ART RESIDENCY PROJECTS | ONLINE EXHIBITIONS
IDENTITIES
| MOZAIK EURO-MED ARTHUB | SEASON 1 | Episode 2
The Documentary Film
The Journey of a One-Month Art Residency in the Heart of Nature, Culminating in an Exhibition at Károlyi Palace
This video chronicles the transformative experience of the one-month art residency organized by the MOZAIK Euro-Med Art Hub, which brought together two visual artists, Michael Gerber Touma and Mohab Abdelghaffar.
I. INTRODUCTION
We are proud to introduce the second exhibition in the “Mozaik Euro-Mediterranean Art Hub” series, opening on July 23, 2024, at the historic Károlyi Palace in Fehérvárcsurgó.
This exhibition presents the remarkable outcomes of a month-long, filmed art residency nestled in the heart of nature. The residency brought together two exceptionally gifted visual artists: Egyptian-Canadian Mohab Abdelghaffar and Palestinian-Jewish German Michael Gerber Touma.
Hosted by the Joseph Károlyi Foundation, the joint exhibition, titled “Identities: A Visual Dialogue,” delves into the intricate aspects of identity through the artists’ creations. It prompts viewers to consider the interconnectedness of personal and collective stories within the broader Mediterranean context.
Both artists explore identity not as a fixed concept but as something constantly evolving, influenced by place, history, and cultural interaction.
The International Art Colony, an initiative of the Interkulti Association for the Promotion of Intercultural Dialogue, welcomed these artists to Csókakő, a peaceful and picturesque rural village in West Hungary.
This serene environment, free from the distractions of modern life, played a pivotal role in nurturing creativity and inspiring artistic expression. Surrounded by nature and the simple rhythms of rural life, Abdelghaffar and Gerber Touma found the perfect setting to explore the theme of identity in new, profound ways. As Pablo Picasso once said, “Art washes away from the soul the dust of everyday life.”
This sentiment resonates deeply with the spirit of the exhibition, highlighting art’s power to transcend boundaries and foster meaningful connections among diverse cultures. By bringing together contemporary works from the Mediterranean region, Identities seeks to build bridges, promote dialogue, and enhance intercultural understanding.
This exhibition, part of the ongoing mission to showcase contemporary Mediterranean art, was generously sponsored by the Anna Lindh Foundation and co-funded by the European Union. We invite you to experience this unique dialogue between two artists, whose works not only reflect their personal journeys but also offer broader insights into the shared human experience.
PUBLICATIONS
Download the exhibition catalog in PDF format (free).
II. Participating Artists
III. OPENING REMARKS
AMBASSADOR Dr. BÉLA JUNGBERT
Generally, at an exhibition opening, it is expected that the speech should focus on the exhibited material and not on other matters.
However, let me, if you please, start by expressing my recognition and appreciation towards our host, the Károlyi József Foundation, and Count György Károlyi, chairman of the board, and his wife, Angelika, the cultural director, for their expertise and their demanding cultural strategy with which they manage the now internationally renowned events at the Fehérvárcsurgó Castle, including the exhibition space of the Visitor Center.
Today’s exhibition, featuring the artworks of visual artists Mohab Abdelghaffar and Michael Gerber Touma, fits into the series of exceptional events held here.
Since we are already on the subject, we must also acknowledge the merit of the Csókakő International Art Residency, which provided a space and framework for our two outstanding artists, as well as many other artists over the past years, to find a calm and welcoming environment there for creative self-expression and inspiration.
What we see today is a taste of the fruit of that. This is a credit to the efforts of Amir Abdi, the president of the InterKulti Association for the Promotion of Intercultural Dialogue, and, of course, we should not forget the neighboring Csókakő municipality’s hospitality, the love they extend, and their distinguished support through their mayor.
Before interpreting and evaluating the works presented here, it must be mentioned that we are now at the second exhibition of the “Mosaic” Euro-Mediterranean cultural event series It is a special honor for me to speak about this, as I worked for two decades following the Eastern European political transition as a Hungarian diplomat responsible for the Mediterranean region, particularly monitoring the negotiations known as the Barcelona Process. This process initiated what is called the Euro-Mediterranean (Euromed) cooperation, aimed at establishing an institutionalized cooperation based on trust in the fields of politics, economics, culture, migration security, and environmental protection between the northern (European) and southern and eastern (Arab and other) coastal countries of the Mediterranean.
