Search results

Monira Al Qadiri

Seth Ayyaz in conversation with Sheyma Buali

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

Lina Lazaar

Randa Mirza in conversation with Amira Gad

Language Arts at The Third Line

Notes on a Giant Implosion

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

Meriem Bennani

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

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...

Middle Eastern culture, which is Islamic and mainly very conservative, is in the process of redefining its interpretation of, and relationship to, visual culture. The role of contemporary art in the Middle East is different to that in many parts of world. Design, advertising, media, performance, photography, conceptual art, new...

For so many decades the region of MENA has been synonymous with religious extremism, oppression of women, dictatorial regimes and, at varying levels, high rates of illiteracy and backwardness. In the last decade of the twentieth century the region has seen various political tumults including Islamic terrorism and its war...

نصوص تقاطع الأعمال الفنّيّة

مدن 5 | غزة، باللون الأحمر

"الأيدي العائدة | حول معرض "يا حوت لا توكل قمرنا

"اسم الجدّة | عن العمل الفوتوغرافي "مراية تيتا" لرندة شعث، من معرض "أهل البحر

متمردون بالمصادفة، سنوات لا ترحم" عن "العودة" غير المألوفة في المشهد الفلسطيني"

لما شتَّت الدنيا سمك

عودة" ليلية يقودها الحمام"

آثار حيَّة | على الطريق من النقب إلى كانبيرا

Edited by Anthony Downey & Lina Lazaar (Ibraaz Publishing, 2011)

Edited by Anthony Downey (jrp|ringier, 2015)

A tool-guide by Temporary. Art. Platform. (T.A.P.) with Nayla Geagea

Critical reflections on Ibraaz publications

Publications كتابة هذا البحر 010 / 31 August 2017 تمت كتابة هذه النصوص بأعقاب قلنديا الدولي 2016 نسخة 'هذا البحر لي'، وفي إطار مساق 'الكتابة مع الصور' وهو مساق تجريبي بادر إليه برنامج الثقافة والفنون في مؤسسة عبد المحسن القطَّان وتم تنظيمه بشراكة المتحف الفلسطيني وجمعية الثقافة العربية، ورواق، ومركز...

