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Adham Hafez in conversation with Suzy Halajian

Younes Bouadi in conversation with Stephanie Bailey

Forests, Freaks and Performativity

Nikos Papastergiadis and Gerardo Mosquera

ismaël in conversation with Wafa Gabsi

Nav Haq in conversation with Stephanie Bailey

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

Işıl Eğrikavuk's The Art of Disagreement

Practice, Performance, Politics

Sharjah Biennial 12: The past, the present, the possible

Literary Affects and the New Political by Tarek El-Ariss

Politics, Media and Art after the Arab Uprisings

Yazan Khalili

Aesthetics, Civil Society, and the Politics of Representation

Visualizing Palestine in conversation with Haig Aivazian

Fulya Erdemci in conversation with Basak Senova

Marie-Monique Steckel in conversation with Fawz Kabra

Yazan Khalili and Lara Khaldi in conversation with Natasha Hoare

Randa Mirza in conversation with Amira Gad

Coco Fusco in conversation with Stephanie Bailey

Caveh Zahedi in conversation with Stephanie Bailey

Özgür Uçkan and Vasif Kortun in conversation with Basak Senova

Yael Bartana in conversation with Clelia Coussonnet

Stefano Rabolli Pansera in conversation with Stephanie Bailey

Jonas Staal in conversation with Stephanie Bailey

Vangelis Vlahos in conversation with Stephanie Bailey

Rana Hamadeh in conversation with Stephanie Bailey

Fulya Erdemci in conversation with Basak Senova

Parastou Forouhar in conversation with David Hodge and Hamed Yousefi

Jumana Manna in conversation with Sheyma Buali

Amar Kanwar in conversation with Stephanie Bailey

Eric Baudelaire in conversation with Anthony Downey

Fadi Bardawil in conversation with Zeynep Oz

Nour K Sacranie

Sheyma Buali

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

Questions to be addressed

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

A Report on Future City

Tom Snow

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

A Report from Cologne

Soviet Orientalism and Political Mobilisation

Ibraaz

Işıl Eğrikavuk

Doa Aly

A two-part conversation with Szabolcs KissPál and Mahmoud Khaled

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,...

On Navigating Without a Compass

Notes on Geo-cultural Exhibitions

Rayyane Tabet at Museo Marino Marini

Walking Cabbages and Watermelons

An Introduction to Platform 010

The varying political, cultural and economic circumstances of the participants of Art Dubai 2016, Design Days and the March Meeting, merit further consideration, as it is the differences among them that highlight the current constraints and opportunities for cultural production in the region.

Tarek Al-Ghoussein at Galerie Brigitte Schenk

Interventions as Performative Gestures For Political Engagement in Jordan

Lara Khaldi

Natasha Ginwala

Five Stages of an Artist Residency

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.

Strategic though it may be, the binary of 'South' and 'North' is no less reductive than the stale binaries of yore: of 'East' and 'West', communist and capitalist, aesthetics and politics, the list goes on.

A Provocation to the Question

A Yemeni Art History

In the Shadow of Nasser

'I don't believe culture is nowadays negotiating social activity, political engagement and critical practices. Culture is following the forces of the market.'

The Politics of Food at Delfina Foundation

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

Meriç Algün Ringborg

A project by Jumana Manna and Sille Storihle

A Radio Series on the Poetics and Politics of Language

The Part about the Bandits Pt.2

Documenting the Backlash

Lina Khatib

Amira Hanafi

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...

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 4th Thessaloniki Biennale

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

The Encyclopedic Palace

Gezi Resistance, Public Space and the Counter-monumental

Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review

Creative Time Reports

Creative Time Reports

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

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

Artistic Practices, Collective Action and Civil Society in Tunisia

The Story of Bahrain’s Pearl Roundabout

On the Memory of a Memorial

Tarek Khoury

'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...

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.

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...

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...

