Amado Alfadni
Cairo, Egypt/Sudan
Amado Alfadni CV
amadoalfadni.com
A Collective Chronicle Article
Listen to Amado talking about his Research
Blumenhalle
As part of my research into the history of spaces, I worked on the history of the Kuenstlerforum. This hall, which is now housing the forum, used to be a flower market, and has been used historically for many different purposes. This transformation from its former use as a flower market hall to a new housing project affected the dynamic of the local community, significantly.
This installation is aimed at engaging the visitor into a research process through including an audio interview with an architect and historian speaking about the history and construction of the space. They both elaborate on the function of the hall and the working processes in which the community was involved and how its members took part in these processes.
Furthermore, a newspaper microfilm archive of the year 1986 documented the modifications and changes in usage the hall went through. Emphasis was put on how this process affected the local neighborhood. This was actualized by enduing an empty photo shelf with titles of the names of people and places that refer to the history of the flower market hall.
The second part of the installation consisted of a video interview with one of the remaining residents of the old neighborhood. By employing the oral history of the place and the people who used to live there, the local community itself and its history became part of the installation.
Passport Agency
The installation draws on the artist's own experience applying for US entry to attend the opening of his exhibition; it is intended to take the visitor through the experience of making a visa application. This installation was exhibited at the Mattress Factory, Pittsburgh, Pennsylvania, U.S.A. The piece was placed at the entrance of the museum. In order to enter the exhibition, the American audience had to go through the same visa process that a Third World citizen would face when attempting to enter the United States. Six actors posing as border protection agents followed interview procedures from U.S embassies around the developing world. At its best, this work contributes to the privileged viewer’s awareness of discrimination based on national, economic, racial, and social background.
United States of the Sudan
The United States of the Sudan passport was presented in Cairo during the Sudanese referendum vote. It initially explored the concepts of nationality and identity many Sudanese were struggling with as the country divided, and passports for the new South Sudan were granted based on ethnic and religious criteria, rather than where, geographically, an individual might live. In the installation, visitors were granted a passport with no application criteria, which permits travel anywhere. The lack of restrictions is intended to free individuals from the burden of having their identity and rights dictated by an unalterable document; or to alleviate the condition of the world's 12 million stateless persons, who have no political identity or rights.
If I Were President
1
I created an interactive visual forum to engage a specific audience in a contemporary historical moment. In 2012 and 2014, during the Egyptian presidential elections, I posted thousands of blank posters outside of the city center of major Egyptian cities with only the words “If I Were President,” giving a platform for the communities to express their needs, dreams, and ideologies. I, then, created videos based on interviews in the communities and screened them in the same neighborhood. The project was replicated by BBC Arabic in Yemen and Tunisia during their presidential elections.
2
Since the beginning of the Egyptian revolution I have been reacting to it in my work. The revolution was made by the public, so I wanted to do work made with the public, instead of just about them. The idea for If I Were President came from the presidential campaign posters that started taking over all of the public spaces in the city. The posters might have slogans or huge pictures of the candidate, but there was no space for dialogue with the public. This one-sided relationship, in which the candidate makes a promise to the people—‘Freedom (hurria, حرية), Justice (eadala, عدالة), In God’s Name (biaism alllah, باسم الله)’- without explaining how to achieve it or even what it might mean, drove me to make posters with which the people could have their own presidential campaign. Each poster is just a blank space where people can write what they want, but others can come after them and edit or add their own ideas. In this way, every poster in the city will say something different while being part of the same campaign, and will highlight the fact that we cannot sum up what the people of Egypt need in one phrase. The posters also open public dialogue and encourage people to discuss a question they’ve never even had the chance to actually consider.
Black Ivory
Digging into the history of the colonial military slavery in Africa, which carries with it a long history of slavery with Egypt serving as a slave market and a base for crossing to the international market, the black ivory horn sculpture installation refers to both the physical labour of enslaved men who were forced to carry ivory on their journey to Egypt on the 40 day road, and the term used by the British colonial army referring to the enslaved Sudanese soldiers. A voice recording in Shiluk –a dialect spoken in south Sudan- as a narrative story inspired by oral memoirs of one of the Sudanese enslaved soldiers who fought in Mexico, plays within the installation. This work focuses on the forgotten lives of 523 minors who were kidnapped from Sudan and sent to Mexico to fight for the French army in the Mexican-French war at the end of the 19th century.
