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A 60-minute audio-visual performance, Home Within is the newest project of Syrian composer and clarinetist, Kinan Azmeh, and Syrian-Armenian visual artist, Kevork Mourad. In this work, art and music develop in counterpoint to each other, creating an impressionistic reflection on the Syrian revolution and its aftermath. Rather than following a narrative, the artists document specific moments in Syria’s recent history and reach into their emotional content in a semi-abstract way. The corner stone of the project was the single sound-image piece, “a sad morning, every morning,” released in March 2012.

 

Home Within with Kinan Azmeh

© 2018 Kevork Mourad | All Rights Reserved

Mixing theater, dance, and a soundtrack inspired by Armenian traditional music, and brought to life by the live drawing and animation of painter Kevork Mourad, this multi-disciplinary creation is the poetic journey of a woman in quest of her history, in quest of meaning, in quest of a lost spring.

Lost Spring (Le Printemps perdu) premiered (in French) in France at the MuCEM in Marseille, on April 10th, 2015.

Lost Spring was performed (with German subtitles) at the Morgenland Festival in Osnabruck, Germany, on July 26th, 2015.

Lost Spring press kit.pdf

Lost Spring with Anaïs Alexandra Tekerian

    

Immortal City, 2017

Armenian-Syrian artist Kevork Mourad (b. 1970, Syria) is a painter who fuses printmaking, animation, and collaborative performance to bear witness to painful and continuing histories. Immortal City responds to the ongoing devastation of Syria, in which over 400,000 people have died, more than 6.5 million people have been displaced, and untold destruction has been visited upon the country's rich cultural heritage. In his allusions to calligraphy, textiles, and the ancient architecture of Palmyra, Bosra, and Aleppo, Mourad engages deeply with the historical texture of his homeland. His art is both a vital act of remembering and a poetic expression of creativity in the face of tragedy. Mourad works in the immediate black-on- white of newsprint, draftsmanship, and rapid sketches, sweeping paint squeezed from a tiny bottle into expressive lines with his finger or brush producing a sort of symbolist reportage. His marks, quick and final, shift across boundaries of figuration and abstraction, creating an exquisite tension between the beauty of his own process and the relentless destruction and fragmentation that are his theme. The lyrical, energized lines and layers of Immortal City suggest a life force that not only survives ruination, but also vanquishes it.