The support and development of various cooperation projects have always prioritized cultural exchange as an effective, yet fragile, tool for mutual understanding, trust-building, promoting dialogue, fostering intercultural understanding, and inspiring artistic expression, which we must strive to advance.
Then, as we know, politics took a different direction in subsequent regional events. Economic crises, political tensions, proxy wars, the enthusiasm and subsequent disillusionment brought by the Arab Spring, religious radicalism and fundamentalism, impoverishment, environmental catastrophes, mass illegal migration, and the upheaval of the entire world order did not bring about the world envisioned by the EUROMED cooperation. But the process of cooperation, formally, continues, and art lives on!
Dr. Béla Jungbert
Ambassador
Dr. Béla Jungbert previously served as Hungary's Ambassador to the Embassy of Hungary in Jordan (2011-2015) and the Representative Office of Hungary in Ramallah (2005-2009).
He was also the Head of the Africa and Middle East Department at Hungary's Ministry of Foreign Affairs (2004-2005, 2009-2011), and the Director General of the Office of Refugee Affairs and Migration at Hungary's Ministry of Interior (1994-1998).
Michael Gerber Touma, born in Haifa in 1956, has a diverse and vibrant body of work that is difficult to categorize within a particular trend; his work is more than just artistic self-expression—it is continuous experimentation. It carries all the elements of the complexity of his personal background and the historical hardships of his homeland, while today he lives in Germany.
After his foundations in Israeli art history, his further artistic growth and fulfillment were shaped by his master studies in Leipzig and Dresden. The rich forms and Mediterranean color palette of his paintings faithfully reflect his diverse cultural roots and proudly embraced background, blending every element into his life’s work.
Mohab Abdelghaffar was born in Egypt in 1959. He has also traveled a long artistic path, driven by art and nature. The philosophical connection between the relations is accompanied by a presentation that almost compels contemplation.
Our artist, who started from Alexandria but has now found a home in Canada, is characterized by the search for the boundaries and intersections between the depiction of objective reality and subjective expression, enriching the tools of visual arts dialogue.
He continues his explorations along the paths of abstraction and non-figurative art while also drawing on the symbolism of ancient Egyptian civilization. A free spirit, a freelance visual artist, a poet of free verse, who consciously transcends intellectual limits and cultural boundaries in his quest to find the integration of his unique form within universality. He is not young, but he is still learning, participating in master’s studies in graphic design and printing techniques, while being a renowned poet and translator in his homeland. Like an Egyptian Renaissance man who connects worlds and seeks to keep them united.
This is why it is so commendable that Mohab Abdelghaffar, an Egyptian-born painter who is also a well-known poet and cultural organizer in his homeland, is exhibiting together with Michael Gerber, who was born to a Jewish ceramic artist mother and a Palestinian journalist father in Israel and is also a writer, poet, and visual artist.
Whatever fractures may occur today in the power struggles of the polarized political forces, the artistic tools of self-expression and the sincere and humble joint search for answers to the great ontological questions of human existence bind our creators together, just as they bind us. Perhaps, it is only contemporary art that remains for us as a reliable anchor of belonging together. Preserving this and building upon it could perhaps once again lay the foundations for bridges to be built between cultures, religions, languages, identities—in short, between people.
IV. OPENING REMARKS
Lord Mayor György Fűrész
I would also like to warmly and respectfully greet everyone who has come to this beautiful exhibition, now for the second time.
I would like to thank Count György Károlyi for providing the opportunity for the Csókakő Artist Residency to be showcased here. I would especially like to welcome Michael Gerber Touma and Mohab Abdel Ghaffar from Egypt, and I’m very happy they accepted the invitation and were able to create as our guests in Csókakő.
I believe this exhibition serves as a kind of meeting point between the Mediterranean world and Europe. Csókakő, I should mention, belongs to the sub-Mediterranean climate zone, and it seems that art is also increasingly connecting us, as many artists from the Mediterranean region have come to our village.