Black Holocaust Museum
Based on research and documentation of ignored historical events, especially colonial history and re-reading it from the perspective of the native, The Black Holocaust Museum, exhibited at the Contemporary Image Collective in Cairo, Egypt, is based on research about the first German concentration camp in German South-West Africa, which is modern day Namibia. In this region, between 80,000 and 110,000 people, around 85% of Herero and Nama tribes’ people, were exterminated. The holocaust came after a huge propaganda campaign in Europe that depicted the tribes’ people as dangerous savages who were attacking and killing European settlers. In the Herero funerary tradition, a person bearing the same name as the dead would burn a holy fire after sunset in order to release the soul and allow it to ascend to heaven. The installation contained 3,000 pieces of wood, engraved with numbers given to them by the Germans, representing the souls of the victims of Shark island concentration camp, whose souls were never released, because their names were lost. The installation also included audio describing images of the victims taken from German archives and postcards. With this work, I am making visible a piece of intentionally neglected history, and complicating the meaning of the term holocaust for the Arab region.
2
The Black Holocaust took place between 1904 and 1908 and is considered the first holocaust of the 20th century. It occurred in German South-West Africa (Modern day Namibia) during the European colonialist scramble for territory in Africa. In total, somewhere between 80,000 and 110,000 people, around 85% of Herero and Nama tribes’ people, were killed. The holocaust came after a huge propaganda campaign in Europe that depicted the tribes’ people as dangerous savages who were attacking and killing European settlers. After slaughtering the Herero at the battle of Waterberg in 1904, General Lothar von Trotha wrote the extermination order:
“I, the great General of the German soldiers, send this letter to the Herero
people. The Herero are no longer German subjects. The Herero nation
must leave the country. If they do not leave, I will force them out with the
Cannon. Every Herero, armed or unarmed...will be shot dead within the
German borders. I will no longer accept women and children, but will force
them back to their people or shoot at them.”
The Herero were pushed into the desert past the last waterholes, guards were stationed to prevent their return, the wells were poisoned, and the Herero were left to die of thirst and starvation in the Omaheke (Kalahari) desert. Survivors, the majority of whom were women and children, were eventually put in concentration camps, such as that at Shark Island, where the German authorities forced them to work as slave labour for German military and settlers. Roughly 3,000 Herero died at the Shark Island camp.
Five official and several private concentration camps were established in Namibia at this time for the purpose of containing and ultimately exterminating the Herero and Nama. Nearly 10,000 people would die in these camps. The Shark Island Extermination Camp was built by the Second Reich and is regarded as the world's first extermination camp (Vernichtungslager). It was designed by Franz Xavier Ritter von Epp, a man who was to inspire Hitler in the holocaust of Jews and Gypsies in World War Two.
Eugen Fischer, a German racial biologist, traveled to the concentration camps to conduct medical experiments to prove that the indigenous people of German South West Africa were of an inferior race to the German setters. Other experiments were made by Dr. Bofinger, who injected Herero suffering from scurvy with various substances including arsenic and opium; afterwards, he researched the effects of these substances by performing autopsies on dead bodies. An estimated 2,000 skulls were sent to Germany for further experimentation.
The identities of Shark Island’s 3,000 victims remain unknown; they were registered only by numbers assigned on entry. Each prisoner was identified by a tag, many of which were reused after the original tag holder was killed. The only human record of the Shark Island victims is photography taken for the experiments or as mementos for the soldiers’ families and friends back home.
Downtown, Cairo. www.amadoalfadni.com amadoalfadni@gmail.com +20 100 125 9438
Amado Alfadni
Education
1999 B.A, Faculty of Foreign Trade, International Economics, HIAS, Helwan University Cairo, Egypt.
2000 Saint Andrew‟s art department, Painting& Anatomy Diploma.
1998-Private study with Japanese artist Shozo Harada, Arab-Japanese Studies Center
Teaching & Directing
2011-present Co-Founder, Outreach and culture Director, Nabta Arts & Culture Center
2007-present Coordinator, SAWA Workshops for Visual Arts
.
