Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950 s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary, the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

Scope and Contents This is one of a suite of 21 prints done by Koraichi based upon fragments of a poem by the Palestinian activist poet, Mahmoud Darwish. Koraichi wrote the poems and drew signs, symbols and ideograms onto zinc plates that were then printed with black ink except for small sectors of the prints with red ink. Several of the prints were exhibited in "Global Conceptualism: Points of Origin, 1950s - 1980s, a show that the Sackners saw at Miami Art Museum in 2000. A critical essay by Abdul Kebir Khatibi in the book with the same title (also held by the Sackner Archive) describes this project. He states that the poetry undergoes two transformations: a second writing of writing by Koraichi that is joined by the monogram (pictogram) with its Chinese and/or Japanese look. The calligraphy, which is inspired by the Kufti style regains the geometry of imaginary, the articulation of its tracery, the association and dissociation of its designs, the rhythm and power of its lines. Calligraphy...

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The poems in this book by Darwish are about the suffering of the Palestinian people. The calligraphic illustrations done by Koraichi were also displayed as prints in the Global Conceptualism exhibition (catalogue held by the Sackner Archive). The arabic calligraphy of the poems was rendered by Massoudy. The critical text was written by Khatibi. This is the first publication of the Abdul Hameed Shoman Foundation, documenting the works of artists from the Arab world. -- Source of annotation: Marvin or Ruth Sackner.

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Illustrated in this comprehensive volume is "A Nation in Exile: Engraved Hymns" that was a collaboration between Rachid Koraichi and the Palestinian poet Mahmoud Darwish with a calligraphic translation of the poetry by Hassan Massoudy.This suite of prints is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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This sophisticated children's book combines a conventional poem in French, a translation in Arabic and a multi-colored calligraphic interpretation by Koraichi on facing pages. The poems were selected by Farouk Mardam-Bey and the conventional Arabic calligraphy was done by Abdullah Akkar. -- Source of annotation: Marvin or Ruth Sackner.

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This book, titled "Letters of Clay," illustrates and describes the large vessels decorated with Koraichi's signature calligraphic designs. -- Source of annotation: Marvin or Ruth Sackner.

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The colophon states that "Original edition of Mahmood Darwich's "Poem of Beirut" was engraved on 22 zinc plates by Rachid Koraichi in Sisi-Bond-Said, Tunisia in 1984. The plates were printed in 250 gram weight Velin d'Arches paper by Elsa Ancia, Paris, France 2001. Kamel Ibrahim drew the calligraphy for the poem in Alexandria, Egypt, 1986. This text was printed at Saig's typographic press, L'Hay-les-Roses, France. The translation of the poem into English is printed on a single page The case was designed and fabricated by the Duval workshop in Paris, France. The total printing run was limited to 75 copies, signed and numbered by Koraichi. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents V&A ANNOUNCES RACHID KORAÏCHI AS WINNER OF THE JAMEEL PRIZE 2011Algerian born Rachid Koraïchi has won the £25,000 Jameel Prize for a selection of embroidered cloth banners from a series entitled Les Maitres invisibles (The Invisible Masters), 2008. Martin Roth, Director of the V&A, Hasan Jameel and Ed Vaizey MP, presented Rachid Koraïchi with the prize at a ceremony at the V&A on Monday 12September. 2011.The Judges felt that Rachid's work matches the aims of the Jameel Prize through its qualities of design and reliance on traditional craft. They particularly admired how he has made his great spiritual and intellectual lineage accessible to all through the graphic language he has created out of his artistic heritage.Koraichi uses Arabic calligraphy, and symbols and ciphers from a range of other languages and cultures to explore the lives and legacies of the 14 great mystics of Islam. The work aims to show that the world of Islam, in contrast to contemporary...

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This book is a collaboration between Rumi, a celebrated mystic of the 13th century who founded the order of the whirling derviches and Koraichi, a contemporary calligraphic artist. The seven themes of the poetry Mawlana Djalal Oddin-Rumi are graphically echoed in the drawings of Koraichi. They include tolerance, creation, mirror, poetry, dance, music and love. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This review of an exhibition at MoMA in New York states that "Rachid Koraichi , raised in a Sufi family in Algeria and now living in Paris, invents 'calligraphic' texts with Arabic characters, Chinese-style ideograms and talismanic signs, and embroiders them in gold on silk banners to creat banners for a new, universal language." Cotter also writes that "Shirin Neshat, born in Iran, turns the written word - as distinct from calligraphy, with its very particular skills - into a quasi-revolutionary instsrument in a seies of 1996 studio photographs of young women wha are dressed in traditional black veils but carry guns and have passages from erotic poetry and paeans to religious martyrdom written in Persian on their faces and hands. The artist seems to be symbolically placing political power in the hands of the kinds of veiled women who are automatically assumed by many Westerners to be oppressed victims of Islamic religious law, but who don't necessarily see themselves that way at...

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This exhibition ostensibly dealt with works by 17 Islamic artists but fell short owing to inclusion of mostly Western art images done by Islamic artists living in the West. -- Source of annotation: Marvin or Ruth Sackner.