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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 certain respects, the demands on contemporary artists issued forth by a (purportedly novel) globalised cultural economy are starkly obvious in the Arab world. The concurrent fascination with contemporary art and the region has resulted in the now well-documented - and equally well-debated - critical and curatorial investment in contemporary...

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

Tom Snow

It stipulates in my working contract as a professor in Middle East history at Leiden University that I must participate in 'media outreach'. This means that I must either seek out media outlets and contribute to a particular conversation about the Middle East, or, if contacted by a media representative,...

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...

Demonstrations by Palestinian villagers against Israeli colonisation has been described by non-local media sources as 'theatrics' and 'spectacle.' Such categorisation positions Palestinian acts of protest in the realm of 'acting'- a visual 'show' for the cameras, complete with homemade props, a soundtrack of chants performed to the rhythm of Israeli...

A few Middle Eastern and North African countries having a strong control over means of expression are now present in some major artistic international events such as the Venice Biennale. The concept of national pavilions provides a vivid example demonstrating how international relations and diplomatic issues can influence artistic productions...

Basim Magdy, 13 Essential Rules for Understanding the World , 2011, super 8 film transferred to HD video, 5 min. 16 sec. Courtesy the artist and Newman Popiashvili Gallery, New York.

The globalisation of the modern art world is a fact. The rise of new economic powers has led to a shift in the balance of power in the art world as well. No longer is there one centre. Instead, we are faced with a mosaic of centres spread around the...

This is a big question with a lot of big words so I can either try and break down the question and resolve some of the semantic issues with it or simplify the question and try and answer that. Either way my response could be an essay, which I don't...

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...

A new book has surfaced on the shelves of Lebanese and possibly Arab bookstores. The title reads: Pure Nostalgia . As in Exclusive Nostalgia, as in free from this contaminated present . The emergence of this publication is perhaps symptomatic of something larger than a trivial nostalgia quenched by the...

In the globalised world we live in, I feel that creating the image of an enemy becomes a difficult task. It becomes difficult to name and make symbols for an enemy – an abstract 'evil' – since things are never abstract, but always and at any time connected and related.

Critical reflections on Ibraaz publications

Cities Exhibition 5, 'Gaza – Reconstruction': Ramallah

A Series of Un-Curated Events: Ramallah

Moments for Possibilities 'Air, Land and Sea': London

Biographies

Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey

Foreword: Anthony Downey

Responses

Hassan Khan in conversation with Omar Kholeif

Ala Younis in conversation with Liane Al-Ghusain

Zeina Arida in conversation with Laura Allsop

Rasha Salti in conversation with Fawz Kabra

Nadia Ayari in conversation with Haig Aivazian

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

Speaker Biographies + Synopses

Koyo Kouoh in conversation with Stephanie Bailey

Reem Fadda in conversation with Fawz Kabra

JW Stella in conversation with Aimee Dawson

Marwa Arsanios in conversation with Fawz Kabra

Coco Fusco in conversation with Stephanie Bailey

ismaël in conversation with Wafa Gabsi

Lara Khaldi in conversation with Ghalya Saadawi

Mohssin Harraki in conversation with Karima Boudou

Özgür Uçkan and Vasif Kortun in conversation with Basak Senova

Yael Bartana in conversation with Clelia Coussonnet

Raed Yassin in conversation with Nat Muller

Maryam Monalisa Gharavi in conversation with Mirene Arsanios

Sumesh Sharma in conversation with Amanprit Sandhu

Vangelis Vlahos in conversation with Stephanie Bailey

Tarek Atoui in conversation with Stephanie Bailey

Monira Al Qadiri in conversation with Stephanie Bailey

Maryam Jafri in conversation with Stephanie Bailey

Akram Zaatari in conversation with Anthony Downey

Adelina von Fürstenberg in conversation with Stephanie Bailey

Jumana Manna in conversation with Sheyma Buali

WHW in conversation with Omar Kholeif

MADRASSA Collective in conversation with Antonia Alampi

Amar Kanwar in conversation with Stephanie Bailey

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

Ibraaz

Questions to be addressed

Ibraaz

A Report on Future City

Ibraaz

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...

Almagul Menlibayeva in conversation with Basak Senova

On the 2016 Global Art Forum ‘The Future Was’

At the Salzburger Kunstverein

Shiva Balaghi: in conversation with Stephanie Bailey

Soviet Orientalism and Political Mobilisation

Neha Vora: Warehouse as Dubai's Cultural Heritage

Vikram Divecha

Trace Environments: Sovereignty, toxicity and the littoral

Edited by Anthony Downey (Sternberg Press, 2016)

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,...

Platform 010 Editorial

On Navigating Without a Compass

Notes on Geo-cultural Exhibitions

Notes on a film by Kamal Aljafari

Exhibitions and Other Representations in 25 Years at Witte de With

The Sketches of Mahmoud Al Rifai at FADA 317

The 9th Berlin Biennale of Contemporary Art

Ibraaz 5th Year Anniversary Editorial

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

Forests, Freaks and Performativity

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

Downtown Contemporary Arts Festival (D-CAF)

Choreographing Spaces of Gesticulation

Ahmad Makia

The Performance of Death in a Post-9/11 World

The 14th Istanbul Biennial 2015

Edited Urbanism on Dubai Creek

A Nomadological Study of Ottoman Arab Photography

Notes on a Giant Implosion

Street Art in the Mediterranean Border Zones

On Bouchra Khalili’s Cartographies

Nikos Papastergiadis and Gerardo Mosquera

Instead of focusing on the location of the 'MENA' in the context of the Global South, I will speak from the perspective of how such a location is of relevance to South Asia (which will be excusable, I hope, since 'MENA' is often compounded with 'SA' to form MENASA in...

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.

A Provocation to the Question

Burak Delier

Here and Elsewhere at the New Museum

Re-Thinking Cultural Development in Palestine

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

In a globalized and quite complex world we need 'tools' to help shape our societies. This is what art institutions could be: giant toolboxes!

A Perspective on Algeria's Cultural Scene

A Review

Mahmoud Bakhshi

The Society of False Witnesses

Amira Hanafi

On Silence and Noise in Times of Crisis

The Search for 'Nurafkan'

The Museum of Islamic Art in Doha and the Asian Civilizations Museum in Singapore

Waterside Contemporary

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

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

Gulf Labor

Nadia Mounajjed

Nasrin Tabatabai & Babak Afrassiabi at Chisenhale Gallery

Introduction

Objects in Mirror are Closer than they Appear

Artistic Practice from Tirana to Tangier

The Story of Bahrain’s Pearl Roundabout

What has Changed in Tunisia since Spring 2011

On the Memory of a Memorial

A New Communal Model

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

The Impossibilities of Production in New Media

Artistic Practices, Civil Society, and Secular Determination in Tunisia Today

'Networks have no inside, only radiating connectors. They are all edges. They provide connections but no structure. One does not reside in a network, but rather moves to other points through the edges'. Bruno Latour, 'Some Experiments in Art and Politics', e-flux journal, 03/2011. With the benefit of hindsight, one...

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...

The state of the Internet, or more specifically, the state of 'online surfing' is similar to that of dreaming; things leach into each other according to a logic that does not belong to us and cannot be correlated to our chronological time; images are constantly morphing into ghosts of other...

The Practice of Contemporary Art in Algeria Today

Anthony Downey

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...

Yazid Anani

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...

Raymond Baker

Joe Khalil

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