PUBLICATIONS

Banner image: Ahmet Ogut, Stones to Throw, 2011, mail and public art project, painted stones, air way bills, installation view from the streets of Diyarbakır. Courtesy of the artist.

THEDISCORD | IBRAAZ

Benji Boyadgian (b.1983, Jerusalem) studied architecture at ENSAPLV School of Architecture (L'Ecole Nationale Supérieure d'Architecture de Paris La Villette), attaining a Masters of Architecture.Boyadgian works on research-based projects that explore themes revolving around perception, heritage, territory, architecture and landscape.

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout THE PERSONAL AND THE POLITICAL ALL AT ONCE AH: The burning of the Institut d'Egypte was a horrific sight that reminded us all of the 1971 burning of the Cairo Opera House (the Khedivial Opera House).The fire that took place on 17 December 2011 left us immobilized. In retrospect, I think many important questions about national heritage, memory and architecture were raised at that time that I find very informative now. WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

NOSTALGIA FOR THE FUTURE Ala Ebtekar is an Iranian-American artist whose practice explores the juncture between history and myth. Forging a multi-faceted project that melds Persian mythology, science, philosophy and pop culture together, his work returns us to the past as a way of envisioning the

future.

MADE IN ALGERIA

Made in Algeria takes place at the Museum for Europe and Mediterranean Civilizations (MuCEM), which opened in 2013 when Marseille was European Capital of Culture. The show consists of approximately 200 artworks and documents have been brought together by two curators Zahia Rahmani, art historian and novelist, Head of the Art and Globalization programme at the Institut National RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

THE MUSEUM OF ISLAMIC ART IN DOHA AND THE ASIAN http://www.ibraaz.org/essays/7733 133 Ibraaz|November20133 I 'The danger of a single story' is a celebrated speech by Nigerian writer Chimamanda Ngozi Adichie, in

PUBLICATIONS

Banner image: Ahmet Ogut, Stones to Throw, 2011, mail and public art project, painted stones, air way bills, installation view from the streets of Diyarbakır. Courtesy of the artist.

THEDISCORD | IBRAAZ

Benji Boyadgian (b.1983, Jerusalem) studied architecture at ENSAPLV School of Architecture (L'Ecole Nationale Supérieure d'Architecture de Paris La Villette), attaining a Masters of Architecture.Boyadgian works on research-based projects that explore themes revolving around perception, heritage, territory, architecture and landscape.

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout THE PERSONAL AND THE POLITICAL ALL AT ONCE AH: The burning of the Institut d'Egypte was a horrific sight that reminded us all of the 1971 burning of the Cairo Opera House (the Khedivial Opera House).The fire that took place on 17 December 2011 left us immobilized. In retrospect, I think many important questions about national heritage, memory and architecture were raised at that time that I find very informative now. WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

NOSTALGIA FOR THE FUTURE Ala Ebtekar is an Iranian-American artist whose practice explores the juncture between history and myth. Forging a multi-faceted project that melds Persian mythology, science, philosophy and pop culture together, his work returns us to the past as a way of envisioning the

future.

MADE IN ALGERIA

Made in Algeria takes place at the Museum for Europe and Mediterranean Civilizations (MuCEM), which opened in 2013 when Marseille was European Capital of Culture. The show consists of approximately 200 artworks and documents have been brought together by two curators Zahia Rahmani, art historian and novelist, Head of the Art and Globalization programme at the Institut National RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

THE MUSEUM OF ISLAMIC ART IN DOHA AND THE ASIAN http://www.ibraaz.org/essays/7733 133 Ibraaz|November20133 I 'The danger of a single story' is a celebrated speech by Nigerian writer Chimamanda Ngozi Adichie, in MODERN IRAQI ART: A COLLECTION Bucking the usual Dubai summer trend of exhibiting up-and-coming artists or pulling work from the inner bowels of gallery storage, Meem Gallery instead chose to present a group exhibition of exceptional art historical depth in their current show, Modern Iraqi Art: A Collection.Although the title deceptively implies that the entire exhibition is dedicated to Modern Iraqi Art, in fact, there are THE MUSEUM OF ISLAMIC ART IN DOHA AND THE ASIAN CIVILIZATIONS http://www.ibraaz.org/essays/7733 133 Ibraaz|November20133 I 'The danger of a single story' is a celebrated speech by Nigerian writer Chimamanda Ngozi Adichie, in RABIH MROUÉ AND THE PIXELATED REVOLUTION Rabih Mroué stages this in his lecture-performance The Pixelated Revolution (2012), performed at Documenta 13. Here, Mroué performs a narrative to images culled from the Internet and videos posted by civilians attempting to document the latest acts of violence in the ongoing Syrian Revolution. NOSTALGIA FOR THE FUTURE Ala Ebtekar is an Iranian-American artist whose practice explores the juncture between history and myth. Forging a multi-faceted project that melds Persian mythology, science, philosophy and pop culture together, his work returns us to the past as a way of envisioning the

future.

