A R T I S T P R O J E C T

RAT DIARIES

SHADY EL-NOSHOKATY

Shady El-Noshokaty’s project is a selection of eight drawings, jede
folded into the journal individually. This recent series of drawings enti-
tled Rat Diaries maps the intensity of everyday life in a concrete time
and place, Cairo in the aftermath of the 2011 uprising. The drawings
are multi-layered juxtapositions of various forms and contrasting types
of lines that move from controlled shapes to seemingly uncontrolled
scribbling, from ﬁ gures to the loss of recognizable outlines that would
shape a ﬁ gure. What this layering achieves is a proposition of form that
is ultimately unattainable, even if grounded within the objectivist
structure of the grid. Various texts—quotations from Ad Reinhardt on
art and John Searle on the scientiﬁ c understanding of the mind—inter-
sect with the artist’s own writings: intuitive scribbles of everyday
impressions that transform and exceed the reality they refer to.

doi:10.1162/ARTM_a_00082

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D1 (January 21st 2007)
(unDerstanDing research)

“He sat down for a long time surrounded by a big group of central
security soldiers wearing their usual black uniform and their plastic hel-
mets holding their shields beside each other to build a wall with the
move police emblem printed all over it the man in his forties was tired
he was frustrated sitting on the sidewalk covered by a page of a national
newspaper in fact I have never seen the situation from the start I was
passing by accidentally when I was attracted by the silence of the scene I
remember all the noise feeling ill Tahrir square even though no one
made a sound and suddenly the man stood among every one and started
vomiting violently huge amounts of transparent ice cubes he kept spit-
ting them painfully until they covered the asphalt all around him until it
covered him completely and drowned every around yesterday I was pass-
ing there and there is still a huge amount of ice covering the whole
square which has dissolved everything that was there on that day.”

