Calligraffiti is an art form that combines calligraphy, typography, and graffiti. It can be classified as both abstract expressionism and abstract vandalism.
Contents
- Methodology
- Tools
- Official Origins
- Artists
- Calligraffiti in the Middle East and North Africa
- Calligraffiti calligraphy of the 21st century
- Iran
- Egypt
- Iraq
- Israel
- Lebanon
- Morocco
- Saudi Arabia
- Tunisia
- Turkey
- Exhibitions featuring Middle Eastern calligraffiti artists
- Public displays in the Middle East
- Publications
- Beyond the aesthetic
- Political uses
- Social uses
- Calligraffiti between Middle East and West
- A search for identity
- References
Calligraffiti can be defined as a visual art that attempts to communicate a larger message through writing that has been aesthetically altered in the effort of moving beyond the literal meaning. Simply put, it is the conscious effort of making a word or group of words into a visual composition. As such it is meant to be both an aesthetic experience and provocative art—mixing tradition and precision with modern unbridled self-expression.
Methodology
Calligraffiti is a complex process. Its specificity is in its paradoxical nature, as it is characterised by and composed of many elements that appear contradictory.
It requires an overall vision from the artist- from the message he is trying to convey, to the shape of the letters, to the larger picture he is creating. The calligraffiti artist Tubs explains that the art form’s graffiti component force the artist to reflect upon and consciously create a piece that will arouse a specific feeling or reaction in the viewer. However, the use of the alphabet as an artistic medium demands practice, accuracy, and foresight.
Tools
Part of what differentiates calligraffiti from calligraphy is its freedom from rules. Calligraphy is a meticulous and specific art that takes years to master. Most calligraffiti artists, like El Seed, do not consider themselves calligraphers because they do not know, nor do they follow the many rules of calligraphy. Calligraffiti on the other hand is characterized by its diversity of mediums, methods, and instruments. Each individual artist uses and sometimes designs his or her own tools.
Official Origins
The term was first coined by Dutch artist Niels Shoe Meulman in 2007 as the title of his solo exhibit. He describes it as “traditional handwriting with a metropolitan attitude” and a “way of translating the art of the street to the interior of museums, galleries and apartments”. In an interview he explains the technique itself as “directness in the whole, finesse in the details. An even balance between seeing and reading word and image. […] letters, writing and language itself becomes an image or abstraction. On the other hand, basic shapes and splats become language.”
In 2015, Niels Shoe Meulman created the Calligraffiti Ambassadors with the aim of expanding the movement and creating a community of calligraffiti artists. The group has already grown since its inception and includes artists from all over the world. They exhibited some of their work at the Affenfaust Gallery in Hamburg, Germany.
Artists
Official calligraffiti ambassadors:
Artists recognised as calligraffiti artists or graffiti calligraphers:
Other calligraffiti artists include:
Calligraffiti in the Middle East and North Africa
Arabic calligraphy is incredibly rich; it is an art form that has been perfected for well over a millennium. Islamic tradition greatly encouraged the development of calligraphy as an art form as soon as the religion began to spread. The spread and evolution of calligraphy can be traced very specifically throughout Islamic history as it is inherently tied to the spread of Islam itself. Calligraphy was how scribes transcribed and created Qur’ans—allowing Mohammad’s message to extend beyond the Arabian Peninsula. Calligraphy has always had a central role in Middle Eastern art because of Islamic restrictions concerning the portrayal of human beings. As a result, calligraphy became not only a mechanism for the expansion of Islam, but a way to create religious art.
Calligraffiti: calligraphy of the 21st century
Calligraffiti has emerged quite forcefully in the Middle East in recent years, particularly in the wake of the Arab uprisings. While graffiti has never been widespread in the region, it has spread with the rising dissidence against Middle Eastern regimes. Calligraffiti artist Hassan Massoudy called Arabic calligraphy and graffiti “two daughters of the same parents” because of how linked and interrelated they are. Calligraffiti is the result of this—the logical evolution of the two art forms coexisting in the same space.
The first step towards calligraffiti was the emergence of the abstract movement in the Middle East during the 20th century. Calligraphy was impacted by the abstract movement in the 1960s and 1970s with the introduction of the Hurufiyya movement in the Arab world and the Saqqakhaneh movement in Iran. Hassan Massoudy, Hossein Zenderoudi, and Parviz Tanavoli were some of the pioneers of this new era of calligraphy. The next two decades saw an initial explosion of graffiti in the context of the first Intifada and the Lebanese Civil War. Today, much of the calligraffiti is influence by early Islamic script styles like siah mashq and Kufic. Artist and activist Janet Kozak characterizes calligraffiti artists in the Middle East as being “not bound by the shackles of tradition, yet still indebted to it” who use “a unique blend of traditional scripts and design mixed with modern materials and techniques”.
