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Edited by Anthony Downey (IB Tauris, 2014)

The Impossibilities of Production in New Media

Tarek Khoury

Some artists in these parts of the world began using new media in their work in the 1990s. This happened for a number of reasons but the most important one, I believe, was that of reaching the general public, which was far from being interested in art. In this respect,...

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...

New media has played a role in artistic practices, activism and social change for a long time, and we are increasingly seeing artists using and manipulating images from mainstream media and circulating them online to elucidate political causes.

Digitised media in the last decade has undoubtedly been propelled by the enormous speed of new technology and spontaneous platforms for rights, defined by Hakim Bey as 'Temporary Autonomous Zones' and 'network guerrillas' by Ozgur Uckan. Consequently, despite the mediated content of the mainstream media, social media sites have emerged...

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...

Artists have for some time been using new media to investigate and question their mainstream socio-political environments. In Arab countries, the revolutions that took place are a direct expression of this process's shift from the art community to the mass, from the artist to the public. It was a mutation...

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...

Mahmoud Khaled in conversation with Omar Kholeif

ismaël in conversation with Wafa Gabsi

Morehshin Allahyari in conversation with Hannah Gregory

Özgür Uçkan and Vasif Kortun in conversation with Basak Senova

Elif Öner in conversation with Derya Yücel

Ibraaz

Basim Magdy: On Science Fiction

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,...

Lara Baladi

Elif Öner and Vincent Rozenberg

A Video Game Mausoleum for Bashar al-Assad

Tahrir Archives

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...

A New Communal Model

Jens Maier-Rothe

The Shifting Narrative of Uprising

'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...

Shining a spotlight on something in order to 'make it visible' is a task indeed. It does not only entail personal and professional risk but also demands courage and responsibility. The ethics of monstration (on behalf of those whose intention is precisely that - to make sense of vision, to...

Selçuk Artut. Courtesy of the artist.

A video by Ali Cherri.

When we talk about media, whether we consider them old or new, and critical practices, whether we label them as artistic, activist or hybrid, we would do well to look at issues of embodiment, and where virtual presence and physical presence intersects. The Arab uprisings have shown that no matter...

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...

Can the subaltern tweet? asked Lisa Nakamura, in response to the formulation 'social media caused the Arab Spring'. If Spivak famously deconstructed the promotion of democracy by supremacist means, Nakamura and others subsequently dismantled the digital orientalism latent in rhetoric suggesting that a US twittersphere galvanised Arab revolutionaries against Arab...

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...

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...

The digitally mediated world operates as a gigantic magnet for centralisation, regulation and control by giving shape to our lives, our languages and bodies. This means that the digital domain is increasingly becoming the very location of politics. I propose the term 'magnetic' as an invitation to re-think audio-visual artwork...

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...

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...

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...

