign territory even in death.
312:, the country where the piece was installed (
8:
1421:: CS1 maint: multiple names: authors list (
260:and later purchased by and exhibited at the
1570:
1316:Franceschini, Giulia (December 15, 2014).
1303:"Abstract Generation: Now in Print - MoMA"
871:"Fahrenheit311: Seven Legends of Machismo"
31:
20:
1368:Terranova, Charissa (November 12, 2015).
1070:"Dallas Art Fair Sales in 2016 Are Mixed"
1034:
1032:
911:"Artists Go the Extra Mile for Hong Kong"
869:Volk, Katherine; Shabibi, Lawrie (n.d.).
653:
651:
649:
647:
958:"Dueling Visions at Art Basel Hong Kong"
621:Guggenheim UBS MAP Global Art Initiative
361:Guggenheim UBS MAP Global Art Initiative
172:Guggenheim UBS MAP Global Art Initiative
1586:
698:"An artist who will not be pigeonholed"
643:
537:King Abdulaziz Center for World Culture
178:. Her works have been collected by the
1414:
793:van Straaten, Laura (April 27, 2016).
329:
284:("My Stone") project in the center of
1436:Chaves, Alexandra (August 31, 2021).
388:. The artist's 2012 commentary work,
7:
696:Spence, Rachel (November 14, 2014).
296:In Kaabi-Linke's 2009 installation,
1639:Tunis Institute of Fine Arts alumni
1068:Kinsella, Eileen (April 20, 2016).
829:Lankarani, Nazanin (May 25, 2011).
754:Smart, Lauren (December 21, 2015).
728:. Nadia Kaabi-Linke. Archived from
509:also acquired work by Kaabi-Linke.
252:. The latter commissioned her 2011
1097:"Nadia Kaabi-Linke - Experimenter"
304:wrote that the work recalled city
130:. Her work has explored themes of
14:
1462:Lazaar, Lina (December 5, 2011).
1157:Bailey, Stephanie (Summer 2015).
883:from the original on June 3, 2016
807:from the original on June 3, 2016
756:"10 Best Art Exhibitions of 2015"
1601:
1589:
1550:
1492:"Nadia Kaabi-Linke: Sealed Time"
1205:Downey, Anthony (May 30, 2012).
1182:
541:Diryah Contemporary Art Biennale
523:United States shares with Mexico
338:
306:development-induced displacement
398:Muslim declaration of faith in
344:Guggenheim audio commentary on
276:, where she exhibited with the
1518:"Nadia Kaabi-Linke — Stranded"
1039:Synek, Manuela (May 2, 2014).
956:Vine, Richard (May 22, 2014).
402:atop a black flag, symbols of
256:, which was shown at the 54th
198:Nadia Kaabi-Linke was born in
150:and Paris, she studied at the
1:
1669:21st-century Tunisian artists
1664:Tunisian installation artists
1644:Tunisian contemporary artists
1342:Cohen, Alina (October 2015).
984:Seaman, Anna (May 15, 2014).
566:(2015), installation view at
474:A Short Story of Salt and Sun
1234:Larkins, Zoe (May 7, 2012).
625:Solomon R. Guggenheim Museum
216:Tunis Institute of Fine Arts
152:Tunis Institute of Fine Arts
65:Tunis Institute of Fine Arts
1322:Intense Art Magazine Africa
632:National Museum of Carthage
412:Impunities London Originals
382:National Museum of Carthage
158:. Kaabi-Linke won the 2011
46:1978 (age 45–46)
16:Tunisian artist (born 1978)
1690:
1674:21st-century women artists
1654:Women installation artists
1649:University of Paris alumni
1523:Calouste Gulbenkian Museum
603:Calouste Gulbenkian Museum
432:, is an ink and wax print
262:New York Guggenheim Museum
1398:"Ithra | Ithra Art Prize"
1318:"Nadia Kaabi-Linke: 'NO'"
337:
298:Under Standing Over Views
186:, Burger Collection, and
170:in 2016 as part of their
30:
1189:(Subscription required.)
