Whether on the freight trucks of Lebanon, along village alleyways in Bahrain, on the bullet-riddled walls of Palestine, or adorning the walls of Western metropolises and designer bags, Arabic script has experienced a revival. Graffiti writers are increasingly experimenting with calligraphy on walls, and young designers are creating new fonts and type designs in books, galleries and public spaces. At times, Arabic graffiti voices the suffering of a nation, while in other contexts it serves as a quest for identity. Regardless whether the writing is in Beirut, Gaza, Tehran, Paris, London, Berlin or Montréal, Arabic graffiti cries out personal and national ideas in expressive calligraphic and typographic words.

“Arabic Graffiti” brings together artists, graffiti writers and typographers from the Middle East and around the world who merge Arabic calligraphy with the art of graffiti writing, street art and urban culture. In addition to a rich assortment of photos featuring Arabic graffiti and street art styles, it includes essays by distinguished authors and scene experts, in which they explore the traditional elements, modern approaches, and the socio-political and cultural backgrounds which have shaped Arabic graffiti movements in the Middle East.

“Arabic Graffiti” curated and authored by Lebanese typographer Pascal Zoghbi and graffiti writer and publisher Stone aka Don Karl, is an extensive and valuable reference on contemporary graffiti, urban calligraphy and type design in the realm of Arabic letters.

With contributions and essays by: Huda Smitshuijzen AbiFarès, Rana Jarbou, Tala F. Saleh, Houda Kassatly and William Parry.

Includes the artwork and thoughts of: Hassan Massoudy, Malik Anas Al-Rajab, eL Seed, Hest1, Julien Breton , L’ATLAS, Aerosol Arabic, Native & ZenTwO, Zepha aka Vincent Abadie Hafez, Typism, Akut and many more.

Book release 15th of April 2011
200 pages full color |Hardcover 28.5 x 21cm | 325 photographs & illustrations | English edition
Price: 24.95 € | ISBN: 978-3-937946-26-9

To order the book: http://www.fromheretofame.com/books/arabic.html or demand it at  your trusted local bookstore or online sellers!

During one week I conducted a series of workshops with students from neighbouring schools. The purpose of each workshop was to introduce Calligraffiti to youth who either have or have no previous experience with the art process. They learnt various spray paint techniques, graffiti designs and lettering. The desired outcome of these workshops was to instill feelings of artistic agency and pride in realizing large-scale masterpieces in a group environment.

As the week came to a close, I felt that the Museum was striving to both carry the traditions of Islamic Art and keep a vision oriented toward the future. The success of this amazing experience would not have been possible without the dedication of several Museum employees: I would like to personally thank Amel and Deena, the team of the MIA, and all the participants.

Enjoy the  rest of the pictures here.

The scattered pockets of color which compose this mural are but a symbol of a culture, an identity, which is itself disjointed and in fragments. In contrast, the phrase ‘My name is Palestine’ affirms the existence of this identity. Naming is one manner through which to assert the presence of a people, a history, and a culture.

Both the welcoming atmosphere and the energy created with the other artists dispelled any of my misconceptions about Saudi Arabian culture. I was extremely impressed by the quality and precision of the artists, and their dedication to the tradition of graffiti was inspiring. I was also very happy to see that girls were involved in the graffiti art scene. They displayed just as much dedication and talent in their art despite, or in spite of, the unorthodoxy of spray painting in a niqab!

Although most of the artists had chosen American-inspired graffiti names, I was excited to feel their desire to work closer to their roots. Arabic graffiti still has so much to offer the world and to see young Arab artists taking on the challenge of mixing modern experiences whilst still anchored in cultural and religious traditions is exhilarating. This trip was very eye-opening and I did not expect to leave this project with so much to reflect on and so much positive energy to carry me through to the next adventure.

This specific mural invites viewers to reflect on the contribution of all the different civilizations in the creation of humanity and our common histories.  This is primarily displayed through a depiction of the Empire of Timbuktu, whose many adventurers landed on the shores of the Americas years before Columbus.

The mural “History or His Story” seeks to highlight the oft over-looked contributions of Muslims in the story of our civilization. Whether accidentally or purposefully neglected in the mainstream historical narrative, the Golden Age of Islam and the Empire of Mali have not been given due credit for their advanced knowledge of the world and their discoveries. Decades before Christopher Columbus was even born, other peoples and Empires had reached the continent of the Americas. Such people include the Phoenicians, the Vikings and the Mandinkas, whose Malian Empire revolved around the ancient city of Timbuktu. Therefore, it is an unfair statement to claim that Columbus ‘discovered’ the Americas in 1492, but rather, that the Americas discovered them – to their own peril.

Led by the King Abou Bakr 2, the Mandinkas people reached the Americas in the early 14th century. Numerous detailed accounts of such voyages have even been recorded in Christopher Columbus’s memoires! Columbus himself acknowledged the undeniable evidence that situated the Mandinkas people in America well before 1492. Such revealing facts have been hushed or swept aside by our cultural imaginary, which has now become a universal phenomenon due to the onset of globalization and an era of cultural and psychological colonization. The constructs of such a hegemonic historical narrative must be questioned and rectified in order to re-balance the agency of different peoples, cultures and religions; not just in order to re-read history, but also to empower those disenfranchised in our current age.

More than an open-air exhibition, FIMA presents a rich and diversified program: short film screenings, multimedia performances, immersive installations, live painting, craft work demonstrations and a series of multidisciplinary performances. In addition to the outdoor programming, thematic exhibitions are presented indoors each year, notably at the Écomusée du fier monde.

The FIMA’s convivial and relax atmosphere is a fertile ground for exchanges and encounters, allowing the public to familiarize with art. The artists can benefit from a direct feedback from the public and have access to a whole new clientele. This is how for 11 years the FIMA has been actively demystifying and democratizing visual arts in the heart of the city of Montreal.

The experience was monumental – so much talent crammed into one weekend extravaganza! I met many artists from different walks of life and really fed off their enthusiasm and energy.