MAKING DOHA: 1950 – 2030

Date : 28 MARCH 2019 – 30 AUGUST 2019


Qatar Museums is proud to present Making Doha: 1950 – 2030, on the occasion of the National Museum of Qatar inauguration.

The exhibition reflects on the process of urbanism rather than its outcome. For the first time Doha’s evolution is displayed as a retrospective through seventy years of archival photography, models, plans, films, historic and oral narratives. This material was excavated by Qatar based Atlas Bookstore research team from local and international institutional archives, complimented by interviews with state decision-makers, architects and city planners.

Designed by OMA/AMO, the exhibition examines how this capital city was assembled and how its construction affected the global discipline of architecture across four major chapters: Seeds of a Nation (1950–1971), Modern State (1971–1995), And the World (1995–2010) and Destination Qatar (2010–2030).

Doha is a metropolis put together with care; successive layers of ambition have not created a disjointed patchwork, but a functioning, original, livable whole. The city’s progressive, humanistic principles are translated by the leadership in state-led urban developments. Local, regional and international architects, eleven Pritzker Laureates among them, have together constructed a bold modern city. Driven by foresight and institution building Doha is an unparalleled architectural ensemble.


Date : 27 March 2019 – 30 September 2019


Yo Akiyama (b. 1953) is a pioneering figure in the expansive and diverse history of Post-war Japanese art. He was a pupil of the groundbreaking sculptor Kazuo Yagi and the influential Sodeisha movement, which sought a sculptural synergy between instinctively understood and specifically Japanese techniques of ceramic production and Western art and literature references. Akiyama dedicated two full years of his life to the production of Echoes. The large scale sculpture was first exhibited in Kyoto, Japan in 2018 to celebrate Akiyama’s retirement as Chairman of the Department of Ceramics, Kyoto Municipal University of Arts and Music.

For Akiyama the creative process always starts from a highly developed and intimate relationship with raw clay, the potential of that material itself, and in turn that material’s own relationship with the geological and physical forces that formed it and continue to act on the finished work. Most ceramics are encapsulated at the moment they come out of the kiln, but Akiyama incorporates iron filings into the clay to subvert this convention. Once fired, he paints the work with vinegar, beginning an oxidisation process that gives the piece an ongoing life reacting to its surroundings.

He steered away from traditional strands of vessel-based Japanese pottery production, right back towards the universality of natural forces. With specific characteristics of his chosen clay as a starting point, he has managed to free himself from the constraint and nostalgia for Japan’s deep historic relationship with ceramics with spectacular results.



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