ڕۆشدی انوەر

 Rushdi Anwar 

هیچ مەکە، گازێک لە میوەیەک بگرە و چاو دەخە، بچۆ بەشە تاریکەکانی ناوەوەی خۆت، ئەوە پێویستی بە روناک کردنەوەیە.
رستەیەک لە گێرانەوەی (کتێبخانەکەی پورە ئایشێ بە تامی بەکری بەقاڵ )
کاری زانا رەسوڵ
کاتی نامیش ٢٠١٧
لە ٨ راوم - سلێمانی
رێکخەری پڕۆژە: ئاڤان سدیق

پرۆژەکە لە لایەن گروپی کۆنسێپت ئارت نمایش کرا.
ئەم وێنانەش کاری کتێبخانەکەی پورە ئایشێ بە تامی بەکری بەقاڵە .
ئەم کارە لەسەر یادەوەری تامە بینەر دەیتوانی گوێ لە گێرانەوەکەم بگرێت و لە میوەکانیش بخوات .
کەرەکە پێک هاتووە لە دەنگ و ئنستڵیشن
لە ڕووی فۆرمەوە هەشت سندووقیی سیلاحی ئێم فۆری ئەمریکی بەکار هاتووە . لە هەر سندوقێکیان دوو قاپ میوە دانراوە . لەگەڵ قاپێک کە چەقۆی میوە دانراوە لەگەڵ کلێنێکس .
لە بەشی خوارەوە لەسەر ئەرزەکە سەرقاپی سنوقی ئێم فۆرەکان وەک فەرش دانراوە . لە سێ شوێنی ژوورەکە سنوقی هاوەنی ٧٥ ملیم دانراوە تا بینەر لەسەری دانیشێت . لەسەر دیوارەکان وێنەی بەلەمی کاغز وێنەکشراوە بە قەلەمی ڕەساس تەنها بە سکێچێکی کاڵ بەلەمەکان سەربەرەوخوارن.
دەنگی گێرانەوە تەرکیزی لەسەر یادەوەری تامە و گرێی دراو بە ڕووداوە سیاسی و کۆمەڵایەتیەکانی کوردستان و عێراق یادەوەری خۆم ئاوێتە کردبوو بەو ڕوداوانەی بۆ من گرنگ بوون لە رابردوودا. لە گێرانەوەکەدا باسی تامی سێو و شێوەکەیم بەستۆتەوە بە سێوەکەی دەستی بەڕێز مەسعود بەرزانی سەرۆکی پارتی دیمۆکراتی کوردستان کاتێک وێنەیەک بڵاودەکرێتەوە لەتەک کۆمەڵێ راوێژکاری ئەوروپی و بەڕێز مەسعود بەرزانی سێوێکی سەوز بە چەقۆ پاک دەکات ، ئەوە جگە لەوەی سێوەکەی دەستی ئادەم و حەوا و سود وەرگرتن لە فۆرمی سێو بۆ گەورەترین کۆمپانیای تەکنەلۆجی ئەپڵ . لە گێرانەوەکمدا بینەر گەشتێک دەکات کاتێک گوێ دەگرێت لە چیرۆکەکەی من. کە زۆرێکی گێڕانەوەکان ڕاستین و ڕویداوە لە ڕابوردودا.

2017- The library of auntie Aishe with the taste of Bakir the fruiterer
performed with (Concept Group). This work was in the form of eight box of (American M4 rifles) in
which I put fruits. I hanged these boxes in the middle of the room in shelves high at human tall.
Around them were some Russian 75ml mortar shells for sitting and I put some old cushions from
my house on them. I was narrating a story. The story was about my recollection of taste and I was
also talking about apple as a symbol of humanity which is given different meanings. At that time, an
important political event unfolded; when French philosopher (Bernard Henry Levi) came to
Kurdistan during the referendum. A photo was taken of him in which (kak Massoud), president of
the region and some politicians and advisors were seen in that photo. In the photo (Kak Massoud)
carries a green apple in his hand and peeling it which brought on many interpretation to it. A
picture seemed to people like the last supper of Christ. And I talk about, in my narration, what the
apple is in our recollection. From (Adam and Eve), (Newton) to (Apple Company) to the moment of
appearance of an apple on (Kak Massoud)’s dinning table and his peeling of it. This photo has an
enormous effect in terms of picture. Anyway, I narrated this concept as a story in which I tasted
fruit in a village. In a journey in Poland when I am eating fruits, this takes me back to my childhood.
And I also made a room for this subject in my narration. In general, the work was on taste
recollection. The audiences when entering could eat fruits, sit on the boxes and at the same time
listen to my story.

