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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...

Jack Persekian in conversation with Basak Senova

Chapter 1: Intensities

Downloadable Exhibition Guide

Fractures: Children's Activity Book

Chapter 7: Fabric

Chapter 6: Writing

Chapter 5: Lines

Chapter 4: Measures

Chapter 3: Intervals

Chapter 2: Details

A Question: Jalal Toufic

Editor's Foreword: Anthony Downey

Preface: Jack Persekian

Introduction: Basak Senova

Online exhibition catalogue

A View from the City: Tina Sherwell

A View from Afar: Stephanie Bailey

Reema Salha Fadda

RE/viewing Jerusalem #2 – REturn: Jerusalem

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

Ala Younis in conversation with Liane Al-Ghusain

Iranian Carpet: Amir Mousavi

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

On Shuruq Harb's The Keeper

Ela Greenberg

Jerusalem

Online exhibition catalogue

Alia Rayyan: Recounting the Past, Present and Future

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,...

At Aicon Gallery, New York

The Subversive Feminine

Street Art in the Mediterranean Border Zones

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...

Georgia Kotretsos: SPRING CLEANING and KARFI in Rabat

FIAF’s 2013 World Nomads Tunisia Festival

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...

Raymond Baker

Humans from Palestine, The Karimeh Abbud Award Exhibition: Bethlehem

Sites of Return: Ramallah

Cities Exhibition 5, 'Gaza – Reconstruction': Ramallah

Cities Exhibition 5, 'Gaza – Reconstruction': Gaza

O Whale, Don't Swallow Our Moon: Ramallah

Pattern Recognition: Ramallah

A Series of Un-Curated Events: Ramallah

/Tilted/: Ramallah

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

This Sea is Mine: Amman

This Sea is Mine: Gaza

Sea of Stories: Beirut

The People of the Sea: Haifa

Biographies

After Thoughts: Shuruq Harb

Programme Downloads

Acknowledgements

Partner institutions

Encounters Programme

Bethlehem

Amman

London

Ramallah & Al-Bireh

Haifa

Gaza

Beirut

Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey

Reflections: Ala Younis Adania Shibli

Foreword: Anthony Downey

Introduction: Qi2016 Curatorial Team

Responses

Curator's Essay: Aaron Cezar

A roundtable discussion

Ahmet Öğüt in conversation with Basak Senova

Nadia Kaabi-Linke in conversation with Lina Lazaar

Ziad Antar in Conversation with Anthony Downey

Michket Krifa in conversation with Wafa Gabsi

Ala Ebtekar in conversation with Sara Raza

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

Jeanno Gaussi in conversation with Dorothea Schoene

Nathan Witt in conversation with Amira Gad

Diana Al-Hadid in Conversation with Fawz Kabra

Hassan Khan in conversation with Omar Kholeif

Tarzan and Arab in conversation with Laura Allsop

Wafaa Bilal in conversation with Sara Raza

Rasha Salti in conversation with Fawz Kabra

Ayah Bdeir in conversation with Omar Kholeif

Michael Rakowitz in conversation with Anthony Downey

Cynthia Zaven in conversation with Basak Senova

Simone Fattal in conversation with Mirene Arsanios

Mario Rizzi in conversation with Dorothea Schoene

Jeremy Hutchison in conversation with Natasha Hoare

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

Omar Robert Hamilton in conversation with Elisabeth Jaquette

Hera Büyüktaşçıyan in conversation with Basak Senova

Seth Anziska in conversation with Daniella Rose King

Fulya Erdemci in conversation with Basak Senova

Samah Hijawi: Paradise Series

Jumana Emil Abboud: A Happy Ending, Part II

Visitations: When aurality loses site* by Rayya Badran

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

Looking at Wafaa Bilal's Domestic Tension : Barrak Alzaid

Sulayman Al Bassam in conversation with Ala Younis

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

Performance documentation: Lin Yilin

Hair and Milk Bottle: Hassan Sharif

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

A Tress of Hair: Doa Aly

Rabih Mroué in conversation with Göksu Kunak

Lina Majdalanie in conversation with Göksu Kunak

Yazan Khalili and Lara Khaldi in conversation with Natasha Hoare

Rasha Salti and Kristine Khouri in conversation with Samah Hijawi

Sohrab Kashani in conversation with Taus Makhacheva