Artists
Calligraffiti is a relatively new term and graffiti is still taboo in the region, and as a result many calligraffiti artists are anonymous. Additionally, many calligraphers have created calligraffiti pieces, even though it is not their primary focus. Contemporary Middle Eastern artists that can be considered calligraffiti artists include:
Iran
Egypt
Iraq
Israel
Lebanon
Morocco
Saudi Arabia
Tunisia
Turkey
Exhibitions featuring Middle Eastern calligraffiti artists
Public displays in the Middle East
Publications
Beyond the aesthetic
Calligraffiti has been a way for artists in the Middle East to reclaim the region while still staying grounded in their culture and tradition. From the civil war in Beirut, to the Palestinian intifadas, to the Arab uprisings, calligraffiti has become a mechanism for social and political protest—where letters become symbols. One of the most salient characteristics of the Arab Spring has been the reappropriation of the public sphere and calligraffiti does just that. Calligraffiti is an urban art as much as it is a gallery art, and as such it has served as a tool to reclaim public spaces and impose the will and opinion of the people. Once an infrequent sight, graffiti and calligraffiti now adorn the walls of most major cities in the Middle East, representing the rising political and social tensions in the region. Despite most artists’ claims that they are neither political or social actors, their art has inevitable impact—as Saudi artist Rana Jarbou said “words are weapons”.
Political uses
Many calligraffiti artists contest the idea that their art is political. Askar insists his calligraffiti pieces in Palestine do not make him a political activist, he says “I protest in colors, my activism consists of bringing art to the streets and allowing the public to express themselves”; similarly, El Seed has said “I don’t have any political agenda. I don’t believe in politics”. But by nature, calligraffiti is meant to express a message, and so it has unavoidable social and political consequences.
Protesting political affairs has been the subject of much of the graffiti in the region, and calligraffiti has not escaped this. Much of the anonymous calligraffiti that emerged from the Arab Spring is deeply embedded in a political struggle. El Seed’s 2011 mural in Kairouan Tunisia, a poem by Abu al-Qasim al-Husayafi about tyranny and injustice, cannot be separated from the political context it was created in. Similarly, Askar’s piece entitled “Palestine” cannot be separated from the political weight the word “Palestine” holds; nor can his piece that says “salaam” (meaning peace), that is shaped like a key, escape the symbolism of the key in the Palestinian occupation. Anonymous calligraffiti on the Israeli wall in Bethlehem is inherently political because of its location.
The exhibit “Contemporary Arabic Graffiti and Lettering” explores how Calligraffiti creates a dialogue between the social and political sphere, by questioning dominant beliefs and ideologies. It does this by imposing itself on the religious and political debates by commandeering public spaces. Khadiga El Ghawas is one calligraffiti artist that does not shy away from the political messages of her art. She says “My compositions touch upon issues that we currently face in Egypt whether that’s related to politics, religion or society”. Her work very explicitly deals with the political realities of Egypt, whether it is political Islam, democracy, or women’s issues
Social uses
Calligraffiti, as art, has the power to influence society and the people who are exposed to it. For example, it can be used to bring awareness to lost memories or forgotten moments in history. Inkman’s USINA project decorates the forgotten limestone factory walls in Boukornine Tunisia to remind the world of those who struggled there and pay them respect. El Seed’s Lost Walls project attempts to redirect the world and Tunisia’s attention to the beauty of the country. His purpose was to create hope in Tunisia; that the people of the country could rediscover something positive and be proud of their culture in the midst of political turmoil. Lebanese artist Yazan Halwani says his art is means to “write the stories of the city, on its own walls—creating a memory for the city”. The civil war created a deep fragmentation within the Lebanese society and a sense of amnesia that Halwani sought to fight against. His calligraffiti is meant to portray the city in a positive light, repair social ties and breathe life into a broken society. GhalamDAR, an Iranian artist, tries to reconnect Iranians to their country and culture. He often questions contemporary identity, philosophy, and history in Iran, which can be seen in his piece on the Iranian diaspora that features a headless deer. Calligraffiti has been a way for all of these artists to try and better the communities they live in.
Another way in which Calligraffiti has impacted the social sphere is by engaging a discuss about contemporary issues and bringing people together. El Seed’s calligraffiti on the Gabes mosque is a quote from the Qur'an meant to address intolerance, specifically in regards to religion, art, and the growing Islamist movement in the world. The quote reads “Oh humankind, we have created you from a male and a female and made people and tribes so you may know each other”; it attempts to break stereotypes and opens a discussion around the place of art in Islam. After finishing his project “Perception” in Cairo, El Seed explained that he is “questioning the level of judgment and misconception society can unconsciously have upon a community based on their differences”. El Seed has referred to himself as an “artivist”, or an artist and an activist at the same time
Calligraffiti: between Middle East and West
Many calligrafitti artists use Arabic script or are heavily inspired by it. There has been a rise in Arabic calligraffiti outside the Middle East and by non Middle Eastern artists. Arabic calligraffiti has become a cosmopolitan art form. This can partially be attributed to the richness of Arabic calligraphy compared to other scripts. The use of Arabic calligraphy has been a typographic decision by many artists who seek to reinvent the aesthetic.
A search for identity
The widespread use of Arabic calligraphy outside the Middle East is often a result of political and social dynamics. Colonization and immigration has led to an identity crisis in many people, one the artist El Seed often talks about. He says his style developed from his struggle to fit in; the feeling that while he was not French, he was not fully Tunisian either. The legacy of colonization has created hybrid identities, especially in Europe, but has also allowed other cultures to be exposed to Middle Eastern cultures. As a result, artists like Julien Breton and L’atlas have adopted the Arabic script style. Artists like Aerosol Arabic or Haji Noor Deen turned to Arabic calligraffiti after they converted to Islam. Many artists use calligraffiti to reconnect with cultural and historical identities that they lost, or as a way to find a new identity