Humans from Palestine, The Karimeh Abbud Award Exhibition: Bethlehem

Sites of Return: Ramallah

Cities Exhibition 5, 'Gaza – Reconstruction': Ramallah

Cities Exhibition 5, 'Gaza – Reconstruction': Gaza

O Whale, Don't Swallow Our Moon: Ramallah

Pattern Recognition: Ramallah

A Series of Un-Curated Events: Ramallah

/Tilted/: Ramallah

RE/viewing Jerusalem #2 – REturn: Jerusalem

The Jerusalem Show VIII 'Before and After Origins': Jerusalem

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

This Sea is Mine: Amman

This Sea is Mine: Gaza

Sea of Stories: Beirut

The People of the Sea: Haifa

Biographies

After Thoughts: Shuruq Harb

Programme Downloads

Acknowledgements

Partner institutions

Encounters Programme

Bethlehem

Amman

London

Ramallah & Al-Bireh

Jerusalem

Haifa

Gaza

Beirut

Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey

Reflections: Ala Younis Adania Shibli

Foreword: Anthony Downey

Introduction: Qi2016 Curatorial Team

Responses

Acknowledgements

Installation Views

ARC.HIVE (2006–present): Adham Hafez

Curator's Essay: Aaron Cezar

Foreword: Anthony Downey

Exhibition Overview

Shirin Neshat

Installation views

Newsha Tavakolian in conversation with Sara Raza

Shezad Dawood in conversation with Sara Raza

Adonis in conversation with Laura Allsop

Michket Krifa in conversation with Wafa Gabsi

Jeanno Gaussi in conversation with Dorothea Schoene

Nathan Witt in conversation with Amira Gad

Bouchra Khalili in Conversation with Dorothea Schoene

Chapter 1: Intensities

Tarzan and Arab in conversation with Laura Allsop

Wafaa Bilal in conversation with Sara Raza

Simone Fattal in conversation with Mirene Arsanios

Mario Rizzi in conversation with Dorothea Schoene

Yuko Hasegawa in conversation with Walter D. Mignolo and Stephanie Bailey

Sheikha Hoor Al-Qasimi in conversation with Stephanie Bailey

Monir Shahroudy Farmanfarmaian in conversation with Stephanie Bailey

Marie-Monique Steckel in conversation with Fawz Kabra

Downloadable Exhibition Guide

Fractures: Children's Activity Book

Chapter 7: Fabric

Chapter 6: Writing

Chapter 5: Lines

Chapter 4: Measures

Chapter 3: Intervals

Chapter 2: Details

A Question: Jalal Toufic

Editor's Foreword: Anthony Downey

Preface: Jack Persekian

Introduction: Basak Senova

Online exhibition catalogue

A View from the City: Tina Sherwell

Acknowledgements

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

Basma Alsharif: We Began by Measuring Distance

Joe Namy: space, breath, time

Samah Hijawi: Paradise Series

Jumana Emil Abboud: A Happy Ending, Part II

Anas Al-Shaikh: My land, 2

Visitations: When aurality loses site* by Rayya Badran

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

Curator's Introduction

Foreword: Anthony Downey

Exhibition Overview

Looking at Wafaa Bilal's Domestic Tension : Barrak Alzaid

Sulayman Al Bassam in conversation with Ala Younis

End of War in Iraq: The Yes Men and Steve Lambert

Performance documentation: Lin Yilin

Chic Point Fashion for Israeli Checkpoints: Sharif Waked

Bent Jbeil: Wael Shawky

Hair and Milk Bottle: Hassan Sharif

Two Gunshots Fired at the Installation Dialogue : Xiao Lu

Photographs With A Flag: Mohammed Kazem

I March In The Parade Of Liberty But As Long As I Love You I'm Not Free: Sharon Hayes

