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Participatory Art in the Middle East

The Art of Shirin Neshat

Notes on a Giant Implosion

One major obstacle for a diverse art scene in a country or region is the lack of artistic infrastructure with institutions that offer support for artistic research and the production of independent, non-market-related work. During the past decade, most countries in the MENA region have seen the establishment of independent,...

When we began our research into the current art landscape of the Middle East, we noticed various reasons why the bonds between regional art communities are weakened. Prevailing art discourses are largely externally driven; the way in which art is circulated, marketed and publicised doesn't respond in any significant way...

O Whale, Don't Swallow Our Moon: Ramallah

The People of the Sea: Haifa

Partner institutions

Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey

Foreword: Anthony Downey

Curator's Essay: Aaron Cezar

Ismaïl Bahri in conversation with Silke Schmickl

Ahmet Öğüt in conversation with Basak Senova

Ziad Antar in Conversation with Anthony Downey

Michket Krifa in conversation with Wafa Gabsi

Tom Bogaert in conversation with Anthony Downey

Chapter 1: Intensities

Jasmina Metwaly in conversation with Angela Harutyunyan

Heiko Lange in conversation with Amira Gad

Rasha Salti in conversation with Fawz Kabra

Michael Rakowitz in conversation with Anthony Downey

Jeremy Hutchison in conversation with Natasha Hoare

Tamara Chalabi, Reem Shather-Kubba, and Jonathan Watkins in conversation with Basak Senova

Marie-Monique Steckel in conversation with Fawz Kabra

Chapter 2: Details

A Question: Jalal Toufic

Soundscapes: Taking Apart the Arab City by Dr. Alexandra MacGilp

Bent Jbeil: Wael Shawky

Rasha Salti and Kristine Khouri in conversation with Samah Hijawi

Sohrab Kashani in conversation with Taus Makhacheva

Curatorial Narrative

Farah Al-Nakib in conversation with Todd Reisz

JW Stella in conversation with Aimee Dawson

Coco Fusco in conversation with Stephanie Bailey

Taysir Batniji in conversation with Silke Schmickl

Fayçal Baghriche in conversation with Laura Allsop

Morehshin Allahyari in conversation with Hannah Gregory

Adelita Husni-Bey in conversation with Stephanie Bailey

Mounira al Solh in conversation with Nat Muller

Hiwa K in conversation with Anthony Downey and Amal Khalaf

Oreet Ashery in conversation with Amal Khalaf

Helene Kazan in conversation with Amal Khalaf

Urok Shirhan in Conversation with Stephanie Bailey

Özgür Uçkan and Vasif Kortun in conversation with Basak Senova

Stefano Rabolli Pansera in conversation with Stephanie Bailey

Maryam Monalisa Gharavi in conversation with Mirene Arsanios

Nav Haq in conversation with Stephanie Bailey

Sumesh Sharma in conversation with Amanprit Sandhu

Aikaterini Gegisian in conversation with Stephanie Bailey

Leeza Ahmady in conversation with Taus Makhacheva

Vangelis Vlahos in conversation with Stephanie Bailey

Köken Ergun in conversation with Omar Kholeif

Ahd in conversation with Sheyma Buali

Monira Al Qadiri in conversation with Stephanie Bailey

Antonia Carver in conversation with Omar Kholeif

Discussing arts infrastructure in Tehran

Maryam Jafri in conversation with Stephanie Bailey

Lucien Samaha in conversation with Walid Raad, Part I

Akram Zaatari in conversation with Anthony Downey

Elif Öner in conversation with Derya Yücel

Shumon Basar, Ala Younis and Omar Berrada in conversation with Sheyma Buali

Nida Sinnokrot in conversation with Natasha Hoare

Carole Alfarah in conversation with María Gómez López

Suha Shoman in conversation with Amin Alsaden

Adelina von Fürstenberg in conversation with Stephanie Bailey

Tarek Abou El Fetouh in conversation with Stephanie Bailey

Rifat Chadirji and Balkis Sharara in conversation with Amin Alsaden

MADRASSA Collective in conversation with Antonia Alampi

Christine Tohme in conversation with Rachel Dedman

Nora Razian, Nataša Petrešin Bachelez, and Angela Harutyunyan in conversation, with a contribution from Natasha Gasparian

Amar Kanwar in conversation with Stephanie Bailey

Fadi Bardawil in conversation with Zeynep Oz

Alia Rayyan: Recounting the Past, Present and Future

Wided Rihana Khadraoui: Digitalizing Social Change through Cultural Institutions in Saudi Arabia

Monira Al Qadiri: The Saudi New Wave | Digital Landscapes and Future Institutions

Lois Stonock: Mapping the Possible: Syrian Organizations, Movements and Platforms

