Calvino: Beyond The Visible
Ahmed Ben Nessib, Aymen Mbarki, Kamal Zakour, Othman Selmi, Seif Eddine Nechi, Sonia Ben Selem
Curated by Abir Gasmi and Anna Gabai

Organized by the Italian Cultural Institute of Tunis as part of the Calvino In Tunis Series, October 17 – November 30, 2023; Millefeuilles Bookstore, La Marsa.

How can one interpret a story or an idea through images?

At first, the task seems daunting and incongruous. Yet, that is precisely what we asked six artists to do: select a novel by Italo Calvino and translate it into images, even if they were unfamiliar with his work. They had to discover the author, read him, digest him, dream about him, make his stories their own, explore the hidden corners of his oeuvre, and finally, like alchemists, transform his words into drawings.

It is in the corners and crevices of language, in the spaces in between, where a hidden, underground narrative can be found—one that words cannot fully capture, but which images freeze, like a drop of water in the heart of winter. Calvino’s stories are full of these hidden spaces. His books are half-open doors leading to entire universes, and his sentences do what writing does best: they suggest, indicate, and conceal to reveal. His subtly, light, playful, and evocative prose transforms each reader into an imaginary illustrator.

But more than merely illustrating the text, the images in this exhibition suggest what the written word cannot say or manifest. They go beyond the visible. The result is an enchanting and kaleidoscopic exhibition where refined blacks and whites intertwine with vibrant colors, shadows dance with glimmers of light, and tiny creatures find the space we never knew they needed.

These illustrations make us feel at home by drawing on familiar motifs and stories while illuminating new dimensions of Calvino’s prose that we had not previously considered. They transcend their role as mere complements to the text, allowing us to discover a microcosm—that of each artist—whose imagination draws from the writer’s nuances yet maintains its unique substance. The works combine two creative realities that overlap and blend surprisingly, uniting opposites in the same space: classicism and experimentation, light and darkness, color and black and white…

Like the Ligurian author, these artists have embarked on a journey through worlds and eras, using their talents to allow us to experience an aesthetic encounter that transcends the every day without abandoning it. Instead, it enriches it, making it more lovable and comprehensible.

While walking through a Ligurian forest, for a brief moment, it seemed to me as though I saw Cosimo, the Baron in the Trees, dashing among the branches of oaks and chestnuts. Calvino had an extensive knowledge of plants and nature and a profound love for his Ligurian mountains, which rise steeply above the Mediterranean. He could have boarded a ship in Genoa and reached Tunis, moving from one city of alleyways and palaces to another, rich in narrow streets and grand buildings. I can picture him pausing along the avenues of Tunis to observe which trees grow there, taking a moment to cool himself beneath their canopy. During such a walk, he might have dreamed up a new invisible city—a welcoming city colored by pink and orange bougainvillea.

In preparing for the exhibition, I read the books the artists had chosen as their sources of inspiration. At times, when I came across particularly detailed passages, I wondered how these might influence the illustrations and whether those phrases would be perceived as too restrictive. Predictably, I was proven wrong. Each artist interpreted the works through their own unique perspective.

My curiosity to see the paintings grew weekly: What would I recognize? How would the landscape be transformed?

We can recognize Agilulfo, the Nonexistent Knight, in Ahmed Ben Nessib’s work. He walks pensively among bats and lampposts, sleepless and full of existential doubts like Nat King Cole swearing that it will be forever when he falls in love. It is a nocturnal scene set in the dark, deserted streets of a city, which bears traces of daytime activity like the camp in the novel. Yet, the protagonist finds a way to carve out a space for meditation.

The empty armor of the Nonexistent Knight as a metaphor for artificial intelligence—a double-edged sword of our creativity—is perfectly captured in the illustrations by Seif Eddine Nechi. Here, Agilulfo is not the sole protagonist; his squire, Gurdulù, also has a place. The artist thus manages to give form to the dichotomy at the heart of this novel: the personification of rules and discipline in contrast with instinct. The knight’s colorful plume stands out amidst the blue and white that characterize these digital illustrations and echoes the colored pencil drawing that portrays the four main characters as puppets reminiscent of Sicilian marionettes. Here, the rational Agilulfo, the impulsive Rambaldo, the passionate Bradamante, and the exuberant Gurdulù regain a classical physicality that would have been understood even at Charlemagne’s court.