Speaker Biographies + Synopses

Curatorial Narrative

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

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

Coco Fusco in conversation with Stephanie Bailey

Joana Hadjithomas and Khalil Joreige in conversation with Nat Muller

ismaël in conversation with Wafa Gabsi

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

Caveh Zahedi in conversation with Stephanie Bailey

Robin Kahn in conversation with Stephanie Bailey

Adelita Husni-Bey in conversation with Stephanie Bailey

Lasse Lau in conversation with Amira Gad

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

Seth Ayyaz in conversation with Sheyma Buali

Farah Saleh in conversation with Marianna Liosi

Dia Azzawi in conversation with Sheyma Buali

Özgür Uçkan and Vasif Kortun in conversation with Basak Senova

Walid Siti in conversation with Nat Muller

Yael Bartana in conversation with Clelia Coussonnet

Rabih Mroué in conversation with Anthony Downey

Martina Caruso in conversation with Sheyma Buali

Stefano Rabolli Pansera in conversation with Stephanie Bailey

Eric Van Hove in conversation with Natasha Hoare

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

November Paynter and Didem Pekün in conversation with Basak Senova

Mai Elwakil in conversation with Daniella Rose King

Monira Al Qadiri in conversation with Stephanie Bailey

Burak Arıkan in conversation with Basak Senova

Antonia Carver in conversation with Omar Kholeif

Eungie Joo in conversation with Stephanie Bailey

Jananne Al-Ani in conversation with Nat Muller

Maryam Jafri in conversation with Stephanie Bailey

Lucien Samaha in conversation with Walid Raad, Part I

Mona Marzouk in conversation with Aleya Hamza

Rana Hamadeh in conversation with Stephanie Bailey

Ali Cherri in conversation with Sheyma Buali

Joe Namy in conversation with Garine Aivazian

Akram Zaatari in conversation with Anthony Downey

Elif Öner in conversation with Derya Yücel

Fulya Erdemci in conversation with Basak Senova

Nevin Aladağ in conversation with Walter D. Mignolo

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

Larissa Sansour in conversation with Sheyma Buali

Nida Sinnokrot in conversation with Natasha Hoare

Suha Shoman in conversation with Amin Alsaden

Foundland in conversation with Nat Muller

Adelina von Fürstenberg in conversation with Stephanie Bailey

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

Lucien Samaha in conversation with Walid Raad, Part II

Louis Henderson in conversation with Amira Gad

Rifat Chadirji and Balkis Sharara in conversation with Amin Alsaden

Leung Chi Wo in conversation with Robin Peckham

Héla Ammar in conversation with Wafa Gabsi

Eric Baudelaire in conversation with Anthony Downey

Fadi Bardawil in conversation with Zeynep Oz

Hamza Halloubi in conversation with Natasha Hoare

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

Sharjah Art Foundation, 17-19 March 2012

Reflections 03

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

Samiha Khalil

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

Ibraaz

The Cairo Seminar in Alexandria, dOCUMENTA (13)

Sheyma Buali

Ibraaz

Ibraaz in partnership with Winchester Centre for Global Futures in Art

A Slavs and Tatars Panel Discussion at Art Space Pythagorion

Ibraaz

The second meeting of Maghreb des Arts

Ibraaz

Ibraaz

Ibraaz

Future Imperfect, A Symposium

Ibraaz

Ibraaz

Ibraaz

Decolonizing Architecture at Tate Modern

Erriadh is the Home of the ‘Street’

Edge of Arabia Launches Culturunners

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Ibraaz

Almagul Menlibayeva in conversation with Basak Senova

Gregory Sholette at Home Workspace Program

Ibraaz

Ibraaz

London book launch: 19 November, 18:30, Rivington Place

William Wells in conversation at Serpentine Galleries

Ibraaz

Ibraaz

Two Exhibitions on the Armenian Legacy in Anatolia

Larissa Sansour

Aimee Dawson

Burak Arikan & Başak Şenova: Network Data

Ibraaz

Hans Ulrich Obrist: in conversation with Omar Kholeif

Shiva Balaghi: in conversation with Stephanie Bailey

Oscar Guardiola-Rivera: 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)

1971-1979 The Short Seventies (UAE)

Lin Yilin

Hiwa K.

