Libya: Hurriya

Afaf Alzubir - Hope (2015)

My first big concern was how would I be able to find 140 Libyan artists within the time I was given. Secondly, how would I be able to convince each artist of the importance of such a project? And, lastly, my worry was about the logistics of how to physically deliver the 10x12 cm canvas and pack it to reach everyone, in a country that is currently stifled with conflict and a war situation, and does not have almost any postal services. “The Big L” as I like to call Libya, is a land where art has been forgotten as a commodity and its production – although it still goes on – is mostly unknown to the rest of the world.

Sabri Sultan - Prayer (2015)

Curating the Imago Mundi became a wonderful journey of discovery and a challenge for me personally, for “Noon Arts” is a small private foundation established in 2012 after the fall of Gaddafi. Its goal was – and still is – to promote contemporary art of Libyan artists and exhibit their work in the rest of the world. Noon Arts has fortunately been successful, by holding several exhibitions around the world and offering artists the long awaited international recognition and positive acknowledgment they deserve.

Daw Ashellhey - Tragedy Of The Unconscious (2015)

The experience has unravelled the many threads of this unknown tapestry that makes Libya. During this period of eight months, I was able to create a colorful palette of artists whose work reflects their dreams, worries and aspirations as well as their connection with this complex North African country. I want to firstly thank the Benetton Foundation for giving me the incredible opportunity to provide an archive for future generations as a document of this very moment, given the uncertainty that is experiencing Libya could have prevented that from happening.

Hiyam Milad Zriba - Landscape (2015)

In terms of practical work, to make the Libya catalogue a reality, I began using social networks such as Facebook to find the largest possible number of Libyan artists. Then it became more than a reality when in Tripoli I got in touch with the “Art House” under the supervision of Emad Pachagha; and, where in Benghazi, I found Abdelgader Bader. With the important contributions of these two people, we were able to reach 110 artists in Libya and we convinced them to participate. The 30 others to complete the 140 framework were Libyan artists living abroad in various diasporas in different countries around the world.

Hanan Alsheep - Landscape (2015)

The journey in its various stages has also involved other people. I would like to thank the three ladies whose passionate search, editing, feedback and love for the arts and the Libyan culture have played an important role in completing this work. They are Nahla Al-Ageli, Hadia Gana and Hala Ghellali. Special thanks also to Abdulmalik Mabellini, Ali Mustafa Ramadan, Muftah Abudajaja, Farida Hajaji, Nadine Nasaret, Siraj Dugdug, Nouman El-Ageli, Eman Fezzani, Faisel Almeehoob, Khluloud El Zwai, Sassi Harib, Gaith Elspei, and all artists who took part in it. Lastly, and once again, a big thanks goes to both the Benetton Foundation for Arts Noon entrusted this special assignment and to Sarenco Foundation for having overseen the entire project process.