ﺚﺤَ ﺒﻟﺍ ﻢﻬَ ﻓ ( ﻡ٢00٧ﺮﻳﺎﻨﻳ ٢1 ) – 1ﻱ
ﻦﻳﺪﺗﺮﻣ، ً ﻱﺰﻛﺮﻤﻟﺍ ﻦﻣﻷﺍ ﺩﻮﻨﺟ ﻦﻣ ﺓﺮﻴﺒﻛ ﺔﻋﻮﻤﺠﻣ ﻪِ ﺑ ﻂﻴﺤﻳ ﻼﻳﻮﻃ ﻞﺟﺮﻟﺍ ﺲﻠﺟ”
ﺔﺻﺍﺮﺘﻣ ﻢﻬﻋﻭﺭﺪﺑ ﻦﻴﻜﺴﻤﻣ ،ﻊﻣﻼﻟﺍ ﻢﻬﺳﺃﺭ ﺀﺎﻄﻏﻭ ﺩﺎﺘﻌﻤﻟﺍ ﺩﻮﺳﻷﺍ ﻱﻮﺘﺸﻟﺍ ﻢﻬﻳﺯ
.. ﻕﺭﺯﻷﺍ ﻱﺮﺋﺍﺪﻟﺍ ﺔﻃﺮﺸﻟﺍ ﺭﺎﻌﺷ ﻪﻴﻠﻋ ﻊﺑٌ ﻃ ًﺍﺭﺍﺪﺟ ﻊﻨﺼﺘﻟ ﺎﻬﻀﻌﺑ ﺐﻧﺎﺠﺑ
ﺔﻔﺻﺭﻷﺍ ﺪﺣﺃ ﻰﻠﻋ ﺲﻠﺠﻳ ,ﻩﺮﻤﻋ ﻦﻣ ﺕﺎﻴﻨﻴﻌﺑﺭﻷﺍ ﻲﻓ ًﺎﻄﺒﺤﻣ، ًﺎﺒﻌﺘﻣ ﻞﺟﺮﻟﺍ ﻥﺎﻛ
ﻦﻣ ﻒﻗﻮﻤﻟﺍ ﺪﻫﺎﺷﺃ ﻢﻟ -ﺔﻘﻴﻘﺤﻟﺍ ﻲﻓ- ﺔﻴﻣﻮﻘﻟﺍ ﺪﺋﺍﺮﺠﻟﺍ ﺕﺎﺤﻔﺻ ﻯﺪﺣﺇ ﻕﻮﻓ
ﻒﻴﻛ ﺮﻛﺬﺗﺃ.. ﺪﻬﺸﻤﻟﺍ ﺍﺬﻫ ﺖﻤﺻ ﻲﻨﺑﺬﺟ ﻦﻴﺣ ﺔﻓﺪﺼﻟ ﺎﺑ ًﺍﺭﺎﻣ ﺖﻨﻛ ﺪﻘﻠﻓ، ﺔﻳﺍﺪﺒﻟﺍ
ﻦﻣ ﺕﺍﻮﺻﻷا ﻱﺃ ﺭﺪﺼﺗ ﻢﻟ ﻱﺬﻟﺍ ﺖﻗﻮﻟﺍ ﻲﻓ ﺮﻳﺮﺤﺘﻟﺍ ﻥﺍﺪﻴﻣ ﻸﻤﻳ ﺞﻴﺠﻀﻟﺍ ﻥﺎﻛ
ﻒﻗﻭ .. ﺓﺄﺠﻓ ﻭ .. ﺖﻤﺻ ﻲﻓ ﻊﻴﻤﺠﻟﺍ ﻥﺎﻛ ﺪﻘﻠﻓ، ﻡﻮﻴﻟﺍ ﻚﻟﺫ ﻲﻓ ﻙﺎﻨﻫ ﻥﺎﻛ ﻦﻣ ﻞﻛ
ﻊﺑﺮﻤﻟﺍ ﺞﻠﺜﻟﺍ ﻦﻣ ﺓﺮﻴﺒﻛ ﺕﺎﻴﻤﻛ ٍةﻮﻘﺑ ﻪﺒﻠﻗ ﻦﻣ ﺀﻲﻘﻳ ﺬﺧﺃﻭ ﻊﻴﻤﺠﻟﺍ ﻦﻴﺑ ﻦﻣ ﻞﺟﺮﻟﺍ
ﻦﻣ ﺖﻠﻔﺳﻹﺍ ﻰﻄﻐﺘﻟ ﻪﻨﻣ ًﺔﻌﻓﺪﻨﻣ ﻪﻓﻮﺟ ﻦﻣ ﺝﺮﺨﺘﻓ ًﺎﻤﻟﺃ ﺎﻬﻘﺼﺒﻳ ﻥﺎﻛ ، ﻑﺎﻔﺸﻟﺍ
ﺲﻣﻷﺎﺑ. ﻪﻟﻮﺣ ﻦﻣ ﻞﻛ ﻪﻌﻣﻭ ﺎﻬﻴﻓ ﻕﺮﻐﻓ ، ﻪﺗﺮﻤﻏ ﻰﺘﺣ ﺎﻬﻘﺼﺒﺑ ﺮﻤﺘﺳﺍ ، ﻪﻟﻮﺣ
ﻥﺍﺪﻴﻣ ﻰﻄﻐﻳ ﺞﻠﺜﻟﺍ ﻦﻣ ﺮﻴﺒﻜﻟﺍ ﻡﻮﻜﻟﺍ ﺍﺬﻫ ﺮﺛﺃ ﻝﺍﺰﻳ ﻻ ، ﻙﺎﻨﻫ ﻦﻣ ًﺍﺭﺎﻣ ﺖﻨﻛ
“ ﻡﻮﻴﻟﺍ ﻚﻟﺫ ﻲﻓ ﻙﺎﻨﻫ ًﺍﺩﻮﺟﻮﻣ ﻥﺎﻛ ﻦﻣ ﻞﻛ ﺎﻬﻌﻣ ﺏﺍﺫ ﺪﻗﻭ ﺮﻳﺮﺤﺘﻟﺍ

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D2 (sept 15th 2009)
(informations)

“The post-historic artist is the timeless artist-as-artist.
The artist-as-artist is the post-historic artist.
The post-historic artist is the artist aware of himself as artist,
aware of art-as-art, aware of everything that is not art in art, inside
or outside art.