Variation on Discord and Divisions: Mona Hatoum

Crossing Surda (a record of going to and from work): Emily Jacir

Operation Atropos: Coco Fusco

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

A Tress of Hair: Doa Aly

Rabih Mroué in conversation with Göksu Kunak

Lidia Al-Qattan in conversation with Monira Al Qadiri

Magdi Mostafa in conversation with Clelia Coussonnet

Programme / Schedule

Speaker Biographies + Synopses

Curatorial Narrative

Introduction

Online exhibition catalogue

Farah Al-Nakib in conversation with Todd Reisz

Closing Remarks

Meriem Bennani in conversation with Myriam Ben Salah

Online Programme

Video documentation: Day 2

Video documentation: Day 1

Slavs and Tatars in conversation with Franz Thalmair

Online exhibition catalogue

Haig Aivazian in conversation with Rayya Badran

Adel Abidin in Conversation with Basak Senova

Sussan Deyhim in conversation with Sheyma Buali

Fayçal Baghriche in conversation with Laura Allsop

Morehshin Allahyari in conversation with Hannah Gregory

Caveh Zahedi in conversation with Stephanie Bailey

Mario Rizzi in conversation with Cristiana Perrella

Hiwa K in conversation with Anthony Downey and Amal Khalaf

Online exhibition catalogue

Farah Saleh in conversation with Marianna Liosi

Navine G. Khan-Dossos in conversation with Stephanie Bailey

Mohssin Harraki in conversation with Karima Boudou

Hrair Sarkissian in conversation with Raed Yassin

Timo Nasseri in conversation with Laura Allsop

Raed Yassin in conversation with Nat Muller

Sumesh Sharma in conversation with Amanprit Sandhu

Anthony Downey and Beatrix Ruf in conversation with Slavs and Tatars

Leeza Ahmady in conversation with Taus Makhacheva

Jonas Staal in conversation with Stephanie Bailey

Köken Ergun in conversation with Omar Kholeif

Monira Al Qadiri in conversation with Stephanie Bailey

Hisham Al-Madhloum in conversation with Stephanie Bailey

Discussing arts infrastructure in Tehran

Ahmed Nagy in conversation with Mai Elwakil

Wael Shawky in conversation with Stephanie Bailey

Parastou Forouhar in conversation with David Hodge and Hamed Yousefi

Carole Alfarah in conversation with María Gómez López

Suha Shoman in conversation with Amin Alsaden

Adelina von Fürstenberg in conversation with Stephanie Bailey

Hicham Khalidi in conversation with Daniella Rose King

Jumana Manna in conversation with Sheyma Buali

Kim Beamish in conversation with Sam Bowker

A View from Afar: Stephanie Bailey

Fadi Bardawil in conversation with Zeynep Oz

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

Nile Sunset Annex: Plotting in Egypt: Art People

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

Reflections 03

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

Coline Milliard

Rachida Triki

Sara Raza

Ibraaz

Sheyma Buali

Ibraaz

Two Exhibitions in Paris

Future Imperfect, A Symposium

Aimee Dawson

Ibraaz

Ibraaz

Ibraaz

Edge of Arabia Launches Culturunners

Parviz Tanavoli’s Retrospective at the Davis Museum

Ibraaz

Almagul Menlibayeva in conversation with Basak Senova

Ibraaz

Ibraaz

The Art for Tomorrow Conference 2016 in Doha

The Public and Intimate Lives of Arabic Calligraphy

Live

Shumon Basar: in conversation with Stephanie Bailey

Oscar Guardiola-Rivera: in conversation with Anthony Downey

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

Seth Ayyaz

The Future Was ZZZZZZZZ

Shirin Neshat

Kim Beamish

Kauther

Jim Quilty

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

Edited by Anthony Downey (IB Tauris, 2014)

Edited by Anthony Downey (IB Tauris, 2015)

Edited by Anthony Downey (Walther König Verlag, 2017)

Edited by Anthony Downey (Sternberg Press, 2016)

description

Ala Younis

Reema Salha Fadda

Contour Biennale 8

Notes on Geo-cultural Exhibitions

Stephanie Bailey

Inspired by calligraphy

Exhibitions and Other Representations in 25 Years at Witte de With

The Art of Shirin Neshat

Gülsün Karamustafa Retrospective at Hamburger Bahnhof

Lara Baladi

The Artist as Awakener at AUB

Rozemin Keshvani

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

Barrak Alzaid

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...

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.

Of course, I do not wish to be misunderstood as arguing for nativism or closure. But the specific history of the region matters deeply, as factual evidence, but even more so in terms of identifying resources that can be transformed and activated in new ways today.

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.

Anthony Downey

An Introduction to Body Art and Performance in the Gulf

Choreographing Spaces of Gesticulation

Ahmad Makia

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

A Nomadological Study of Ottoman Arab Photography

Interventions as Performative Gestures For Political Engagement in Jordan

Franco Berardi

Lara Khaldi

Determining the Axis of the Global South and Middle East

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

Contemporary Cinema from North Africa

Natasha Ginwala

Street Art in the Mediterranean Border Zones

Portrait of a Salafi en abyme in the Cyber World

An Art Collection as an Alternative Archive of Iranian History

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 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

An Emergent Design Approach to the Gulf

A Recourse to the Past

Building Institutions Through Practice

Re-Thinking Cultural Development in Palestine

Re-routing Institutional Critique

Can T-Wall Murals really Beautify the Fragmented Baghdad?

In the Shadow of Nasser

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

Global Art Forum 8 at Katara Art Center

Burak Delier at Iniva

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?

"Neither identification with an institution nor disengagement from an institution guarantees fluid, sensitive attitudes and openmindedness."

'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.'

Post-Revolutionary Iranian Art at SOAS

A Perspective on Algeria's Cultural Scene

Haleh Redjaian at Arratia Beer

A Review

Almagul Menlibayeva

Abdullah Al-Mutairi

Sarah Abu Abdallah

Malak Helmy and Sophia Al Maria

Oreet Ashery

(The Differences Between The Parts Are The Subject of The Composition)

Eric Baudelaire

Santiago Mostyn

Taus Makhacheva

Malak Helmy

Yogesh Barve & Clark House Initiative

Nikolaj Larsen

Simohammed Fettaka & Basak Senova

Basma Alsharif

Mounira Al Solh

Hera Büyüktaşçıyan

Rosana Palazyan

Ariel Hassan

Youmna Chlala

Meriç Algün Ringborg

Uriel Orlow

Leung Chi Wo

Aikaterini Gegisian

Campus in Camps and Grupo Contrafilé

Shezad Dawood

Mohamed Fariji

Isak Berbic

Caline Aoun

Mohamed Abdelkarim

Mahmoud Khaled

Azin Feizabadi

Monira Al Qadiri

Iman Issa

Jasmina Metwaly

Thoughts on Art and Art Discourse

Medrar .TV

Adelita Husni-Bey

Wafaa Bilal at Maraya Art Park, Sharjah

Elif Öner and Vincent Rozenberg

Setareh Shahbazi

Notes from three spaces in which the law resounds

An online archive by Lucien Samaha

A project by Ali Cherri

A project by Jumana Manna and Sille Storihle

A project by Maha Maamoun

A project by Katia Kameli

The Circus (2)

