230:(2008) is an installation of video and defunct sewing machines (Nefertiti) that were produced and sold in Egypt after the 1952 revolution, and were among the country's plan to nationalize industrial production and to create productive symbols of Egyptian sovereignty. The manufacture of Nefertiti was discontinued in the 1980s, due to various flaws in the design. "For Younis, its manufacture was a 'feminist project' that, although it confined women to the domestic space, also, 'aimed at empowering Egyptian housewives, since it gave them a chance to earn money while their husbands were away fighting'. Yet once the old, elegant, curvaceous Nefertiti was retired, the market was flooded with aesthetically inferior Western machines. The Nefertiti became a focus for nostalgia, and this video explores people's attachment to their old sewing machines."
157:, Ala Younis curated "National Works". The show disassembled symbols of grandeur in paused/post glorious times, in an attempt to re-interpret Kuwait's modernization project, while the exhibition's publication explored the emotional and theoretical contexts of works at a time when national identity was not questioned, and when modernist projects, cultural or contractual, were national works. ""The sleeper hit of the summer among the pavilions from this part of the world is Kuwait's pavilion, nimbly curated by Ala Younis. It features a curious installation delving into the heart-stopping history of
145:'s Forum Expanded (2013β2015), Sweet Sixities Beirut (2013), Global Art Forum 7 in Doha (2013), and ThinkFilm in Berlin (2012). Younis worked as the artistic director (2009β10), acting director (2008β09) and assistant director (2006β08) of Darat al Funun β The Khalid Shoman Foundation in Amman. She also curated film programs for the three editions of Arab Shorts β Independent Arab Film Festival (2009β2011) organized by Goethe Institut Cairo, and is on the advisory board of Berlinale's Forum Expanded.
91:, based in Amman, Jordan. Younis initiates journeys in archives and narratives, and reinterprets collective experiences that have collapsed into personal ones. Through research, she builds collections of objects, images, information, narratives, and notes on why/how people tell their stories. Her practice is based on found material, and on creating materials when they cannot be found or when they do not exist.
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they practice their version of militarism in. "Tin
Soldiers" is also an installation of 12,265 metal figurines depicting nine armies of the Middle East. The project was produced and shown at HomeWorks 5 in Beirut (2010) and at the Istanbul Biennial (2011). The publication version was also installed as an exhibition at the New Museum Triennial and at the Gwangju Biennial, both took place in 2012.
165:. Younis' sensitive excavation of Mohammad's work allows for some searching self criticality on nationalism and modernity from within the pavilion itself. Ghoussein's "K-Files" represent a seamless and gorgeous continuation of his staged self-portraiture series, working in a mode he calls performance photography."
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in the context of "Here and
Elsewhere" exhibition organized in 2014. Her work was shown at the Institute du Monde Arabe (2013), 9th Gwangju Biennial (2012), Museum of Modern Arab Art in Doha (2012), New Museum Triennial (2012), 12th Istanbul Biennial (2011), Home Works '5 Beirut (2010), The Jerusalem
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Younis has produced art installations, video works, publications, temporary collectives, publishing projects, and curated exhibitions. Her curatorial projects include Kuwait's first national pavilion at the Venice
Biennale in 2013, the nomadic collection of Museum of Manufactured Response to Absence,
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Her found objects become part of a web of stories in which the personal is inextricable from the collective, like in the publication version of "Tin
Soldiers" (2010β2) which is made of text and image portraits of contemporary (in)formal Middle Eastern soldiers, and the virtual and alternative spaces
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This show followed her curated "Museum of
Manufactured Response to Absence (MoMRtA)" which premiered at Museum of Modern Art in Kuwait and Museum of Modern in 2012. Initiated and produced by MinRASY Projects, the museum is a nomadic collection of commissioned objects that respond to the absence of
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2014: β New York Film
Festival, New York β Here and Elsewhere, exhibition curated by Massimiliano Gioni and team, New Museum, New York. Participation took the form of a curated exhibition at the 5th floor titled "An Index of Tensional and Unintentional Love of Land" β Multitude, Sesc Pompeia, SΓ£o
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Oraib Toukan and Ala Younis collaborate on exploring film footage, discarded by the former Soviet
Friendship Society in Amman. They both "developed a peculiar archeology of research that looks at early Palestinian film production, technocratic Soviet friendships, cine clubs, and Russian language
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Ala Younis published "Needles to
Rockets" with Motaz Attalla in 2009. The publication collects personal responses to questions that emerge around the place of consumer products in the lives of people and in society at large in Egypt. The people's answers illustrate how objects become iconic and
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Younis received the 2nd prize at the 17th Youth Salon, Painting for Non
Egyptians, in Cairo (2005); and the 3rd Prize at the Annual Exhibition of Jordanian Artists Association in Amman (2005). In 2012 she was selected by Christine Tohme as one of ArtReview's 'Future Greats 2012'.