2012-2013 Visual Art Coordinator, S.O.S, Egypt
2010-2011 Project Manager: Reason & Rhymes Program
2010 Coordinator, Youth Lead Project Hip-hop Showcase, Townhouse Gallery
2001-2004 Workshops Coordinator, Sudia (Sudanese Development Initiative) Cairo
Solo Exhibitions:
2016- Black ivory, Contemporary Image Collective (CIC), Cairo
2015- Typology, Ahmed Shawky museum, Cairo
2014 -Black Holocaust Museum, Contemporary Image Collective (CIC), Cairo
2013 -Super Market Art Fair, Stockholm
2012-Leaving, Awan Gallery, Cairo
2012-The President,Gudraan gallery, Alexandria
2012-If I Were President, Artellewa Gallery.
2008-10mm, Artellewa, Cairo.
2007- Africa 6 letters, Goethe Institute,Cairo.
Downtown, Cairo. www.amadoalfadni.com amadoalfadni@gmail.com +20 100 125 9438
2007-The Color of the summer, New Cairo Atelier,Cairo. 2003-Black and Yellow, Michelangelo Gallery, Cairo. 2001-Why Not, Cairo Atelier,Cairo.
Group Exhibitions:
2014- Photophilia ,Townhouse gallery, Cairo.
2013- UAMO Art Festival, Munich.
2012- UAMO Art Festival, Darb 1718, Cairo.
2012- Passport Agency, Mattress Factory Museum- Pittsburgh, U.S.A 2011- No Glory,Form + Content Gallery,U.S.A.
2011-The Popular Show, Townhouse Gallery, Cairo.
2011- Express Yourself, Darb1718,Cairo.
2010- Annual Graffiti Festival,Mahmoud Mokhtar Gallery,Cairo.
2010- Monoprint, Guest exhibition at Egypt Youth Salon- Palace of art,Cairo. 2010- Monoprint,Mahmud Khalil Museum ,Cairo.
2009- The Creativity of the Other, AinHelwan Culture Palace,Cairo. 2009- Annual Graffiti Festival, Mahmoud Mokhtar Gallery, Cairo. 2008- Spring SAWA Exhibition, Gomhureya Theatre,Cairo.
2008- Annual Graffiti Festival, Mahmoud Mokhtar Gallery,Cairo.
2007- Middle Eastern Contemporary Art Exhibition, Amir Taz Palace,Cairo 2007- IntaFeen, Swiss Residency Studio,Cairo.
2006- Different Complete, Townhouse Gallery On-Site,Cairo
2005- Small Pieces Salon, Portrait Gallery,Cairo.
2005- Ministry of Culture Youth Salon, Cairo Opera House,Cairo. 2004- Ministry of Culture Youth Salon, Cairo Opera House,Cairo. 2003- Ministry of Culture Youth Salon, Cairo Opera House,Cairo. 2003- Day of Africa, Sawy Culture Wheel, 2003
2002- RatebSeddik Competition, Guest Artist, Cairo Atelier, 2002
2002- Small Pieces Salon, Palace of Arts, 2002
2000- Nissan Art Salon,Khartoum
1999- Group Art Exhibition, AUC
Residencies
2012-Artist resident at Mattress Factory Art Museum- Pittsburgh- U.S.A. 2012-Visiting Artist Carnegie Mellon University- U.S.A.
2011-Visiting Artist Hood University- U.S.A.
Curatorial projects:
2015- Detour. Vedionale (Bonn), Nabta Art center (Cairo). 2012-Arab Collaboration Project, Artellewa Space, Cairo.
2012- Kamala art salon “African artists in Cairo”, Nabta Art center,Cairo.
Downtown, Cairo. www.amadoalfadni.com amadoalfadni@gmail.com +20 100 125 9438
Bibliography
Gamal Al kasas: “Typology “Massages form faces”” El Sharqu Elawsat newspaper, 24 April, 2015.
Youssef Lemound :” Between foggy present and art recollection „ Droub Magazine, 6
February, 2014.
Edna Bonhomme:” Black art during counter revolution “Red wedge magazine, 24 November, 2014.
Mai Elwakil:” Absorbing CIC show looks at blind spots in history” Mada Masr Magazine
,18 December 2013 .