A fine artist by definition does not use or need any ideas or images,
does not use or need any help, cannot use or help anyone or anything.
The artist is responsible for his history and his nature, His history

is part of his nature, His nature as artist is part of his art history.”1

ٌﺕﺎﻣﻮﻠﻌَ ﻣ ( ﻡ٢0٠٩ ﺮﺒﻤﺘﺒﺳ 1٥ ) -٢ﻱ

« ﺔﻳﺰﻴﻠﺠﻧﻹﺍ ﺔﻐﻠﻟ ﺎﺑ ﻂﻘﻓ ﺐﺘﻜُﺗ»

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1. Ad Reinhardt, Art as Art: The Selected Writings of Ad Reinhardt, Hrsg. Barbara Rose (Berkeley:
University of California Press, 1991), 136.

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D3 (July 2nD 2006)
artistic, obJect, Kontext

It’s a Sunday, another hard day with a busy teaching schedule in
college. I was on my way home around dinner time and all of a sudden
at the corner of my street in Ard ElLewa area everyone rushes in a hur-
ried screaming emergency to the main entrance of my building in an
attempt to save the man living next door to me. I saw him from a dis-
tance hung outside his window by a hook in his tongue.

ﻱﻮﺘﺤﻣ ، ُﻞﻜﺷ ، ﻲﻨﻓ ( ﻡ٢00٦ ﻮﻴﻟﻮﻳ ٢ ) -٣ﻱ

ﻲﻟﺍ ًﺍﺪﺋﺎﻋ ﻪﻴﻓ ﺖﻨﻛ ،ﺔﻴﻠﻜﻟﺍ ﻲﻓ ﻲﻟﻭﺪﺟ ﻡﺎﻳﺃ ﻦﻣ ﻕﺎﺷ ﺮﺧﺁ ُﻡﻮﻳ ﺪﺣﻷﺍ ﻡﻮﻳ ﻪﻧﺍ”
ﺏﺎﺑ ﻦﻣ ﺖﺑﺮﺘﻗﺍ ﻦﻴﺣﻭ ,ﺓﺰﻴﺠﻟ ﺎﺑ ﺀﺍﻮﻠﻟﺍ ﺽﺭﺃ ﺔﻘﻄﻨﻣ ﻲﻓ ﻦﻜﺳﺃ ﺚﻴﺣ ﻲﺘﻴﺑ
ﻥﻮﻌﻴﻄﺘﺴﻳ ﻢﻬﻠﻌﻟ ,ﻲﻟﻮﺣ ﻦﻣ ﻦﻴﻌﻓﺪﻨﻣ ﻥﻮﻟﻭﺮﻬﻳ ﻊﻴﻤﺠﻟ ﺎﺑ ﺖﺌﺟﻮﻓ ﻝﺰﻨﻤﻟﺍ
ﺪﻴﻌﺑ ﻦﻣ ﻪﺘﻳﺃﺭ ﺪﻘﻠﻓ ،ﺔﻠﺑﺎﻘﻤﻟﺍ ﺔﻘﺸﻟﺍﻲﻓ ﻦﻜﺴﻳ ﻱﺬﻟﺍ ﻞﺟﺮﻟا ﻚﻟﺫ ﺍﻭﺬﻘﻨﻳ ﻥﺃ
”ﻪﻧﺎﺴﻟ ﻦﻣ ﻑﺎﻄﺨﺑ ﻪﺴﻔﻧ ًﺎﻘﻠﻌﻣ ﻭ ﻪﺘﻓﺮﻏ ﻙﺎﺒﺷ ﻦﻣ ًﺎﻴﻟﺪﺘﻣ

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D4 (July 18th 2013)
egypt is free without “el ekhwan”

It was just another Friday morning, I opened my eyes to the painful
screeching sound like that of a hard steel nail scratching long lines along
a shiny metal surface.

I found my brain lying on the floor like a pomegranate, surrounded

by a disgusting grey rat determined to lick its red lobes.