A Story of an Exhibition

On the Rooftop

A Radio Series on the Poetics and Politics of Language

The Part about the Bandits Pt.2

Basak Senova on Zeren Göktan's Counter (2013)

Hans Haacke

Sophia Al-Maria

Raed Yassin

Lasse Lau

Cynthia Zaven

Adelita Husni-Bey

A Project by Robin Kahn

A Video Game Mausoleum for Bashar al-Assad

Documenting the Backlash

A Project by Lara Baladi with an introduction by Dorothea Schoene

An Image of a Revolution

Elevator Advertisements

Mahmoud Khaled

Naira Antoun

Makan

Dream Homes and Community-building

Roy Samaha

Yousef Moscatello

A Story in Parts

A project by Tom Bogaert for Ibraaz

Continuing Traditions of Satire, Art and the Struggle for Freedom in Syria

A project by Yousef Moscatello

A project by Fayçal Baghriche

A Project by Anahita Razmi

Transition, a photographic series by Myriam Abdelaziz

Two Projects by Sinisa Vlajkovic

Seher Shah's Recent Drawings

Isak Berbic

A Project by Saba Innab

A Project by Dictaphone Group

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

A Libyan Diary (Part III) - December 2011

A Libyan Diary (Part II) - November 2011

Mustapha Benfodil

Lina Khatib

Khaled Hafez

Nikolaj Larsen

A Libyan Diary (Part I) - October 2011

Wendelien van Oldenborgh

Marwa Arsanios

Batroun Projects

On Presidents & Superheroes

Dalia Khamissy

Francesco Jodice

Cecilia Andersson

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,...

Mahmoud Bakhshi

A project by Benji Boyadgian

Shadi Habib Allah

Maryam Monalisa Gharavi

Zamir Suleymanov

The Society of False Witnesses

Basma Alsharif

Morehshin Allahyari

Kamal Aljafari

Navine G. Khan-Dossos

Setareh Shahbazi

Amira Hanafi

On Silence and Noise in Times of Crisis

Tahrir Archives

Dena Al-Adeeb

Ahmed Badry

Maya Chami

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

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

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

Tom Bogaert

Written by Mayssa Fattouh

Larissa Sansour and Soren Lind

Zoukak Theatre Company

Sohrab Kashani

Yazan Khalili Lara Khaldi

An Online Performance

Seth Ayyaz

Burak Delier

Urok Shirhan

Adham Faramawy

Hassan Khan

Hasan Hujairi

Joe Namy

Helene Kazan

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...

...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.

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 idea of the art archive in the Middle East provokes a number of associations – some of them spiritual, some historical, some clearly political.

The Search for 'Nurafkan'

Ibraaz Platform 006 Editorial

The 4th Thessaloniki Biennale

FIAF’s 2013 World Nomads Tunisia Festival

Farah Makni Hendaoui

Contemporary Artistic Practice in Iran at a Revolutionary Moment

Tinkerings on the Instable Present Tense

Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review

Creative Time Reports

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

Shifting the Geographies of Sensing, Believing and Knowing

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

Gulf Labor

Nasrin Tabatabai & Babak Afrassiabi at Chisenhale Gallery

Mario Rizzi’s Al Intithar (The Waiting)

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...

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 Practice from Tirana to Tangier

Artistic Practices, Collective Action and Civil Society in Tunisia

The Story of Bahrain’s Pearl Roundabout

What has Changed in Tunisia since Spring 2011

On the Memory of a Memorial

Jens Maier-Rothe

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

Theatre As a Tool of Empowerment

A.S. Bruckstein Çoruh

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...

Politics, Media and Art after the Arab Uprisings

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...

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...

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...

Walking in the Darkness of a Promised Light

Ela Greenberg

Raymond Baker

Joe Khalil

Modernism, Architecture, and National Heritage under the Pahlavi Monarchs

One needs to be careful with the concept of regions as geographical entities. Such an understanding is only valuable if it takes into account the way these regions relate to their neighbours, as frontiers are still too often frontiers of misunderstanding. The Middle East, like North Africa or the so-called...

When initially presented with the task of summing up the nearly two-dozen nations that are lumped together under this peculiar acronym, my immediate impulse was to emphasize that it is impossible to describe such a vast region in less than 200 words. Even the few commonalities that do exist among...

Mark Westmoreland

Aesthetics, Civil Society, and the Politics of Representation