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2013: β Tea with
Nefertiti, IVAM Instituto Valenciano de Arte Moderno, Valencia; Institut du Monde Arabe, Paris; Mathaf: Arab Museum of Modern Art, Doha β 59th International Short Film Festival Oberhausen, Lichtburg Filmpalast, Oberhausen
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Her publication projects include 'Needles to Rockets' (2009), 'Tin Soldiers' (2012), and the non-profit publishing initiative Kayfa-ta, a series of cost-effective Arabic monographs on how to, co-founded with artist
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2008: β PhotoCairo 4: The Long Shortcut, curated by Aleya Hamza and Edit Molnar, Hungarian Cultural Center, Cairo β The Third International Biennale for the Artist's Book 2008, Bibliotheca Alexandrina
323:β The Ungovernables, exhibition curated by Eunjie Joo, New Museum Triennial, New York β A Gathering, curated by Maria-Thalia Carras and Olga Hatzidaki, Athens β London Palestine Film Festival, London
245:(1958β1971). The project starts from a photograph of Nasser looking onto an enthusiastic and proud Arab crowd during the signing of a sovereign union agreement between Egypt and Syria in 1958.
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films in Amman." Their 3-minute film from this research, titled "From the impossibility of one page being like the other", was broadcast on Channel 4 (UK) at New York Film Festival in 2014.
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in 1982, the project reproduces documents that relate to monuments, architects, governments, and the shifts and tensions between ideals and ideologies. The project borrows its title from
137:. She is a recipient of the Bellagio Creative Arts Fellowship, as well as art prizes from Cairo's 17th Youth Salon (2005) and Jordanian Artists Association (2005). Younis co-directed
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Palestinians and their history from Kuwait, each object of which is an impossibility or exaggeration. The show premiered at Kuwait's Museum of Modern Art in May 2012.
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acquire personas, and they tell some of the myths that surround them. The publication is named after Gamal Abdel Nasser's famous slogan of industrial promise.
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183:"This land first speaks to you in signs", exhibition of archival materials and some films from the collection of Cimatheque, Cairo and Berlin, 2015
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2015: -All the World's Futures, 56th International Art Exhibition β La Biennale di Venezia, curated by Okwui Enwezor, Venice
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Tracing the past: Exhibition explores representations of Nasser, by Sara Elkamel, Ahram Online, published on 22 May 2014
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2010: β Home Works 5β, forum and exhibition curated by Christine Tohme, Beirut Art Center, Beirut β Solo exhibition at
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Taking Venice for the world, by Kaelen Wilson-Goldie, The Daily Star on 11 June 2013, page 16 in printed version
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Museum of Manufactured Response to Absence, web review by Isabella Ellaheh Hughes for ArtAsiaPacific, June 2012
176:"An Index of Tensional and Unintentional Love of Land" exhibition set within "Here and Elsewhere" exhibition at
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237:"UAR" (2014) is a series, of drawings and found objects, that studies the stories and mechanisms that produced
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Her projects begin with found objects and images that might initially seem odd or intriguing, for instance
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and Darat al Funun's collaboration project, presented at both institutions in 2011.
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Istanbul Biennial embraces Middle East, Hurriyet Daily News, Istanbul, 2011
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Amirsadeghi, Hossein; Shabout, Nada M; Mikdadi, Salwa (1 January 2009).