Critical reflections on Ibraaz publications

Humans from Palestine, The Karimeh Abbud Award Exhibition: Bethlehem

Sites of Return: Ramallah

Cities Exhibition 5, 'Gaza – Reconstruction': Ramallah

O Whale, Don't Swallow Our Moon: Ramallah

Pattern Recognition: Ramallah

A Series of Un-Curated Events: Ramallah

RE/viewing Jerusalem #2 – REturn: Jerusalem

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

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

The People of the Sea: Haifa

Biographies

Partner institutions

Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey

Foreword: Anthony Downey

Introduction: Qi2016 Curatorial Team

Responses

Curator's Essay: Aaron Cezar

A roundtable discussion

Newsha Tavakolian in conversation with Sara Raza

Ahmet Öğüt in conversation with Basak Senova

Nadia Kaabi-Linke in conversation with Lina Lazaar

Shezad Dawood in conversation with Sara Raza

Adonis in conversation with Laura Allsop

Jack Persekian in conversation with Basak Senova

Christine Tohme in conversation with Anthony Downey

Michket Krifa in conversation with Wafa Gabsi

Tom Bogaert in conversation with Anthony Downey

Shady El Noshokaty in conversation with Omar Kholeif

Tarek Al-Ghoussein in conversation with Anthony Downey

Guy Mannes-Abbott in conversation with Sheyma Buali

Jeanno Gaussi in conversation with Dorothea Schoene

Roy Samaha in conversation with Anthony Downey

Nathan Witt in conversation with Amira Gad

Bouchra Khalili in Conversation with Dorothea Schoene

Chapter 1: Intensities

Hassan Khan in conversation with Omar Kholeif

Reza Aramesh in conversation with Anthony Downey

Jasmina Metwaly in conversation with Angela Harutyunyan

Tarzan and Arab in conversation with Laura Allsop

Heiko Lange in conversation with Amira Gad

Rasha Salti in conversation with Fawz Kabra

Ayah Bdeir in conversation with Omar Kholeif

Michael Rakowitz in conversation with Anthony Downey

Simone Fattal in conversation with Mirene Arsanios

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

Visualizing Palestine in conversation with Haig Aivazian

Jeremy Hutchison in conversation with Natasha Hoare

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

Nadia Ayari in conversation with Haig Aivazian

Hera Büyüktaşçıyan in conversation with Basak Senova

Seth Anziska in conversation with Daniella Rose King

Fulya Erdemci in conversation with Basak Senova

Chapter 7: Fabric

Chapter 5: Lines

Chapter 4: Measures

Chapter 3: Intervals

Chapter 2: Details

A View from the City: Tina Sherwell

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

Curator's Introduction

Looking at Wafaa Bilal's Domestic Tension : Barrak Alzaid

Sulayman Al Bassam in conversation with Ala Younis

Operation Atropos: Coco Fusco

Rabih Mroué in conversation with Göksu Kunak

Lina Majdalanie in conversation with Göksu Kunak

Yazan Khalili and Lara Khaldi in conversation with Natasha Hoare

Lidia Al-Qattan in conversation with Monira Al Qadiri

Rasha Salti and Kristine Khouri in conversation with Samah Hijawi

Magdi Mostafa in conversation with Clelia Coussonnet

Sohrab Kashani in conversation with Taus Makhacheva

Rasha Salti in conversation with Sheyma Buali

Speaker Biographies + Synopses

Curatorial Narrative

Closing Remarks

Meriem Bennani in conversation with Myriam Ben Salah

Abdullah Al-Mutairi in conversation with Sarah Abu Abdallah

Slavs and Tatars in conversation with Franz Thalmair

Gülsün Karamustafa in conversation with Basak Senova

Koyo Kouoh in conversation with Stephanie Bailey

Randa Mirza in conversation with Amira Gad

Reza Aramesh in conversation with Lara Atallah

Reem Fadda in conversation with Fawz Kabra

JW Stella in conversation with Aimee Dawson

Alya Sebti in conversation with Göksu Kunak

UBIK in conversation with Isabella Ellaheh Hughes

Marwa Arsanios in conversation with Fawz Kabra

Fayçal Baghriche in conversation with Sheyma Buali

Coco Fusco in conversation with Stephanie Bailey

Taysir Batniji in conversation with Silke Schmickl

Haig Aivazian in conversation with Rayya Badran

Adel Abidin in Conversation with Basak Senova

Sussan Deyhim in conversation with Sheyma Buali

Adham Hafez in conversation with Suzy Halajian

Matthias Lilienthal in conversation with Göksu Kunak

Fayçal Baghriche in conversation with Laura Allsop

Robin Kahn in conversation with Stephanie Bailey

Adelita Husni-Bey in conversation with Stephanie Bailey

Lasse Lau in conversation with Amira Gad

Mario Rizzi in conversation with Cristiana Perrella

Mounira al Solh in conversation with Nat Muller

Hiwa K in conversation with Anthony Downey and Amal Khalaf

Oreet Ashery in conversation with Amal Khalaf

Helene Kazan in conversation with Amal Khalaf

Urok Shirhan in Conversation with Stephanie Bailey

Lawrence Abu Hamdan in conversation with Anthony Downey

Seth Ayyaz in conversation with Sheyma Buali

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

Rabih Mroué in conversation with Anthony Downey

Mohanad Yaqubi in conversation with Sheyma Buali

Raed Yassin in conversation with Nat Muller

Martina Caruso in conversation with Sheyma Buali

Stefano Rabolli Pansera in conversation with Stephanie Bailey

Eric Van Hove in conversation with Natasha Hoare

Maryam Monalisa Gharavi in conversation with Mirene Arsanios

