#barwari

[correspondencearchive]

26. Nuveen Barwari & Marlos E'van

Nuveen Barwari & Marlos E’van discuss their shared sense of immediacy and trust in the materials in their work, abstracting the figure, and the myriad influences that inform their art practices.

Nuveen Barwari (NB): Alright, where do we start? I guess I'll start by saying thanks for agreeing to do this with me. We have worked with each other for about five years on multiple projects and I think this is a great opportunity for us to really reflect on the common threads that both of our art practices share.

Marlos E’van (ME): I was really energized when you asked me to join you in this discussion, and I def want to thank you as well. It’s true, we have worked on multiple projects together and also personal work where we pass a piece back and forth over time, making a different move with each pass. Out of all the conversations we’ve had based on our work, this feels like the first time we’ve formally talked in public about the intersections our practices share both formally and conceptually!  

NB: I think about the figures in your paintings, the way you handle paint, materials and multiplicity.… These are a few things that I would like to discuss with you in relation to my work…Maybe we can start off with this sense of “urgency” that I believe is present in both of our works. I want to say there is this sense of urgency in our work but our work is anything but that… I think the process actually involves a lot of research,  conversations, and dwelling.. Maybe the execution feels quick… but the lead up to that initial mark making isn't quick at all.

Marlos E’van, Next Great Migration, 2020, oil, latex, oil stick on canvas, 50.5 x 50.75 inches

ME: That’s a good place to start. It’s true that sometimes our work has this feeling of immediacy to it which some might call “fast paced”, however, I agree that we both take our time to really dig in and think about our subjects and work it out in our heads through conversations, sketches, and reading articles/books. Once that research is done, we’ve pretty much worked out the piece in our head and go all in on the attempt which usually results in that fast pace. It feels like this urgency we share is reflective of the urgency involved in our subject matter.

NB: Yes, I agree with all of the above… also at the same time I feel like we are such “Makers'' with a capital M that even if we don't have a plan we are still making and trusting the process… that sounds cliche but its true sometimes i'll be in the studio surrounded by all of my materials and i have so much conviction in all of these materials that i have collected over the years that i know that regardless of a “plan”. Hmm how do I put this.. For example I can close my eyes and just pick out random materials in the studio and sew them together and trust that it will all come together later…  I have definitely connected this sense of “urgency” in the past to protest and the subject matter so I'm glad you brought that up… I have also connected it with my use of the sewing machine and screen printing you know?

Nuveen Barwari, Landscape, denim, found fabric, deconstructed Kurdish dress, acrylic paint, fabric paint, thread, canvas, xerox paper, 32 x 40 inches, 2022

ME: Wow I like the way you put that! I think it’s important for people to know that there are situations where we take our time and research, sketch, etc, yet there are other times where we go with our instincts and go in without a “plan”. Moments like that allow us room to explore and let a piece guide us to its final composition. I feel like we both achieve this sort of “freestyle” by taking into account the materials, the natural and un-natural movements in the materials, and daily mark making on the piece. Sometimes in my work I just sit and stare at a canvas, noticing the shadows and marks that already exist. These observations help guide me into what moves I wanna make next. Kinda like playing chess. 

NB: So I also see a connection between the way you abstract figures in your paintings and the way I abstract figures in my paintings. I think the way we both handle paint is very similar and some would even say is not very “traditional” for example some of my favorite moments in your work is when I see the paint on the raw canvas.

ME: You know, when it comes down to making figures, I never wanted to paint something exactly how you see it in life, that's boring for me. Therefore, I chose to make figures that allow us to make abstracted discoveries in the work. Moving body parts out of place and using my line work brings an element of fun to the creations which I feel your work does also. Speaking of paintings and abstract figures, I noticed that some people label your work as textile based paintings. However, both you and I refer to them as Paintings. You just showed me a new piece in your studio and it def reads as a huge painting although there’s no “paint” applied, yet you move around the material like a painter would. What are your thoughts on this and how do you actually see your work as far as being textile or paintings?

NB: I often tell people I am not a poet, I only hang out with them. I do call myself a painter though and almost everything I make is a painting. You see, I come from an academic painting background, everything I've learned from painting I've applied it to everything else I do in the studio whether that be installations, textiles,video work, performance, and even fashion. 