As a politically engaged artist, I have to believe that artistic practices do have the potential to offer insights and negotiate anything from the demands of cultural institutions to politics and the ideals of civil society. Without such a belief, the entire foundation of what I do would be rattled....

Perceptions of Occupation and Control in Cyprus

There is no doubt that artists are addressing this question and its associated issues in their work, as anywhere in the world. However the region comprises so many different descriptions of civil society; the politics and economics of one country enable while those in another disable. Volatility can be a...

A friend recently asked me, what would be my dream cultural/art space in Ramallah? In the midst of rapid urban construction in Ramallah, my impulse is not to build another building but create what is lacking – an open public space. I feel this would be an artistic, political and...

Critique of Middle Eastern art often demands that the relationship between visual culture and our world be overtly socio-political to be relevant. There is no denying that visual culture is a powerful outlet for peaceful protest. And there is certainly merit in preserving ethnicity and providing an authentic representation of...

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...

The project stems from an observation and an attendant question: there is clearly a thriving, politically motivated, post-conceptual art in the MENA area (Walid Raad, Walid Sadek, Decolonizing Palestine, Khalil Rabah, Djamel Kokene, Yto Barrada, Lasserre and Yacoub and so on) which, given its relationship to the territory of art...

In Lebanon, we live surrounded by dead people looking at us. Since the beginning of the civil wars, posters have covered the walls of the city. They are images of men, martyrs who died tragically while fighting or on mission, or who were political figures and were murdered. For years,...

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....

The political and cultural density of the Middle East is as diverse, rich and complex as that of Central Europe with which it shares a history of struggle about disputed borders, clashing ideologies and religious turmoil. The fact that the term by which the region is commonly identified is a...

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

Edited by Anthony Downey (jrp|ringier, 2015)