363:. Laura van Straaten of
206:and Tunis. She moved to
142:. Raised between Tunis,
140:transnational identities
1659:Tunisian women artists
1526:. 2014. Archived from
571:
507:Samdani Art Foundation
327:
250:Abraaj Group Art Prize
241:
188:Samdani Art Foundation
160:Abraaj Group Art Prize
112:2011
109:Abraaj Group Art Prize
1559:at Wikimedia Commons
937:on September 11, 2015
562:
322:
236:
194:Early life and career
162:, which commissioned
555:Selected exhibitions
503:Museum of Modern Art
487:Dallas Museum of Art
428:. Its central work,
310:United Arab Emirates
184:Dallas Museum of Art
180:Museum of Modern Art
1498:on December 1, 2017
1289:"Nadia Kaabi-Linke"
1159:"Nadia Kaabi-Linke"
659:"Nadia Kaabi-Linke"
589:Dallas Contemporary
568:Dallas Contemporary
518:Dallas Contemporary
371:The Financial Times
274:Art Basel Hong Kong
246:Dallas Contemporary
176:Art Basel Hong Kong
168:New York Guggenheim
104:Art Basel Hong Kong
37:Kaabi-Linke in 2020
1530:on August 17, 2016
1103:on October 6, 2018
1017:on August 23, 2016
836:The New York Times
663:Delfina Foundation
572:
495:Impunities, London
491:Tunisian Americans
454:Tunisian Americans
408:Delfina Foundation
386:Jasmine Revolution
328:
314:Sharjah Art Museum
266:Delfina Foundation
242:
99:Discoveries Prize
1634:People from Tunis
1557:Nadia Kaabi-Linke
1555:Media related to
1348:Whitehot Magazine
919:The Art Newspaper
634:, Tunis, May 2012
587:"Walk the Line",
570:, 2019 km of yarn
426:seven deadly sins
418:Impunities London
404:Islamic extremism
352:
351:
270:domestic violence
228:philosophy of art
122:(born 1978) is a
120:Nadia Kaabi-Linke
117:
116:
25:Nadia Kaabi-Linke
1681:
1606:
1605:
1594:
1593:
1592:
1585:
1574:
1569:
1568:
1566:Official website
1554:
1540:
1539:
1537:
1535:
1514:
1508:
1507:
1505:
1503:
1494:. Archived from
1488:
1482:
1481:
1479:
1477:
1468:
1459:
1453:
1452:
1450:
1448:
1433:
1427:
1426:
1420:
1412:
1410:
1408:
1393:
1387:
1386:
1384:
1382:
1365:
1359:
1358:
1356:
1354:
1339:
1333:
1332:
1330:
1328:
1313:
1307:
1306:
1299:
1293:
1292:
1285:
1279:
1278:
1276:
1274:
1265:. Archived from
1259:
1253:
1252:
1250:
1248:
1231:
1222:
1221:
1219:
1217:
1202:
1191:
1190:
1187:
1186:
1180:
1174:
1172:
1167:. pp. 376–7
1154:
1141:
1140:
1133:
1127:
1126:
1119:
1113:
1112:
1110:
1108:
1099:. Archived from
1093:
1087:
1086:
1084:
1082:
1065:
1056:
1055:
1053:
1051:
1036:
1027:
1026:
1024:
1022:
1007:
1001:
1000:
998:
996:
981:
975:
974:
972:
970:
953:
947:
946:
944:
942:
936:
930:. Archived from
915:
906:
893:
892:
890:
888:
866:
849:
848:
826:
817:
816:
814:
812:
790:
773:
772:
770:
768:
751:
742:
741:
739:
737:
722:
716:
715:
693:
674:
673:
671:
669:
655:
627:, New York, 2016
584:, Germany, 2017,
582:Kunstmuseum Bonn
484:
458:Tunisia Campaign
392:, displayed the
342:
341:
330:
85:
78:Installation art
35:
21:
1689:
1688:
1684:
1683:
1682:
1680:
1679:
1678:
1614:
1613:
1612:
1600:
1590:
1588:
1580:
1564:
1563:
1548:
1543:
1533:
1531:
1516:
1515:
1511:
1501:
1499:
1490:
1489:
1485:
1475:
1473:
1466:
1461:
1460:
1456:
1446:
1444:
1435:
1434:
1430:
1413:
1406:
1404:
1395:
1394:
1390:
1380:
1378:
1367:
1366:
1362:
1352:
1350:
1341:
1340:
1336:
1326:
1324:
1315:
1314:
1310:
1301:
1300:
1296:
1287:
1286:
1282:
1272:
1270:
1269:on May 10, 2017
1261:
1260:
1256:
1246:
1244:
1233:
1232:
1225:
1215:
1213:
1204:
1203:
1194:
1188:
1181:
1170:
1168:
1156:
1155:
1144:
1135:
1134:
1130:
1121:
1120:
1116:
1106:
1104:
1095:
1094:
1090:
1080:
1078:
1067:
1066:
1059:
1049:
1047:
1038:
1037:
1030:
1020:
1018:
1009:
1008:
1004:
994:
992:
983:
982:
978:
968:
966:
955:
954:
950:
940:
938:
934:
913:
908:
907:
896:
886:
884:
868:
867:
852:
828:
827:
820:
810:
808:
792:
791:
776:
766:
764:
761:Dallas Observer
753:
752:
745:
735:
733:
732:on May 10, 2017
724:
723:
719:
703:Financial Times
695:
694:
677:
667:
665:
657:
656:
645:
641:
630:"Chkoun Ahna",
580:"Sealed Time",
557:
549:
482:
339:
294:
258:Venice Biennale
196:
113:
111:
107:
100:
83:
56:
47:
38:
26:
17:
12:
11:
5:
1687:
1685:
1677:
1676:
1671:
1666:
1661:
1656:
1651:
1646:
1641:
1636:
1631:
1626:
1616:
1615:
1611:
1610:
1598:
1576:
1575:
1547:
1546:External links
1544:
1542:
1541:
1509:
1483:
1454:
1428:
1388:
1360:
1334:
1308:
1294:
1280:
1254:
1241:Art in America
1223:
1192:
1142:
1128:
1114:
1088:
1057:
1028:
1002:
976:
963:Art in America
948:
894:
876:ArtAsiaPacific
850:
818:
774:
743:
717:
675:
642:
640:
637:
636:
635:
628:
611:
610:
599:
596:
585:
556:
553:
548:
545:
489:purchased her
444:ArtAsiaPacific
430:The Altarpiece
375:Flying Carpets
356:Flying Carpets
350:
349:
346:Flying Carpets
335:
334:
333:External audio
324:Flying Carpets
293:
290:
254:Flying Carpets
195:
192:
164:Flying Carpets
128:Flying Carpets
115:
114:
97:
93:
92:
89:Flying Carpets
86:
80:
79:
76:
75:Known for
72:
71:
62:
58:
57:
48:
44:
40:
39:
36:
28:
27:
24:
15:
13:
10:
9:
6:
4:
3:
2:
1686:
1675:
1672:
1670:
1667:
1665:
1662:
1660:
1657:
1655:
1652:
1650:
1647:
1645:
1642:
1640:
1637:
1635:
1632:
1630:
1629:Living people
1627:
1625:
1622:
1621:
1619:
1609:
1604:
1599:
1597:
1587:
1583:
1578:
1573:
1567:
1562:
1561:
1560:
1558:
1553:
1545:
1529:
1525:
1524:
1519:
1513:
1510:
1497:
1493:
1487:
1484:
1472:
1465:
1458:
1455:
1443:
1439:
1432:
1429:
1424:
1418:
1403:
1399:
1392:
1389:
1377:
1376:
1375:Hyperallergic
1371:
1364:
1361:
1349:
1345:
1338:
1335:
1323:
1319:
1312:
1309:
1304:
1298:
1295:
1290:
1284:
1281:
1268:
1264:
1258:
1255:
1243:
1242:
1237:
1230:
1228:
1224:
1212:
1208:
1201:
1199:
1197:
1193:
1185:
1178:
1166:
1165:
1160:
1153:
1151:
1149:
1147:
1143:
1138:
1132:
1129:
1124:
1118:
1115:
1102:
1098:
1092:
1089:
1077:
1076:
1071:
1064:
1062:
1058:
1046:
1042:
1035:
1033:
1029:
1016:
1012:
1006:
1003:
991:
987:
980:
977:
965:
964:
959:
952:
949:
933:
929:
925:
921:
920:
912:
905:
903:
901:
899:
895:
882:
878:
877:
872:
865:
863:
861:
859:
857:
855:
851:
846:
842:
838:
837:
832:
825:
823:
819:
806:
802:
801:
796:
789:
787:
785:
783:
781:
779:
775:
763:
762:
757:
750:
748:
744:
731:
727:
721:
718:
713:
709:
705:
704:
699:
692:
690:
688:
686:
684:
682:
680:
676:
664:
660:
654:
652:
650:
648:
644:
638:
633:
629:
626:
622:
618:
617:
616:
615:
608:
604:
600:
597:
594:
593:Dallas, Texas
590:
586:
583:
579:
578:
577:
576:
569:
565:
564:Walk the Line
561:
554:
552:
547:Personal life
546:
544:
542:
538:
535:In 2021, the
533:
530:
529:
528:Hyperallergic
524:
519:
515:
510:
508:
504:
500:
496:
492:
488:
481:
480:
475:
471:
467:
463:
459:
455:
451:
446:
445:
439:
435:
431:
427:
423:
419:
415:
413:
409:
405:
401:
397:
396:
391:
387:
383:
378:
376:
372:
368:
367:
362:
357:
348:
347:
336:
331:
325:
321:
317:
315:
311:
307:
303:
299:
291:
289:
287:
283:
279:
275:
271:
267:
263:
259:
255:
251:
247:
239:
235:
231:
229:
225:
221:
217:
213:
209:
205:
201:
193:
191:
189:
185:
181:
177:
173:
169:
165:
161:
157:
153:
149:
145:
141:
