Tasmeem Doha of VCUarts Qatar welcomes the best creative minds

For those who question the role and relevance of design in our common or individual future, Tasmeem Doha 2022: Radical Futures was a tangible and visual statement that our paths ahead are, indeed, guided by design.

The Tasmeem Doha 2022 entry

For four days, the Virginia Commonwealth University School of the Arts in Qatar (VCUarts Qatar), a partner university of the Qatar Foundation, hosted some of the best creative and radical minds in fields as varied as forensic architecture, sustainability, media and communications, critical world construction, computer art, typography, the future of materials, bio-art, art and conflict, and post-oil societies, to name a few. to name a few.

Eyal Weizman (left, on stage), the keynote speaker at Tasmeem Doha 2022, answers questions from the audience. Image Courtesy: Raviv Cohen

Virtual audience participants joined the VCUarts Qatar community to discover, discuss and learn new, and in some cases even rediscover old ways, methods and strategies that not only elevate existing creative practice, but also respond to escalation material and humanitarian concerns.
An exhibition titled “Futurisms,” curated by The Gallery at VCUarts Qatar and Tasmeem Doha 2022: Radical Futures, and curated by renowned design innovator and Afrofuturist Ingrid LaFleur, was part of the conference.

“Futurisms”, an exhibition curated by Ingrid LaFleur, was held at VCUarts Qatar Gallery in collaboration with Tasmeem Doha 2022. Image courtesy: Raviv Cohen

Eyal Weizman of Forensic Architecture based at Goldsmith’s University in the UK gave the keynote address. Forensic Architecture is a research agency that investigates human rights abuses, including violence committed by states, police forces, militaries, and corporations.

From left to right: Diane Derr, Basma Hamdy, Denielle Emans and Maysaa al-Mumin. Image Courtesy: Raviv Cohen

The findings of his investigations have been featured in national and international courtrooms, parliamentary inquiries and exhibits in some of the world’s leading cultural institutions and in the international media, as well as in citizens’ courts and community assemblies.
In his talk, Weizman explained how the agency uses cutting-edge techniques in spatial and architectural analysis, open source investigation, digital modeling and immersive technologies, as well as documentary research, situated interviews and of academic collaboration to conduct investigations with and on behalf of communities and individuals affected by conflict, police brutality, border regimes, and environmental violence.

One of the workshops at Tasmeem Doha 2022. Image courtesy of Raviv Cohen

Ahead of the keynote, the directors of Tasmeem Doha 2022 – Basma W Hamdy, Diane C Derr, Maysaa al-Mumin and former VCUarts Qatar faculty member Denielle Emans – spoke to the audience, sharing their thoughts on the theme of the conference from their own point of view.
Denielle Emans asked the audience: “Design creates solutions, highlights opportunities, seeks justice while leading the narrative of our human heritage on earth. Painting, sculpture, cinema, typography, music, architecture, language – these are the legacies that reflect the beauty and intellect of humanity. But we also left other legacies: war, slavery, colonization, genocide, apartheid and economic greed. What do we want our future legacy to be?
Tasmeem Doha 2022: Radical Futures was not just about the serious or the solemn; debates and discussions. Masterclasses and workshops were interspersed with performances by artists, “jam sessions” by Sonic Jeel, a collective based at VCUarts in Qatar, and booths where attendees could try their hand at block printing on textiles. or learn how to trap stray cats.
VCUarts Qatar attendees who registered for the in-person sessions received colorful lanyards designed exclusively for the conference by ‘Rapture’, a Kuwaiti design company, and ‘Radical Recipes’, a compilation of ‘comfort’ food recipes focusing on the nostalgia of contributors from around the world.


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