Tuareg women and Odessa bride by Dalal Mitwally

Tuareg women and Odessa bride are two murals by the artist Dalal Mitwally. These artworks were brought to life in Oude Westen through a collaboration with the Nederlands Fotomuseum, a housing corporation Woonstad Rotterdam, and RSAM. This project, named Museum Murals, is an initiative of the Mauritshuis, made possible thanks to the participants of the VriendenLoterij. 

Located in the Batavierenstraat, the murals draw inspiration from two iconic photographs of the Hall of Fame of Dutch Photography, featured in the Gallery of Honour of Dutch Photography of Nederlands Fotomuseum collection. Dalal selected photos by Violette Cornelius alongside one by Bertien van Manen. With this series, she questions who determines the image: the photographer, the person portrayed, or the viewer?

One mural features an image of three Tuareg women captured in the Sahara Desert in Mali by Violette Cornelius in 1959. The Tuareg are a nomadic people who travel through the Sahara. With this artwork, Mitwally contemplates the photographer’s influence on the identity of those portrayed. Additionally, in the corner of the mural, an Arabic inscription translates to: “Don’t portray me. Don’t speak of me. Don’t write about me.”

The second mural, titled Odessa Bride, is inspired by a 1994 photograph by Bertien van Manen. It depicts a bride reclining on a velvet bed in Ukraine shortly after the fall of the Iron Curtain.

The unveiling of these two murals caused mixed feelings among the residents of this neighborhood. Not everyone understood or liked the message Dalal wanted to convey. However, this adds an extra layer to this production, considering the public’s reaction is very significant to this artist. Furthermore, it raises the question: Does art in public spaces need everyone’s approval, or is every expression valid even when it expresses an ideological point of view? 

Artist text:

Dalal Mitwally was born in 1998, and she is a Shami (Jordanian) artist who incorporates in her productions the experiences she’s had between Amman and Rotterdam, exploring the dynamics of public space through her art. Dalal’s connection to her surroundings profoundly influences her worldview and her art. This connection has led to engaging with art beyond conventional gallery walls. The creation of public art is an interactive performance for Dalal, where she aims to spark conversations and reflections within the public sphere, with her art often having a political or social meaning.

The public’s reaction is a crucial part of this process for the artist. This way, her art ‘agitates’ and ‘reclaims’ the spaces she inhabits. Extensive research is also crucial for Dalal to bring her vision to life and amplify the stories she portrays. Consequently, she constantly challenges the viewer to consider how the outside influences art and, conversely, how art influences the outside.