Bouchra Ouizguen

Nancy Atakan

The Future Was a Roundabout

A Roundtable Discussion from The Middle East Institute

Doa Aly

Christodoulos Panayiotou

Louis Henderson

Murtaza Vali: 'Arresting Flows, Stacking Forms'

Neha Vora: Warehouse as Dubai's Cultural Heritage

Paris Without a Sea: Mounira Al Solh

Etel Adnan

Sama Alshaibi

A tribute by Gelareh Kiazand

Heba Y. Amin

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

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

Council presents: The Against Nature Journal

Performing the Trial: Re-enactment, Ritual, Remediation

Trace Environments: Sovereignty, toxicity and the littoral

Amer AlBarzawi

Ibraaz

Omar Robert Hamilton

Cevdet Erek in conversation with Başak Şenova

A two-part conversation with Szabolcs KissPál and Mahmoud Khaled

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Platform 010 Editorial

On Navigating Without a Compass

Ala Younis

Reema Salha Fadda

Contour Biennale 8

Notes on Geo-cultural Exhibitions

Stephanie Bailey

Lizzy Collier

On Qalandiya International 2016 in Ramallah

Notes in a Conversation on a Film by Maha Maamoun

Wael Shawky at the Fondazione Merz

Nil Yalter at ARTER, Istanbul

Hamid Dabashi

Khalid Abdalla

Exhibitions and Other Representations in 25 Years at Witte de With

Reflections on Reflections

Edmund Clark at the Imperial War Museum, London

Rayyane Tabet at Museo Marino Marini

The Artist as Awakener at AUB

Walking Cabbages and Watermelons

Ibraaz 5th Year Anniversary Editorial

Rozemin Keshvani

Participatory Art in the Middle East

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

Forests, Freaks and Performativity

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

Barrak Alzaid

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.

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

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

Samah Hijawi

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

Notes on Maverickism as Genealogy and Genealogy as Approach

Jumana Manna at Chisenhale Gallery, London

The 14th Istanbul Biennial 2015

The Unspoken Battle of Self-Censorship

Edited Urbanism on Dubai Creek

A Review of the 56th Venice Biennale

Adel Abidin presents Subway Scene (2015).

A Nomadological Study of Ottoman Arab Photography

Interventions as Performative Gestures For Political Engagement in Jordan

Performing Armenity at the 56th Venice Biennale

'A few notes on the difference between performance art and mayonnaise...'

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

Franco Berardi

Lara Khaldi

Determining the Axis of the Global South and Middle East

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

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

Natasha Ginwala

Notes on a Giant Implosion

On Nikolaj Larsen's End of Dreams

On the Work of Basma Alsharif

Portrait of a Salafi en abyme in the Cyber World

An Art Collection as an Alternative Archive of Iranian History

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

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

Tina Sherwell

Here and Elsewhere at the New Museum

Building Institutions Through Practice

A Yemeni Art History

Re-Thinking Cultural Development in Palestine

Re-routing Institutional Critique

Can T-Wall Murals really Beautify the Fragmented Baghdad?

In the Shadow of Nasser

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

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?

'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.'

'The future of arts looks promising, but it also risks looking stale if we're not too careful. I will concentrate here on what I think are important considerations in the shaping of spaces of encounter.'

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

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

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

The Sharjah Art Foundation's 2014 March Meeting

A Perspective on Algeria's Cultural Scene

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

Almagul Menlibayeva

Malak Helmy and Sophia Al Maria

Oreet Ashery

Eric Baudelaire

Nikolaj Larsen

Mounira Al Solh

Hera Büyüktaşçıyan

Rosana Palazyan

Youmna Chlala

Uriel Orlow

Leung Chi Wo

Aikaterini Gegisian

Campus in Camps and Grupo Contrafilé

Isak Berbic

Caline Aoun

Thoughts on Art and Art Discourse

Elif Öner and Vincent Rozenberg

Notes from three spaces in which the law resounds

A project by Jumana Manna and Sille Storihle

A project by Maha Maamoun

A Radio Series on the Poetics and Politics of Language

The Part about the Bandits Pt.2

Basak Senova on Zeren Göktan's Counter (2013)

Lasse Lau

Adelita Husni-Bey

An Image of a Revolution

Elevator Advertisements

Dream Homes and Community-building

A Story in Parts

A project by Tom Bogaert for Ibraaz

Transition, a photographic series by Myriam Abdelaziz

Isak Berbic

Nikolaj Larsen

Marwa Arsanios

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,...