It gives me great joy that we can all be here. I would like to give a special thanks to dr.Amir Abdi and artist Abed Abdi for organizing this event year after year, undeterred by COVID, wars, or crises. I am very grateful to them for supporting my work with such significant cultural events during my time as mayor. I believe that even after I am no longer mayor, I will still offer my support for continued cooperation.
To the audience, I hope that as many people as possible will come and see this beautiful exhibition and these wonderful paintings by July 31st.
I also believe, as the ambassador, who is here beside me at the opening, said, there are many values to be discovered in these works of art. Naturally, I would also like to greet him, and I am pleased that he accepted the invitation to the exhibition, thereby elevating the significance of this event. It is a great honor that he opened this exhibition, as he has done a great deal for the network of connections that is now coming to fruition. This is also the fruit of his work, which he can now see fully realized in his retirement years.
Thank you very much for listening, and I wish everyone a day of thoughtful reflection and enjoyment!
I believe this exhibition serves as a kind of meeting point between the Mediterranean world and Europe. Csókakő, I should mention, belongs to the sub-Mediterranean climate zone, and it seems that art is also increasingly connecting us, as artists from the Mediterranean region have come to this sub-Mediterranean area,
György Fűrész
Lord Mayor of Csókakő
Mr. György Fűrész has been the Lord Mayor of Csókakő since 2010. He has been re-elected to office 3 times.
V. Curatorial Note: Eternal Recurrence and the Echoes of Ancient Egypt
Dr. Amir A. Abdi
In his recent body of work created during the Mozaik art residency at the International Art Colony, Mohab Abdelghaffar draws on the profound concept of eternal recurrence—the idea that all events repeat infinitely over time.
By revisiting symbols and motifs from ancient Egyptian culture, Abdelghaffar evokes the timelessness of human experience, where life, death, and rebirth form a continuous cycle, reminiscent of the ancient Egyptian belief in the eternal soul.As Pablo Picasso once remarked, “Art is a lie that makes us realize the truth,” suggesting that through artistic expression, deeper truths about existence can be revealed.
Through this visual dialogue with the past, Abdelghaffar explores the notion that history, culture, and identity are not static; rather, they are constantly relived and reinterpreted. The recurring symbols in his work, deeply rooted in millennia-old traditions, serve as touchstones of memory, reflecting a shared human experience that transcends time.
These emblems connect the viewer to the depths of human history, allowing for a re-examination of the relationship between the past and present. Set against the backdrop of a rural village, surrounded by the beauty of nature and overlooking a horse farm, the artist incorporates his surroundings into his work.
In ancient Egyptian culture, horses symbolized strength, nobility, and freedom. They were often associated with the sun god Ra and represented the divine connection between the earthly and the celestial. The horses Abdelghaffar paints embody these qualities, while the imaginary half-human, half-horse creatures he creates suggest a bridge between the mortal and the eternal, evoking themes of transformation and ascension. The lush, green tones and vibrant shades in his paintings reflect the natural landscape of his residency, grounding the timeless themes of recurrence in the specific beauty of the place. The symbiotic relationship between the artist and his environment not only informs his palette but also deepens the resonance of the symbols he employs.
Additionally, Abdelghaffar frequently uses the imagery of a lying person who appears to be flying while sleeping, a motif that signifies dreams, transcendence, and the exploration of the subconscious. This imagery resonates with the idea of flight as a metaphor for freedom and escape, suggesting a journey beyond the limitations of the physical realm. Such interpretations align with ancient Egyptian beliefs in the afterlife, where the soul’s journey to the heavens was often depicted as a form of liberation. By repeating and reimagining these ancient forms, Abdelghaffar weaves together a personal and collective narrative, where the past echoes into the present and future.
This cyclical interplay between history and contemporary experience invites viewers to reflect on the recurring patterns in their own lives, as well as on the enduring influence of cultural heritage and place in shaping identity. In this way, the artist’s work transcends the mere depiction of ancient symbols, evolving into a meditation on the eternal cycles that define existence itself.