Italian folk tales come to life thanks to the vibrant colors and whimsical creatures that inhabit Sonia Bensalem’s works. In one illustration, a young man sleeps alongside a dog and a cat. In the background, the phrase “fairy tales are true…” hints at what they are dreaming. In another beautiful panel, creatures of the sky and sea gather around a giant resting beneath a large tree: an octopus, many small birds, a few donkeys, queens, and cottages—so many loving details drawn with the same care as the characters in the third illustration, where they tidy another giant’s beard using rakes.

Thanks to Aymen Mbarki’s flowing lines, the characters from the complex novel If on a Winter’s Night, a Traveler become perfectly comprehensible. A play of volumes characterizes the illustrations: the delicate features of people engrossed in reading are framed by bolder lines that guide the eye across the three illustrations. In this work, aged paper creates a welcoming environment for the black ink, giving it even greater depth.

Othman Selmi brings us into the treetops to chase after Cosimo, the rebellious baron who will never descend again. Selmi gives the work a contemporary touch, choosing almost pastel-like colors and capturing all the love the protagonist feels—for freedom, his friends, Viola, and the forest. In the illustration where young Cosimo reads to the bandit Gian dei Brughi, all these themes come together: the young baron, with an open book, sits on the back of the bandit, crammed into a cell too small for him. A blossoming tattoo adorns the bandit’s giant arm, and small trees grow at his feet.

Then, Abir Gasmi and Kamal Zakkour created the three new invisible cities, suspended between shadows and sea breezes. Fiorita, Spaventata, and Pretenziosa are projections of the soul drawn in charcoal on paper. Many of us would love to live forever in Fiorita. Still, we know all too well that without knowing Spaventata and Pretenziosa, we would never appreciate the value of the city where “restless souls find peace.”

The search for the proper nails to support so much beauty led me to a small hardware store, where an attentive and precise apprentice helped me. We chose small, dark nails—discreet yet intense—and hammered them into the white walls, freshly repainted for the occasion. There was a dance of the paintings until one evening, after sunset, everything fell into place, and we left, satisfied. We hung books on the walls to share the stories we had loved with all those who came to visit.

Once everything is in place, there is that slightly dizzying moment when you look around and remember the empty room when everything was still packed against the walls. Yes, something could still be changed. No, everything will stay just as it is.

Calvino would have liked it.

The catalouge “Calvino a Tunisi,” edited by Chiara Comito, will be published by Mesogea at the end of November 2024.

_Abir Gasmi and Anna Gabai

Dialogues is a place for being vocal. Here, authors and artists get together in conversations, interviews, essays and experimental forms of writing. We aim to create a space of exchange, where the published results are often the most visible manifestations of relations, friendships and collaborations built around Sumac Space. SUBSCRIBE NOW TO STAY CURRENT.

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Zahra Zeinali’s works offer a mesmerizing journey into the realm of dreams and imagination. Through the skillful use of dim and dark acrylic colors, they craft an ambiance that feels simultaneously enchanting and mysterious. Their unique style, featuring little girls encircled by an array of figures ranging from dolls and toys to animals, clowns, newborns, and even monsters, evokes a dreamlike fantasy that captivates the viewer’s senses.

With every brush stroke, the artist creates a delicate balance between innocence and eerie beauty. The incorporation of various elements within a single composition not only showcases their technical prowess but also speaks to a deeper narrative that lies within each piece. This juxtaposition of the familiar and the uncanny encourages contemplation and invites the audience to explore the complex emotions stirred by their art. One of the most striking aspects of Zeinali’s work is her exceptional use of color. Whether it is bold and vibrant hues that dominate her pieces in other periods of her works or the subtle and subdued shades she employs to convey mood in her latest series, her mastery of color theory is evident. Each stroke of her brush seems deliberate and purposeful, resulting in a harmonious interplay of tones that breathe life into her subjects.

Intricacy and attention to detail are hallmarks of Zahra Zeinali’s artworks. Upon closer examination, viewers are treated to a wealth of intricate patterns, textures, and hidden elements that enrich the visual experience. This attention to detail invites the observer to take their time exploring each piece, discovering new nuances with each gaze. The artist’s choice of subjects, especially the portrayal of little girls, adds an air of nostalgia and vulnerability to the artwork. The figures seem to be caught in a liminal space where reality and fantasy intertwine, blurring the lines between the conscious and subconscious. This lends a thought-provoking quality to their pieces, prompting viewers to reflect on the intricacies of childhood, memory, and the ethereal nature of dreams.