To look at painting beyond the medium itself, to paint without paint is something I think about on a daily basis. I think it's really interesting how many associate the rectangle to painting while I associate it to rugs. And then I take the rug and connect it to a door which in the past has been literally utilized as a door  and then I circle back  and connect it to painting and it  goes on and on. It involves a lot of contradictions that aren't always bad. I'm not gonna lie tho sometimes do insert my work into the painting realm very abruptly.

Nuveen Barwari, Cooking for the peshmergas, thread, deconstructed Kurdish dress, Xerox paper, 16 x 20 inches, 2022

ME: That's really interesting! I love that line where you say “to paint without paint”. In my own practice, I see myself as a sculptor or a filmmaker sometimes even if I'm making a painting. I also see myself as a musician at the same time; making these compositions that move in time like a musical arrangement. Sometimes the music goes from Jazz, Punk, Rap, and Goth, etc. However, I don't feel beholden to categorize anything I do as just one thing. I feel like that is another similarity we share.  

NB: Yes I agree with you… both of our works involve multiplicity. I like that you mentioned music because that is definitely something I think about in the studio. Like I will listen to alot of Kurdish music and sometimes even pretend that I am making album covers for some of the greats or that I am hanging out with them in the studio… I also think about translation alot and connect that to multiplicity …I have always been mesmerized with the many ways Kurdish poets and musicians have employed language as a tool for resistance. The term “Gulistan” is a common motif in a lot of Kurdish songs and poetry. The flower of a rose is known as a "gul." All flowers are referred to as "gul" in conversation, however the correct word in Kurdish is "kulik." the complexities of using floral themes and metaphors to both reveal and conceal their ethnic identity. I'm really interested in the shapes and sounds that are found through translation rather than focusing on the stuff that is lost, you know? But I would love to talk to you more about the sculptural element in painting, since so many painters I know absolutely dread stretching their own canvases… and to me that is the best part.

ME: I feel you on that!

When it comes to the sculptural elements, I can remember one of my mentors, Terry Thacker, always talking about the act of pushing paint around on the surface. Before art school, I grew up on a farm and helped one of my uncles do home improvement jobs for people in our community back in Mississippi. We would always have to invent tools and improvise with materials. This almost always came in the form of a sculpture in some way. This carried over into my art making from how I use paint and materials, and how I build stretcher bars. I try to break from the traditional rectangle forms, something I'm aware that you do as well; and create alternative structures that challenge how we present and observe a work of art. This goes back to the note changes in music, while also incorporating a sculpture that holds a painting in place.

Marlos E’van, Fire and Spears, 2020, rope, oil, latex and oil sticks on canvas, found wood frame, 54 x 43.5 inches

NB: Ok cool. Oh wow yeah i like that… “the act of pushing paint” that even becomes performative as well. I'm glad you mentioned how growing up on the farm has informed alot of your art making because it has me thinking of growing up in Duhok, Kurdistan and being in awe of the colorful bazaars, fabric stores, and the landscapes. For instance, being part of a diasporic community entails this transcontinental exchange of materials from the homeland (home country) and host land (host country). Being a member of diaspora necessitates this almost constant exchange of materials from the homeland and the host land. This exchange consists of family from the homeland sending anything from photographs with written messages and dates on the back to honey, spices, and beautiful fabrics or the family in the host land sending photographs, clothes, medication, and in my case bags of hot Cheetos to the homeland. I've always been fascinated by the little things, like how much space would be added to the suitcase when a needle is used to poke tiny holes in hot Cheeto bags when traveling back home. I grew up watching elders in diaspora transplanting fig trees and rose bushes from the homeland into this new soil, making Kurdish dresses out of the fabrics that were available to them in the host land, and most importantly I witnessed the longing, the act of making a home away from home and the grief that comes with it.

ME: Wowow, I think this is a really important/intimate view into your artmaking and thought process. Very beautifully said! I know we can talk longer but folks will have to wait on our memoirs for more. Until then they can stay tuned in to what we’re making.

NB: Haha yeah i think this is a good stopping point. Thanks for the conversation.

ME: No prob and thank you! Now I'm about to go find something to eat! Talk 2 U Later!!

