Azra Aksamija

A series of Akšamija's projects translate the codes of religious architecture into clothing and contextualize them into a specific cultural setting. Aksamija argues that the concept of the mosque transcends architectural styles and typologies and can be even extended to clothing. Her "wearable mosques" fulfill all formal requirements of a mosque and are conceptualized by the artist as tools for inter-cultural communication.

The Nomadic Mosque[1] project explores various ways of negotiating spatial relationships between Islamic traditions and modernity in the US and Western Europe. Through the design of wearable mosques, clothes that can be transformed into prayer-rugs, the project examines the notion of the mosque space and investigates its formal limits.

The Survival Mosque[2] addresses issues of Muslims living in the contemporary USA. The survival kit contains elements for self-protection such as the American-flag façade that communicates patriotism, gas-masque, nose filters and an umbrella that surveys one’s back.

The Frontier Vest[3] hybridizes different religious equipment and a contemporary vest design. This wearable prototype lends itself for different purposes, both sacred and secular. Pointing at the shared histories and belief systems of Judaism and Islam, the Frontier Vest can be transformed either into a tallit, a Jewish prayer shawl, or into an Islamic prayer rug. Originating in the nomadic life of Bedouins, and informed by the historic experience of exodus, the Frontier Vest also represents a minimal wear useful for a contemporary refugee.

Based on the concept of the Nomadic Mosque, the premise the Dirndlmoschee[4] is based on the Dirndl, a traditional Austrian dress, is still worn in the every day life in some places in Austria, such as in the little town of Strobl at the Wolfgang Lake. The Dirndlmoschee can be transformed into an Islamic prayer environment that provides a prayer space for three people.

Monument in Waiting[5][6] is a collective testimony of the ‘ethnic cleansing’ in Bosnia-Herzegovina, carried out by nationalist extremists during the war of 1992-95, in form of a Kilim, a Bosnian prayer rug. The pattern of this hand-woven kilim tells the story of the systematic devastation of Islamic cultural heritage during the war and points at the impact of this erasure of memory on the Bosniaks’ religious, ethnic, and national identities today.

The project Arizona Road[7] examines the informal urban phenomena of the Arizona Market in northern Bosnia-Herzegovina, the largest black market in the Balkans at the time. The market emerged along the federal highway called “Arizona Road” during the recent war in the region.

The Lost Highway Expedition[8] is a tour to explore the unknown future of Europe. A massive joint movement of over 200 artists and individuals traveled through nine cities in the Western Balkan (Ljubljana, Zagreb, Novi Sad, Belgrade, Skopje, Priština, Tirana, Podgorica and Sarajevo) from July 30 to August 24 of 2006.

Akšamija created the Qibla Wall for the prayer room of the Islamic Cemetery in Altach, Austria, by architect Bernardo Bader (inaugurated in 2012; recipient of the Aga Khan Award for Architecture, 2013 cycle[9]). Created with a stainless steel mesh and wood shingles which create a calligraphic pattern spelling out Allah and Muhammad.[10]