Zeinali’s ability to infuse her art with emotion is a testament to her skill as a storyteller. Her pieces are tales of longing, joy, and introspection, drawing viewers into a narrative that’s as captivating as it is relatable. This talent for evoking feelings is what truly makes her artworks come alive, transforming them from mere visual spectacles into windows to the soul.

However, what truly sets Zeinali apart is her unique perspective on both memory and the human experience. Her pieces often exude a sense of nostalgia, invoking memories and emotions long forgotten. Whether she is capturing the delicate beauty of a fading object or the quiet contemplation of a solitary figure, there’s an underlying depth to her work that resonates with audiences on a profound level.

In conclusion, her artworks are a tour de force of creativity and expression. With a keen eye for color, an unwavering dedication to detail, and an innate ability to tap into the human experience, she invites us on a journey. Zeinali’s pieces are not just static images; they’re living, breathing stories that beckon viewers to immerse themselves in her world of imagination and emotion. The artist’s masterful execution of acrylic techniques, combined with their thematic exploration of dreamscapes filled with figures and objects, forms a body of visually striking and emotionally evocative work. Their ability to conjure a sense of wonder while delving into the enigmatic corners of the mind is a testament to their artistic prowess, making their portfolio a must-see for those seeking to experience art that transcends conventional boundaries.

_ Hamidreza Karami
August 8, 2023

Hamidreza Karami (curator, researcher, art consultant, translator, writer, and visual artist), studied Visual Arts & Photography (B.A.) at the Faculty of Art and Architecture of Azad University, Tehran (2002-2006) and Philosophy of Art (M.A.) at the Tehran University of Art (2008-2010). He started his artistic activity in the fields of photography, video art, drawing, painting, and installation since the 2000s, and has exhibited his works in many individual and group exhibitions in Iran and abroad. Organizing and curating more than dozens of exhibitions of the works of modern and contemporary Iranian artists inside and outside the country is the result of his work as a curator during these years. He has also researched, translated and authored dozens of articles in the field of art. He collaborated in the compilation of a three-volume Encyclopedia of Art in Farsi (under the supervision of Ruyin Pakbaz at Farhang-e Moaser Publications), and has been a guest lecturer at the Tehran University of Arts since the early 2010s. Authoring the book Introduction to Modern and Contemporary Art of Iran, Turkey and the Arab World is his current project, which will be published by Contemporary Art Publications in collaboration with Lajevardi Foundation.

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The exhibition Dear Fractured Stones evokes an image similar to the one drawn in Mehdi Akhavan Sales’s poem, “Katibeh” (Inscription), a poem telling the story of a group of people chained together on a cursed moonlit night. Similar to the characters of the poem but with looser and lighter chains, the artists presented in this exhibition work together to “turn” the stone. And as they “turn” their inscriptions they seek to reveal the secrets of that which is unsaid. But in this process of “turning” the stone over hours and days – not moments and minutes – they find themselves silent in shock, where their main action is that of remembering. The artists all look back and remember, but stone neither remembers nor forgets; instead, it continues to collect and to record and to carry the burden which it then passes down.

Stone as a material is comprised of mineral bonds; in its essence it is becoming rather than being, and this becoming is a process occurring over time with changes and observations. It is as if stone records its observations in layers, “turning” itself into an archive of the known even as it is an archive of a selection of bodily sediments. The stone takes events in and then accumulates their traces in the style of a documentary. It is a thing of the past with its historicity; however, time never stops within it but rather the stone encompasses the dialectic between the past and the present. Indeed, it is for this very reason that stone needs to be cut to be read. When a stone is broken, it cannot be remedied or mended, and in this sense, the narratives within are unveiled and disseminated immediately. At this moment, the untold is revealed. From this point on, the rigid reports of the past are not only divulged but also precarious. Another account is added to the memory of the past, but then it is cast away until it will become someone else’s concern one day. In this manner, Baharak Omidfard builds, through the nine artistic interpretations of this material stone, an intertextual network in the exhibition “Dear Fractured Stones”. In this collection, Omidfard addresses not only stone, but broken stones, stones which have been cast away and scattered, separated into pieces of an older body. Here, the stone which is normally used to break is now itself broken. In this sense, a piece of stone is like a material that finds a new nature and “transforms” into the agent of a unique narrative in a different form and medium; yet, one which is still connected with other narratives. 

