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Ibraaz in partnership with Winchester Centre for Global Futures in Art

Ibraaz Talks: Wafaa Bilal

An Art Collection as an Alternative Archive of Iranian History

A Recourse to the Past

A Review

Creative Time Reports

Modernism, Architecture, and National Heritage under the Pahlavi Monarchs

Post-Revolutionary Iranian Art at SOAS

Contemporary Artistic Practice in Iran at a Revolutionary Moment

Shirin Neshat

Newsha Tavakolian in conversation with Sara Raza

Ala Ebtekar in conversation with Sara Raza

Monir Shahroudy Farmanfarmaian in conversation with Stephanie Bailey

Sohrab Kashani in conversation with Taus Makhacheva

Sussan Deyhim in conversation with Sheyma Buali

Morehshin Allahyari in conversation with Hannah Gregory

Discussing arts infrastructure in Tehran

Parastou Forouhar in conversation with David Hodge and Hamed Yousefi

10 Years On: Art and Everyday Life in Iraq and Iran

Parviz Tanavoli’s Retrospective at the Davis Museum

Ibraaz Talks: Slavs and Tatars

Shirin Neshat

Iranian Carpet: Amir Mousavi

Making of.. Kiarostami Carpet

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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The Art of Shirin Neshat

Participatory Art in the Middle East

Tehran’s Self-portrait

Azin Feizabadi

An Image of a Revolution

Palazzo Contarini Polignac, Venice

Kuwait’s National Works at the 55th Venice Biennale

Artistic Practice from Tirana to Tangier

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

Biographies

Lina Lazaar

Nadia Kaabi-Linke in conversation with Lina Lazaar

Michket Krifa in conversation with Wafa Gabsi

Lida Abdul in conversation with Sara Raza

Chapter 1: Intensities

Reza Aramesh in conversation with Anthony Downey

Wafaa Bilal in conversation with Sara Raza

Sheikha Hoor Al-Qasimi in conversation with Stephanie Bailey

Seth Anziska in conversation with Daniella Rose King

Chapter 3: Intervals

A Question: Jalal Toufic

Rabih Mroué in conversation with Göksu Kunak

Speaker Biographies + Synopses

Slavs and Tatars in conversation with Franz Thalmair

Reza Aramesh in conversation with Lara Atallah

JW Stella in conversation with Aimee Dawson

Caveh Zahedi in conversation with Stephanie Bailey

Hiwa K in conversation with Anthony Downey and Amal Khalaf

Urok Shirhan in Conversation with Stephanie Bailey

Navine G. Khan-Dossos in conversation with Stephanie Bailey

Özgür Uçkan and Vasif Kortun in conversation with Basak Senova

Walid Siti in conversation with Nat Muller

Timo Nasseri in conversation with Laura Allsop

Rabih Mroué in conversation with Anthony Downey

Eric Van Hove in conversation with Natasha Hoare

Maryam Monalisa Gharavi in conversation with Mirene Arsanios

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

Leeza Ahmady in conversation with Taus Makhacheva

Jonas Staal in conversation with Stephanie Bailey

Vangelis Vlahos in conversation with Stephanie Bailey

Köken Ergun in conversation with Omar Kholeif

Mai Elwakil in conversation with Daniella Rose King

Monira Al Qadiri in conversation with Stephanie Bailey

Hisham Al-Madhloum in conversation with Stephanie Bailey

Nida Sinnokrot in conversation with Natasha Hoare

Hicham Khalidi in conversation with Daniella Rose King

Uriel Orlow in conversation with Omar Kholeif

Christine Tohme in conversation with Rachel Dedman

Fadi Bardawil in conversation with Zeynep Oz

Hamza Halloubi in conversation with Natasha Hoare

Sharjah Art Foundation, 17-19 March 2012

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

Sara Raza

Ibraaz

Malu Halasa

Two Exhibitions in Paris

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

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Regional vis-à-vis Global Discourses: Contemporary Art from the Middle East

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Edge of Arabia Launches Culturunners

Ibraaz

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Language Arts at The Third Line

Live

Shiva Balaghi: in conversation with Stephanie Bailey

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)

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

Yellow, Blue, Red: Ali Karim

From Carpet to Celestial Heavens: Hamideh Razavi

A tribute by Gelareh Kiazand

Reema Salha Fadda

Notes on Geo-cultural Exhibitions

Art By Email at Yorkshire Sculpture Park

Katia Kameli at the Mosaic Rooms

Inspired by calligraphy

Hamid Dabashi

Sophia Al-Maria at the Whitney Museum of American Art

Mega-museums and modern artists from the Middle East

Walking Cabbages and Watermelons

At Ab Anbar Gallery

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

On Assumption and Authority

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

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.

Choreographing Spaces of Gesticulation

Ahmad Makia

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

An Alternative Genealogy of Musique Concrète

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

Adel Abidin presents Subway Scene (2015).

A Nomadological Study of Ottoman Arab Photography

Performing Armenity at the 56th Venice Biennale

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

Contemporary Cinema from North Africa

Monira Al Qadiri

On Nikolaj Larsen's End of Dreams

Portrait of a Salafi en abyme in the Cyber World

In the years that followed the destruction of the Berlin Wall, which triggered the rise of post-colonial studies, the definition of the term 'the Global South' has changed dramatically.

A Provocation to the Question

Can T-Wall Murals really Beautify the Fragmented Baghdad?

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

Mounira Al Solh at Sfeir-Semler Gallery, Beirut

Slavs and Tatars at The Third Line

Maryam Jafri at Gasworks

Jananne Al-Ani, Excavations, at the Hayward Gallery Project Space

Haleh Redjaian at Arratia Beer

Oreet Ashery

Setareh Shahbazi

A Project by Anahita Razmi

Marwa Arsanios

Mahmoud Bakhshi

Setareh Shahbazi

On Silence and Noise in Times of Crisis

Dena Al-Adeeb

Sohrab Kashani

I envision the liberation of an archive (from attachment to a person, state, or region) through its transfiguration into a database. This emancipation requires dematerialization and displacement.

...one of the main problems with modernity in the Arab World is the lack of credibility, criticality and scrutiny in understanding, presenting, and evaluating its nature and objects.

The Search for 'Nurafkan'

The Recordings of the Cosmopolitan

An I for an Eye and Death of a Cameraman

The 4th Thessaloniki Biennale

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

Waterside Contemporary

Profiles: Collecting Art in Lebanon at AUB Gallery, Lebanon

Iraq and Palestine at the 2013 Venice Biennale

Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review

Celebrating Arab Women Filmmakers

Shifting the Geographies of Sensing, Believing and Knowing

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

Looking for Palestine in the Jordanian Music Scene

An Exhibition between Cairo and London

Nasrin Tabatabai & Babak Afrassiabi at Chisenhale Gallery

Refraction: Moving Images on Palestine at P21 Gallery

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.

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...

Introduction

Jens Maier-Rothe

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

Platform for discussion002 What relationship does visual culture have to the world we live in? Newsha Tavakolian 1 November 2011 Newsha Tavakolian, 2011 Photograph Courtesy of the artist 7: Members of the voluntary paramilitary force, the baseej, shot and killed one man and wounded others in a one million strong...

Visual Culture since 3000BC

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

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...

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,...

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