Critical reflections on Ibraaz publications

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

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

This Sea is Mine: Amman

The People of the Sea: Haifa

Biographies

Partner institutions

Encounters Programme

Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey

Reflections: Ala Younis Adania Shibli

Foreword: Anthony Downey

Introduction: Qi2016 Curatorial Team

Responses

ARC.HIVE (2006–present): Adham Hafez

Curator's Essay: Aaron Cezar

Foreword: Anthony Downey

Exhibition Overview

Lina Lazaar

A roundtable discussion

Newsha Tavakolian in conversation with Sara Raza

Ismaïl Bahri in conversation with Silke Schmickl

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

Ziad Antar in Conversation with Anthony Downey

Jack Persekian in conversation with Basak Senova

Christine Tohme in conversation with Anthony Downey

Nada Sehnaoui in conversation with Laura Allsop

Michket Krifa in conversation with Wafa Gabsi

Tom Bogaert in conversation with Anthony Downey

Tarek Al-Ghoussein in conversation with Anthony Downey

Amina Menia in conversation with Laura Allsop

Guy Mannes-Abbott in conversation with Sheyma Buali

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

Ala Younis in conversation with Liane Al-Ghusain

Rasha Salti in conversation with Fawz Kabra

Pascal Hachem in conversation with Nour K Sacranie

Michael Rakowitz in conversation with Anthony Downey

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

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

Omar Robert Hamilton in conversation with Elisabeth Jaquette

Hera Büyüktaşçıyan in conversation with Basak Senova

Seth Anziska in conversation with Daniella Rose King

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

A View from the City: Tina Sherwell

Basma Alsharif: We Began by Measuring Distance

Joe Namy: space, breath, time

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

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

Operation Atropos: Coco Fusco

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

Dream City in Tunis

Rabih Mroué in conversation with Göksu Kunak

Lina Majdalanie in conversation with Göksu Kunak

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

Farah Al-Nakib in conversation with Todd Reisz

Closing Remarks

Meriem Bennani in conversation with Myriam Ben Salah

Abdullah Al-Mutairi in conversation with Sarah Abu Abdallah

Mahmoud Khaled in conversation with Omar Kholeif

Slavs and Tatars in conversation with Franz Thalmair

Gülsün Karamustafa in conversation with Basak Senova

Koyo Kouoh in conversation with Stephanie Bailey

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

Taysir Batniji in conversation with Silke Schmickl

Joana Hadjithomas and Khalil Joreige in conversation with Nat Muller

Haig Aivazian in conversation with Rayya Badran

Adel Abidin in Conversation with Basak Senova

Sussan Deyhim in conversation with Sheyma Buali

Matthias Lilienthal in conversation with Göksu Kunak

Lara Khaldi in conversation with Ghalya Saadawi

Fayçal Baghriche in conversation with Laura Allsop

Morehshin Allahyari in conversation with Hannah Gregory

Hassan Sharif in conversation with Nujoom Al Ghanem

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

Maya Zbib in conversation with Amal Khalaf

Navine G. Khan-Dossos in conversation with Stephanie Bailey

Mohssin Harraki in conversation with Karima Boudou

Dia Azzawi in conversation with Sheyma Buali

Walid Siti in conversation with Nat Muller

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

Maryam Monalisa Gharavi in conversation with Mirene Arsanios

Youmna Chlala in conversation with Fawz Kabra

Hera Büyüktaşçıyan in conversation with Basak Senova

Sumesh Sharma in conversation with Amanprit Sandhu

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

November Paynter and Didem Pekün in conversation with Basak Senova

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

Eungie Joo in conversation with Stephanie Bailey

Jananne Al-Ani in conversation with Nat Muller

Raed Yassin in conversation with Stephanie Bailey

Discussing arts infrastructure in Tehran

Maryam Jafri in conversation with Stephanie Bailey

Maha Maamoun in conversation with Aleya Hamza

Ahmed Nagy in conversation with Mai Elwakil

Mona Marzouk in conversation with Aleya Hamza

Ali Cherri in conversation with Sheyma Buali

Akram Zaatari in conversation with Anthony Downey

Nevin Aladağ in conversation with Walter D. Mignolo

Wael Shawky in conversation with Stephanie Bailey

Ayşe Erkmen in conversation with Basak Senova

Georgia Kotretsos in conversation with Stephanie Bailey

Larissa Sansour in conversation with Sheyma Buali

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

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

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

Christine Tohme in conversation with Rachel Dedman

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

Héla Ammar in conversation with Wafa Gabsi

Hamza Halloubi in conversation with Natasha Hoare

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

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Sharjah Art Foundation, 17-19 March 2012

Reflections 03

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

Ibraaz

Nour K Sacranie

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

Samiha Khalil

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

Coline Milliard

Rachida Triki

The Cairo Seminar in Alexandria, dOCUMENTA (13)

Ibraaz

Ibraaz

Malu Halasa

Two Exhibitions in Paris

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

Ibraaz

An Artist-Run Gallery Space in Cairo

Contemporary Image Collective, Cairo

Ibraaz

Ibraaz

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

The Institute for Human Activities

Ibraaz in partnership with Winchester Centre for Global Futures in Art

Ibraaz

The role of the archive in critical and culturally located art histories

A Slavs and Tatars Panel Discussion at Art Space Pythagorion

Ibraaz

Ibraaz

Future Imperfect, A Symposium

Aimee Dawson

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Decolonizing Architecture at Tate Modern

Erriadh is the Home of the ‘Street’

Edge of Arabia Launches Culturunners

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

Theme: Performance

Ibraaz

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...