Ibraaz

Chkoun Ahna at the National Museum of Carthage, Tunis, 2012

Sheyma Buali

Notes from a roundtable discussion on the state of the arts in Egypt

Ibraaz

New initiative fosters connections between the Middle East and the western world

Ibraaz

An Artist-Run Gallery Space in Cairo

Questions to be addressed

Contemporary Image Collective, Cairo

Ibraaz

The second meeting of Maghreb des Arts

Ibraaz

Ibraaz

Tom Snow

Ibraaz

Gregory Sholette at Home Workspace Program

London book launch: 19 November, 18:30, Rivington Place

Ibraaz

William Wells in conversation at Serpentine Galleries

A Report from the AUC

A Report from Home Works 7 and Athens Biennale 5 to 6

Ibraaz

Ibraaz

On the 2016 Global Art Forum ‘The Future Was’

The 2016 March Meeting

At the Salzburger Kunstverein

Live

Shiva Balaghi: in conversation with Stephanie Bailey

Okwui Enwezor: in conversation with Anthony Downey

1971-1979 The Short Seventies (World)

Crisis The End of Pearling in the Gulf (Qatar)

1971-1979 The Short Seventies (UAE)

Wael Shawky

Ibraaz

APEAL's 'Museum in the Making' and Temporary. Art. Platform. present: The 2016 Ras Masqa Artists' Residency

Kevin Jones: Marketing Presentation for Boxed Branded Plush Toys as Art

Vikram Divecha

Mario Rizzi

Jim Quilty

Performing the Trial: Re-enactment, Ritual, Remediation

Hammad Nasar in conversation with Reema Salha Fadda

Toleen Touq in conversation with Reema Salha Fadda

To close Ibraaz Platform 010, we present new essays by Ibraaz Editor-in-Chief Anthony Downey, Ibraaz Senior Editor Stephanie Bailey, Ibraaz Contributing Editor Ala Younis, and Natasha Hoare; interviews with Szabolcs KissPál and Mahmoud Khaled, Toleen Touq, Cevdet Erek, Hammad Nasar; projects by Shadi Habib Allah, Mahmoud Bakhshi, Maryam Monalisa Gharavi,...

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Platform 010 Editorial

On Navigating Without a Compass

Contour Biennale 8

Notes on Geo-cultural Exhibitions

Artists Intervening in Lebanese Dailies

Invisible Architecture in Rana ElNemr’s Streams of Synonyms

On Qalandiya International 2016 in Ramallah

The Egyptian Surrealists (1938–1965)

Natasha Marie Llorens

Exhibitions and Other Representations in 25 Years at Witte de With

Technology and Its Discontents

Sophia Al-Maria at the Whitney Museum of American Art

Reflections on Reflections

The Sketches of Mahmoud Al Rifai at FADA 317

Gülsün Karamustafa Retrospective at Hamburger Bahnhof

Lara Baladi

Walking Cabbages and Watermelons

The 9th Berlin Biennale of Contemporary Art

Ibraaz 5th Year Anniversary Editorial

The 37th EVA International

On Assumption and Authority

An Introduction to Platform 010

Organic Growth and the Rise of Visual Arts Organizations in the UAE

What are the urgent questions affecting cultural production in Turkey? I am writing from the perspective of Turkey, rather than the perspective of the Middle East and North Africa in general...

The varying political, cultural and economic circumstances of the participants of Art Dubai 2016, Design Days and the March Meeting, merit further consideration, as it is the differences among them that highlight the current constraints and opportunities for cultural production in the region.

As a historian of nineteenth- and twentieth-century Middle Eastern art, I am concerned with the urgent questions facing cultural production as well as those facing histories of cultural production. My response below reflects that concern.

To answer this question I propose an excerpt from a text in progress called 'Art and Garbage'. This piece is intended to look into the relation between urgent social problems – in this case the ongoing garbage crisis in Lebanon – and contemporary art.

There is never a neutral position for critique, but there certainly ought to be the practice of critique. And that is precisely the element that is missing in top-down formation of the art scene in West Asia and North Africa, and perhaps in the rest of the non-western art scene.

The development of a healthy regional Arab art scene, like anywhere else in the world, requires the collaborative efforts of the different components that constitute it.

Ahmad Makia

The Subversive Feminine

Edited Urbanism on Dubai Creek

A Nomadological Study of Ottoman Arab Photography

'Too Early, Too Late: Middle East and Modernity' at the Pinacoteca Nazionale di Bologna

Narratives and Ghosts from the International Art Exhibition for Palestine, 1978, at MACBA

A Curatorial Take on the Global South

Natasha Ginwala

Monira Al Qadiri

Rana ElNemr at the American University in Cairo’s Sharjah Art Gallery

On Bouchra Khalili’s Cartographies

On Nikolaj Larsen's End of Dreams

Portrait of a Salafi en abyme in the Cyber World

Nikos Papastergiadis and Gerardo Mosquera

An Art Collection as an Alternative Archive of Iranian History

Pan-Kaffirism in Iraq, South Africa, and Sri Lanka

The Cultural Centre of the Philippines opened to great political fanfare on 10 September 1969, with a ceremony that was graced by none less than California Governor Ronald Reagan and his wife Nancy acting on the orders of President Nixon.

Burak Delier

A Recourse to the Past

Here and Elsewhere at the New Museum

Building Institutions Through Practice

A Yemeni Art History

Re-Thinking Cultural Development in Palestine

Can T-Wall Murals really Beautify the Fragmented Baghdad?

