Search results

Heba Y. Amin

Nile Sunset Annex: Plotting in Egypt: Art People

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

A Report from the AUC

Tom Bogaert

The Egyptian Surrealists (1938–1965)

Rupture, War and Surrealism in Egypt (1938–1948) at the Centre Pompidou

Shady El Noshokaty in conversation with Omar Kholeif

Hassan Khan in conversation with Omar Kholeif

Jasmina Metwaly in conversation with Angela Harutyunyan

Heiko Lange in conversation with Amira Gad

Mahmoud Khaled in conversation with Omar Kholeif

Adham Hafez in conversation with Suzy Halajian

Lasse Lau in conversation with Amira Gad

Mai Elwakil in conversation with Daniella Rose King

Maha Maamoun in conversation with Aleya Hamza

Kim Beamish in conversation with Sam Bowker

Tarek Abou El Fetouh in conversation with Stephanie Bailey

The Cairo Seminar in Alexandria, dOCUMENTA (13)

Sheyma Buali

Ibraaz

An Artist-Run Gallery Space in Cairo

Contemporary Image Collective, Cairo

Aimee Dawson

William Wells in conversation at Serpentine Galleries

Basim Magdy: On Science Fiction

Doa Aly

Sondos Shabayek

Louis Henderson

Ammar Al-Beik

Mohamed Diab

A Brief History of the Shoura Council So Far: February 2015

Prayer of Fear: September 2013

A Coup or a Continuation of the Revolution?: July 2013

Martyrs of the Egyptian Revolution: December 2011

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

Invisible Architecture in Rana ElNemr’s Streams of Synonyms

Notes in a Conversation on a Film by Maha Maamoun

Wael Shawky at the Fondazione Merz

Lara Baladi

On Walking and Crawling

Downtown Contemporary Arts Festival (D-CAF)

Rana Hamadeh at The Showroom, London

An Alternative Genealogy of Musique Concrète

Shady El Noshokaty at Gypsum Gallery, Cairo

The Unspoken Battle of Self-Censorship

The group of paintings is inspired by 'momentary images' or more accurately frozen moments taken from the contemporary cityscape of Egypt, as well as from personal records; old photographs found in family albums.

In the Shadow of Nasser

A project by Maha Maamoun

A Project by Lara Baladi with an introduction by Dorothea Schoene

Naira Antoun

Roy Samaha

Transition, a photographic series by Myriam Abdelaziz

Lina Khatib

Khaled Hafez

On Presidents & Superheroes

Amira Hanafi

Tahrir Archives

Tom Bogaert

The Making of the Artwork by the Artist, the Museum and the Public

Palazzo Contarini Polignac, Venice

Tinkerings on the Instable Present Tense

Mario Rizzi’s Al Intithar (The Waiting)

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

Since the 25th of January 2011, a traditional arts programming model has become functionally irrelevant in Egypt. In this context of conflict and change, diverse publics have asked to use Townhouse's spaces in ways that extend far beyond the scope of visual arts exhibitions. Consequently, over the past year, we...

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...