Nuveen Barwari was born in Nashville, TN (1995). Barwari received a Bachelor of Science in Studio Art from Tennessee State University in 2019 and a Master’s in Fine Arts from the University of Tennessee, Knoxville in 2022. Employing collage, painting, textiles, and installation, Barwari studies the intricacies within conditions of assimilation, material culture, and contradictions within diasporic identities. Barwari’s work has been featured in national and international publications including the Nashville Scene, New American Painting, Yahoo Nachrichten Deutschland, Gazete Duvar, and Botan Times. She has exhibited in numerous locations such as, Sugar Gallery (2019) in Fayetteville, Arkansas, Zg Gallery (2020) in Chicago, NGBK Gallery in Berlin Germany (2021), Duhok Gallery (2021) in Duhok, Kurdistan, and Ortega y Gasset Projects, in Brooklyn, NY (2022). Barwari is represented by The Red Arrow Gallery in Nashville, TN and is currently working and living in Albany, NY.

nuveenbarwari.com @nuveenbarwari

Marlos E'van (b. 1988 Tupelo, MS) Nashville-based artist, E'van interweaves different mediums such as painting, performance, and filmmaking to create worlds in which their art recollects black histories: joy, pain, celebration, sorrow, and complex emotions from reenacted scenes of American histories. A subtle vernacular in expression has caught recognition from such publications such as Hyperallergic and New Art Examiner. In addition to their work as an artist, E'van co-founded/co-designs M-SPAR, McGruder Social Practice Artist Residency out of the McGruder Center in North Nashville. Working as an educator in a hard-hit redlined Nashville neighborhood, E'van actively listens to their pupils, gathering stories that also inform E'van's paintings. Their own life creates first-person narratives in paintings targeting marginalization, stemming from a queer black history rooted in their home state of Mississippi. Marlos E'van's work is included in International collections, has been shown in VA, TN, GA, MS and NY.

@marlosevan

[dazzlegame]

Pandal-hopping Outfits That Are Beautiful And Comfortable For Each Day Of Durga Puja

We were told early on that there is an unspoken rule during Durga Puja: don't wear the same clothing more than once during the 10-day festival! My mother used to sew tiny salwar outfits for my sister and me when we were toddlers using the same length of fabric she had purchased in bulk. Even though we wore the same print and colour together, we never wore the same ensemble twice. For Bengali children, wearing new garments every day and letting them lose their sheen by EOD is a huge part of Pujo. I won't ruin clothes anymore because I am a grown-up (allegedly!) and realize their value. But occasionally, while pandal hopping, I do get amazing street food on them.

Nothing has changed this year. The Durga Puja celebrations are well underway, and a big component of them, pandal hopping, calls for specific consideration of our attire. For those who are unaware, pandal hopping is the practice of Bong families leaving their Barwari pandals to visit other ones throughout the city. In our society, pandal decoration is a highly prized art, and we greatly enjoy it. A family of five will typically visit ten pandals in one night (we stay up till 4 am); therefore, we must have fantastic, flexible clothing available.

Choosing stylish

 clothing for every occasion can be difficult. That's why we're looking to some of our favourite fashion icons for inspiration, favourite models and the fashionable ethnic outfits they have been donning. We want these lovely costumes for our Puja style in addition to the prominent collection of Taant sarees! Style!

PRATHAMI

Even if it is still peaceful, the first day of Puja is fortunate. It is always enjoyable to see the pre-puja preparations during these early days. Our local communities give their idols the finishing touches, from painting pratima to draping their sarees, and a brief exploration in an easy-to-wear is not too shabby!

DITIYA

Pandals begin revealing Maa's faces on day 2 after finishing the finishing touches. Yellow is a prominent ethnic colour trend this holiday season. We want to adapt it into a sweet sharara and trendy jewellery piece for the night out. They're fantastic for the Garba night at the neighbourhood community centre too!

TRITIYA

During puja, most of the nation's cities are noticeably warmer. As a result, we desire a few light and airy outfits in our wardrobe for this puja. A lovely ethnic top and palazzo pair ought to go just fine.

CHATURTHI

As we previously stated, while being two different celebrations of the same event, Durga Puja and Navaratri are very different from one another. As a result, a gharara decorated in deep emerald tones is ideal for pandal hopping before going out for dandiya night.