Youmna Chlala in conversation with Fawz Kabra

Nav Haq in conversation with Stephanie Bailey

Hera Büyüktaşçıyan in conversation with Basak Senova

Sumesh Sharma in conversation with Amanprit Sandhu

Aikaterini Gegisian in conversation with Stephanie Bailey

Anthony Downey and Beatrix Ruf in conversation with Slavs and Tatars

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

November Paynter and Didem Pekün in conversation with Basak Senova

Köken Ergun in conversation with Omar Kholeif

Mai Elwakil in conversation with Daniella Rose King

The Arab Digital Expression Foundation in conversation with Laura Cugusi

Tarek Atoui in conversation with Stephanie Bailey

Ahd in conversation with Sheyma Buali

Monira Al Qadiri in conversation with Stephanie Bailey

Burak Arıkan in conversation with Basak Senova

Hisham Al-Madhloum in conversation with Stephanie Bailey

Antonia Carver in conversation with Omar Kholeif

Jananne Al-Ani in conversation with Nat Muller

Raed Yassin in conversation with Stephanie Bailey

Maryam Jafri in conversation with Stephanie Bailey

Lucien Samaha in conversation with Walid Raad, Part I

Ahmed Nagy in conversation with Mai Elwakil

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

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

Wael Shawky in conversation with Stephanie Bailey

Parastou Forouhar in conversation with David Hodge and Hamed Yousefi

Ayşe Erkmen in conversation with Basak Senova

Georgia Kotretsos in conversation with Stephanie Bailey

Nida Sinnokrot in conversation with Natasha Hoare

Carole Alfarah in conversation with María Gómez López

Suha Shoman in conversation with Amin Alsaden

Foundland in conversation with Nat Muller

Adelina von Fürstenberg in conversation with Stephanie Bailey

Hicham Khalidi in conversation with Daniella Rose King

Kamel Lazaar in conversation with Anthony Downey

Jumana Manna in conversation with Sheyma Buali

WHW in conversation with Omar Kholeif

Uriel Orlow in conversation with Omar Kholeif

Kim Beamish in conversation with Sam Bowker

Hajra Waheed in conversation with Stephanie Bailey

A View from Afar: Stephanie Bailey

Lucien Samaha in conversation with Walid Raad, Part II

Younes Bouadi in conversation with Stephanie Bailey

Tarek Abou El Fetouh in conversation with Stephanie Bailey

Louis Henderson in conversation with Amira Gad

Rifat Chadirji and Balkis Sharara in conversation with Amin Alsaden

MADRASSA Collective in conversation with Antonia Alampi

Leung Chi Wo in conversation with Robin Peckham

Lamia Joreige in conversation with Anthony Downey

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

Meriç Algün Ringborg in conversation with Nora Razian

Amar Kanwar in conversation with Stephanie Bailey

Eric Baudelaire in conversation with Anthony Downey

Fadi Bardawil in conversation with Zeynep Oz

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

Ibraaz

Amira Gad

Ibraaz

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

Ibraaz

Ibraaz

Fawz Kabra

Charlotte Bank

Ibraaz

Rachida Triki

Ibraaz

Ibraaz

Sheyma Buali

Ibraaz

Ibraaz

Ibraaz

Malu Halasa

Two Exhibitions in Paris

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

Ibraaz

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

A roundtable discussion at Tate Modern contemplates the role of alternative education

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

Ibraaz

An Artist-Run Gallery Space in Cairo

Questions to be addressed

Contemporary Image Collective, Cairo

Ibraaz

Ibraaz

Ibraaz

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

Ibraaz

Ibraaz in partnership with Winchester Centre for Global Futures in Art

Ibraaz

Ibraaz

Ibraaz

A Report on Future City

Ibraaz

Future Imperfect, A Symposium

Aimee Dawson

Ibraaz

Ibraaz

Ibraaz

09–11 May, Museé National du Bardo, Tunis

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

News The Jerusalem Show 007 / 24 October 2014 Ibraaz is pleased to announce the opening of THE JERUSALEM SHOW VII: FRACTURES. Curated by Basak Senova and organized by Al-Ma'mal Foundation for Contemporary Art, Jerusalem, this year's show runs from 24 October to 7 November 2014, and is presented in...

Ibraaz

Reema Salha Fadda

Ibraaz

Ibraaz

Ibraaz

Online exhibition catalogue

Ibraaz

Almagul Menlibayeva in conversation with Basak Senova

William Wells in conversation at Serpentine Galleries

A Report from Home Works 7 and Athens Biennale 5 to 6

Ibraaz

Ibraaz

Işıl Eğrikavuk's The Art of Disagreement

Ibraaz

The Art for Tomorrow Conference 2016 in Doha

On the 2016 Global Art Forum ‘The Future Was’

The 2016 March Meeting

A Report from Cologne

Ibraaz

An Odd Piece of Research on the Many Virtues of Oriental Imagination

Aimee Dawson

Sophia Al-Maria: On Automobiles

Guy Mannes-Abbott: On Drones

Basim Magdy & Stephanie Bailey: Collective Memory

Burak Arikan & Başak Şenova: Network Data

Live

Hans Ulrich Obrist: in conversation with Omar Kholeif

Shumon Basar: in conversation with Stephanie Bailey

Todd Reisz: in conversation with Omar Kholeif

Okwui Enwezor: in conversation with Anthony Downey

Adam Szymczyk: in conversation with Omar Kholeif

John Akomfrah: 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

1971-1979 The Short Seventies (UAE)

Hiwa K.

