The exhibition celebrates the artist Abdelrazek Okasha’s innovative approach, which blends traditional and contemporary techniques
By Ashraf Aboul-Yazid
The Egyptian artist Abdelrazek Okasha is presenting a new art exhibition titled “Paris from the Heart of Cairo” at the Mahmoud Mukhtar Cultural Center in Cairo. Running from January 16 to January 26, 2025, the exhibition offers a unique visual experience that explores the interplay between Egyptian and French cultures. Through dynamic works that combine vibrant colors and abstract forms, Okasha evokes a dialogue between identity, heritage, and modernity, emphasizing the shared humanity underlying artistic expression.

The exhibition celebrates the artist’s innovative approach, which blends traditional and contemporary techniques to highlight universal themes of cultural connection and creativity.
Born in Cairo, Abdelrazek Okasha is a globally recognized artist known for his contributions to modern expressive art. I also read his early writings to introduce artists and their experiences in books. Deeply rooted in Egypt’s artistic heritage, Okasha has gained international acclaim for his ability to merge local authenticity with global aesthetics. Over his illustrious career, he has exhibited widely in prestigious venues, including galleries in Paris, Kuwait, Tunisia, and Japan. He has been the recipient of numerous awards, such as the First Prize from the Friends of Autumn Salon in Paris (2008) and the Golden Medal at the Mahras Festival in Tunisia.
Okasha has also participated in various cultural and artistic initiatives worldwide, including representing Egypt in exhibitions at UNESCO headquarters and other international forums. His work bridges the gap between diverse artistic traditions, reflecting a personal philosophy that art is a universal language fostering dialogue and understanding. This latest exhibition is another testament to his dedication to celebrating human connection through art.
In an interview with journalist Kabi Latif on the Monte Carlo Radio program “Dialogue,” the Egyptian visual artist and novelist Abdelrazek Okasha spoke about his novel “The Nights of Paris Trilogy” and his relationship with the French cultural capital. He explained that he sought to learn from those who came before him while carving a parallel path of his own. The novel “The Nights of Paris Trilogy” explores a part of Paris previously untouched by any Arab novelist, narrating the journey of its protagonist through geography, history, psychology, and philosophy.
Abdelrazek Okasha began his journey in Paris, where he shaped his artistic identity through museums, seminars, and cultural gatherings. Describing his connection to Paris, he called it a relationship filled with achievements, honors, and medals. He considers this city a vital step in shaping his personality and expressed gratitude for the cultural nourishment it provided him. Okasha emphasized that he possesses cultural tools and positive energy, which he aims to share and defend. He stressed that without cultural awareness, inner peace, and reconciliation, success cannot be achieved.
The artist was delighted to be honored in Port Said for the launch of “The Nights of Paris Trilogy”. He regards the city as one of struggle and resilience, inspiring him to believe in the continuity of life and giving him the responsibility to advocate for Port Said as a cosmopolitan cultural capital.
In the French introduction to the novel “Diesel” by Egyptian writer and artist Abdelrazek Okasha, translated by critic Abdullah Al-Haimar, we journey with a character who embodies the shyness of peasants and the pride of men in his Parisian experience. The introduction states:
“I found myself before a narratively complete work that sheds light on the existential crisis of a citizen trapped in marginality and a mirage of belonging. He chose voluntary exile and shaped this experience in the novel both aesthetically and historically. It reflects his personal perspective on writing the stories of the marginalized and crushed souls in exile, delving into their views and struggles. From the outset, we ask: was his crossing of the bridge of meaning a description of the self and its social taste within its historical context as a migrant? Or was it a human adventure toward no return and no identity?”
Abdullah Al-Haimar continues: “When reading this novel, one finds oneself distributed across three distinct spaces: the post-migration space (Egypt, the protagonist’s cultural and historical origin), the migration space (France, as a destination of permanent exile), and a third space where Okasha attempts to reconcile the past that lies behind with the reality of the future ahead. These three dimensions remain interconnected and in constant dialogue throughout the novel.
What struck me most in the novel is the concept of time and its interpretation in the body of alienation. Through the title “Diesel”—the name of a renowned French wristwatch—it feels as though the author is signaling a dysfunction in Arab time. This is perhaps one of the most critical questions raised interpretively by the novel: the idea of Arab time from artistic, intellectual, and political perspectives. It portrays Arab time as stagnant, where only the deceptive surface appears to move, misleading us into believing it is dynamic. It is a time that rejects the “other” and thrives on retreating into itself, perceiving its identity and belonging as under constant threat of negation or uprooting.
The protagonist of the novel, Mohamed Fouda, is a visual artist with a cultivated eye. It is often said that creators, in general, live an estrangement from the world and existence to which they belong. When far from their homeland or mother tongue, this estrangement doubles:
The first space: The feeling of alienation begins between the protagonist’s birthplace (Tanta, Egypt) and the place of exile, France (Paris). This duality of cultures shaped a narrative embedded in the body of forced/voluntary exile, blending the civilizational and cultural dimensions into the details of daily life. It intertwines the sense of personal alienation from his first environment, where his initial awareness was shaped. Here, Fouda experienced the chaos of self-delusion, ambitious dreams, and the harsh reality of a society that stifles creative endeavors. He struggled against time to establish a social framework that balances opposites and reconciles contradictions, all while wasting time on side battles and facing dangerous surprises that threatened his legitimacy and dreams.
To preserve his psychological and spiritual balance within this stifling reality, he decided on forced migration. This journey highlighted his ability to withstand pressures without compromising his principles, and to adapt to new circumstances without losing his essence. His artistic talent became a defining feature in shaping his peaceful, open-minded, and tolerant conscience, always striving for dialogue and acceptance of others”, he concludes.
Okasha also inaugurated his ambitious project, “Darna Museum,” the first private museum dedicated to Egyptian, African, and global heritage. The unique museum, located on Qursaya Island along the Nile River in Cairo, houses unparalleled heritage artworks and artifacts spanning several centuries. This exceptional institution is expected to become one of the most significant heritage museums globally. In a humanitarian and cultural gesture, Okasha made admission free for all Egyptians interested in art.

Recently, Okasha recorded four episodes for Egyptian television’s “Biennale” program, set to air during the month of Ramadan. In these episodes, he discusses spirituality, the abstractionist school of art, the mystical dimensions of Ramadan, and artists such as Kees van Dongen, the Dutch-French painter who lived and worked in Egypt. He also speaks about the artist Oskar Kokoschka, who painted and resided in Egypt, and the master Clement and his founding of the New Art School. Additionally, Okasha shares anecdotes about the small artifacts in his museum and explores topics such as cultural economics and modernizing culture for contemporary society.
Through his museum project on Qursaya Island, Okasha seeks to build a cultural bridge between France and the Arab world, promote reconciliation within the Arab region, and offer workshops and seminars for youth through international collaborations.
Read: What should be the role of the artist and his identity in society?
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