Search results

Ibraaz

Ibraaz

The Future Was Space Is The Place

The Future Was ZZZZZZZZ

The Future Was a Roundabout

The Future Was Global/Art/Forum

The Future Was Underwater

Francesco Jodice

Nadia Mounajjed

Sophia Al-Maria: On Automobiles

Shuruq Harb: On Agency

Ala Younis: On Curating

Guy Mannes-Abbott: On Drones

Basim Magdy: On Science Fiction

Murtaza Vali: On Domesticity

Ibraaz

Neha Vora: Warehouse as Dubai's Cultural Heritage

Edited Urbanism on Dubai Creek

An Art Collection as an Alternative Archive of Iranian History

UBIK in conversation with Isabella Ellaheh Hughes

Taysir Batniji in conversation with Silke Schmickl

Joana Hadjithomas and Khalil Joreige in conversation with Nat Muller

Lara Khaldi in conversation with Ghalya Saadawi

Sumesh Sharma in conversation with Amanprit Sandhu

Antonia Carver in conversation with Omar Kholeif

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

On the 2016 Global Art Forum ‘The Future Was’

Live

Hans Ulrich Obrist: in conversation with Omar Kholeif

Shumon Basar: in conversation with Stephanie Bailey

Shiva Balaghi: in conversation with Stephanie Bailey

Oscar Guardiola-Rivera: in conversation with Anthony Downey

Todd Reisz: in conversation with Omar Kholeif

Okwui Enwezor: in conversation with Anthony Downey

Farah Al-Nakib: in conversation with Stephanie Bailey

Adam Szymczyk: in conversation with Omar Kholeif

John Akomfrah: in conversation with Anthony Downey

Ibraaz

1971-1979 The Short Seventies (World)

Soviet Orientalism and Political Mobilisation

Ibn Khaldun’s The Muqadimmah

Crisis The End of Pearling in the Gulf (Qatar)

1972-1982 Spaceship Sheraton and the Making of Doha's Masterplans

1971-1979 The Short Seventies (UAE)

Ibraaz

Antonia Carver: Director, Art Dubai

Adam Clifton: The Next Really Great Thing: A Discussion of the Next Step in Capital

Debra Levine: Toward A Common Satisfaction of Needs

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

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,...

description

Vikram Divecha at Tashkeel

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.

Grey Noise Gallery

Green Art Gallery

Lantian Xie at Grey Noise

Object Lessons from Saadiyat Island and Gehry’s Guggenheim, Abu Dhabi

Global Art Forum 8 at Katara Art Center

Slavs and Tatars at The Third Line

Hans Haacke

A project by Fayçal Baghriche

Nikolaj Larsen

Meem Gallery, Dubai

Gulf Labor

Platform for discussion002 What relationship does visual culture have to the world we live in? Haig Aivazian 1 November 2011 The Unimaginable Things We Build is a multi-part project exploring the evolution of the rhetoric surrounding, and material state of, the tallest man-made structure in the world, Dubai's Burj Khalifa....

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,...

Sites of Return: Ramallah

O Whale, Don't Swallow Our Moon: Ramallah

Pattern Recognition: Ramallah

RE/viewing Jerusalem #2 – REturn: Jerusalem

This Sea is Mine: Gaza

Biographies

Responses

Newsha Tavakolian in conversation with Sara Raza

Nadia Kaabi-Linke in conversation with Lina Lazaar

Shezad Dawood in conversation with Sara Raza

Ziad Antar in Conversation with Anthony Downey

Jack Persekian in conversation with Basak Senova

Driss Ouadahi in conversation with Rachida Triki

Ala Ebtekar in conversation with Sara Raza

Tarek Al-Ghoussein in conversation with Anthony Downey

Guy Mannes-Abbott in conversation with Sheyma Buali

Chapter 1: Intensities

Reza Aramesh in conversation with Anthony Downey

Tarzan and Arab in conversation with Laura Allsop

Ala Younis in conversation with Liane Al-Ghusain

Abbas Akhavan in conversation with Anthony Downey

Monir Shahroudy Farmanfarmaian in conversation with Stephanie Bailey

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

Nadia Ayari in conversation with Haig Aivazian

Seth Anziska in conversation with Daniella Rose King

Magdi Mostafa: Wisdom Tower: from the series Sound Cells (Fridays)