Global Art Forum 8 at Katara Art Center

Burak Delier at Iniva

Arts Infrastructures and Institutions in Libya Post-Dictatorship

'I don't believe culture is nowadays negotiating social activity, political engagement and critical practices. Culture is following the forces of the market.'

'By producing an idea of the future, art transgresses official history and produces its own reality.'

'When one speaks of 'art infrastructures', it is crucial to recognize that infrastructures are, most importantly, people...and one of the most critical and urgent needs is for arts education.'

Reflections on Ashkal Alwan's Home Workspace Program, 2013-14

Reflections on Ashkal Alwan's Home Workspace Program, 2013-14

Maryam Jafri at Gasworks

The Politics of Food at Delfina Foundation

A Review

The Israeli-Palestinian Conflict and Israel's National Photography Archives as a Case Study

Ariel Hassan

A Project by Lara Baladi with an introduction by Dorothea Schoene

Transition, a photographic series by Myriam Abdelaziz

Two Projects by Sinisa Vlajkovic

A Project by Saba Innab

A Libyan Diary (Part I) - October 2011

Cecilia Andersson

Amira Hanafi

On Silence and Noise in Times of Crisis

Written by Mayssa Fattouh

Seth Ayyaz

Samah Hijawi

Repatriation of Iraq's Looted Heritage under International and Domestic Law and Practice

Farah Makni Hendaoui

The Encyclopedic Palace

Saloua Raouda Choucair, Ibrahim El-Salahi and Meschac Gaba at Tate Modern

Omar Kholeif

Profiles: Collecting Art in Lebanon at AUB Gallery, Lebanon

Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review

Amy Charlesworth

Is soft power helping or hindering the state of the arts in Jordan?

Shifting the Geographies of Sensing, Believing and Knowing

Ibraaz Platform 005 Editorial

What if Rani al Rajji and Michel De Certeau met in Beirut?

Aid and the Politics of Art in Processes of Contemporary Cultural Production

Looking for Palestine in the Jordanian Music Scene

Firstly, and most immediately, I object to the characterisation of the context in which this question is situated. There is, of course, a marketplace for what we call cultural goods, including artworks, but there's no reason to situate all artworks immediately in an economy. Things that are made solely for...

The excited chatter about unrest and uprisings in the western world has focused particularly on a number of countries in North Africa and in what we here refer to as the Middle East (meaning anything between eighteen to thirty-eight countries according to Wikipedia). In the UK, we have received a...

Correct me if I'm wrong, but the word 'demand' seems to be the key word of the poll. In relation to a 'globalised cultural economy' it refers to the core term of economics that is used to rationalise the development of prices. Talking about 'demands of news media, journalism, cultural...

In the 1990s, it would have been difficult to find an artist in Egypt who thought that any of their contemporaries would sell their work at international auction and for thousands or hundreds of thousands of dollars at that. Artists were busy negotiating other, more immediately local, elements of a...

Introduction

Artistic Practices, Collective Action and Civil Society in Tunisia

The Story of Bahrain’s Pearl Roundabout

On the Memory of a Memorial

The Net is Not a Tool, It’s an Environment

The Impossibilities of Production in New Media

A.S. Bruckstein Çoruh

A significant component of Sada's programming provides seminars, lectures, and workshops to young, emerging artists and students in Baghdad. We do this using basic Internet connection, Skype, some simple software, and a projector. A private Facebook group is the site of extensive conversations, critique and debate. This was not done...

One of the more important aspects of the uses of new media and in particular social media is the emergence and visualisation of online communities. These participant groups have utilised the tools offered by social media sites, such as the creation and exchange of user-generated content, to inform and influence...

Precarious Images, the Aesthetics of Conflict, and the Future of an Anachronism

Writing on the Walls: Transition, A Photographic Series by Myriam Abdelaziz

The Practice of Contemporary Art in Algeria Today

Anthony Downey

Politics, Media and Art after the Arab Uprisings

Cultural Institutions, Urban Development, and Regional Cinema in the Gulf Today

For a Polysemic Reading of Both City and Territory

Cultural institutions in Turkey are divided into those run by the state, local governments and private sectors; each have different culture policies and no significant collaborative policies. Contemporary art productions and practices are based in Istanbul and are dependent on private sector investments, rather than official funds. Compared to the...

Raymond Baker

Joe Khalil

One of the important developments required in the region is the expansion of a critical discourse on local artistic practices. It is crucial to gain an in-depth understanding of the various generations of art practitioners, through detailed studies of their work in relation to the relevant contexts and debates. Research...

The Middle East is not a safe place. It is either the source of news, or the witness of strange incidents. Its streets and cities are under the threat of suicidal terrorists and of tribal religious wars. The Middle East is unpredictable: its aging dictators fall overnight, its borders have...

When did the major museums of the West start taking contemporary Middle Eastern art into consideration? After 2006, with the first successful sale of Middle Eastern contemporary art by Christie's in Dubai, and the announcement shortly afterwards that Abu Dhabi was going to invest billions in museum creation. Of course,...