Reflections from a book on South Sinai

Rachida Triki

Sites of Return: Ramallah

Cities Exhibition 5, 'Gaza – Reconstruction': Ramallah

Cities Exhibition 5, 'Gaza – Reconstruction': Gaza

A Series of Un-Curated Events: Ramallah

This Sea is Mine: Gaza

The People of the Sea: Haifa

Biographies

Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey

Reflections: Ala Younis Adania Shibli

Responses

ARC.HIVE (2006–present): Adham Hafez

Curator's Essay: Aaron Cezar

A roundtable discussion

Nadia Kaabi-Linke in conversation with Lina Lazaar

Michket Krifa in conversation with Wafa Gabsi

Tom Bogaert in conversation with Anthony Downey

Tarek Al-Ghoussein in conversation with Anthony Downey

Roy Samaha in conversation with Anthony Downey

Tarzan and Arab in conversation with Laura Allsop

Ala Younis in conversation with Liane Al-Ghusain

Zeina Arida in conversation with Laura Allsop

Rasha Salti in conversation with Fawz Kabra

Simone Fattal in conversation with Mirene Arsanios

Mario Rizzi in conversation with Dorothea Schoene

Visualizing Palestine in conversation with Haig Aivazian

Nadia Ayari in conversation with Haig Aivazian

Omar Robert Hamilton in conversation with Elisabeth Jaquette

Seth Anziska in conversation with Daniella Rose King

Chapter 3: Intervals

Chapter 2: Details

Online exhibition catalogue

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

Visitations: When aurality loses site* by Rayya Badran

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

Sulayman Al Bassam in conversation with Ala Younis

Bent Jbeil: Wael Shawky

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

Rabih Mroué in conversation with Göksu Kunak

Rasha Salti and Kristine Khouri in conversation with Samah Hijawi

Magdi Mostafa in conversation with Clelia Coussonnet

Rasha Salti in conversation with Sheyma Buali

Speaker Biographies + Synopses

Curatorial Narrative

Closing Remarks

JW Stella in conversation with Aimee Dawson

Marwa Arsanios in conversation with Fawz Kabra

Coco Fusco in conversation with Stephanie Bailey

Joana Hadjithomas and Khalil Joreige in conversation with Nat Muller

Matthias Lilienthal in conversation with Göksu Kunak

Mario Rizzi in conversation with Cristiana Perrella

Mounira al Solh in conversation with Nat Muller

Helene Kazan in conversation with Amal Khalaf

Urok Shirhan in Conversation with Stephanie Bailey

Seth Ayyaz in conversation with Sheyma Buali

Navine G. Khan-Dossos in conversation with Stephanie Bailey

Mohssin Harraki in conversation with Karima Boudou

Özgür Uçkan and Vasif Kortun in conversation with Basak Senova

Mohanad Yaqubi in conversation with Sheyma Buali

Raed Yassin in conversation with Nat Muller

Sumesh Sharma in conversation with Amanprit Sandhu

Aikaterini Gegisian in conversation with Stephanie Bailey

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

The Arab Digital Expression Foundation in conversation with Laura Cugusi

Tarek Atoui in conversation with Stephanie Bailey

Ahd in conversation with Sheyma Buali

Discussing arts infrastructure in Tehran

Ahmed Nagy in conversation with Mai Elwakil

Mona Marzouk in conversation with Aleya Hamza

Rana Hamadeh in conversation with Stephanie Bailey

Ali Cherri in conversation with Sheyma Buali

Akram Zaatari in conversation with Anthony Downey

Fulya Erdemci in conversation with Basak Senova

Wael Shawky in conversation with Stephanie Bailey

Suha Shoman in conversation with Amin Alsaden

Foundland in conversation with Nat Muller

Hicham Khalidi in conversation with Daniella Rose King

Jumana Manna in conversation with Sheyma Buali

Uriel Orlow in conversation with Omar Kholeif

Younes Bouadi in conversation with Stephanie Bailey

Louis Henderson in conversation with Amira Gad

MADRASSA Collective in conversation with Antonia Alampi

Christine Tohme in conversation with Rachel Dedman

Anthony Downey: Introduction to 'Future Imperfect'

Alia Rayyan: Recounting the Past, Present and Future

Hussam al-Saray: in conversation with Ala Younis | A Cultural Encyclopaedia of Iraq

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

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

Ibraaz

Amira Gad

Ibraaz

Sharjah Art Foundation, 17-19 March 2012

Ibraaz

Art and Culture in the ‘Imagined’ Arab World, Cornerhouse, Manchester, 13 April 2012

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

Nour K Sacranie

1967 in Art and Its Histories, June 1-2, 2012 American University of Beirut, Lebanon

Ibraaz

Ibraaz

Sheyma Buali

Malu Halasa

Two Exhibitions in Paris

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

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Future Imperfect, A Symposium

Edge of Arabia Launches Culturunners

Ibraaz

Gregory Sholette at Home Workspace Program

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Murtaza Vali: On Domesticity

Karen Mirza and Brad Butler: Social Imagination

Basim Magdy & Stephanie Bailey: Collective Memory

Hans Ulrich Obrist: in conversation with Omar Kholeif

Okwui Enwezor: in conversation with Anthony Downey

Soviet Orientalism and Political Mobilisation

Crisis The End of Pearling in the Gulf (Qatar)