Yasser Sultan :” Al fadni‟s Mazes out “ Dohaa Magazine , April 2013
Maruice Chammah: Pondering : „If I were president…”, The Egypt Monocle, 13
June,2012.
Marie Jeanne Berger: ” Colonialism and technical difficulties at Darb1718's 'Saturated
Souls'”, Daily News Egypt, 17 August, 2010.
Omer Jihan:” Back to Sinar “Khartoum newspaper, 13June, 2009.
Private Commissions
2005-present-Commissions of paintings for private collections
.
2008-Book Cover: Kashfhayia, Ali el Sayed, Dar FikraPubishing.
2008-Book Cover: Fee Kaabenet el Jessed, Hany Fadel, Dar Fikra Publishing.
Downtown, Cairo. www.amadoalfadni.com amadoalfadni@gmail.com +20 100 125 9438
Workshops
2011-Pinhole Camera, Townhouse Gallery 2010-Ping-Pong, with Tina Helen, Townhouse Gallery
2010-Art in the Street, in conjunction with the Cairo Design Festival, Ministry of Culture. 2010-Monoprint, Passage 35 Gallery, Mahmoud Khalil Museum.
2009-Lapdogs of the Bourgeoisie: Explorations in the Marketing of Artwork, Townhouse Gallery.
2008-Training for Workshop Leaders, Townhouse Gallery.
2007-Art and the Public, Cairo public spaces with the cooperation of the Ministry of Fine 2006-Arts, Techniques in Paper Mache, Townhouse Gallery.
2005-Contemporary Image Collective Photography Workshop. 2002-Photography Workshop with Satoshi Hasegawa- Pocelin Arts Center
Other Projects
2013-Contributor, Campaigning Cairo: Perspectives on Visuality in Egypt, Columbia University Press.
2011-Participant, Sites of Passage Project-U.S.A.
2011-Assistant Director, Disastrous Dialogue (film), Directed by Soren Funder. 2010-Assistant Director, Snack Cart (film), Directed by Mark Sadler. 2009-Modeler, Interview Coordinator, Model Citizens, Townhouse gallery. 2008-SAWA Curator, You Are What You Wear? Workshop and Exhibition. 2008-2012-2014 Contributor, The World One Minutes Project.
As part of my research into the history of spaces, I worked on the history of the Kuenstlerforum. This hall, which is now housing the forum, used to be a flower market, and has been used historically for many different purposes. This transformation from its former use as a flower market hall to a new housing project affected the dynamic of the local community, significantly.
This installation is aimed at engaging the visitor into a research process through including an audio interview with an architect and historian speaking about the history and construction of the space. They both elaborate on the function of the hall and the working processes in which the community was involved and how its members took part in these processes.
Furthermore, a newspaper microfilm archive of the year 1986 documented the modifications and changes in usage the hall went through. Emphasis was put on how this process affected the local neighborhood. This was actualized by enduing an empty photo shelf with titles of the names of people and places that refer to the history of the flower market hall.
The second part of the installation consisted of a video interview with one of the remaining residents of the old neighborhood. By employing the oral history of the place and the people who used to live there, the local community itself and its history became part of the installation.
Passport Agency
The installation draws on the artist's own experience applying for US entry to attend the opening of his exhibition; it is intended to take the visitor through the experience of making a visa application. This installation was exhibited at the Mattress Factory, Pittsburgh, Pennsylvania, U.S.A. The piece was placed at the entrance of the museum. In order to enter the exhibition, the American audience had to go through the same visa process that a Third World citizen would face when attempting to enter the United States. Six actors posing as border protection agents followed interview procedures from U.S embassies around the developing world. At its best, this work contributes to the privileged viewer’s awareness of discrimination based on national, economic, racial, and social background.
United States of the Sudan
The United States of the Sudan passport was presented in Cairo during the Sudanese referendum vote. It initially explored the concepts of nationality and identity many Sudanese were struggling with as the country divided, and passports for the new South Sudan were granted based on ethnic and religious criteria, rather than where, geographically, an individual might live. In the installation, visitors were granted a passport with no application criteria, which permits travel anywhere. The lack of restrictions is intended to free individuals from the burden of having their identity and rights dictated by an unalterable document; or to alleviate the condition of the world's 12 million stateless persons, who have no political identity or rights.
