Artist interweaves feminist ideals with textiles

'Jungle #1' by artist Hoda Tawakol, from her collection 'Palm Trees,' on display at Gallery Isabelle van den Eynde in Dubai. (Supplied)
Updated 01 January 2019
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Artist interweaves feminist ideals with textiles

  • Artist Hoda Tawakol has her first exhibit in Dubai
  • An exhibit about the ever-evolving feminism discourse

DUBAI: French-Egyptian artist Hoda Tawakol’s first Dubai exhibit, which is running at Gallery Isabelle van den Eynde until Jan. 3, is a timely contribution to the ever-evolving feminism discourse.

Tawakol, whose work has been featured at the gallery since November, was inspired by her experiences growing up in France, Germany and Egypt.

Tawakol has made a name for herself through the use of hand-dyed and sewn textile pieces, sculptures, fabric collages and works on paper.

Her work, which mimics female cycles of life in an attempt to deconstruct stereotypes, is inspired by the feminist movement of the 1970s.

In fact, interwoven within her artwork are feminist ideals and blatant critiques of patriarchy.

Like many, Tawakol wishes to quell the expectations placed on women.

Her collection, entitled “Dolls,” is an expression of anger at women being objectified.

In “Lures,” she uses a falconry hood, a tool normally used to calm the birds of prey, to symbolize the way in which men oppress powerful women they wish to subdue.

Her artwork is masterfully done. It is symbolic and almost interactive in a way that simple paintings cannot be.

The pieces are so eye-catching, indeed, mesmerizing, not least through her use of captivating color schemes, that they almost beckon a response.

The exhibition is named after the main piece on display, a tapestry of black and red-colored fabric from her series “Palm Trees.”

The piece features hand-dyed textiles in Tawakol’s signature style. The series, which she began in 2015, is inspired by her multi-cultural childhood.

“Palm trees make me nostalgic,” the artist said. “They symbolize the Egypt of the 1940s and 1950s, the era of glamor, the golden age that I didn’t experience. At the same age, my playground in Europe had another kind of palm grove I found in the Palmengarten, a botanical garden in Frankfurt in Germany.”


Bong d’Or: Korean director wins Cannes’ top prize

Updated 25 May 2019
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Bong d’Or: Korean director wins Cannes’ top prize

  • French-Senegalese director Mati Diop’s “Atlantics" wins festival’s second place award, the Grand Prize
  • Belgian brothers Jean-Pierre and Luc Dardenne shared the best director for “Young Ahmed”

CANNES, France: South Korean director Bong Joon-ho’s social satire “Parasite,” about a poor family of hustlers who find jobs with a wealthy family, won the Cannes Film Festival’s top award, the Palme d’Or, on Saturday.
The win for “Parasite” marks the first Korean film to ever win the Palme. In the festival’s closing ceremony, jury president Alejandro Inarritu said the choice had been “unanimous” for the nine-person jury.
The genre-mixing film had been celebrated as arguably the most critically acclaimed film at Cannes this year and the best yet from the 49-year-old director of “Snowpiercer” and “Okja.”
It was the second straight Palme victory for an Asian director. Last year, the award went to Japanese filmmaker Hirokazu Kore-eda’s “Shoplifters.”
Two years ago, Bong was in Cannes’ competition with “Okja,” a movie distributed in North America by Netflix. After it and Noah Baumbach’s “The Meyerowitz Stories” — another Netflix release — premiered in Cannes, the festival ruled that all films in competition needed French theatrical distribution. Netflix has since withdrawn from the festival on the French Riveira.
The festival’s second place award, the Grand Prize, went to French-Senegalese director Mati Diop’s “Atlantics.” Diop was the first black female director in competition at Cannes.
Belgian brothers Jean-Pierre and Luc Dardenne shared the best director for “Young Ahmed.”
Best actor went to Antonio Banderas for Pedro Almodovar’s “Pain and Glory,” while best actress was won by British actress Emily Beecham for “Little Joe.”
Although few quibbled with the choice of Bong, some had expected Cannes to make history by giving the Palme to a female filmmaker for just the second time.
Celine Sciamma’s period romance “Portrait of a Lady on Fire” was the Palme pick for many critics this year, but it ended up with best screenplay.
In the festival’s 72-year history, only Jane Champion has won the prize in 1993, and she tied with Chen Kaige’s “Farewell My Concubine.”