Rose Issa is a curator, writer and producer who has championed visual art and film from the Middle East for more than 30 years. She has lived in London since the 1980s showcasing upcoming and established artists, producing exhibitions with public and private institutions worldwide, and running a publishing programme.
Through curating numerous exhibitions and film festivals, she introduced Western audiences to many artists who have since become stars of the international scene, including: Chant Avedissian, Ayman Baalbaki, Shadi Ghadirian, Monir Farmanfarmaian, Bahman Ghobadi, Hassan Hajjaj, Farhad Moshiri, Abbas Kiarostami, Rashid Koraichi and Nja Mahdaoui among many more.
As well as holding exhibitions at her own project space in London, Rose Issa collaborates as a co-curator with private and public institutions such as the Beirut Exhibition Center (2010-11); the Bluecoat Arts Centre, Liverpool (2010); Tate Britain, London (2008); the European Parliament, Brussels (2008); the State Museum of Oriental Art, Moscow (2007); the Hermitage Museum, St Petersburg (2007); ING Bank, Geneva (2007); the Victoria & Albert Museum, London (2006); the Haus der Kulturen der Welt (HKW), Berlin (2004); The CCCB (Contemporary Cultural Centre), Barcelona (2003); the IFA - Institut fur Auslandsbezeihungen (2002-3), Stuttgart; the Tropenmuseum, Amsterdam (1996-1997); the Barbican Art Centre, London (2001, 1995); and Leighton House Museum, London (ongoing, since 1992). She also advises and lends works to public and private institutions, including the CAB Art Centre, Brussels (2013); the Boghossian Foundation, Brussels (2012); the Queensland Art Museum, Brisbane, Australia (2009); Paul Klee Museum, Bern (2009); Belvedere Museum, Vienna (2009); The British Museum; the Imperial War Museum; The Museum of Mankind; the Victoria & Albert Museum; The Written Art Foundation, Wiesbaden; The National Museums of Scotland; the Los Angeles County Museum of Art; The Smithsonian Institution (Sackler/Freer Gallery and National Museum of African Arts); the World Bank, Washington DC; and The National Gallery of Jordan. Rose Issa was a Jury member for the National Pavillions at the 50th Venice Biennale (2003) and sat on the Jury for the Arab British Centre (2013) and MOPCAP (the Magic of Persia, 2013).
Founder of the publishing unit Rose Issa Projects and Beyond Art Production, Rose publishes monographs and comprehensive catalogues addressing the current concerns and trends of the visual arts scene from the Arab world, Iran and Turkey. Recent titles include: Maliheh Afnan: Familiar Faces (2013); Nermine Hammam: Cairo Year One (2012); Raeda Saadeh: Reframing Palestine (2012), Farhad Ahrarnia: Canary in a Coal Mine (2011), Ayman Baalbaki: Beirut Again and Again (2011), Selma Gurbuz: Shadow of My Self (2011), Omid Salehi: a Photographer’s Journey Through Iran (2011), Fathi Hassan (2010); Parastou Forouhar: Art, Life and Death in Iran (2010) and Maliheh Afnan: Traces, Faces, Places (2009). Rose has also co-published the two major overviews on contemporary photography from the Middle East: Arab Photography Now (with Kehrer Verlag, 2011) and Iranian Photography Now (with Hatjie Kantz, 2008).
Film from the Arab World and Iran
In 1982 Rose Issa launched the first-ever Arab Film Festival in Paris and worked with the Delegations Etrangères at the Cannes Film Festival (1983-1985). For a further 26 years until 2008, she curated Arab and Iranian film seasons in Britain and abroad. She was special advisor to The Berlinale (2003-2007); the International Rotterdam Film Festival (1996-2002); the London International Film Festival (1987-2003); and The British Film Institute (1988-1995). She also curated Arab and Iranian film seasons at The National Film Theatre (“Hollywood on the Nile”, 2003; “Art and Life: The New Iranian Cinema”, 1999; “First Arab Film Festival”, 1987); the Barbican (“Unveiled Lives: Women and Iranian Cinema”, 2001; “Melodramas, Comedies, and Mysteries: North African Film”, 1995). In addition she curated a season of Iranian films for Britain’s Channel 4 (2005) and collaborated with them on “Cinema Iran”, a series of documentaries on Iranian cinema. She also realised the documentary, “Moving Pictures: Tunisian Women Film Directors”, for BBC2 TV (1995).
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Apsley House, also known as Number One, London, is the London townhouse of the Dukes of Wellington. It stands alone at Hyde Park Corner, on the south-east corner of Hyde Park, facing south towards the busy traffic roundabout in the centre of which stands the Wellington Arch. It is a Grade I listed building.It is sometimes referred to as the Wellington Museum. The house is now run by English Heritage and is open to the public as a museum and art gallery, exhibiting 83 paintings from the Spanish royal collection. The 9th Duke of Wellington retains the use of part of the buildings. It is perhaps the only preserved example of an English aristocratic town house from its period. The practice has been to maintain the rooms as far as possible in the original style and decor. It contains the 1st Duke's collection of paintings, porcelain, the silver centrepiece made for the Duke in Portugal, c. 1815, sculpture and furniture. Antonio Canova's heroic marble nude of Napoleon as Mars the Peacemaker made 1802–10, holding a gilded Nike in the palm of his right hand, and standing to the raised left hand holding a staff. It was set up for a time in the Louvre and was bought by the Government for Wellington in 1816 (according to Nikolaus Pevsner) and stands in Adam's Stairwell.
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The Diana, Princess of Wales Memorial Fountain is a memorial in London dedicated to Diana, Princess of Wales, who died in a car crash in 1997. It was designed to express Diana's spirit and love of children.The fountain is located in the southwest corner of Hyde Park, just south of the Serpentine lake and east of the Serpentine Gallery. Its cornerstone was laid in September 2003 and it was officially opened on 6 July 2004 by Queen Elizabeth II. Also present were Diana's younger brother Charles Spencer, her ex-husband Prince Charles, and her sons William and Harry.DesignThe fountain was designed by Kathryn Gustafson, an American landscape artist, and cost £3.6 million. Gustafson said she had wanted the fountain, which was built to the south of the Serpentine, to be accessible and to reflect Diana's "inclusive" personality. Gustafson said: "Above all I hope that it provides a fitting memorial for the princess and does credit to the amazing person that she was."ConstructionThe 545 individual pieces of Cornish granite were cut using sophisticated computer-guided cutting machines by S. McConnell & Sons, in Kilkeel, Northern Ireland.
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