Throughout the history of art, stone has always found a new shape through both the process of being carved and through the removal of excessive parts, an act which diverts attention from the material to the form. In subsequent art forms which replaced the work with the idea, stone could be then present in its natural form. Nowadays, meaning is created not only through acts of reduction, but also, sometimes, through the addition of another material, or at other times, through the altering of the background. This means that the stone itself matters, and it is no longer simply a material subservient to other content. This was the moment when stone became a historical-archival material. In contrast to its physical nature, this hard material is actually fluid and flowing when faced with history and the past; at times welcoming effacement yet always prepared to be refreshed and renewed. Thus, the artist’s activism in “Dear Fractured Stones” casts doubt on and questions official reports through the use of this very quality contained in the stone. Indeed, the significance of this exhibition is that the artworks – regardless of their past contexts and presentations – remind us of the possibility of reading unreliable texts and establishing new layers, adding to the stone’s archival state. In this exhibition, the artists seek to liberate reality from the dominance of the familiar – and sometimes manipulated – historical and official reports. 

The archive of a stone is when nature, earth, and geography bond with humans and historical events in such a way, that through the mediation of one, another becomes available. Using nine different approaches, the nine artists in this exhibition, linked through one history and geography – yet nevertheless in different parts of the world – present nine different narratives. The narratives of the artists, whether they are in Iran or not, are rooted in their memories of and their lived experiences in Iran, and ultimately, in their concerns about Iran. The works stand together through a common characteristic: the archival and sociopolitical state of stone located in this specific geography of Iran. Disengaged from power, stone is able to narrate social reports and reflect political affairs, not from the view of the powerful, nor from the annals of official accounts, but from the perspective of the people. In this way, the stone is on the people’s side and stands with them at night when “moonlight pours damnation upon us”. The works in this collection place stone in a position that symbolizes the gathered collective social energy that has to be released and freed. With the intervention of art, stone enters into the sociopolitical discourse without departing from its natural essence. 

Broken stones — whether they be as large as rocks, as small as pebbles, or perhaps even reduced to dust; whether located in the hands of one or upon the grave of another; whether valued and worn as part of a ring, or shaped for the conducting of local traditions, or even used to designate or destroy property lines — are, as historical observers, always ready to testify. Stones are impartial observers of events, of resistances, of dethronings, and of inaugurations. Since they are prone to gradual erosion, the results of their observations always need to be recorded by someone. Indeed, every time a new event adds a new layer to this archive, someone is required to “turn” the stone over. When people of vision “turn” the stone, they do so by annotating the historical inscriptions and not by seeking to develop a resplendent canon. They shape a metaphorical network of freed narratives just like the eternal “turning over” of the inscription in Akhavan Sales’s “Katibeh”: 

He shall know my secret 
who turns me over!

¹ Allusion to a line in Mehdi Akhavan Sales’s “Katibeh” (Inscription): “And we remained silent”.
Mehdi Akhavan Sales (1929–1990) was an Iranian poet whose works deal with historical, social, and political themes using an epic tone and are indebted to classic Persian poetry. In 1961, Akhavan composed “Katibeh” (Inscription), which refers to the dominant social and political oppression at the time. The poem can be summarized as follows: A group of people are in chains in a place like a mountain. A voice directs their attention to read a secret on a nearby inscription. However, the group endures the situation in silence and passivity until a moonlit night when they cannot endure it any more. One of them, whose chain is loose, climbs up to the inscription and reads: He shall know my secret who turns me over! Struggling painfully, the group then works together to turn the stone. Again, one of them with a lighter chain climbs up and reads in surprise after taking his time:
“He shall know my secret
who turns me over!”

Dialogues is a place for being vocal. Here, authors and artists get together in conversations, interviews, essays and experimental forms of writing. We aim to create a space of exchange, where the published results are often the most visible manifestations of relations, friendships and collaborations built around Sumac Space. SUBSCRIBE NOW TO STAY CURRENT.

The post And We Remain Silent for a While—Akram Ahmadi Tavana appeared first on Sumac Space.