Symbolism in art serves as a powerful conduit for conveying complex ideas and emotions, allowing viewers to engage with the work on multiple levels. As Abdelghaffar delves into these ancient motifs, he taps into a rich tradition that speaks not only of the past but also of universal themes of rebirth and continuity. The artist’s exploration of these motifs encourages a deeper appreciation of how cultural narratives are woven into our identities, emphasizing that each brushstroke is a reflection of a shared human journey.
In conclusion, Mohab Abdelghaffar’s art stands as a testament to the enduring power of symbols and the cycles of existence, inviting us to contemplate our own narratives within the grand tapestry of history.
The lush landscapes of his surroundings meld seamlessly with the ancient echoes he invokes, creating a harmonious dialogue that resonates across time and space. Through his work, viewers are encouraged to embrace the eternal recurrence of life and identity, recognizing the interconnectedness of all things in the fabric of existence.
VI. Curatorial Note: Identity and the Landscapes of Memory
Dr. Amir A. Abdi
Michael Gerber Touma’s body of work, created during his residency at the Art Colony of Csókakő, comprises over 40 vibrant pieces that explore the fluid and evolving nature of identity through the lens of place and experience.
Working with acrylic, pastels, colored pencils, and watercolors, the artist captures his surroundings in the warm, vivid colors of late summer, detailing the rhythms of farm life—the chickens, horses, fruit trees, and neighbors tending to the land.
These artworks transcend mere documentation of rural life; they evoke a deeper contemplation on how environments shape the self. Central to many of Gerber Touma’s works is the figure of the mother, often depicted caring for her family, animals, and harvesting the fruits of the trees. For the artist, the mother represents not only nurturing, but also Mother Earth—the ultimate caretaker, protector, and source of life.
This recurring motif reflects his reverence for the sustaining forces of nature and the women who embody these qualities in their daily lives.
Reflecting on his time in Csókakő, Gerber Touma writes, “Identity grows and is composed of various events, experiences, and encounters, whether with people or landscapes.” His paintings become more than pastoral scenes; they are portals into his personal journey of self-discovery. The vineyards, rolling hills, and tranquil countryside of Csókakő awakened parts of his identity that lay dormant in the bustling life of the city. The quiet moments of reflection, the shifting light on the landscape, and the simple joys of rural life allowed a new dimension of his identity to emerge, one deeply connected to nature and the slower rhythms of life.
Gerber Touma’s works are imbued with a sense of joy and light, reminiscent of the green hills of Mount Carmel in Haifa, his birthplace, which also served as a source of inspiration. The lakes of Balaton and Velence, which he visited frequently during his residency, along with the golden light of summer and the everyday lives of those around him, are captured with a reverent clarity that speaks to the artist’s deep connection to these landscapes.
For Gerber Touma, identity is not a static or singular concept; it is a dynamic force that shifts and evolves with each new experience and environment. He notes, “I believe the answer [to ‘Who am I?’] is also found in the landscape and the people with whom one interacts.” His belief that “there is no absolute identity” and that “within us exist different traits and possibilities” mirrors the multiplicity and fluidity present in his work. His diverse use of media—whether the vibrancy of acrylics, the softness of pastels, the fine detail of colored pencils, or the fluidity of watercolors—reflects the different “traits and possibilities” that exist within him, each medium offering a unique lens to capture the world around him.
This idea of a shifting identity aligns with the philosophy of thinkers like Gilles Deleuze, who suggested that “we are not the same person from one moment to the next,” underscoring the fluid, ever-changing nature of being. In Gerber Touma’s art, this philosophy takes shape in the interplay between rural and urban life, stillness and movement, personal reflection, and universal themes. His portrayal of horses, chickens, fruit trees, and lakes serves as metaphors for the various facets of self, each rooted in a specific place and moment, yet contributing to a larger, cohesive, and evolving identity.
Ultimately, Gerber Touma’s works invite viewers to contemplate their own identities as ever-evolving, shaped by their environments and interactions. The exhibition becomes a space of reflection, where the quiet beauty of the farm, the animals, and the landscape symbolize the fluid, multifaceted nature of identity, deeply connected to the nurturing power of nature and the mother as a source of life.
In this way, Gerber Touma’s work is not only a visual exploration of his surroundings but also a profound meditation on how identity is formed and reshaped over time.
VII. Reflections on the Concept of “Identity”