Anas Al-Shaikh: My land, 2

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

Sulayman Al Bassam in conversation with Ala Younis

Hair and Milk Bottle: Hassan Sharif

Photographs With A Flag: Mohammed Kazem

OLGA'S NOTES, all those restless bodies: Marwa Arsanios

Yazan Khalili and Lara Khaldi in conversation with Natasha Hoare

Lidia Al-Qattan in conversation with Monira Al Qadiri

Magdi Mostafa in conversation with Clelia Coussonnet

Sohrab Kashani in conversation with Taus Makhacheva

Speaker Biographies + Synopses

Farah Al-Nakib in conversation with Todd Reisz

Abdullah Al-Mutairi in conversation with Sarah Abu Abdallah

Mahmoud Khaled in conversation with Omar Kholeif

Randa Mirza in conversation with Amira Gad

Reza Aramesh in conversation with Lara Atallah

Marwa Arsanios in conversation with Fawz Kabra

Haig Aivazian in conversation with Rayya Badran

Fayçal Baghriche in conversation with Laura Allsop

Hassan Sharif in conversation with Nujoom Al Ghanem

Mario Rizzi in conversation with Cristiana Perrella

Navine G. Khan-Dossos in conversation with Stephanie Bailey

Raed Yassin in conversation with Nat Muller

Stefano Rabolli Pansera in conversation with Stephanie Bailey

Youmna Chlala in conversation with Fawz Kabra

Nav Haq in conversation with Stephanie Bailey

Sheyma Buali in conversation with Turi Munthe and Sultan Sooud Al-Qassemi

Köken Ergun in conversation with Omar Kholeif

Mai Elwakil in conversation with Daniella Rose King

Ahd in conversation with Sheyma Buali

Raed Yassin in conversation with Stephanie Bailey

Ahmed Nagy in conversation with Mai Elwakil

Joe Namy in conversation with Garine Aivazian

Wael Shawky in conversation with Stephanie Bailey

Larissa Sansour in conversation with Sheyma Buali

Suha Shoman in conversation with Amin Alsaden

Hicham Khalidi in conversation with Daniella Rose King

Tarek Abou El Fetouh in conversation with Stephanie Bailey

Héla Ammar in conversation with Wafa Gabsi

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

Leila Al-Shami: Emerging from ‘The Kingdom of Silence’ | Beyond Institutions in Revolutionary Syria

Ibraaz

Ibraaz

Ibraaz

Sharjah Art Foundation, 17-19 March 2012

Ibraaz

Ibraaz

Isabella Ellaheh Hughes

Ibraaz

The Doris Duke Foundation for Islamic Art's Artist Residency Programme

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Aimee Dawson

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Parviz Tanavoli’s Retrospective at the Davis Museum

News JAOU Tunis 2015 008 / 18 May 2015 Jaou Tunis 2015. Copyright Kamel Lazaar Foundation. Visual Culture in an Age of Global Conflict The Kamel Lazaar Foundation is pleased to announce that it will stage a two-day conference at the National Museum of Bardo from 28–29 May, 2015. This...

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Trevor Paglen: Aesthetics

Köken Ergun: Lived Experience

Karen Mirza and Brad Butler: Social Imagination

Lawrence Abu Hamdan: Listening

Basim Magdy & Stephanie Bailey: Collective Memory

Burak Arikan & Başak Şenova: Network Data

Ibraaz

Language Arts at The Third Line

Hassan Sharif

Anas Al-Shaikh

Murtaza Vali: 'Arresting Flows, Stacking Forms'

Vikram Divecha

A Hero Never Dies: Wissam Charaf

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

In the Future They Ate From the Finest Porcelain

Ammar Al-Beik

Hammad Nasar in conversation with Reema Salha Fadda

On Navigating Without a Compass

Stephanie Bailey

Artists Intervening in Lebanese Dailies

The Art of Shirin Neshat

Sophia Al-Maria at the Whitney Museum of American Art

Mega-museums and modern artists from the Middle East

Ibraaz 5th Year Anniversary Editorial

At Ab Anbar Gallery

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

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.

Anthony Downey

Downtown Contemporary Arts Festival (D-CAF)

An Introduction to Body Art and Performance in the Gulf

Six Short Stories on Arabic Voice Acting

Ahmad Makia

An Ode to Performing Subjectivity in Research

Walead Beshty at The Institute of Fine Arts, NYU, James B Duke House

Vartan Avakian at Marfa’

Maraya Art Centre

'The following considerations on performance as an artistic medium in the region of North Africa and Middle East refer to more general problems that relate to the art form's status as an institutionalized aesthetic practice...'

Sharjah Biennial 12: The past, the present, the possible

Monira Al Qadiri

On Bouchra Khalili’s Cartographies

Portrait of a Salafi en abyme in the Cyber World

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.