PANCHAMI

Kurta and lehenga combinations are fantastic! These carefree beauties are the ideal way to start the "formal" first day of Puja, when everyone is eager to show off their new looks. We aren't sure what else will get people's attention if a bright pink embroidered number doesn't.

SHASHTI

Simple designs of opulent trims and fabrics are a good look for the puja, keeping with the festive themes this season. One of our main trends this season is the fusion of modern, youthful looks with traditional Indian patterns like bandhani and mirror work.

SAPTAMI

After Saptami aarti, most puja pandals ramp up their celebrations. Our nights since day 7 have not been for sleeping, with anything from folk dance performances to an extended orchestral performance filling the night with their music. As a result, we require attire that is beautiful and lightweight. I'm at a loss for what to wear better than a silk saree!

ASHTAMI

Ashtami starts off early and is the most significant day of the puja. I recall rushing to get ready in my best clothes and taking a shower at six in the morning, so I could play pushpanjali. Because they are easy to put on and appear opulent, lehenga sarees are what we will be investing in this year. And they will be red, of course!

NAVAMI

When it comes to the after-aarti activities, Navami is the time when things heat up! The raucous dhunichi naach and the three-hour long gut-wrenching skits are looked forward to. What can you do to maximize them? Softest embroidery on a lovely sheer saree!

DASHAMI

The traditional puja outfit is a red and white saree. Why not make it more entertaining? Thanks to Sabyasachi's creativity, the red and white saree has changed from polka dots to stripes and has become a millennial fantasy.

What attire do you have for the puja? Remember to share your OOTDS!

[affiliateiva]

👉Men’s Sherwani Collection for all occasion ♻️Ready to wear... Must Buy comes in all sizes. 👨‍🦰So don’t wait and buy the Sherwani for you. ✅Visit the site and BUY : https://bit.ly/3wyohRt BUY NOW!! #barwari #sherwaniswag #sorani #weddingsherwani #nhile #bradosty #onlinesherwani #sherwaniindia #suit #slevanyi #batifa #slimani #nzari #lehenga #kurtapajama #menskurta #groomsherwani #mensstyle #sherwanicollection #sharafani #weddingwear #india #designersherwani #indianwear #mensethnicwear #indianmen #bigfatindianwedding #menssherwani #style #achkan https://www.instagram.com/p/CSBxgw0sGT_/?utm_medium=tumblr

[natgeokurdistan]

گوندی هیرۆری دەڤەری بەرواری، پارێزگای دهوک Hirori village of Berwari functions of Duhok province. 📸By: @dijwarrushdi 🔺🔺 🔺 ➖➖➖➖➖➖➖➖➖➖ ➖➖ ➖ 🔻🔻 🔻 #kurdistan_is_a_region_full_of_beauty #کوردستان_پر_لە_جوانی #kurdistan #kurd #duhok #dohuk #berwari #barwari #hirore #کورد #کوردستان #دهوک #دهوك #بەرواری #بەرواریا #سروشت #natgeo #natgeoyourshot #natgeotravel #natgeotravelpic #heaven #paradise #village #nature #naturephotography #naturegeography #naturepic #natureshot #naturelove #naturegram 🔶🔶🔶 (at Hiroré) https://www.instagram.com/p/B_628l4ghZ4/?igshid=xouxi6q51ita

[hqdefault-jpg]

Nuveen Barwari, Chasing the American Dream, 2018.

Found rug, xerox paper and oil paint, 35.6 × 50.8 cm.

[columns61]

#Kurdistan - with Major General Fadhil Jalil #Barwari, commander of elite units of Iraqi Counter Terrorism Service (among them the famous ISOF/Golden division) - on #Mosul war front #respect the photo was shot May 2017. The general unfortunately passed over September 24th 2018 God with him #Iraq #iraqis #soldier #war #specialforces #army #middleeast #photo #photooftheday #photobooth #photoobserve #photography #reporterlife #reporter #journalism #press #picoftheday #lensculture #picsart #instagood #instamood #instalike #likeforlikes #like4likes #like #followme https://www.instagram.com/p/BxDVOFzlRDr/?utm_source=ig_tumblr_share&igshid=11eu66tcran47

[aaagencyyy]

Nuveen Barwari

[sknappsuniverse]