If I Were President
1
I created an interactive visual forum to engage a specific audience in a contemporary historical moment. In 2012 and 2014, during the Egyptian presidential elections, I posted thousands of blank posters outside of the city center of major Egyptian cities with only the words “If I Were President,” giving a platform for the communities to express their needs, dreams, and ideologies. I, then, created videos based on interviews in the communities and screened them in the same neighborhood. The project was replicated by BBC Arabic in Yemen and Tunisia during their presidential elections.
2
Since the beginning of the Egyptian revolution I have been reacting to it in my work. The revolution was made by the public, so I wanted to do work made with the public, instead of just about them. The idea for If I Were President came from the presidential campaign posters that started taking over all of the public spaces in the city. The posters might have slogans or huge pictures of the candidate, but there was no space for dialogue with the public. This one-sided relationship, in which the candidate makes a promise to the people—‘Freedom (hurria, حرية), Justice (eadala, عدالة), In God’s Name (biaism alllah, باسم الله)’- without explaining how to achieve it or even what it might mean, drove me to make posters with which the people could have their own presidential campaign. Each poster is just a blank space where people can write what they want, but others can come after them and edit or add their own ideas. In this way, every poster in the city will say something different while being part of the same campaign, and will highlight the fact that we cannot sum up what the people of Egypt need in one phrase. The posters also open public dialogue and encourage people to discuss a question they’ve never even had the chance to actually consider.
Black Ivory
Digging into the history of the colonial military slavery in Africa, which carries with it a long history of slavery with Egypt serving as a slave market and a base for crossing to the international market, the black ivory horn sculpture installation refers to both the physical labour of enslaved men who were forced to carry ivory on their journey to Egypt on the 40 day road, and the term used by the British colonial army referring to the enslaved Sudanese soldiers. A voice recording in Shiluk –a dialect spoken in south Sudan- as a narrative story inspired by oral memoirs of one of the Sudanese enslaved soldiers who fought in Mexico, plays within the installation. This work focuses on the forgotten lives of 523 minors who were kidnapped from Sudan and sent to Mexico to fight for the French army in the Mexican-French war at the end of the 19th century.
Black Holocaust Museum
Based on research and documentation of ignored historical events, especially colonial history and re-reading it from the perspective of the native, The Black Holocaust Museum, exhibited at the Contemporary Image Collective in Cairo, Egypt, is based on research about the first German concentration camp in German South-West Africa, which is modern day Namibia. In this region, between 80,000 and 110,000 people, around 85% of Herero and Nama tribes’ people, were exterminated. The holocaust came after a huge propaganda campaign in Europe that depicted the tribes’ people as dangerous savages who were attacking and killing European settlers. In the Herero funerary tradition, a person bearing the same name as the dead would burn a holy fire after sunset in order to release the soul and allow it to ascend to heaven. The installation contained 3,000 pieces of wood, engraved with numbers given to them by the Germans, representing the souls of the victims of Shark island concentration camp, whose souls were never released, because their names were lost. The installation also included audio describing images of the victims taken from German archives and postcards. With this work, I am making visible a piece of intentionally neglected history, and complicating the meaning of the term holocaust for the Arab region.
2
The Black Holocaust took place between 1904 and 1908 and is considered the first holocaust of the 20th century. It occurred in German South-West Africa (Modern day Namibia) during the European colonialist scramble for territory in Africa. In total, somewhere between 80,000 and 110,000 people, around 85% of Herero and Nama tribes’ people, were killed. The holocaust came after a huge propaganda campaign in Europe that depicted the tribes’ people as dangerous savages who were attacking and killing European settlers. After slaughtering the Herero at the battle of Waterberg in 1904, General Lothar von Trotha wrote the extermination order:
“I, the great General of the German soldiers, send this letter to the Herero
people. The Herero are no longer German subjects. The Herero nation
must leave the country. If they do not leave, I will force them out with the
Cannon. Every Herero, armed or unarmed...will be shot dead within the
German borders. I will no longer accept women and children, but will force
them back to their people or shoot at them.”