The term 'Global South' is quite new to me – but since my practice is concerned with the legacy of the transatlantic slave trade and the impact colonialism has on today's power structures I find it obvious that the concept of the 'Global South' is of great relevance in my...

An Emergent Design Approach to the Gulf

Here and Elsewhere at the New Museum

Re-routing Institutional Critique

Leili Sreberny-Mohammadi

Mounira Al Solh at Sfeir-Semler Gallery, Beirut

Imagining the Future, Assembling the Past

'You can't draw desire, you have to walk it.'

'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.'

Maryam Jafri at Gasworks

The Sharjah Art Foundation's 2014 March Meeting

A Perspective on Algeria's Cultural Scene

A Review

Abdullah Al-Mutairi

Nikolaj Larsen

Youmna Chlala

Monira Al Qadiri

A project by Maha Maamoun

A Radio Series on the Poetics and Politics of Language

A Project by Lara Baladi with an introduction by Dorothea Schoene

A Project by Anahita Razmi

Two Projects by Sinisa Vlajkovic

Seher Shah's Recent Drawings

Isak Berbic

A Mother's Tongue, On Ahmad Ghossein's film My Father is Still a Communist

Marwa Arsanios

Dalia Khamissy

Cecilia Andersson

On Silence and Noise in Times of Crisis

Dena Al-Adeeb

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

Written by Mayssa Fattouh

Larissa Sansour and Soren Lind

Sohrab Kashani

Yazan Khalili Lara Khaldi

An Online Performance

Adham Faramawy

Waterside Contemporary

Palazzo Contarini Polignac, Venice

Iraq and Palestine at the 2013 Venice Biennale

Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review

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

Celebrating Arab Women Filmmakers

Shifting the Geographies of Sensing, Believing and Knowing

Ibraaz Platform 005 Editorial

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

An Exhibition between Cairo and London

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...

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

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...

vs. The Ruler was made during the first year of the Arab uprising. It is comprised of two custom-made wooden 'electrocution' chairs (thrones) sitting in opposition to each other. The patriarchal male throne suggests the military and religion. Its counterpart is also suggestive of Islamic architecture, but is grounded by...

I Think I Love You is an installation of oil paintings produced by art workers in Dafen, China. Paintings are crafted as replicas of a single, publicly-distributed image of His Highness Mohammed bin Rashid Al Maktoum, Prime Minister and Vice President of the United Arab Emirates, and constitutional monarch of...

Yes, artistic practices can offer insights into those things – but need they? Many artists in the region deftly wield smart institutional critique without breaking a sweat. But why not pass that responsibility to the audiences for their work? I think the best way to develop civil society is not...

I am broadly interested in addressing the recontextualisation of cultural heritage in the MENA region by institutions, thus aligning it in the process with current developments in contemporary art at large. Artistic practices are frequently used to measure the economic and cultural growth of geographies. This is often achieved by...

Anthony Downey

Politics, Media and Art after the Arab Uprisings

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

The two-year-old MASS Alexandria, founded by artist Wael Shawky in the working-class neighbourhood of Miami in east Alexandria, Egypt, aims to create a space for the production and dissemination of ideas and debates concerning contemporary visual culture. Apart from displaying and encouraging the consumption of art through exhibitions, it creates...

The Past is Another Country: Two Projects by Sinisa Vlajkovic

Critique of Middle Eastern art often demands that the relationship between visual culture and our world be overtly socio-political to be relevant. There is no denying that visual culture is a powerful outlet for peaceful protest. And there is certainly merit in preserving ethnicity and providing an authentic representation of...

As far as I can see, there is little room for blind people and too much space for those who don’t listen.

This is a very wide question and impossible to answer in a book, let alone a paragraph. However, it could boil down to two questions concerning visual artists, rather than visual culture per se: What can art do? And do artists have a responsibility to react and respond to their...

Initiated by the Kamel Lazaar Foundation in 2011, Ibraaz is the leading critical forum on visual culture in North Africa and the Middle East. We publish an annual online platform – consisting of essays, interviews, artists' projects, and platform responses – that focuses on research questions conceived through a network...

Walking in the Darkness of a Promised Light

Joe Khalil

Aesthetics, Civil Society, and the Politics of Representation

Copyright Notice The copyright for content on this website is held by the Ibraaz Publishing, except for material provided by other organisations, where copyright ownership is indicated. The views expressed on this website are not necessarily those of Ibraaz Publishing. You may link to us from your site, as long...