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Street Art in the Mediterranean Border Zones

Erriadh is the Home of the ‘Street’

Tania El Khoury

The Sketches of Mahmoud Al Rifai at FADA 317

Lara Baladi

Participatory Art in the Middle East

On Walking and Crawling

Choreographing Spaces of Gesticulation

A Yemeni Art History

Naira Antoun

Transition, a photographic series by Myriam Abdelaziz

Street art in Tunisia has appeared more and more since the early days of the 'revolution'. But this phenomenon was already there long before events took place. Certain activists – artists working in graphic and visual communication – invaded public spaces to express their grievances. They no longer wanted to...

Sites of Return: Ramallah

Cities Exhibition 5, 'Gaza – Reconstruction': Ramallah

Pattern Recognition: Ramallah

RE/viewing Jerusalem #2 – REturn: Jerusalem

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

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

Biographies

Responses

Curator's Essay: Aaron Cezar

A roundtable discussion

Ahmet Öğüt in conversation with Basak Senova

Nadia Kaabi-Linke in conversation with Lina Lazaar

Adonis in conversation with Laura Allsop

Jack Persekian in conversation with Basak Senova

Nada Sehnaoui in conversation with Laura Allsop

Michket Krifa in conversation with Wafa Gabsi

Shady El Noshokaty in conversation with Omar Kholeif

Tarek Al-Ghoussein in conversation with Anthony Downey

Amina Menia in conversation with Laura Allsop

Guy Mannes-Abbott in conversation with Sheyma Buali

Jeanno Gaussi in conversation with Dorothea Schoene

Chapter 1: Intensities

Hassan Khan in conversation with Omar Kholeif

Jasmina Metwaly in conversation with Angela Harutyunyan

Ala Younis in conversation with Liane Al-Ghusain

Heiko Lange in conversation with Amira Gad

Rasha Salti in conversation with Fawz Kabra

Pascal Hachem in conversation with Nour K Sacranie

Ayah Bdeir in conversation with Omar Kholeif

Michael Rakowitz in conversation with Anthony Downey

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

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

Marie-Monique Steckel in conversation with Fawz Kabra

Chapter 7: Fabric

Chapter 2: Details

Preface: Jack Persekian

A View from the City: Tina Sherwell

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

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

Two Gunshots Fired at the Installation Dialogue : Xiao Lu

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

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

Meriem Bennani in conversation with Myriam Ben Salah

Mahmoud Khaled in conversation with Omar Kholeif

Coco Fusco in conversation with Stephanie Bailey

Joana Hadjithomas and Khalil Joreige in conversation with Nat Muller

Haig Aivazian in conversation with Rayya Badran

Adham Hafez in conversation with Suzy Halajian

Matthias Lilienthal in conversation with Göksu Kunak

Lara Khaldi in conversation with Ghalya Saadawi

Fayçal Baghriche in conversation with Laura Allsop

Hassan Sharif in conversation with Nujoom Al Ghanem

Robin Kahn in conversation with Stephanie Bailey

Adelita Husni-Bey in conversation with Stephanie Bailey

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

Urok Shirhan in Conversation with Stephanie Bailey

Seth Ayyaz in conversation with Sheyma Buali

Farah Saleh in conversation with Marianna Liosi

Maya Zbib in conversation with Amal Khalaf

Özgür Uçkan and Vasif Kortun in conversation with Basak Senova

Walid Siti in conversation with Nat Muller

Rabih Mroué in conversation with Anthony Downey

Stefano Rabolli Pansera in conversation with Stephanie Bailey

Maryam Monalisa Gharavi in conversation with Mirene Arsanios

Nav Haq in conversation with Stephanie Bailey

Hera Büyüktaşçıyan in conversation with Basak Senova

Aikaterini Gegisian in conversation with Stephanie Bailey

The Arab Digital Expression Foundation in conversation with Laura Cugusi

Ahd in conversation with Sheyma Buali

Burak Arıkan in conversation with Basak Senova

Lucien Samaha in conversation with Walid Raad, Part I

Ahmed Nagy in conversation with Mai Elwakil

Rana Hamadeh in conversation with Stephanie Bailey

Joe Namy in conversation with Garine Aivazian

Elif Öner in conversation with Derya Yücel

Fulya Erdemci in conversation with Basak Senova

Nevin Aladağ in conversation with Walter D. Mignolo

Ayşe Erkmen in conversation with Basak Senova

Georgia Kotretsos in conversation with Stephanie Bailey

Carole Alfarah in conversation with María Gómez López

Kamel Lazaar in conversation with Anthony Downey

Kim Beamish in conversation with Sam Bowker

Lucien Samaha in conversation with Walid Raad, Part II

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

Christine Tohme in conversation with Rachel Dedman

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

Alia Rayyan: Recounting the Past, Present and Future

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

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

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

Ibraaz

Fawz Kabra

Rachida Triki

Malu Halasa

Ibraaz

An Artist-Run Gallery Space in Cairo

Contemporary Image Collective, Cairo

A Slavs and Tatars Panel Discussion at Art Space Pythagorion

A Report on Future City

Ibraaz

Parviz Tanavoli’s Retrospective at the Davis Museum

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

Ibraaz

Shuruq Harb: On Agency

Language Arts at The Third Line

John Akomfrah: in conversation with Anthony Downey

1971-1979 The Short Seventies (World)