«ﻥﺍﻮﺧﻹﺍ « ﻥﻭﺪﺑ ُﺓﺮﺣ ﺮﺼﻣِ ( ﻡ٢01٣ ﻮﻴﻟﻮﻳ 1٨ ) -٤ﻱ
ﻦﻣ ﻦﻤﻳﻷﺍ ﺐﻧﺎﺠﻟﺍ ﻲﻓ ﺩﺎﺣ ﻢﻟﺃ ﻲﻠﻋ ﻲﻨﻴﻋ ﻪﻴﻓ ﺖﺤﺘﻓ ، ﺮﺧﺁ ُﺔﻌﻤﺟ ﻡﻮﻳ ﺡﺎﺒﺻ ﻪﻧﺍ ”
ﺽﺭﻷﺍ ﻲﻠﻋ ﻲﻘﻠﻣﻲﻠﻘﻋ ﻱﺭﻷ، ﻊﻴﻓﺭ ﻲﻧﺪﻌﻣ ﺭﺎﻤﺴﻤﻟ ﺔﻤﻴﻘﺘﺴﻣ ﺕﺎﺸﺑﺮﺧ ﺕﻮﺼﻟ ﻲﺳﺃﺭ
ﻥﺃ ﻝﻭﺎﺤﺗ ﺓﺮﻴﻘﺤﻟﺍ ﺔﻳﺩﺎﻣﺮﻟﺍ ﻥﺍﺮﺌﻔﻟﺍ ﻦﻣ ﺔﻋﻮﻤﺠﻣ ﻪﺑ ًﺎﻃﺎﺤﻣ ﻥﺎﻣُ ﺮﻟﺍ ﺭﺎﻤﺛ ﻦﻣ ﺔﻌﻄﻘﻛ
“ ﺔﻳﺩﺭﻮﻟﺍ ﻪﺗﺎﺒﺣ ﻦﻣ ﻲﻘﺒﺘﻤﻟﺍ ﺭﺍﺮﺻﺎﺑ ﻖﻌﻠﺗ

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D5 (aug 5th 2009)
my minD is:

— A map I noticed tattooed on the tip of my left wrist.
— A Red mahogany piano with golden engraved ornaments that used

to occupy my living room.

— Damietta’s public playground farm in early September before the

harvest of sunflowers.

— The Arabic letter “Sheen” in the name of “Shady” in Arabic “El

Naskh” font.

— A blonde wig worn by my mother in one of her old pictures only nine

months before my birth.

— White carnations hanging down the rearview mirror in my LADA

car.

: ﻮٌ ﻫ ﻲﻠﻘﻋ ( ﻡ٢00٩ ﺲﻄﺴﻏﺃ ٥) -٥ﻱ

.ﻯﺮﺴﻴﻟﺍ ﻱﺪﻳ ﻎﺳﺭ ﺔﻤﻗ ﻰﻠﻋ ﺔﻋﻮﺒﻄﻣ ﺎﻬﺑ ﺖﻴﻋﻭ ﺔﻄﻳﺮﺧ ﺔﺌﻴﻫ ﻰﻠﻋ ﻢﺷﻭ : ﻮﻫ ﻲﻠﻘﻋ
ﻥﺎﻛ ﺔﻴﺳﺎﺤﻨﻟﺍ ﻑﺭﺎﺧﺰﻟ ﺎﺑ ﻢﻌﻄﻤﻟﺍ,ﺮﻤﺣﻷﺍ ﻲﻨﺟﻮﻫﺎﻤﻟﺍ ﺐﺸﺧ ﻦﻣ ﻮﻧﺎﻴﺑ : ﻮﻫ ﻲﻠﻘﻋ