Online exhibition catalogue

Online exhibition catalogue

Ibraaz

Almagul Menlibayeva in conversation with Basak Senova

Gregory Sholette at Home Workspace Program

Ibraaz

William Wells in conversation at Serpentine Galleries

A Report from the AUC

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

On the 2016 Global Art Forum ‘The Future Was’

Ibraaz

Ibraaz

Two Exhibitions on the Armenian Legacy in Anatolia

Ibraaz

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

At the Salzburger Kunstverein

Larissa Sansour

The Public and Intimate Lives of Arabic Calligraphy

Aimee Dawson

Ala Younis: On Curating

Ibraaz Talks: Wafaa Bilal

Trevor Paglen: Aesthetics

Karen Mirza and Brad Butler: Social Imagination

Burak Arikan & Başak Şenova: Network Data

Ibraaz

Ibraaz

Language Arts at The Third Line

Live

Shumon Basar: in conversation with Stephanie Bailey

Shiva Balaghi: in conversation with Stephanie Bailey

Oscar Guardiola-Rivera: in conversation with Anthony Downey

Todd Reisz: in conversation with Omar Kholeif

Okwui Enwezor: in conversation with Anthony Downey

Farah Al-Nakib: in conversation with Stephanie Bailey

John Akomfrah: in conversation with Anthony Downey

1971-1979 The Short Seventies (World)

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

Ghazi Gherairi: Professor of Law, Carthage University

Anas Al-Shaikh

Wafaa Bilal

Hiwa K.

Khaled Kaddal

Zoukak Theatre Company

Louis Henderson

Tom Bogaert

Nat Muller

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

Murtaza Vali: 'Arresting Flows, Stacking Forms'

Episode Twelve: Prayer, Aerialist

Episode Five: Archives, Avatars

Episode One

Trailer

A web series by Oreet Ashery

The Outsider

Kauther

Kazın Ayağı : (Actually, that's not the case )

Mario Rizzi

Beau Geste: Yto Barrada

Etel Adnan

Sama Alshaibi

In the Future They Ate From the Finest Porcelain

Nation Estate

A Space Exodus

Larissa Sansour

Ammar Al-Beik

Bouchra Khalili

Filipa César and Louis Henderson

Ritu Sarin and Tenzing Sonam

Mithkal Alzghair

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

Deceptive Authoritarianisms: Between Artificial and Discredited Personhoods

Council presents: The Against Nature Journal

Performing the Trial: Re-enactment, Ritual, Remediation

Trace Environments: Sovereignty, toxicity and the littoral

Edited by Anthony Downey (IB Tauris, 2014)

London book launch

Omar Robert Hamilton

Hammad Nasar in conversation with Reema Salha Fadda

Toleen Touq in conversation with Reema Salha Fadda

Edited by Anthony Downey (Sternberg Press, 2016)

description

Platform 010 Editorial

Ala Younis

Reema Salha Fadda

Contour Biennale 8

Stephanie Bailey

Notes on a film by Kamal Aljafari

Artists Intervening in Lebanese Dailies

Lizzy Collier

Art By Email at Yorkshire Sculpture Park

Invisible Architecture in Rana ElNemr’s Streams of Synonyms

Yazan Ashqar

Meeting Points 8

On Qalandiya International 2016 in Ramallah

Notes in a Conversation on a Film by Maha Maamoun

Negative Ecstasy at Dirimart, Istanbul

The Egyptian Surrealists (1938–1965)

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

Natasha Marie Llorens

Nil Yalter at ARTER, Istanbul

Katia Kameli at the Mosaic Rooms

Closing Remarks

Halil Altındere at Neuer Berliner Kunstverein, Berlin

Hassan Khan at Beirut Art Center

Inspired by calligraphy

Hamid Dabashi

Khalid Abdalla

Exhibitions and Other Representations in 25 Years at Witte de With

Technology and Its Discontents

The Art of Shirin Neshat

Reflections on Reflections

Edmund Clark at the Imperial War Museum, London

The Sketches of Mahmoud Al Rifai at FADA 317

Gülsün Karamustafa Retrospective at Hamburger Bahnhof

Lara Baladi

At Aicon Gallery, New York

The Artist as Awakener at AUB

Mega-museums and modern artists from the Middle East

The 9th Berlin Biennale of Contemporary Art

Ibraaz 5th Year Anniversary Editorial

At Ab Anbar Gallery

Socially Engaged Art Practices in Tunisia

Participatory Art in the Middle East

Nicola Baird

The 37th EVA International

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

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.