137:
133:
129:
125:
121:
110:
106:
105:
98:
94:
90:
87:
81:
77:
73:
70:
66:
63:
59:
55:
51:
45:
41:
34:
29:
22:
19:
1577:
1549:
1532:. Retrieved
1528:the original
1521:
1512:
1502:November 23,
1500:. Retrieved
1496:the original
1486:
1474:. Retrieved
1470:
1457:
1447:February 13,
1445:. Retrieved
1442:The National
1441:
1431:
1407:February 13,
1405:. Retrieved
1401:
1391:
1379:. Retrieved
1373:
1363:
1351:. Retrieved
1347:
1337:
1325:. Retrieved
1321:
1311:
1297:
1283:
1271:. Retrieved
1267:the original
1257:
1245:. Retrieved
1239:
1214:. Retrieved
1210:
1175:– via
1169:. Retrieved
1162:
1131:
1117:
1105:. Retrieved
1101:the original
1091:
1079:. Retrieved
1073:
1048:. Retrieved
1044:
1019:. Retrieved
1015:the original
1005:
993:. Retrieved
990:The National
989:
979:
967:. Retrieved
961:
951:
939:. Retrieved
932:the original
917:
885:. Retrieved
874:
834:
809:. Retrieved
798:
765:. Retrieved
759:
734:. Retrieved
730:the original
720:
701:
666:. Retrieved
613:
612:
601:"Stranded",
574:
573:
563:
550:
534:
526:
513:
511:
498:
494:
490:
477:
473:
469:
465:
461:
453:
442:
429:
417:
416:
411:
393:
389:
379:
374:
370:
364:
355:
353:
345:
323:
301:
297:
295:
281:
253:
243:
237:
212:modern dance
197:
163:
127:
119:
118:
102:
88:
84:Notable work
18:
1624:1978 births
1608:Visual arts
1075:Artnet News
800:Artnet News
726:"Biography"
450:revisionism
366:Artnet News
222:in 2008 in
136:immigration
132:geopolitics
1618:Categories
639:References
462:Grindballs
448:present" (
373:said that
224:aesthetics
928:0960-6556
845:0362-4331
712:0307-1766
499:Modulor I
470:Bangballs
466:Hardballs
438:gold leaf
302:Jadaliyya
282:Meinstein
238:Meinstein
61:Education
1534:June 30,
1476:June 30,
1417:cite web
1381:June 30,
1353:June 30,
1327:June 30,
1273:July 12,
1247:June 30,
1216:June 30,
1177:ProQuest
1164:Artforum
1107:July 12,
1081:June 30,
1050:June 30,
1021:June 30,
995:June 30,
969:June 30,
881:Archived
805:Archived
767:June 30,
736:June 30,
668:June 30,
479:Artforum
434:triptych
422:machismo
286:Neukölln
278:Kolkatan
226:and the
220:Sorbonne
156:Sorbonne
69:Sorbonne
1582:Portals
1171:May 31,
941:June 7,
887:May 31,
811:June 3,
400:jasmine
395:Shahada
54:Tunisia
1596:Africa
1471:Ibraaz
1211:Ibraaz
1045:Umbigo
926:
843:
710:
609:, 2014
607:Lisbon
595:, 2015
483:'s
468:, and
326:, 2011
240:, 2014
138:, and
96:Awards
91:(2011)
1467:(PDF)
1402:Ithra
935:(PDF)
922:: 1.
914:(PDF)
614:Group
436:in a
390:Smell
208:Dubai
200:Tunis
148:Dubai
124:Tunis
101:2014
50:Tunis
1536:2016
1504:2017
1478:2016
1449:2023
1423:link
1409:2023
1383:2016
1355:2016
1329:2016
1275:2016
1249:2016
1218:2016
1173:2016
1109:2016
1083:2016
1052:2016
1023:2016
997:2016
971:2016
943:2016
924:ISSN
889:2016
841:ISSN
813:2016
769:2016
738:2016
708:ISSN
670:2016
575:Solo
505:and
292:Work
204:Kyiv
144:Kyiv
43:Born
452:).
1620::
1520:.
1469:.
1440:.
1419:}}
1415:{{
1400:.
1372:.
1346:.
1320:.
1238:.
1226:^
1209:.
1195:^
1161:.
1145:^
1072:.
1060:^
1043:.
1031:^
988:.
960:.
916:.
897:^
879:.
873:.
853:^
839:.
833:.
821:^
803:.
797:.
777:^
758:.
746:^
706:.
700:.
678:^
661:.
646:^
623:,
605:,
591:,
543:.
514:No
464:,
182:,
146:,
134:,
67:,
52:,
1584::
1538:.
1506:.
1480:.
1451:.
1425:)
1411:.
1385:.
1357:.
1331:.
1305:.
1291:.
1277:.
1251:.
1220:.
1179:.
1139:.
1125:.
1111:.
1085:.
1054:.
1025:.
999:.
973:.
945:.
891:.
847:.
815:.
771:.
740:.
714:.
672:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
