وەلید سیتی

Walid Siti

 ڕوشدی انوەر

 Rushdi Anwar 

بەلەمەکەی چبایش،

چیرۆکی گەشتی بەلەمەکە لە ساڵی ٢٠٢٠ لە ئەهواڕەکانی باشوری عێراق (چبایش) دەستپێدەکات ، سەرەتا بۆ ناسڕیە و لەوێوە بۆ بەغداد لە پڕۆژەی (هێزی ئاو) ٢٠٢١\ گەلەری حیوار، دواتر گەشت دەکات بۆ بەسڕە و لە مۆزەخانەی بەسڕە نمایش دەکرێت لە پڕۆژەیەکی هاوبەشی (هێزی ئاو، سەفینە) لە ساڵی ٢٠٢٢، لە بەسڕەوە بۆ قەڵای هەولێر لە ئیڤێنتی ( لە نێوان و خاک و ئاودا) ٢٠٢٣ هاوبەشی پێکراوە لەگەڵ ئاڤان سدیق وە لەبارەی کارەکەوە دەڵێت :
کارەکەی من لە کیسە کردنی ئاوەکەیە کە لە دەوری بەلەمێکی لەکارکەوتووی باشووری عێراقە و کاری (ئاکام شێخ هادی)یە. بەم کارە کە لە کیسەکردنی ئاوە شێوەدانە بە ماتریاڵێک کە لە دۆخی سروشتی خۆیدا لە شێوەیەکدا جێگیر نابێت، خەسڵەتی بێڕەنگی و بێبۆنی و بێتامییەکەی، ناجێگیری و جوڵەی بەردەوامی لە شوێندا خۆشبەختانە وایانکردووە کە هەڵگری مۆرکی شوێنێکی دیاریکراو نەبێت. لەگەڵ ئەوەشدا سیاسەتی مرۆڤ دەیەوەت مۆرکی پێبدات،خاوەنداری بکات و ڕێڕەوی سوڕە سروشتییەکەی بشەوێنێت. ئەمەش کاریگەری لەسەر پەکخستن و گەشە و چالاکیەکانی مرۆڤ دەبێت.

ئەم ئۆبجێکتە لە هەر سپەیسێکدا بە شێوەیەکی جیاواز خۆینیشان دەدات فۆڕمەکانی دەچنەوە سەر هەمان کۆنسێپت.

ئاکام شێخ هادی
قەڵای هەولێر
٢٠٢٣

 عەلی ڕەزا گەرمیانی

Ali Raza Garmiany 

 گەیلان عەبداڵا

 Gailan Abdullah 

 ھێمن حەمید 

 Hemin Hamed

پێشەوا محممود 

Ppeshawar Mahmood

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. ).

ئامانج ئەمین 

Amanj Ameen 

نامیق حەمە

Namiq Hama