ھونەرمەند ڕێبین چاگاک 

Artist Rebein chalak

 سیڤەر جەلال

Sevar Jalal

محمد ایسماعیل

Mchamad Ismil

دیلان عەبدین 

Dilan Abdin 

Artist Dylan Abedin Amin.. Biography

Born in 1982 / Kirkuk / Iraq
Teacher of art
Graduate of Faculty of Fine Arts / University of Mosul 2005
The first personal exhibition in Mosul 2005
The second personal exhibition (Kashla Hall) Kirkuk 2007
The third personal exhibition (Kashla Hall) Kirkuk
Calier Zamoa / Sulaimaniyah 2009-2010
Fourth Solo Exhibition (Chander Caleri) Erbil 2014
A conceptual presentation entitled (Debate of Levels) Kirkuk 2020

Joint exhibitions from 1999 - 2020
(Kirkuk - Mosul - Baghdad - Erbil - Sulaimaniyah - Kuwait - Duhok - Egypt - Netherlands - Kuwait - London)

Poet and writer Marwan Yassin Al-Dilimi, writes an essay on what the artist Dylan writes of contradictory relationships between the elements of the artwork he produces, and these paragraphs are extracted from it:

(An important aspect of Dylan’s experiment is that her constructive space creates a mutually complex and rebellious clash, between various forms of drawing and sculpture, and between reality and artistic experience, especially that it doesn’t gamble on establishing a common relationship with the things we deal with in our daily lives, and always prompts us to escape) In the context of our collective responses, and to celebrate the individual sense of receiving, and perhaps the experience between the sender and the receiver in his works draws closer to shock, which is not achieved in traditional works of art.

The artist intended to release his imagination in reorganizing ready-made and consumed components in the environment that in its functional dimension does not have any diversity in interpretation, and is no longer of useful benefit to humans. It was destined to go to the landfill or to become a bowl for waste like metal barrels used by Abdin, except the artist He sees other functions in her that we don't see, and if her expressive relationship with time is reformulated according to a formative system based on a system of interactive relationships in her artistic structure, it will take her out to a space of conscious poems, thus appearing in a level of complex artistic composition, associated with an mutual relationship with space, and what the artist Abedin presents According to this perspective, the understanding of consumed things is included in their significance and in their functional capacity. He took it out into the area of the unfamiliar, and broke its iconic circle, according to what he created in it of holes and distortions, and colored spaces, and then released them into diverse spaces, which resulted in a charge of visual excitement, which did not deny leading to the trace of its significance. ).

هونەرمەند :شیروان فاتح

پڕۆژەی ھونەری : ھاڕە

بەڕێوبەرو ڕێکخەری پرۆژە: ئاڤان عومەر

زانا احمد 

Zana Ahmad 

تابلۆ ناڕەسەنەکان

ھیچ شتێک لەوە زیاتر بێزارم ناکات کاتێک ئەو تابلۆ پرێنتکراوانە دەبینم کە وەکو ئێکسوارات لەماڵ و ھۆتێل و شوێنەگشتیەکان دادەنرێن. بەشێوەیەک حەزدەکەم پێیاندا بڕشێمەوە و بیاندەمە بەر کەتەر، بیانکەمە یەک ملێۆن پارچە.
لە ژورەکەمدا کاتێک دادەنیشم راستەوخۆ دیمەنی ئەو تابلۆ نەفرەتیە بەرامبەرمە، بەراستی قورسە بتوانم دوو دەقە بەو شێوەیە بمێنمەوە، ناتوانم لێشی بکەمەوە بۆیە ھەمیشە دایدەپۆشم بە شتێک، ھەموو ھەفتەیەک پاککەرەوەکان وەکو خۆی لێدەکەنەوە بۆیە ھەرجارە و بە شتێکی تر دایدەپۆشمەوە.
چەند جارێک وێنەیم گرتووە کاتێک ئەو نەفرەتیەم داپۆشێوە.

ھۆشەنگ بەھجەت

Hoshamg Bahjat

Hoshangbahjat1993@gmail.com

00964 (0) 773 666 2282
Slemani - Zanko - 46001
Biography

Hoshang Bahjat was born in Slemani, he is a visual arts artist. He started his career as a painter
and then became acquainted with other new and different media of contemporary art such as:
video art, installation, video performance, new media art.
In addition to working as an artist, he has published several articles in the field of art criticism.
He is currently an art teacher at the Semani Institute of Fine Arts - Non-Governmental and
continues to work as a visual artist and art critic.
Work & General Experience
December 2024 Workshop Implementator Practicing Theory In Artwork
October 2023 Curator Visualizations Of Internal Resonances

Exhibition
August 2022 –
February 2023 Participating Artist Artists in The Now – Group Exhibition –
Curator (Daro Ola)
April 2019 Artist Artwork And Audience (Solo Show In
Muinich – Slemani)
August 2017 Participating Artist Rega Project - Group Exhibition – With
Sulyon Group
July 2015 Participating Artist Touch Project - Group Exhibition – With
Sulyon Group
January 2013 Participating Artist & Volunteer Environment Project - Group Exhibition
– Volunteer work - With Sulyon Group
Education
November 2015 –
June 2019
Bachelor of Arts in Visual Arts University of Sulaymaniyah – School of
Fine Arts
November 2014 –
June 2009 Diplom of Arts in Placstic Arts Institute of Fine Arts (Slemani)