A Video Installation

Khaled Kaddal

Louis Henderson

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

Debra Levine: Toward A Common Satisfaction of Needs

Heba Y. Amin

Sama Alshaibi

Farah Saleh

Ammar Al-Beik

Trace Environments: Sovereignty, toxicity and the littoral

Hammad Nasar in conversation with Reema Salha Fadda

Cevdet Erek in conversation with Başak Şenova

Toleen Touq in conversation with Reema Salha Fadda

A two-part conversation with Szabolcs KissPál and Mahmoud Khaled

Edited by Anthony Downey (Sternberg Press, 2016)

description

Platform 010 Editorial

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

On Qalandiya International 2016 in Ramallah

Notes in a Conversation on a Film by Maha Maamoun

Wael Shawky at the Fondazione Merz

Negative Ecstasy at Dirimart, Istanbul

Natasha Marie Llorens

Nil Yalter at ARTER, Istanbul

Closing Remarks

Hassan Khan at Beirut Art Center

Inspired by calligraphy

Hamid Dabashi

Khalid Abdalla

Technology and Its Discontents

The Art of Shirin Neshat

Sophia Al-Maria at the Whitney Museum of American Art

Reflections on Reflections

Walking Cabbages and Watermelons

The 9th Berlin Biennale of Contemporary Art

Ibraaz 5th Year Anniversary Editorial

At Ab Anbar Gallery

Socially Engaged Art Practices in Tunisia

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

On Assumption and Authority

Forests, Freaks and Performativity

An Introduction to Platform 010

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

Barrak Alzaid

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.

To answer this question I propose an excerpt from a text in progress called 'Art and Garbage'. This piece is intended to look into the relation between urgent social problems – in this case the ongoing garbage crisis in Lebanon – and contemporary art.

Anthony Downey

On Walking and Crawling

Tarek Al-Ghoussein at Galerie Brigitte Schenk

Earshot by Lawrence Abu Hamdan, Portikus, Frankfurt

KVS Theater in Brussels

Tehran’s Self-portrait

An Introduction to Body Art and Performance in the Gulf

Six Short Stories on Arabic Voice Acting

Samah Hijawi

Bruno Boudjelal's Documentary of Affect

An Ode to Performing Subjectivity in Research

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

An Alternative Genealogy of Musique Concrète

Vartan Avakian at Marfa’

Notes on Maverickism as Genealogy and Genealogy as Approach

Jumana Manna at Chisenhale Gallery, London

The Subversive Feminine

The 14th Istanbul Biennial 2015

The Unspoken Battle of Self-Censorship

Edited Urbanism on Dubai Creek

A Review of the 56th Venice Biennale

'Mixed Media I (2009) is a list of 50 pages of technical descriptions of contemporary art pieces. The list, made up of automatic extractions of data about techniques used in contemporary art practices, is a multi-format, translatable database...'

A Nomadological Study of Ottoman Arab Photography

Interventions as Performative Gestures For Political Engagement in Jordan

Practice, Performance, Politics

Performing Armenity at the 56th Venice Biennale

Franco Berardi

Determining the Axis of the Global South and Middle East

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

Narratives and Ghosts from the International Art Exhibition for Palestine, 1978, at MACBA

Contemporary Cinema from North Africa

Natasha Ginwala

Notes on a Giant Implosion

Monira Al Qadiri

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

Street Art in the Mediterranean Border Zones

On Nikolaj Larsen's End of Dreams

On the Work of Basma Alsharif

Portrait of a Salafi en abyme in the Cyber World

Anthony Downey

Nikos Papastergiadis and Gerardo Mosquera

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...

