Winner Catalogue
Abbie Pilz
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The Eleventh International Calligraphy Competition organized by IRCICA was launched in 2018 and finalized in 2019. Its results were announced at a press conference held at IRCICA headquarters on 20 April 2019. The winning works were displayed at IRCICA and later also elsewhere on different occasions. 613 calligraphers from 38 countries participated in this competition. Awards were distributed to 52 calligraphers from 11 countries, namely Algeria, Egypt, Indonesia, Iran, Iraq, Malaysia, Morocco, Palestine, Syria, Turkey and Yemen.
This catalogue contains the photographs of the award-winning works in each category of style of the competition: Jaly thuluth, Thuluth, Naskh, Muhaqqaq, Thuluth naskh, Jaly taliq, Taliq, Jaly diwani, Diwani, and Kufi.
An IKEA catalogue launch is not the most exciting event. So to generate excitement, the brand invited world-record holding memory athlete Yanjaa to memorise the 2018 edition in its entirety. Her challenge travelled to 127 countries earning $5.7 million in free media. On 6th Sep 2017, she was tested in front of a live audience on Facebook.
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When the Met was founded in 1870, hemlines swept the floor and bustles more than doubled the width of a woman's silhouette. Fashion has changed dramatically in the last century and a half, but since 1946, The Met has celebrated the storied history of dress through its acclaimed Costume Institute catalogues and exhibitions. Postponed until October, About Time: Fashion and Duration will honor The Met's sesquicentennial by featuring 150 years of fashion through sixty works that form a linear timeline, each paired with an ensemble that shows either past or future iterations of a similar shape, material, pattern, or technique.
Rachel High: In addition to a theoretical essay on time and detailed art historical texts on each costume, About Time also features your short story "Out of Time." It is not often that exhibition catalogues include works of fiction. Could you discuss your contribution and how your work provides a different perspective on the focus of the book and exhibition?
Michael Cunningham: I was thrilled when Anna Wintour introduced me to the curator, Andrew Bolton, who approached me about writing something for this then-untitled catalogue and exhibition. Andrew told me it would have to do with fashion and with time's passage. I said I was a fan of both, and we went on from there.
In my fiction, however, I always know how my characters are dressed. It occurred to me that any number of writers might have been better qualified to write about the garments themselves; my qualifications had more to do with the people in the clothes. No matter how you feel about fashion, there's no denying that we transmit complicated signals through what we wear. As a novelist, I'm alert to the ways in which clothes speak not only to who we are, but to who we imagine ourselves to be; who our time, our culture, and our class expect us to be; and the extent to which we do, or do not, conform to those expectations. I addressed fashion in the story through these different signals, but time's passage was another matter entirely.
It probably goes without saying that I think a great deal about time. Narrative is almost inevitably bound up in the effects of time on our lives and on the world in which we live. You could give just about any novel to a friend and say, "I hope you enjoy this book; it's about the passage of time." That's true whether the book in question is Leo Tolstoy's Anna Karenina or Virginia Woolf's Orlando.
Rachel High: Speaking of Virginia Woolf, in About Time, Woolf serves as a ghost narrator, with quotes from her works providing a poetic perspective on the sixty outfit pairings. Your book The Hours draws on Woolf's Mrs. Dalloway, and "Out of Time" references her novel Orlando. Could you discuss your interest in Woolf throughout the years and how her work factors into this new story?
Michael Cunningham: My interest in Woolf goes back to high school when I first read Mrs. Dalloway. It was the first great book I'd read. It was revelatory. It actually re-wired me. And if I was still a little young to be able to follow the fractured narrative, I was old enough to appreciate the vividness and potency of the prose. I'd never read sentences so intricate and precise, so graceful and lyrical and original. I felt then, and feel today, that almost every line in that book could be put on display in a sentence museum (I hope to found such a museum someday, when time and resources permit).
The Hours is a riff, of sorts, on Woolf's Mrs. Dalloway, which Woolf wrote several years before she wrote Orlando. In Mrs. Dalloway, the entirety of a woman's life is conveyed as we see her through a single, outwardly ordinary, day.
When I accepted the invitation, Andrew was already thinking about Virginia Woolf and Orlando as an aspect of the show. It made perfect sense for an exhibition that would encompass fashion's evolution over the course of 150 years; Orlando is the story of a male poet born during the Elizabethan Era who lives for several centuries and, at a certain point without undue consternation on his or anyone else's part, is transformed into a woman.
My story for The Costume Institute publication is a hybrid: The considerable time span taken from Orlando coupled with the single-day compression of Mrs. Dalloway. It's the story of a day that begins in the 1870s and ends in the present day, the timespan covered by The Costume Institute's exhibition.
Since I first read Mrs. Dalloway, I've come to believe that many of us who grow up to be readers carry with us a first book, not unlike our first kiss. For some, the "first" book may not necessarily have been a great book. I mean the book that, for whatever reason, first revealed to us the power that can be generated by ink, paper, and the words in the dictionary, arranged in surprising and remarkable ways. The book that shows us, for the first but by no means the last time, how much books can mean to us.
Michael Cunningham: Women's time was of particular concern to Virginia Woolf. She was livid about the then-popular notion of "the angel in the house," taken from a sentimental poem that idealized women as fundamentally nurturing, domestic, and, well, in the house instead of out in the world.
Andrew and I talked at length about "women's time" and "queer time" before I started writing. Although I knew already about angels in houses, I had more to learn. Andrew sent me some extremely helpful material on the subject, most prominently a seminal essay, "Women's Time," by Julia Kristeva, published by the University of Chicago Press in 1981.
I learned, for instance, that in the 19th and early 20th centuries, women in society were expected to change outfits as often as five times a day, from morning dress to evening attire. Getting dressed, undressed, and re-dressed, not to mention acquiring the clothes themselves, could occupy almost half of a woman's waking hours.
I also learned that, in an increasingly democratic society in which politicians, thinkers, and entrepreneurs might be invited to social events even if they'd failed to be born into "good families," clothes came to matter more than ever. A wife who showed up at a dinner or ball wearing the wrong necklace or gloves could easily trigger a barely-concealed alarm system: She and her husband are not really our sort, are they?
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