publicationsJSON = [
		
		{
			"id" : "0",
			"title" : "THE IMPOSTER", 
			"description" : ["Exhibition In 2003, a storage container was discovered in an unknown location in the Middle East.","Stored inside were numerous boxes that held the political campaign material (believed to date from1979 to 1983) of a now unknown man. The contents caught the eye of an art collector based in NorthAmerica, who purchased the collection in an agreement that prevented him from displaying the itemspublicly until 2014. Last year, through a mutual friend, the collector contacted Mahmoud Obaidi sothey could collaborate on an exhibition project that would recreate many of the items uncovered in2003. The Replacement is the result of this collaboration."],
			"cover_link" : "https://drive.google.com/file/d/0B3io-V0wTtXmdERNaUxEQUlKS2M/view?usp=sharing&resourcekey=0-P6d7q2_2qyEa1dirIVniZA",
			"link" : "https://drive.google.com/uc?export=download&id=0B3io-V0wTtXmdERNaUxEQUlKS2M"
		}, 
		
		{
			"id" : "1",
			"title" : "THE REPLACEMENT", 
			"description" :  ["Exhibition In 2003, a storage container was discovered in an unknown location in the Middle East.","Stored inside were numerous boxes that held the political campaign material (believed to date from 1979 to 1983) of a now unknown man. The contents caught the eye of an art collector based in North America, who purchased the collection in an agreement that prevented him from displaying the items publicly until 2014. Last year, through a mutual friend, the collector contacted Mahmoud Obaidi so they could collaborate on an exhibition project that would recreate many of the items uncovered in 2003. The Replacement is the result of this collaboration."],
			"cover_link" : "https://drive.google.com/file/d/1nkNaltgEYriJKyGJoFklrTDIVIoVcbu6/view?usp=sharing" ,
			"link" : "https://drive.google.com/uc?export=download&id=1nkNaltgEYriJKyGJoFklrTDIVIoVcbu6"
		}, 
		
		{
			"id" : "2",
			"title" : "CONFUSIONISM", 
			"description" :  ["Through two casual conversations recorded in the preparation for an upcoming exhibition in Qatar, contemporary artist Mahmoud Obaidi discusses the ideas behind his body of work, his process, politics, and aspirations for his art. Mahmoud Obaidi is an Iraqi-Canadian contemporary artist and architect currently based in Doha, Qatar and Vancouver, Canada. His diverse output of conceptual objects, installations, video, and painting deal with the themes of politics, war, and death with sharp humour, cynicism, and a direct, critical absurdity. He has exhibited his work since the mid-1990s in a number  of major solo and group exhibitions internationally."],
			"cover_link" :	"https://drive.google.com/file/d/1qzR8N-Y-ngeFn4IUpInjeG6QSkdKRFju/view?usp=sharing",
			"link" : "https://drive.google.com/uc?export=download&id=1qzR8N-Y-ngeFn4IUpInjeG6QSkdKRFju"
		},
		
		{
			"id" : "3",
			"title" : "MY HOME LAND",
			"description" :  	["Curated by Dia Azawi.", "", "Expression of Iraqi Artists: the vision of Iraq as a memory of recent daily life in the form of all objects of art.", "", "From the beginning of the 1980s, many artists and intellectuals began leaving Iraq for various reasons. The trend continued after the first Gulf war and the very harsh sanctions that followed. Since the 2003 occupation, a new wave of migration started. For the first time, My Home Land invites seven Iraqi artists from different parts of the Diaspora to explore their feelings towards the catastrophic events that occur daily in deferent Iraqi cities. Living in different parts of the world, Rafa Nasiri, Dia Azzawi, Mahmoud Obaidi, Nazar Yahya, Kreem Risan, Ghasan Gha’ab and Ahmed Bahrani, mount a unique exhibition of Objects using different techniques and variety of materials, producing a diverse body of work, tracing and exploring the paths of their childhoods’ memories, mythologies, histories and concerns for the daily life of a country under occupation. The result is a spiritual voyage that expresses their feelings of deep sadness and hopes for a country without humiliations and failures."], 
			"cover_link" : "https://drive.google.com/file/d/0B3io-V0wTtXmZDg4ZWFlMzQtMzBlNC00ZjZkLTlkZGMtNWY2NjdmOWNlNjcy/view?usp=sharing&resourcekey=0-kSMz1TrUwhItbvvUoF9X3A",
			"link" : " https://drive.google.com/uc?export=download&id=0B3io-V0wTtXmZDg4ZWFlMzQtMzBlNC00ZjZkLTlkZGMtNWY2NjdmOWNlNjcy"
		},
		