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.

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

On Walking and Crawling

Downtown Contemporary Arts Festival (D-CAF)

Earshot by Lawrence Abu Hamdan, Portikus, Frankfurt

Tehran’s Self-portrait

An Introduction to Body Art and Performance in the Gulf

Choreographing Spaces of Gesticulation

Six Short Stories on Arabic Voice Acting

Samah Hijawi

Ahmad Makia

Bruno Boudjelal's Documentary of Affect

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

An Alternative Genealogy of Musique Concrète

Shady El Noshokaty at Gypsum Gallery, Cairo

Jumana Manna at Chisenhale Gallery, London

The 14th Istanbul Biennial 2015

The 13th Biennale de Lyon

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

Edited Urbanism on Dubai Creek

A Review of the 56th Venice Biennale

Maraya Art Centre

'The following considerations on performance as an artistic medium in the region of North Africa and Middle East refer to more general problems that relate to the art form's status as an institutionalized aesthetic practice...'

A Nomadological Study of Ottoman Arab Photography

Performing Armenity at the 56th Venice Biennale

'To avoid misunderstanding, I write from the perspective of Turkey, because I can't really speak for North Africa nor for the Middle East in general...'

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

A Curatorial Take on the Global South

Contemporary Cinema from North Africa

Notes on a Giant Implosion

Monira Al Qadiri

Street Art in the Mediterranean Border Zones

On Bouchra Khalili’s Cartographies

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

This research-based response marks the beginning of a collaborative project undertaken by Clare Davies and Nida Ghouse that considers histories of artistic production in relation to the concept of metanoia.

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...

Embroiderers of Actuality is an action that aims to be a sensible provocation: a visual discussion about the position of women in the society.

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...

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.

Conflicting Narratives and the Invention of Geographies

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

Tina Sherwell

Burak Delier

A Recourse to the Past

Here and Elsewhere at the New Museum

Building Institutions Through Practice

Re-Thinking Cultural Development in Palestine

Re-routing Institutional Critique

Art and Culture Beyond Institutions in Amman

Leili Sreberny-Mohammadi

Berlin Documentary Forum 3 at Haus der Kulturen der Welt, Berlin

Can T-Wall Murals really Beautify the Fragmented Baghdad?

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

Global Art Forum 8 at Katara Art Center

Mounira Al Solh at Sfeir-Semler Gallery, Beirut

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

Or, Severing History From the Person

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

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

'By producing an idea of the future, art transgresses official history and produces its own reality.'

'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.'

'Better imagine now, rather than later.'

Reflections on Ashkal Alwan's Home Workspace Program, 2013-14

Reflections on Ashkal Alwan's Home Workspace Program, 2013-14

Slavs and Tatars at The Third Line

Maryam Jafri at Gasworks

The Sharjah Art Foundation's 2014 March Meeting

Cevdet Erek at Spike Island, Bristol

Post-Revolutionary Iranian Art at SOAS

Mirene Arsanios

A Perspective on Algeria's Cultural Scene

Georgia Kotretsos: SPRING CLEANING and KARFI in Rabat

A Review

HIWAR | Conversations in Amman

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

The Israeli-Palestinian Conflict and Israel's National Photography Archives as a Case Study

Malak Helmy and Sophia Al Maria

Oreet Ashery

Eric Baudelaire

Simohammed Fettaka & Basak Senova

Rosana Palazyan

Ariel Hassan

Uriel Orlow

Isak Berbic

Mohamed Abdelkarim

Mahmoud Khaled

Monira Al Qadiri

Iman Issa

Jasmina Metwaly

Thoughts on Art and Art Discourse

Wafaa Bilal at Maraya Art Park, Sharjah

Notes from three spaces in which the law resounds

A project by Maha Maamoun

The Circus (2)

