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modernist formalism with a hidden political essence that blocks any connection to the real world and presents the viewer with a closed world. Others critiqued the way Qadry's works hangs in main space of the gallery and connects the paintings hanging on it to one unit and this formation "form connected with the history of painting to ideas of disrupting the present order, but here, the diagonal plaster wall does not disturb order but rather sets it up."
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Qadryhimself declared when he released "Non-Subject" series: "As a painter, I strive to formulate numerous questions – and answers – as part of the format of painting, rather than cling to artistic or social laws and values intended to dominate me and dictate my fate." However, by his works it
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Qadry painted a series of olive trees between 2002 and 2003. In this series, he moves from representing one tree to a number of trees and adopted three-dimensional technique in this series with the shape of a square grid. Looking over time at his painting – from The Family (2002) to
Something inside
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t, the paintings in which were characterized as "not romantic representations of ruins observed somewhere out there in the landscape; they are themselves ruins—composite sites of the real and the allegorical, hybrid accumulations of abstract and figurative idioms". Some viewed Qadry's work as
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The infrastructure of Qadry's plastic art was made by pairing the
Palestinian experience with the Russian art legacy as practiced at the Mochina institute. Qadry's work has far-reaching contexts – a result of his life path and his time in Russia – and combines a Palestinian-Russian modern style of
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The main theme in Qadry's work between 1996 and 2003 was that of "Home". In the painting, Nahf (1999), the scene overlooks the houses of Nahf from outside of village in a distance on a foothill, we see small houses and the mosque's minaret which seems representation of nostalgia.
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This body of work proposes aesthetic questions about how the principle of plastic art production works in the colonial
Palestinian context, and how does art acquires socio-historical meaning in general.
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Qadry's work relates directly to
Palestinian history and he is considered as a plastic artist who brings Palestinians' socio-historical issues into the art field, via modern and simple painting.
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99:, Russia in the 1990s, where he also completed a master's degree in wall paintings. He worked in St. Petersburg for several years and returned home in 2004.
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seems able to express
Palestinian's socio-historical tragedy through visualization via its technique, material and in an abstract geometrical language.
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shapes as his artistic language. This works does not represent reality but rather to present to the logic of formation, materially and formally.
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In the "Memory of
Immigration (2012) exhibition, which based on the Idea that visualization of Palestinian tragedy or
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2003, "From the Avant-garde to the
Present Day", The Union of Saint Petersburg Artists
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On
Palestinian abstraction: Zohdy Qadry and the geometrical melody of late modernism
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You (2011) – one can see a transition from the figurative style to the abstract.
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2008, "Correspondence", L.A. Mayer Museum of
Islamic Art, Jerusalem
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2016, "Geometric Melody", N & N Aman
Gallery, Tel Aviv-Yafo
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2016, "Take Painting", Petah Tikva Museum of Contemporary Art,
95:(now Saint Petersburg Stieglitz State Academy of Art and Design) in
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2001, "Fall Exhibition", The Union of Saint Petersburg Artists
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Saint Petersburg Stieglitz State Academy of Art and Design alumni
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Qadry participated in a group exhibition, "Take Painting" at the
289:"Painting as a post-truth in contemporary exhibitions in Israel"
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2012, " Memory of Immigration", Art Gallery, Umel-Fahem
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2011, " Ceramic Biennale", Art Gallery, Umel-Fahem
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2009, "Mahmoud Darwish", Al-Ma-hatta, Ramallah
191:2013, "The Mediterranean Biennale", Sakhneen
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322:"Zawyeh Gallery – Artist Catalogue; Zohdy Qadry"
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163:2009–2014, Tova Osman Art Gallery, Tel Aviv
93:Saint Petersburg Art and Industry Academy
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46:of all important aspects of the article.
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42:Please consider expanding the lead to
377:21st-century Palestinian male artists
352:20th-century Palestinian male artists
241:. Haifa, Israel: Dar Raya Publishing.
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206:2005, "In Living Colour", Dubai
274:"Take Painting, Curator Interview"
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382:21st-century Palestinian artists
357:20th-century Palestinian artists
83:Zohdy Qadry was born in 1972 in
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63:Palestinian painter (born 1972)
34:may be too short to adequately
166:2009, Beit HaGefen, Haifa
44:provide an accessible overview
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127:In recent years Qadry took
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362:Palestinian male painters
147:Petach Tikva Museum of Ar
293:Erev Rav Journal of Arts
261:. Umm el-Fahem Gallery.
257:Esmail, Nashif (2012).
237:Esmail, Nashif (2014).
308:"Inter Relationships"
367:Palestinian painters
110:Non-geometric themes
71:(born in 1972) is a
272:Larry, Abramson.
177:Group exhibitions
87:, in the Western
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158:Solo exhibitions
91:. He studied at
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38:the key points
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31:lead section
342:1972 births
184:Petah Tikva
73:Palestinian
69:Zohdy Qadry
52:August 2018
336:Categories
217:References
129:geometric
79:Biography
36:summarize
140:Al-Nakba
89:Galilee
106:art.
85:Nahf
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