1971-1979 The Short Seventies (UAE)

Wael Shawky

Atef Berredjem: Living with The Aliens (2011)

The Future Was ZZZZZZZZ

Khaled Kaddal

Kim Beamish

The Maspero Massacre: October 2011

Omar Robert Hamilton

Cevdet Erek in conversation with Başak Şenova

A two-part conversation with Szabolcs KissPál and Mahmoud Khaled

Edited by Anthony Downey (Sternberg Press, 2016)

On Navigating Without a Compass

Ala Younis

Reema Salha Fadda

Notes on Geo-cultural Exhibitions

Stephanie Bailey

Artists Intervening in Lebanese Dailies

Art By Email at Yorkshire Sculpture Park

Meeting Points 8

On Qalandiya International 2016 in Ramallah

Natasha Marie Llorens

Closing Remarks

Hassan Khan at Beirut Art Center

Hamid Dabashi

Khalid Abdalla

The Artist as Awakener at AUB

Walking Cabbages and Watermelons

At Ab Anbar Gallery

Rozemin Keshvani

Socially Engaged Art Practices in Tunisia

An Introduction to Platform 010

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

An Introduction to Body Art and Performance in the Gulf

Choreographing Spaces of Gesticulation

The Little Deaths of Christodoulos Panayiotou

An Ode to Performing Subjectivity in Research

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

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

The performative in the work of Hassan Khan

Notes on Maverickism as Genealogy and Genealogy as Approach

Between the Pessimism of the Intellect and the Optimism of the Will

Edited Urbanism on Dubai Creek

A Nomadological Study of Ottoman Arab Photography

Interventions as Performative Gestures For Political Engagement in Jordan

Determining the Axis of the Global South and Middle East

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

Natasha Ginwala

Lantian Xie at Grey Noise

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

On Nikolaj Larsen's End of Dreams

On the Work of Basma Alsharif

Portrait of a Salafi en abyme in the Cyber World

An Art Collection as an Alternative Archive of Iranian History

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

Tina Sherwell

Here and Elsewhere at the New Museum

Building Institutions Through Practice

A Yemeni Art History

Re-routing Institutional Critique

Downtown Contemporary Arts Festival (D-CAF)

Imagining the Future, Assembling the Past

Arts Infrastructures and Institutions in Libya Post-Dictatorship

What Does It Mean to Be Building a Library in Iraq?

'The future of art infrastructures in the region is still very much determined by pre-existing cultural misconceptions applied to audiences... During the last four years in Cairo, I've witnessed in several occasions how part of the audience has been marginalized according to nationality, class, race or economic income.'

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 Sharjah Art Foundation's 2014 March Meeting

Mirene Arsanios

A Perspective on Algeria's Cultural Scene

The Politics of Food at Delfina Foundation

HIWAR | Conversations in Amman

Malak Helmy and Sophia Al Maria

Malak Helmy

Uriel Orlow

Aikaterini Gegisian

Mohamed Abdelkarim

Mahmoud Khaled

Iman Issa

Jasmina Metwaly

Medrar .TV

Basak Senova on Zeren Göktan's Counter (2013)

Mahmoud Khaled

Yousef Moscatello

A project by Yousef Moscatello

A Libyan Diary (Part I) - October 2011

Wendelien van Oldenborgh

Marwa Arsanios

Projects 'Graphic Witness' at Drawing Room, London 010 / 16 June 2017 When images of conflict and protest can be so easily captured on mobile devices, why translate them into graphic representations? How does the translation into graphic form change the act of witnessing, fabricate commentaries on instances of injustice,...

Shadi Habib Allah

Maryam Monalisa Gharavi

Basma Alsharif

Ahmed Badry

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

Yazan Khalili Lara Khaldi

An Online Performance

Seth Ayyaz

Urok Shirhan

Adham Faramawy

Samah Hijawi

Through art practices, particularly in this region, the artist might slip into this muddy area, which is mostly based on fetishes and collective political memory and which somehow stands on the most influential component of media archive. It is not necessarily only that which is visible and legible, but more...

Akira Mizuta Lippit, in Atomic Light (Shadow Optics), characterizes the shadow archive as what cannot be archived, and therefore survives when the archive is destroyed. The shadow archive describes the majority of Arab cultural memory, which survives in non-visual traces, such as the work done by memory and imagination in...

