Aesthetic of Farid Belkahia Art Works. The Moroccan Modernist.

Result #1

Aesthetic of Farid Belkahia Art Works. The Moroccan Modernist.  is a new book of portraits, portraits that evoke the specific world of Morocco, a country that is predominantly Muslim, and that is also a favorite subject of the artists family, who are from the same town as the country. These portraits, often depicting the artists family members, are made of colorful fabric and wood, and their subjects are often symbolic: the head of a man; a woman; a boy; and a girl. The images are often on display in the form of mosaiclike canvases. As with other works in the show, the portraits are also covered with black-and-white collages, which are often found in the Moroccan market. In the end, however, the paintings are far from perfect; the colors are often too muted, the collages are too crude. The black-and-white collages, in particular, tend to be too heavy on the subjects—especially on the men—and, as a result, to be too abstract. But the most impressive of the collages, the most compelling of the collages, is the one depicting the head of the Moroccan poet Farid Belkahia, the subject of the show. In this collage, the artist has reproduced the black-and-white image of the artist and his family, together with the caption: This is a portrait of the Moroccan poet, writer, and poet, who died in the 1930s. Belkahia was a founding father of modernism and a major figure in the Moroccan revolution. His work is represented by this collage. The black-and-white collage, which is covered with collages and paint, recalls the black-and-white collages of the Middle Ages. The collages, in particular, remind us of the great diversity of cultures and civilizations in Morocco. These collages and collages, like the portraits, are a new kind of museum exhibit.

Result #2

Aesthetic of Farid Belkahia Art Works. The Moroccan Modernist. In the late 80s, Belkahia, a student of the late 20th-century painter and sculptor Farid Belkahia, spent a decade in the United States, studying the works of the artists contemporaries, notably the Abstract Expressionists. He became an important figure in the American avant-garde of the 80s, which he helped to form and to shape. Belkahias early work shows a clear connection with the work of the artists contemporaries, including the Expressionists, and with the work of the New York School. For example, Belkahias paintings of the 60s and 70s are painted in a style reminiscent of the Abstract Expressionists, in which the border of the picture plane is broken up by thin strips of white paint, often arranged in a grid, that create a pictorial grid. These paintings, which are essentially abstract, are used to stand for a certain kind of abstraction, which is the ability to construct a picture.Belkahias paintings are frequently shown in his home, where he works on them in a variety of media. His first big show of paintings and drawings was at the Whitney Museum in New York in 1987, and he has been making the same kind of work ever since. In this show, Belkahias new work was on view, along with the drawings. But the drawings were painted on canvas, rather than on wood, and were made in the style of painting. For example, the drawings are smaller than the paintings, but have a rich, almost geometric, surface texture. The paintings are large in scale, with the whole surface blackened with black and white. The blackness of the black-and-white is intended to bring out the geometric surface of the picture plane. But the blackness of the surface is what gives the drawings their power. The drawings seem to be as much about the surface of the picture plane as the surface of the picture plane itself.

Result #3

Aesthetic of Farid Belkahia Art Works. The Moroccan Modernist.  In his catalogue essay, Sade-like poet-critic Mohamed Ould El-Hassane, who lived in Morocco during the early 1980s, is quoted: The Moroccan modernist tradition is being annihilated. The Moroccan modernist artist is not a modernist artist, but a modernist who has lost his innocence. In this context, the work of the Moroccan modernist artist becomes a work of art, and a sculpture, in the words of the curator, Hala Ghola, in the exhibition catalogue, as well as a work of art in general. The museum and the museum-going public are portrayed as victims, as if the artist had been killed in the process of his art. By the time the exhibition opened, in 1983, this image had been transformed into a metaphor for the war between culture and nature, between the abstract and the figurative. It is a metaphor for the conflicting forces that can be encountered in a world that is not a place of civilization but a place of chaos.The exhibition at the Museu de Arte de Barcelona was divided into four parts. The first room featured the artists most famous work, the Meïr-Aléï series (Painting in the Middle Ages), ca. 1625–30. In the Meïr-Aléï series, the artist evokes the grotesque and the grotesque in an almost cartoonlike way. In one piece, a nude woman with a human head and a human body is depicted in a grotesque, head-on attack on the head of a sculptor. The head is cut off at the top and the body is exhibited on a wooden block. The face, however, is not real. The face is an illusion, a false representation. It is an invention. The head is a false image, a figment of the imagination. The head is a figment of the imagination. The head is an invention. The head is an invention.

Result #4

Aesthetic of Farid Belkahia Art Works. The Moroccan Modernist.  This exhibition of work by the artist was organized by an artist-run workshop, the Moroccan Art Workshop, which provided a starting point for further research and further development.In the exhibition, one could see the artists work, which is based on a very personal sensibility, from the early paintings of Belkahia, to the more recent works, which are influenced by the tradition of traditional Moroccan art, as well as by the traditions of modernity. The exhibition was divided into two sections, one entitled Belkahias Early Paintings and the other entitled Belkahias Recent Paintings. The first section of the show included the earliest works by Belkahia, which were all from the 20s and 30s. The second section consisted of paintings by the artist from the 30s, some of which were inspired by the spirit of the 19th-century Moroccan painting. The works in both sections were mostly small, delicate, and delicate. In the 30s, Belkahia developed a style that was characterized by a very personal and expressive sensibility. His work, which is still in use today, is characterized by a sense of self-confidence and a great sense of freedom. Belkahias style was an expression of his own personality, his desire to create a new kind of painting. Belkahias artistic freedom and freedom to create a new kind of painting were the key ingredients of his work. He was an artist who liked to create a new kind of painting. Belkahias early paintings show a sense of the self, of the subjectivity that is inherent in painting. He wanted to create a new kind of painting that would allow him to express himself in a new way. These paintings are based on the principle of self-expression. They are self-portraits in the sense that they reveal a sense of the self, a sense of the self as an autonomous being, in a way that is unique in contemporary art.

Result #5

—Benjamin Buchloh