A Story of an Exhibition

On the Rooftop

Hans Haacke

A Video Game Mausoleum for Bashar al-Assad

A Project by Lara Baladi with an introduction by Dorothea Schoene

Elevator Advertisements

Mahmoud Khaled

Naira Antoun

Dream Homes and Community-building

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 Anahita Razmi

Transition, a photographic series by Myriam Abdelaziz

Two Projects by Sinisa Vlajkovic

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

A Libyan Diary (Part I) - October 2011

Marwa Arsanios

Batroun Projects

Dalia Khamissy

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

Shadi Habib Allah

Maryam Monalisa Gharavi

Zamir Suleymanov

The Society of False Witnesses

On Silence and Noise in Times of Crisis

Tahrir Archives

Dena Al-Adeeb

Ahmed Badry

Maya Chami

Tom Bogaert

Written by Mayssa Fattouh

Larissa Sansour and Soren Lind

Sohrab Kashani

Yazan Khalili Lara Khaldi

An Online Performance

Seth Ayyaz

Burak Delier

Helene Kazan

Samah Hijawi

I felt the desire to examine the reverse process: what in art history and, more specifically, in the making of art, can contribute to the development of an archiving process?

Working with archives is a relatively new development, only recently have artists and institutions had access to archives. In the Middle East in general, the idea of the archive and of history is very vague. Even the idea of archiving, of having an institution that holds an archive, is new.

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 conceptual turn of the 1970s gave full legitimacy to queries into the document and the archive. Issues of memory become the favourite material of contemporary artists. Yet, in Tunisia, we missed the conceptual turn of the 1970s – it took us until the start of the revolution in 2011...

The Soldier: 'Indeed, I took these photographs from the pocket of a dead Arab, killed in Bab Al-Wad in the beginning of May 1948.

The Search for 'Nurafkan'

On Shuruq Harb's The Keeper

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

Ibraaz Platform 006 Editorial

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

Yasmine Eid-Sabbagh’s 'A photographic conversation from Burj al-Shamali Camp'

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...

An I for an Eye and Death of a Cameraman

/si:n/ Festival of Video Art and Performance, Ramallah

The 13th Istanbul Biennial

Waterside Contemporary

FIAF’s 2013 World Nomads Tunisia Festival

Farah Makni Hendaoui

Contemporary Artistic Practice in Iran at a Revolutionary Moment

Omar Kholeif

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

Profiles: Collecting Art in Lebanon at AUB Gallery, Lebanon

Institute of Contemporary Art, London

Kuwait’s National Works at the 55th Venice Biennale

Iraq and Palestine at the 2013 Venice Biennale

Tinkerings on the Instable Present Tense

Gezira Art Center, Cairo

Amy Charlesworth

Celebrating Arab Women Filmmakers

Shifting the Geographies of Sensing, Believing and Knowing

Ibraaz Platform 005 Editorial

What if Rani al Rajji and Michel De Certeau met in Beirut?

Looking for Palestine in the Jordanian Music Scene

Gulf Labor

Nadia Mounajjed

An Exhibition between Cairo and London

Sharjah Biennial 11 – Re:emerge, Towards a New Cultural Cartography

Nasrin Tabatabai & Babak Afrassiabi at Chisenhale Gallery

The Problem of Nationality

Refraction: Moving Images on Palestine at P21 Gallery

Atfal Ahdath at Running Horse Contemporary

A Talk and Screening by Shabbir Hussain Mustafa

Mario Rizzi’s Al Intithar (The Waiting)

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...

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...

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...

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...

Introduction

Artistic Practice from Tirana to Tangier

Khalil Rabah: Pages 7, 8, 9 at e-flux

What has Changed in Tunisia since Spring 2011

A New Communal Model

Jens Maier-Rothe

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

The Shifting Narrative of Uprising

The Impossibilities of Production in New Media

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

Theatre As a Tool of Empowerment

A.S. Bruckstein Çoruh

Foundland

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,...

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...