A Provocation to the Question

Conflicting Narratives and the Invention of Geographies

Outside Looking In: Taking a Title and Running With It*

An Emergent Design Approach to the Gulf

Tina Sherwell

Burak Delier

Building Institutions Through Practice

A Yemeni Art History

Re-Thinking Cultural Development in Palestine

Re-routing Institutional Critique

In the Shadow of Nasser

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

Burak Delier at Iniva

33rpm and a Few Seconds by Rabih Mroué and Lina Saneh

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."

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

'I suggest that we look at the past and present strengths of cultural organizations, which have always served social and informational purposes, regardless of region and time. It is in these two spheres that the future resides.'

Cevdet Erek at Spike Island, Bristol

Post-Revolutionary Iranian Art at SOAS

A Perspective on Algeria's Cultural Scene

The Politics of Food at Delfina Foundation

A Review

Haig Aivazian’s multi-piece installation FUGERE at Sfeir-Semler, Hamburg

Eric Baudelaire

Nikolaj Larsen

Mounira Al Solh

Hera Büyüktaşçıyan

Ariel Hassan

Youmna Chlala

Shezad Dawood

Caline Aoun

Monira Al Qadiri

Thoughts on Art and Art Discourse

Setareh Shahbazi

Notes from three spaces in which the law resounds

A project by Ali Cherri

A project by Jumana Manna and Sille Storihle

On the Rooftop

A Radio Series on the Poetics and Politics of Language

Lasse Lau

A Project by Lara Baladi with an introduction by Dorothea Schoene

An Image of a Revolution

Naira Antoun

Dream Homes and Community-building

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

A project by Fayçal Baghriche

A Project by Anahita Razmi

A Libyan Diary (Part III) - December 2011

A Libyan Diary (Part II) - November 2011

Nikolaj Larsen

A Libyan Diary (Part I) - October 2011

Marwa Arsanios

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,...

The Society of False Witnesses

Morehshin Allahyari

Setareh Shahbazi

Amira Hanafi

On Silence and Noise in Times of Crisis

Dena Al-Adeeb

Maya Chami

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

Yazan Khalili Lara Khaldi

Seth Ayyaz

Helene Kazan

Samah Hijawi

...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 Search for 'Nurafkan'

On Shuruq Harb's The Keeper

Dispatch One: the Artist and the Archive, June–September 2013

When Buildings Become Part of the Record

The Recordings of the Cosmopolitan

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

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

The 13th Istanbul Biennial

FIAF’s 2013 World Nomads Tunisia Festival

Farah Makni Hendaoui

Contemporary Artistic Practice in Iran at a Revolutionary Moment

The Encyclopedic Palace

Saloua Raouda Choucair, Ibrahim El-Salahi and Meschac Gaba at Tate Modern

Omar Kholeif

Literary Affects and the New Political by Tarek El-Ariss

Tinkerings on the Instable Present Tense

Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review

Creative Time Reports

Amy Charlesworth

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

Ibraaz Platform 005 Editorial

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

Nadia Mounajjed

A Talk and Screening by Shabbir Hussain Mustafa

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,...

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...

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.

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...

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...

Objects in Mirror are Closer than they Appear

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

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

Theatre As a Tool of Empowerment

A.S. Bruckstein Çoruh

An Introduction

Precarious Images, the Aesthetics of Conflict, and the Future of an Anachronism

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...

'What do we do when as artists we are invited to behave as liberal democratic [beings]? You have your own space, each has their own little house, we can all live together; does this not sound like the idea of a Lebanon of all the different mosaics and cohabitation -...

The Practice of Contemporary Art in Algeria Today

Anthony Downey

Politics, Media and Art after the Arab Uprisings

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

Perceptions of Occupation and Control in Cyprus

For a Polysemic Reading of Both City and Territory

When Umru' al-Qais stood by the traces of the tent of his beloved in the middle of the desert of Hijaz, he shed tears that became the key to Arab poetry. Until recently, no one could have guessed that those tents would one day be made of concrete. These days,...

Dar al-Ma'mûn is a new arts centre and residency for artists and translators outside of Marrakech. The questions of public space and of civil society have been with us since the beginning, as we were trying to avoid creating a mere retreat for artists, a luxurious ivory tower for intellectuals...

Yazid Anani

Mirene Arsanios

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...

Nowadays, visual culture is considered to be a vehicle for the constant delivering of messages of identity to the public. The image has become the universal means of recalling to an audience the history of how we speak; how we think; and how we envision the future. Until a few...

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...

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

Raymond Baker

Joe Khalil

Rachida Triki

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....

Mark Westmoreland

Aesthetics, Civil Society, and the Politics of Representation

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