Boy Sherwani Photo Suit

[hello-hansa]

Men Sherwani Photo Editor

[humanrightsupdates]

Urgent action victory! teacher and protest organiser released on bail in Iraq

On 30 May 2020, teacher and activist Badal Abdulbaqi Aba Bakr Barwari was released on bail. On 16 May 2020 armed members of local police as well as security forces arrested him in Duhok, Kurdistan Region of Iraq, without a warrant. He was charged with “the misuse of electronic devices” for his role in organizing peaceful protests through social media platforms. While the charges related to Badal Barwari’s freedom of speech and peaceful assembly have not been dropped, no court date has been set.

NO FURTHER ACTION IS REQUESTED. MANY THANKS TO ALL WHO SENT APPEALS.

[blogdevashish-blog]

Capture of Delhi by Hindu Barwaris (1320-21 CE)

Capture of Delhi by Hindu Barwaris (1320-21 CE)

This and some of the upcoming series will be dedicated to how our so called ‘low caste’ Hindu brothers and sisters directly confronted atrocious Islamic rule during Middle Ages in India.

The first in this series is Capture of Delhi by Hindu Barwaris

Barwaris, as confirmed by contemporary Muslim chroniclers such as Barani, Amir Khusrau and Ibn Battuta, belonged to a tribe of (so called…

[affiliateiva]

👉Men’s Sherwani Collection for all occasion ♻️Ready to wear... Must Buy comes in all sizes. 👨‍🦰So don’t wait and buy the Sherwani for you. ✅Visit the site and BUY : https://bit.ly/3wyohRt BUY NOW!! #barwari #sherwaniswag #sorani #weddingsherwani #nhile #bradosty #onlinesherwani #sherwaniindia #suit #slevanyi #batifa #slimani #nzari #lehenga #kurtapajama #menskurta #groomsherwani #mensstyle #sherwanicollection #sharafani #weddingwear #india #designersherwani #indianwear #mensethnicwear #indianmen #bigfatindianwedding #menssherwani #style #achkan https://www.instagram.com/p/CSBxLvbIm9O/?utm_medium=tumblr

[natgeokurdistan]

گوندی هیرۆر، دەڤەری بەرواری، پارێزگای دهوک. 📸By: @metinhororii 🔺🔺 🔺 ➖➖➖➖➖➖➖➖➖➖ ➖➖ ➖ 🔻🔻 🔻 #kurdistan_is_a_region_full_of_beauty #کوردستان_پر_لە_جوانی #kurdistan #kurd #duhok #dohuk #amedi #barwari #کوردستان #کورد #دهوک #دهوك #ئامێدیێ #بەرواری #سروشت #natgeo #natgeoyourshot #natgeotravel #natgeotravelpic #heaven #paradise #spring #mountain #mountains #village #photography #nature #naturephotography #naturepic #natureshot 🔶🔶🔶 (at Berwari Bala) https://www.instagram.com/p/B_uILXKA6ao/?igshid=tsjl2cct4kej

[englishgroupwork2002]

Origin of tomatoes

Tomatoes are originally from Mexico and not from Italy, as many people think. This confusion was probably caused by the use of many tomatoes in Italian dishes, such as pasta or pizza.

https://www.thuisbezorgd.nl/blog/weetjes-over-eten-en-drinken/

Barwari Ala

[foodxpedia]

Maas Biran (Fried Fish) with softened sweet onion!👌🤤 . As a Bengali, fish was always a must on the menu every day... whether that’s in the form of a curry, satni (chutney) or fried! My father loves his fish... he has a great eye for quality MashaAllah, he never compromises on taste! I guess that’s where I get it from 😁😋 #foodxpedia . Today I’ve used Boal fish which is a freshwater catfish... did you know it’s scientific name is Wallago Attu? This species is commonly found in Bangladesh, India, Pakistan, Vietnam and Indonesia and goes by the name of Boal, Gual, Sareng, Barali, Barwari, Mully, Valai and so on! Can you believe one fish has so many different names! I must admit that we are very fortunate to be able to enjoy our heritage even in the UK, freshwater fish has always been a part of my traditional diet and I hope to pass it on to future generations 🤗 plus it’s so damn tasty! 🤤 . Honestly it’s so easy to make this dish, simple with maximum taste! The fish is so soft and flaky, the spices really compliment the fish without compromising the natural flavours of the Boal! Combined with sautéed onions.. adds a lovely sweetness to the dish! A must for all fish lovers! I will be sharing the recipe in my next post 👍 . . . . #fish #fishfry #friedfish #friedfood #fishcurry #bengalifood #bangladeshifood #bangladesh #india #indianfood #indian #pakistanifood #pakistani #masalafish #boal #sylhetifood #food #foodie #foodies #foodstagram #foodiesofinstagram #foodporn #foodpic #foodvideo #homemade #homemadefood #easyrecipes #foodbloggers #foodblog https://www.instagram.com/p/CBDm1TyFJrO/?igshid=t7l1xs4xzwjo