A project by Benji Boyadgian

Maryam Monalisa Gharavi

Basma Alsharif

Amira Hanafi

Maya Chami

Larissa Sansour and Soren Lind

Zoukak Theatre Company

Sohrab Kashani

Seth Ayyaz

Hassan Khan

Hasan Hujairi

Joe Namy

Samah Hijawi

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 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'

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'

An I for an Eye and Death of a Cameraman

Alsi Çavuşoğlu at Delfina Foundation, London

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

Contemporary Artistic Practice in Iran at a Revolutionary Moment

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

Profiles: Collecting Art in Lebanon at AUB Gallery, Lebanon

Institute of Contemporary Art, London

Gezi Resistance, Public Space and the Counter-monumental

Iraq and Palestine at the 2013 Venice Biennale

Tinkerings on the Instable Present Tense

Amy Charlesworth

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

Celebrating Arab Women Filmmakers

Shifting the Geographies of Sensing, Believing and Knowing

Looking for Palestine in the Jordanian Music Scene

Basim Magdy at Newman Popiashvili

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,...

In the globalised world we live in, I feel that creating the image of an enemy becomes a difficult task. It becomes difficult to name and make symbols for an enemy – an abstract 'evil' – since things are never abstract, but always and at any time connected and related.

Introduction

Artistic Practice from Tirana to Tangier

Artistic Practices, Collective Action and Civil Society in Tunisia

The Story of Bahrain’s Pearl Roundabout

What has Changed in Tunisia since Spring 2011

On the Memory of a Memorial

Tarek Khoury

A.S. Bruckstein Çoruh

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...

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...

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...

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...

An Introduction

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

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....

I am broadly interested in addressing the recontextualisation of cultural heritage in the MENA region by institutions, thus aligning it in the process with current developments in contemporary art at large. Artistic practices are frequently used to measure the economic and cultural growth of geographies. This is often achieved by...

Writing on the Walls: Transition, A Photographic Series by Myriam Abdelaziz

The Practice of Contemporary Art in Algeria Today

Anthony Downey

Politics, Media and Art after the Arab Uprisings

Perceptions of Occupation and Control in Cyprus

Yazid Anani

Mirene Arsanios

Reflections from a book on South Sinai

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

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

The Enemy Inside Me

Joe Khalil

01: An old woman gets into a taxi and asks the driver to take her somewhere. The driver hits the accelerator and takes off. As they arrive at a traffic light, the driver hits the gas and speeds across the red light. The old lady panics and screams; 'Why did...

One of the important developments required in the region is the expansion of a critical discourse on local artistic practices. It is crucial to gain an in-depth understanding of the various generations of art practitioners, through detailed studies of their work in relation to the relevant contexts and debates. Research...

Samah Hijawi Documents for a Narrative of Art History of Jordan, 2010-ongoing M ulti-media project Video excerpt, 1'40" Courtesy of the artist This ongoing research project is concerned with different aspects that have influenced the development of visual art practices in Jordan over the last 60 years. It uses multi-media...

This question is like a trap: 'what do we need to know about the MENA region today?' It feels like a trap, or a puzzle, rather than like a question because it was asked with no explanations. The only indication I had was that the answer should not exceed 200...

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

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...

Mark Westmoreland

History repeats itself – this line used across the disciplines is a proven liturgy to contemporary compendiums. When you detail the visual narratives, the region becomes the medium designed to mark your place in history. Whether in the Stone Age or the Digital Age, information is your power, and revolution...

Aesthetics, Civil Society, and the Politics of Representation

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