		{
			"id" : "4",
			"title" : "ART IN IRAQ TODAY PART 5 CATALOGUE", 
			"description" :	["A book that highlights the enduring talent of a group of contemporary Iraqi artists who are united in their experience of exile. Modern Iraqi art represents one of the main foundation stones of modern Arab culture. As with Iran, modern and contemporary culture in Iraq draws heavily on its rich pre-Islamic and Islamic heritage, from the Sumerian, Babylonian, and Assyrian civilizations through to Ottoman Baghdad, the Iraq of the Baath Party, and today a country that has been ravaged by foreign invasion. In the 1970s, Baghdad was at the centre of a pan-Arab art movement. During the late 1970s and early 1980s, it became clear that the art movement was becoming a political tool of propaganda for the Baath Party. Forced to work within the parameters set by the government, a number of leading artists decided to leave Iraq for Europe and North America. Today, a new generation of Iraqi artists is receiving much-deserved international acclaim. Their art draws increasing attention from international seasoned collectors and is at the forefront of modern and contemporary Arab art."],
			"cover_link" : "https://drive.google.com/file/d/0B3io-V0wTtXmYjc4ODRlNTMtZmE4YS00YWZmLTkyMzgtM2Q2Mjg2MmI2ODFk/view?usp=sharing&resourcekey=0-Yy67LswIzbQzOGDRXf5xjA",
			"link" :	"https://drive.google.com/uc?export=download&id=0B3io-V0wTtXmYjc4ODRlNTMtZmE4YS00YWZmLTkyMzgtM2Q2Mjg2MmI2ODFk"		
		},
		
		{
			"id" : "5",
			"title" : "DRESS CODE",  
			"description" : ["The East, in fact, is precisely the realm of tissue, the place - the combination of places and spaces and traditions - where tissue culture has been more and more deeply varied: among “ikat” and “suzani”, among embroidery, damask work, brocade and lace works, among precious silks and satins and cottons, and endless variations of working, textures, colors, braids and knots.", "", "The East, in short, is the realm of textile and consequently of dresses: it is also with this huge legacy that the artists who have joined this project had to confront. The realization of which has needed about a year of very careful work and accurate selection of proposals. But we must not imagine that “art work in form of dress” has resulted in the production of wearable objects that reflect the pattern of “Dress Code”. This pattern, for the participants, was simply a memory, an empty container, an elastic theme. Their works, indeed, cover all the techniques and forms of expression: from collage to multimedia, from video to photography to installation ... to “dresses”, but not conceived to be wearable."], 
			"cover_link" : "https://drive.google.com/file/d/0B3io-V0wTtXmYTMyMDdhNjEtNGVmNy00MTI4LTkxNTItYzE2ZDA4ODcwNjRi/view?usp=sharing&resourcekey=0-6B2jpi6e6_Bl0eKGrWJjLw",
			"link" : "https://drive.google.com/uc?export=download&id=0B3io-V0wTtXmYTMyMDdhNjEtNGVmNy00MTI4LTkxNTItYzE2ZDA4ODcwNjRi"
		},
		
		{
			"id" : "6",
			"title" :"FAIR SKIES", 
			"description" :  ["Mahmoud Obaidi’s installation Fair Skies engages in a debate around racial profiling in which discriminatory assumptions are made against individuals due to nationality and religion. On a more abstract level, the artwork also examines the physicality of contemporary art installation nowadays.", "Inspired by the artist’s own experiences with airport security, Fair Skies can be read as a social, political, and cultural critique of stereotypical assumptions. Described as ‘post 911 art’ by the artist, this artwork is the continuation of a prior project titled How Not to Look like a Terrorist in the Eyes of an American Airport Authority (2010)."],
			"cover_link" : "https://drive.google.com/file/d/0B3io-V0wTtXmNjBmM2I3MWYtYzg4ZC00NjU2LWI4NWItOTk0NDRjN2UwYTll/view?usp=sharing&resourcekey=0--urw-uQ_84OeHjZSN8GA9Q",
			"link" : " https://drive.google.com/uc?export=download&id=0B3io-V0wTtXmNjBmM2I3MWYtYzg4ZC00NjU2LWI4NWItOTk0NDRjN2UwYTll"
		},
		