[omgstupendousbouquetbasement]

Report: Iraqi Forces Sexually Abuse IS Female Relatives in Mosul

Dozens of female relatives of Islamic State (IS) fighters in the refugee camps of Mosul have faced harassment and sexual abuse at the hands of Iraqi security forces, according to a joint report this week by the Network of Iraqi Reporters for Investigative Journalism and the Mosul Investigation Team. The report, which has been rejected by the Iraqi High Commission for Human Rights (IHCHR), said it documented 16 out of 36 "confirmed" cases of sexual exploitation of female relatives of IS fighters during three months of investigation, including five minors between 15 and 18 years of age. The report said several of them have committed suicide due to the trauma of the abuse.   "These women are punished on behalf of their fathers, husbands, and brothers who have joined the Islamic State. If they complain against the abuse, they will instantly be accused of terrorism," Dlovan Barwari, the leading writer of the report, told VOA in an interview Friday. Barwari said the women interviewed reported of being asked for sexual favors by Iraqi security forces and Shiite Popular Mobilization (PMF)or face various forms of harassment including frequent raids , investigation and the confiscation other their personal documents. While women from wealthier families could avoid this intimidation through bribery, those with limited financial ability had to comply. "Some houses and tents at refugee camps are turned into brothels where those women are forced to accept sexual exploitation in exchange for $3 or a little food. They are living in a besieged situation with no other options left," added Barwari. The report accused the Iraqi government of not taking those cases seriously due to the stigma families affiliation to IS fighters. It said aid organizations are also dissuaded from helping the victims due to the fear of being accused of helping IS members. The mistreatment of the so-called IS families is also justified by many Mosul community members as a fair punishment, the report claimed. "Punishing the families of an oppressive organization is necessary," Naamat Suleiman, a 30-year-old resident of Mosul was quoted in the report. "This is a lesson to prevent the return of such an extremist organizations to the city in the future." Government reaction The Iraqi High Commission for Human Rights has called the report's findings "untrue and contrary to reality on the ground." Commission member Fadel al-Gharawi in a media statement said the refugee camps hosting IS families are supervised by the Iraqi Ministry of Displacement and Migration and are protected by Iraqi security forces. "The office of the High Commissioner for Human Rights has investigative, oversight and follow-up committees that conduct occasional field visits to these camps. These committees have not recorded any cases of violation or complaint by women against the forces in charge of the security of the camps," said al-Gharawi. IS swiftly seized large swaths of Iraqi territory in mid-2014 when the Iraqi army abandoned their posts, starting in Mosul. The group was declared defeated in Iraq in late 2017 after over three years of Iraqi security forces operations supported by the U.S.-led coalition. Since then, the Iraqi government has started what it calls "clean up" efforts such as issuing death penalty for imprisoned IS fighters and placing their family members in refugee camps. 100 thousand members Official statistics put the number of estimated IS family members to be around 100,000. Most of them are placed in camps that were built by international community for internally displaced civilians fleeing during the Iraqi security forces operations against IS between 2014-2017. Human Rights Watch has called those camps "de facto prisons" for these so-called IS families. Its senior Iraq researcher Belkis Wille last November called the Iraqi treatment of families with perceived IS affiliations as "short-sighted, fundamentally destabilizing and criminal." Similarly, Amnesty International last year warned that the sustained mistreatment of these families could lead to a next cycle of violence by the new generation of supporters of the Islamic State. from Blogger http://bit.ly/2Ndx0mD via IFTTT