Crisis The End of Pearling in the Gulf (Qatar)

1971-1979 The Short Seventies (UAE)

Sondos Shabayek

Louis Henderson

Kim Beamish

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

Ammar Al-Beik

Basir Mahmood

The People Demand the Fall of the Regime: January 2012

Omar Robert Hamilton

Cevdet Erek in conversation with Başak Şenova

Toleen Touq in conversation with Reema Salha Fadda

To close Ibraaz Platform 010, we present new essays by Ibraaz Editor-in-Chief Anthony Downey, Ibraaz Senior Editor Stephanie Bailey, Ibraaz Contributing Editor Ala Younis, and Natasha Hoare; interviews with Szabolcs KissPál and Mahmoud Khaled, Toleen Touq, Cevdet Erek, Hammad Nasar; projects by Shadi Habib Allah, Mahmoud Bakhshi, Maryam Monalisa Gharavi,...

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On Navigating Without a Compass

Ala Younis

Notes on Geo-cultural Exhibitions

Notes on a film by Kamal Aljafari

Artists Intervening in Lebanese Dailies

Meeting Points 8

Notes in a Conversation on a Film by Maha Maamoun

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

Natasha Marie Llorens

Katia Kameli at the Mosaic Rooms

Halil Altındere at Neuer Berliner Kunstverein, Berlin

Reflections on Reflections

Walking Cabbages and Watermelons

Socially Engaged Art Practices in Tunisia

On Assumption and Authority

Forests, Freaks and Performativity

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.

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.

Downtown Contemporary Arts Festival (D-CAF)

Tehran’s Self-portrait

The Little Deaths of Christodoulos Panayiotou

Genealogy of a Territory at MuCEM, Marseille

Green Art Gallery

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

Shady El Noshokaty at Gypsum Gallery, Cairo

The performative in the work of Hassan Khan

Notes on Maverickism as Genealogy and Genealogy as Approach

Interventions as Performative Gestures For Political Engagement in Jordan

Lara Khaldi

Contemporary Cinema from North Africa

Natasha Ginwala

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

Five Stages of an Artist Residency

On Bouchra Khalili’s Cartographies

On Nikolaj Larsen's End of Dreams

Portrait of a Salafi en abyme in the Cyber World

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.

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.

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.

Tina Sherwell

Burak Delier

A Recourse to the Past

Here and Elsewhere at the New Museum

Art and Culture Beyond Institutions in Amman

From the Intimate to the World

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

Downtown Contemporary Arts Festival (D-CAF)

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?

Or, Severing History From the Person

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

Georgia Kotretsos: SPRING CLEANING and KARFI in Rabat

HIWAR | Conversations in Amman

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

Basma Alsharif

Rosana Palazyan

Ariel Hassan

Mohamed Abdelkarim

Jasmina Metwaly

Adelita Husni-Bey

A Story of an Exhibition

On the Rooftop

An Image of a Revolution

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

A Project by Anahita Razmi

Two Projects by Sinisa Vlajkovic

A Project by Saba Innab

A Project by Dictaphone Group

A Libyan Diary (Part III) - December 2011

A Libyan Diary (Part II) - November 2011

Mustapha Benfodil

Khaled Hafez

A Libyan Diary (Part I) - October 2011

On Presidents & Superheroes

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,...

Maya Chami

Sohrab Kashani

Yazan Khalili Lara Khaldi

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...

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.

On Shuruq Harb's The Keeper

Ibraaz Platform 006 Editorial

When Buildings Become Part of the Record

The Recordings of the Cosmopolitan

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

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

The 13th Istanbul Biennial

FIAF’s 2013 World Nomads Tunisia Festival

Contemporary Artistic Practice in Iran at a Revolutionary Moment

The Encyclopedic Palace

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

Profiles: Collecting Art in Lebanon at AUB Gallery, Lebanon

Gezi Resistance, Public Space and the Counter-monumental

Tinkerings on the Instable Present Tense

Creative Time Reports

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

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

Looking for Palestine in the Jordanian Music Scene

Gulf Labor

An Exhibition between Cairo and London

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

Refraction: Moving Images on Palestine at P21 Gallery

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,...

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

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

The Shifting Narrative of Uprising

The Impossibilities of Production in New Media

Tarek Khoury

Theatre As a Tool of Empowerment

A.S. Bruckstein Çoruh

Foundland

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...

The MENA region is not short of attempts by cultural practitioners to interrogate, negotiate and redefine 'the public' (as manifested in the form of an institution, a public space, an audience, or the essentials of civil society). Some of most potent images of events over the last year in the...

The Practice of Contemporary Art in Algeria Today

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

Yazan Khalili

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...

Cardboards are leaned against a wall in a street. They form a peculiar assemblage one can identify as makeshift shelters. Fashioned out of the detritus of consumer society, the cardboards have become facades. They conceal women who were probably repudiated by their families. One of them emerges from her 'house'...

Walking in the Darkness of a Promised Light

Ela Greenberg

Raymond Baker

Joe Khalil

Rachida Triki

The Middle East is not a safe place. It is either the source of news, or the witness of strange incidents. Its streets and cities are under the threat of suicidal terrorists and of tribal religious wars. The Middle East is unpredictable: its aging dictators fall overnight, its borders have...

Aesthetics, Civil Society, and the Politics of Representation