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

When family members die they take their memories, facts and figures with them. Their stories, as well as their lies and omissions, become harder to track after they've gone. They leave behind mountains of material , with few entry points. If you dare to enter, you will find yourself alone...

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

The 13th Istanbul Biennial

Waterside Contemporary

The Encyclopedic Palace

Literary Affects and the New Political by Tarek El-Ariss

Iraq and Palestine at the 2013 Venice Biennale

Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review

Gezira Art Center, Cairo

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

Gulf Labor

An Exhibition between Cairo and London

Basim Magdy at Newman Popiashvili

The Problem of Nationality

Refraction: Moving Images on Palestine at P21 Gallery

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...

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.

Objects in Mirror are Closer than they Appear

Artistic Practices, Collective Action and Civil Society in Tunisia

What has Changed in Tunisia since Spring 2011

Jens Maier-Rothe

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

The Shifting Narrative of Uprising

Tarek Khoury

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

Theatre As a Tool of Empowerment

Foundland

'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...

Platform for discussion004 With the benefit of hindsight, what role does new media play in artistic practices, activism, and as an agent for social change in the Middle East and North Africa today? Basim Magdy 2 November 2012 Basim Magdy Every Subtle Gesture, 2012 - ongoing Colour prints on Fuji...

Using new media tools and technologies available today has become standard practice for a range of activities; it's become a source of educational content and entertainment, as well as a means of communicating from conflict zones or even from the comfort of our homes. New media technologies available on smart...

New media's role as an agent for social change in the MENA region has been somewhat sensationalised by mainstream media in referring to recent incidents of unrest as 'Facebook' or 'Twitter revolutions'. Whether used for the purpose of social exchange or as part of an artistic practice, real-time communication and...

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...

I treated a young homeless kid to some tea at the local coffee shop one morning and asked him how he usually spent his day. He told me he would hang out on the street, ask people for money so that later in the evening he would go to the...

News from the Arab World reaches western audiences on a daily basis. The various analogue and online formats of media – TV, radio, newspapers, and blogs – are extensively reporting on the events in this region. In Berlin, and certainly elsewhere in Europe, cultural institutions and festivals reacted very quickly...

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

Anthony Downey

Politics, Media and Art after the Arab Uprisings

Perceptions of Occupation and Control in Cyprus

'The young conservatives embrace the fundamental experience of aesthetic modernity – the disclosure of a de-centered subjectivity, freed from all constraints of rational cognition and purposiveness, from all imperatives of labour and utility – and in this way break out of the modern world. They transpose the spontaneous power of...

Yazid Anani

During the July sit-in in Tahrir Square in Cairo, the site of the revolution at the beginning of the year, a group of artists and filmmakers lit up a corner of the square with an open-source 'revolutionary' screen: Tahrir Cinema . Every night, a filmmaker, journalist or activist presented a...

It is so difficult to imagine the people in the world now getting their cultural resources without a visual component, especially in the Arab world where the photograph is becoming increasingly dominant in the media. For example, most newspapers and Arabic magazines are giving much more space to photographs, considering...

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...

Ela Greenberg

Raymond Baker

Joe Khalil

The question 'What do we need to know about the MENA region today?' triggered a series of questions from my part. My contribution will be these questions; the aim is to start a game of Q&Q (instead of a Q&A) with no rules and no time limits. Who is this...

In an email dialogue between Beirut-based architect Tony Chakar and critic Stephen Wright (published in the catalogue for Out of Beirut at Modern Art Oxford in 2006), Chakar takes Wright to task for his habitual use of the label 'Middle East': 'The more I thought about it the more it...

Richard Sennett calls 'we' a weasel word. Which 'we' is hailed in this project? Let's say that this 'we' is in the West, and that it doesn't include politicians and policy-makers but ordinary people. My answer to this question is certainly different than it would have been six months ago....

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,...

Mark Westmoreland

History repeats itself – this line used across the disciplines is a proven liturgy to contemporary compendiums. When you detail the visual narratives, the region becomes the medium designed to mark your place in history. Whether in the Stone Age or the Digital Age, information is your power, and revolution...

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...