Artraker


We maintain an institutional relationship with Artraker, an NGO co-founded by INCAS Chairman, David Nyheim, which supports visual art that shapes how people and organizations understand, engage, and respond to violence and awards extraordinary artistic contributions to peace around the world.

 

Our Group has funded Artraker since the very first exhibition at Goldsmith’s University in 2013 and more recently the 2017 Awards given by the President of Malta at St James Cavalier in Valletta.

 

We are very pleased to feature the work of several Artraker artists on this website. Each image tells a different and remarkable story from countries where we work. We invite you to read more about each image and the artist.

A Dictionary of the Revolution is an experiment in multi-vocal storytelling. Hanafi created a box of 160 words in Egyptian colloquial that were frequently used between 2011-2013 in public political conversation. She then held conversations: choosing cards, people talked about what the words meant to them, who they heard using them, and how meanings had changed since the uprising. The digital publication of the project contains 125 imagined dialogues woven from transcription of this speech.

Hassani uses graffiti and 3D street art painting to demonstrate the power of art for all people. The subject of the artworks is an Afghan woman with and without the burqa. Since everybody forgets women in society, painting women in public ways can encourage other people to see women in society differently. Freedom is not to remove the burqa, it is to have peace.

Street Art

Shamsia Hassani

The orphan is wrapped in the traditional Pagne fabric, which is representative of the culture, power, heritage and fashion of central Africa. The irony of the Pagne is that it was imposed by colonial rule on locals to ensure that they did not adopt European dress. After decolonization, the Congolese adopted it for their own cultural identity. Today, the major distributor of Pagne is Belgium and the cheaper, mass-produced versions come from China. No Pagnes are actually produced in central Africa. DRC imports $25 million-worth of textiles a year.

We Are The Future

Aydin Matlabi

From Kabul to Kirkuk through the mountains of Pakistan, Iraq, and Colombia, Luisset seeks to raise questions about the representation of conflict and how we perceive it. In Theatre of War, the artist stages deliberately very mannered scenes to betray the process and question the theatricalization of the image of conflict. We are here with real fighters, in a real war zone, and yet, we are in a staged reality. 

Theatre of War

Emeric Luisset