The Herero were pushed into the desert past the last waterholes, guards were stationed to prevent their return, the wells were poisoned, and the Herero were left to die of thirst and starvation in the Omaheke (Kalahari) desert. Survivors, the majority of whom were women and children, were eventually put in concentration camps, such as that at Shark Island, where the German authorities forced them to work as slave labour for German military and settlers. Roughly 3,000 Herero died at the Shark Island camp.
Five official and several private concentration camps were established in Namibia at this time for the purpose of containing and ultimately exterminating the Herero and Nama. Nearly 10,000 people would die in these camps. The Shark Island Extermination Camp was built by the Second Reich and is regarded as the world's first extermination camp (Vernichtungslager). It was designed by Franz Xavier Ritter von Epp, a man who was to inspire Hitler in the holocaust of Jews and Gypsies in World War Two.
Eugen Fischer, a German racial biologist, traveled to the concentration camps to conduct medical experiments to prove that the indigenous people of German South West Africa were of an inferior race to the German setters. Other experiments were made by Dr. Bofinger, who injected Herero suffering from scurvy with various substances including arsenic and opium; afterwards, he researched the effects of these substances by performing autopsies on dead bodies. An estimated 2,000 skulls were sent to Germany for further experimentation.
The identities of Shark Island’s 3,000 victims remain unknown; they were registered only by numbers assigned on entry. Each prisoner was identified by a tag, many of which were reused after the original tag holder was killed. The only human record of the Shark Island victims is photography taken for the experiments or as mementos for the soldiers’ families and friends back home.
Downtown, Cairo. www.amadoalfadni.com amadoalfadni@gmail.com +20 100 125 9438
Amado Alfadni
Education
1999 B.A, Faculty of Foreign Trade, International Economics, HIAS, Helwan University Cairo, Egypt.
2000 Saint Andrew‟s art department, Painting& Anatomy Diploma.
1998-Private study with Japanese artist Shozo Harada, Arab-Japanese Studies Center
Teaching & Directing
2011-present Co-Founder, Outreach and culture Director, Nabta Arts & Culture Center
2007-present Coordinator, SAWA Workshops for Visual Arts
.
2012-2013 Visual Art Coordinator, S.O.S, Egypt
2010-2011 Project Manager: Reason & Rhymes Program
2010 Coordinator, Youth Lead Project Hip-hop Showcase, Townhouse Gallery
2001-2004 Workshops Coordinator, Sudia (Sudanese Development Initiative) Cairo
Solo Exhibitions:
2016- Black ivory, Contemporary Image Collective (CIC), Cairo
2015- Typology, Ahmed Shawky museum, Cairo
2014 -Black Holocaust Museum, Contemporary Image Collective (CIC), Cairo
2013 -Super Market Art Fair, Stockholm
2012-Leaving, Awan Gallery, Cairo
2012-The President,Gudraan gallery, Alexandria
2012-If I Were President, Artellewa Gallery.
2008-10mm, Artellewa, Cairo.
2007- Africa 6 letters, Goethe Institute,Cairo.
Downtown, Cairo. www.amadoalfadni.com amadoalfadni@gmail.com +20 100 125 9438
2007-The Color of the summer, New Cairo Atelier,Cairo. 2003-Black and Yellow, Michelangelo Gallery, Cairo. 2001-Why Not, Cairo Atelier,Cairo.
Group Exhibitions:
2014- Photophilia ,Townhouse gallery, Cairo.
2013- UAMO Art Festival, Munich.
2012- UAMO Art Festival, Darb 1718, Cairo.
2012- Passport Agency, Mattress Factory Museum- Pittsburgh, U.S.A 2011- No Glory,Form + Content Gallery,U.S.A.
2011-The Popular Show, Townhouse Gallery, Cairo.
2011- Express Yourself, Darb1718,Cairo.
2010- Annual Graffiti Festival,Mahmoud Mokhtar Gallery,Cairo.
2010- Monoprint, Guest exhibition at Egypt Youth Salon- Palace of art,Cairo. 2010- Monoprint,Mahmud Khalil Museum ,Cairo.
2009- The Creativity of the Other, AinHelwan Culture Palace,Cairo. 2009- Annual Graffiti Festival, Mahmoud Mokhtar Gallery, Cairo. 2008- Spring SAWA Exhibition, Gomhureya Theatre,Cairo.