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203:"Momentarily Learning from Mega-Events" at Makan art space, Amman, 2011
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280:'s proposal for a cultural center and an Opera House in Baghdad. His "
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in 1974 to a Kuwaiti family of Palestinian descent, Younis moved to
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Paulo β Tea with Nefertiti, Staatliches Museum Γgyptischer Kunst,
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in 1997. She holds a Masters in Research in Visual Cultures from
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193:"Covering One's Back", a photography exhibition co-curated with
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and "An Index of Tensional and Unintentional Love of Land" at
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In 2013, for Kuwait's first national pavilion at the 55th
634:"Six AFAC Grantees at the Venice Biennale β 28 Apr, 2015"
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is a Kuwaiti research-based visual artist, painter, and
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From the impossibility of one page being like the other
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http://www.mathaf.org.qa/en/exhibitions-list/222-ghadah
272:. Activated by a set of 35mm slides taken by architect
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2011: β Untitled (12th Istanbul Biennial), curated by
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New vision: Arab contemporary art in the 21st century
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2012: β ROUNDTABLE, 9th Gwangju Biennial, curated by
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Museum of Manufactured Response to Absence (MoMRtA)
415:"Kuwait's Pavilion at La Biennale di Venezia, 2013"
129:Show (2009), PhotoCairo 4 (2008) and other places.
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598:, by Holland Cotter, New York Times, 16 Feb 2012
107:in 1984. She graduated as an architect from the
511:Outre mesures et programmes radio at La Galerie
340:2009: Solo exhibition at Darat al Funun, Amman
659:Future Great 2012, selected by Christine Tohme
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256:for the 56th International Art Exhibition β
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755:Plan for Greater Baghdad feature on Nafas
521:Project Space: Out of Place, Tate Modern
241:'s historical figure in the time of the
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172:Her other curatorial projects include:
780:Kuwaiti people of Palestinian descent
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535:"Exhibition: Ala Younis β Nefertiti"
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555:. London: TransGlobe Publishing.
188:Mathaf: Arab Museum of Modern Art
393:Bellagio Creative Arts Fellows,
209:"Out of Place", co-curated with
197:, Gezira Art Center, Cairo, 2013
113:Goldsmiths, University of London
740:Kayfa ta Publishing Initiative
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523:"Project Space: Out of Place"
16:Jordanian artist and curator
810:University of Jordan alumni
750:Out of Place at Tate Modern
330:and Jens Hoffman, Istanbul
34:1974 (age 49–50)
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790:Jordanian women painters
282:Plan for Greater Baghdad
262:Saddam Hussein Gymnasium
95:Early life and education
785:Jordanian women artists
671:"La Biennale β Artists"
533:Ala Younis β Nefertiti
400:23 January 2015 at the
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312:, Antwerp and Zaghreb
258:La Biennale di Venezia
268:that was designed by
702:"Needles to Rockets"
676:2 April 2015 at the
487:5 April 2015 at the
420:20 June 2017 at the
292:Selected exhibitions
243:United Arab Republic
109:University of Jordan
56:University of Jordan
688:Nafas Art Magazine
149:Curatorial projects
795:Jordanian painters
596:Quiet Disobedience
335:Delfina Foundation
278:Frank Lloyd Wright
239:Gamal Abdel Nasser
163:Tarek al-Ghoussein
139:Global Art Forum 8
805:People from Amman
706:www.alayounis.com
370:"Kayfa ta ΩΩΩ ΨͺΩ"
180:in New York, 2014
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413:Website of
215:Tate Modern
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356:References
178:New Museum
126:New Museum
85:Ala Younis
25:Ala Younis
571:819938421
379:7 January
337:, London
228:Nefertiti
143:Berlinale
74:alayounis
716:30 April
674:Archived
485:Archived
446:"MoMRtA"
418:Archived
398:Archived
99:Born in
64:Painting
456:11 June
266:Baghdad
89:curator
69:Website
48:Kuwaiti
644:11 May
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310:Beirut
302:Munich
119:Career
101:Kuwait
38:Kuwait
306:Cairo
105:Amman
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557:ISBN
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