. ﻲﺘﻴﺑ ﻲﻓ ﺱﻮﻠﺠﻟﺍ ﺔﻓﺮﻏ ﺔﻣﺪﻘﻣ ﻞﺘﺤﻳ

ﻢﺳﻮﻣ ﻞﺒﻗ ﺮﺒﻤﺘﺒﺳ ﺮﻬﺷ ﻞﺋﺍﻭﺃ ﻲﻓ ﻁﺎﻴﻣﺪﺑ ﺔﻴﺒﻌﺸﻟﺍ ﺔﺣﺎﺴﻟﺍ ﺔﻋﺭﺰﻣ : ﻮﻫ ﻲﻠﻘﻋ

.ﺲﻤﺸﻟﺍ ﺩﺎﺒﻋ ﺭﻮﻫﺯ ﺩﺎﺼﺣ

. ”ﺦﺴﻨﻟﺍ” ﻂﺨﺑ “ ﻯﺩﺎﺷ ” ﻢﺳﺍ ﻲﻓ ﻦﻴﺸﻟﺍ ﻑﺮﺣ : ﻮﻫ ﻲﻠﻘﻋ
ﺔﻤﻳﺪﻘﻟﺍ ﺎﻫﺭﻮﺻ ﻯﺪﺣﺇ ﻲﻓ ﻲﻣﺃ ﺎﻬﻳﺪﺗﺮﺗ ﺔﻴﺒﻫﺫ ﺭﺎﻌﺘﺴﻣ ﺮﻌﺷ ﺔﻛﻭﺭﺎﺑ : ﻮﻫ ﻲﻠﻘﻋ

.ﺍﺩﻼﻟﺍ ﻲﺗﺭﺎﻴﺳ ﻲﻓ ﺔﻴﻣﺎﻣﻷﺍ ﺓﺁﺮﻤﻟﺍ ﻰﻠﻋ ﺔﻘﻠﻌﻣ ﺀﺎﻀﻴﺑ ﻞﻔﻧﺮﻗ ﺓﺮﻫﺯ : ﻮﻫ ﻲﻠﻘﻋ

.ﻂﻘﻓ ﺮﻬﺷﺃ ﺔﻌﺴﺘﺑ ﻱﺩﻼﻴﻣ ﻞﺒﻗ

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D6 (nov 1st 2013)
we’re all star Dust!

“The ideas being explained at the moment contain necessary tools
in forging the most important theory of the mind in the last decades of
the twentieth century.

The mind is a digital computer.
‘Property dualism’ puts aside the hypothesis of an independent
mental existence but it inherits some of the difficulties of Essential
dualism

What are the hypothetical relations between the mental and the

physical?”2

ﻡﻮﺠٌ ﻨﻟﺍ ﺭﺎﺒُ ﻏ ﻦﻣ ﺎﻨُ ﻠﻛ ( ﻡ٢01٣ ﺮﺒﻤﻓﻮﻧ 1) -٦ﻱ

« ﺔﻳﺰﻴﻠﺠﻧﻹﺍ ﺔﻐﻠﻟ ﺎﺑ ﻂﻘﻓ ﺐﺘﻜُﺗ»

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2. John R Searle, MIND, A Brief Introduction (New York: Oxford University Press, 2004).

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D7 (Dec 24th 2006)
(biological structure)

My beloved son Yassin it wasn’t me who killed that white donkey we

saw that day lying lifeless on the bridge.

I only left the car to shoot a photograph of it.

ﻲﺟﻮﻟﻮﻴﺑ ﻞﻜﻴَ ﻫ ( ﻡ٢00٦ ﺮﺒﻤﺴﻳﺩ ٢٤) -٧ﻱ

ﺾﻴﺑﻷﺍ ﺭﺎﻤﺤﻟﺍ ﻚﻟﺫ ﻞﺘﻗ ﻦﻣ ﺎﻧﺃ ﺖﺴﻟ «ًﺲﻳ» ﺐﻴﺒﺤﻟﺍ ﻲﻨﺑﺍ ”
ﺓﺭﺎﻴﺴﻟﺍ ﻦﻣ ﺖﻠﺟﺮﺗ ﺪﻘﻠﻓ، ﻱﺮﺑﻮﻜﻟﺍ ﻕﻮﻓ ًﺎﻴﻘﻠﺘﺴﻣ ﻥﺎﻛ ﻱﺬﻟﺍ
” ﺔﻴﻓﺍﺮﻏﻮﺗﻮﻓ ﺓﺭﻮﺻ ﻪﻟ ﻂﻘﺘﻟﻷ ﻂﻘﻓ

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D8 (april 21st 2012)
(art is a faller)

„(A) Artists who can, teach. Artists who do, do.
(B) Artists who can’t teach, teach. Artists who can’t, do.
(C) Can-can artists. Artist as dodo.
— Those who know don’t tell. Those who tell don’t know.”3