2008- Annual Graffiti Festival, Mahmoud Mokhtar Gallery,Cairo.
2007- Middle Eastern Contemporary Art Exhibition, Amir Taz Palace,Cairo 2007- IntaFeen, Swiss Residency Studio,Cairo.
2006- Different Complete, Townhouse Gallery On-Site,Cairo
2005- Small Pieces Salon, Portrait Gallery,Cairo.
2005- Ministry of Culture Youth Salon, Cairo Opera House,Cairo. 2004- Ministry of Culture Youth Salon, Cairo Opera House,Cairo. 2003- Ministry of Culture Youth Salon, Cairo Opera House,Cairo. 2003- Day of Africa, Sawy Culture Wheel, 2003
2002- RatebSeddik Competition, Guest Artist, Cairo Atelier, 2002
2002- Small Pieces Salon, Palace of Arts, 2002
2000- Nissan Art Salon,Khartoum
1999- Group Art Exhibition, AUC
Residencies
2012-Artist resident at Mattress Factory Art Museum- Pittsburgh- U.S.A. 2012-Visiting Artist Carnegie Mellon University- U.S.A.
2011-Visiting Artist Hood University- U.S.A.
Curatorial projects:
2015- Detour. Vedionale (Bonn), Nabta Art center (Cairo). 2012-Arab Collaboration Project, Artellewa Space, Cairo.
2012- Kamala art salon “African artists in Cairo”, Nabta Art center,Cairo.
Downtown, Cairo. www.amadoalfadni.com amadoalfadni@gmail.com +20 100 125 9438
Bibliography
Gamal Al kasas: “Typology “Massages form faces”” El Sharqu Elawsat newspaper, 24 April, 2015.
Youssef Lemound :” Between foggy present and art recollection „ Droub Magazine, 6
February, 2014.
Edna Bonhomme:” Black art during counter revolution “Red wedge magazine, 24 November, 2014.
Mai Elwakil:” Absorbing CIC show looks at blind spots in history” Mada Masr Magazine
,18 December 2013 .
Yasser Sultan :” Al fadni‟s Mazes out “ Dohaa Magazine , April 2013
Maruice Chammah: Pondering : „If I were president…”, The Egypt Monocle, 13
June,2012.
Marie Jeanne Berger: ” Colonialism and technical difficulties at Darb1718's 'Saturated
Souls'”, Daily News Egypt, 17 August, 2010.
Omer Jihan:” Back to Sinar “Khartoum newspaper, 13June, 2009.
Private Commissions
2005-present-Commissions of paintings for private collections
.
2008-Book Cover: Kashfhayia, Ali el Sayed, Dar FikraPubishing.
2008-Book Cover: Fee Kaabenet el Jessed, Hany Fadel, Dar Fikra Publishing.
Downtown, Cairo. www.amadoalfadni.com amadoalfadni@gmail.com +20 100 125 9438
Workshops
2011-Pinhole Camera, Townhouse Gallery 2010-Ping-Pong, with Tina Helen, Townhouse Gallery
2010-Art in the Street, in conjunction with the Cairo Design Festival, Ministry of Culture. 2010-Monoprint, Passage 35 Gallery, Mahmoud Khalil Museum.
2009-Lapdogs of the Bourgeoisie: Explorations in the Marketing of Artwork, Townhouse Gallery.
2008-Training for Workshop Leaders, Townhouse Gallery.
2007-Art and the Public, Cairo public spaces with the cooperation of the Ministry of Fine 2006-Arts, Techniques in Paper Mache, Townhouse Gallery.
2005-Contemporary Image Collective Photography Workshop. 2002-Photography Workshop with Satoshi Hasegawa- Pocelin Arts Center
Other Projects
2013-Contributor, Campaigning Cairo: Perspectives on Visuality in Egypt, Columbia University Press.
2011-Participant, Sites of Passage Project-U.S.A.
2011-Assistant Director, Disastrous Dialogue (film), Directed by Soren Funder. 2010-Assistant Director, Snack Cart (film), Directed by Mark Sadler. 2009-Modeler, Interview Coordinator, Model Citizens, Townhouse gallery. 2008-SAWA Curator, You Are What You Wear? Workshop and Exhibition. 2008-2012-2014 Contributor, The World One Minutes Project.
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