		{
			"id" : "7",
			"title" : "FRAGMENTS", 
			"description" : ["In this exhibition Mahmoud Obaidi bears witness to the destruction of Iraq after the invasion of 2003, attempting to recreate all that has been stolen or destroyed, as a response to watching 7000 years of history fall piece by piece. Obaidi traces the fatal trail of destruction through a series of installations, each connected by a rope representing the ‘organised chaos’ let loose upon the country. From the toppled statue of Saddam Hussein, to the new Iraqi family and pickup truck carrying remnants of the ancient culture, Obaidi has created an enduring memory of all that has been lost. Though coming from a place of despair, the exhibition does contain a notion of a possible future. As Obaidi says, it is an attempt ‘to rebuild the country in a stronger material’ by casting familiar items, now broken or gone, in bronze. Fragments is an exhibition about memory and forgetting, about exile and grief, about the meaning of home and, finally, of the possibility of endurance."],
			"cover_link" : "https://drive.google.com/file/d/1Ho5zZlP68MRD_JabbSsoBzvZFvFDd0ba/view?usp=sharing",
			"link" : "https://drive.google.com/uc?export=download&id=1Ho5zZlP68MRD_JabbSsoBzvZFvFDd0ba"
		},
		
		{
			"id" : "8",
			"title" : "OBAIDI IN CONVERSATION WITH HANS ULRICH OBRIST", 
			"description" :  ["This publication captures the multiple elements that constitute Obaidi's work. In addition to literature, film, music and installation, he has also embarked on architectural projects, such as the Al Jazeera headquarters in Doha where he produced drawings and worked with civil engineers to design this structure. For Obaidi, architecture offers the opportunity for an expanded and enlarged notion of sculpture that is intrinsically connected to his artistic practice. But where Obaidi borrows from the sculptural traditions and display structures originated by artists such as Marcel Duchamp, his installations are inflected. With the political context from which Obaidi comes. War. Terrorism, pollution and ecology are just some of the topics that are filtered through his work. The central display structure of the exhibition - the rope - evokes Duchamp's Twine (1942), which is here re-purposed into the precarious connecting device that holds each element together. As is always present within Obaidi's work, however, connection and unity has the potential to be broken through war and its capacity to segregate and isolate. The taut rope holding everything together is quickly broken with the cut of a knife."],
			"cover_link" : "https://drive.google.com/file/d/1XtFh8OXg0_4LaoBRwv40sSHVgOpGKzOr/view?usp=sharing",
			"link" : "https://drive.google.com/uc?export=download&id=1XtFh8OXg0_4LaoBRwv40sSHVgOpGKzOr"
		},
		
		{
			"id" : "9",
			"title" : "OBAIDI BOOK", 
			"description" : ["From the train of thoughts to paper to scans… an entire abstract of art work. It reflects the thought form and pattern to this visual art. The art itself is abstract and abstract is the reflection of deep thoughts. Abstract by definition is relating to or denoting art that does not attempt to represent external reality, but rather seeks to achieve its effect using shapes, colours, and textures."],
			"cover_link" : "https://drive.google.com/file/d/1cWVhiJ4boy421N6HOFJSd7CFOH_r8h0r/view?usp=sharing",
			"link" : "https://drive.google.com/uc?export=download&id=1cWVhiJ4boy421N6HOFJSd7CFOH_r8h0r"
		},
		
		{
			"id" : "10",
			"title" : "BAGHDAD MANIFESTO", 
			"description" :  ["Childhood is mere nostalgia. We see all our memories as [something] beautiful. Or this may be a kind of self-defence on the part of the mind which organizes events in a way which makes them beautiful to avoid collapse. When I see the reality and read the history I see disgusting things. Things were not as beautiful as we imagine. So in my childhood there was an internal war then an external war until I left the country. This is my childhood. In any case it was relatively good."],
			"cover_link" : "https://drive.google.com/file/d/1hSW3WNxZ7Fcx_Wk-Tu3zAXJpIe8AiRMh/view?usp=sharing",
			"link" : "https://drive.google.com/uc?export=download&id=1hSW3WNxZ7Fcx_Wk-Tu3zAXJpIe8AiRMh"
		},
		
		{
			"id" : "11",
			"title" : "GRENADA BIENNALE ARTE 2017", 
			"description" :  ["The Bridge is based on gathering island-nations' artists from civilisations with deep roots in culture and art. Since the dawn of time, humans have longed to belong to some of collective idea contributing to shaping their own identity. The question of 'what' and no 'who' we are represents the centre of this dialogue."],
			"cover_link" : "https://drive.google.com/file/d/1erkbfN2i0z8g4T2jCO-yf0Hsi-1j-30v/view?usp=sharing",
			"link" : "https://drive.google.com/uc?export=download&id=1erkbfN2i0z8g4T2jCO-yf0Hsi-1j-30v"
		}
	]	
;