FUTURE IMPERFECT: CONTEMPORARY ART PRACTICES AND CULTURAL Book launch and drinks reception . Wednesday 22 February 2017, 6.30-8.30pm. Delfina Foundation, 29-31 Catherine Place, London SW1E 6DY. We are pleased to celebrate the launch of Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East, volume 03 in our Contemporary Visual Culture in the Middle East series.. Future Imperfect: Contemporary Art Practices

A TRESS OF HAIR

A Tress of Hair. 2008. Video, 11 mins, 48 sec. A Tress of Hair is based on two short stories written by the nineteenth century French writer Guy de Maupassant.La Chevelure (A Tress of Hair) tells the story of a madman who finds a tress of hair hidden in an old cabinet and falls in love with it.Berthe (Bertha) is the story of a girl with learning difficulties, who is trained by her doctor to EFFECTIVE ON THE GROUND AND INVISIBLE TO THE GLOBAL ART TAGS Pamela Karimi Pamela Karimi is Associate Professor of Art History at the University of Massachusetts. Karimi is the author of Domesticity and Consumer Culture in Iran: Interior Revolutions of the Modern Era (Routledge, 2013) and co-editor of Images of the Child and Childhood in Modern Muslim Contexts (Duke, 2012). Her essays and reviews about the modern and contemporary art of the Middle

OFF THE RECORD

Nil Yalter's solo exhibition Off the Record is centered on immigration, displacement and neglected histories – themes that have defined the artist's practice for decades, as evidenced by an exhibition constructed as a retrospective over two floors that includes early digital experiments to recent oil paintings. It begins with a video installation placed at the gallery's entrance titled

PROGRESSIVE ROOTS

Sussan Deyhim is a performance artist, vocalist, and activist whose strong, bold vocals merge the mystical with the radical. With an interest in articulating a sense of self through boundless forms, Deyhim has developed a practice out of combining elements of theatrical, operatic, and choreographed performance with the poetics of film, literature and history. CONFLICTING NARRATIVES AND THE INVENTION OF GEOGRAPHIES This essay is a reflection on the term 'Global South', and, at the same time, a discussion of the challenges we facewhile thinking about the cultural and political

PUBLICATIONS

Banner image: Ahmet Ogut, Stones to Throw, 2011, mail and public art project, painted stones, air way bills, installation view from the streets of Diyarbakır. Courtesy of the artist.

THEDISCORD | IBRAAZ

Benji Boyadgian (b.1983, Jerusalem) studied architecture at ENSAPLV School of Architecture (L'Ecole Nationale Supérieure d'Architecture de Paris La Villette), attaining a Masters of Architecture.Boyadgian works on research-based projects that explore themes revolving around perception, heritage, territory, architecture and landscape.

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout THE PERSONAL AND THE POLITICAL ALL AT ONCE AH: The burning of the Institut d'Egypte was a horrific sight that reminded us all of the 1971 burning of the Cairo Opera House (the Khedivial Opera House).The fire that took place on 17 December 2011 left us immobilized. In retrospect, I think many important questions about national heritage, memory and architecture were raised at that time that I find very informative now. WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

NOSTALGIA FOR THE FUTURE Ala Ebtekar is an Iranian-American artist whose practice explores the juncture between history and myth. Forging a multi-faceted project that melds Persian mythology, science, philosophy and pop culture together, his work returns us to the past as a way of envisioning the

future.

MADE IN ALGERIA

Made in Algeria takes place at the Museum for Europe and Mediterranean Civilizations (MuCEM), which opened in 2013 when Marseille was European Capital of Culture. The show consists of approximately 200 artworks and documents have been brought together by two curators Zahia Rahmani, art historian and novelist, Head of the Art and Globalization programme at the Institut National RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

THE MUSEUM OF ISLAMIC ART IN DOHA AND THE ASIAN http://www.ibraaz.org/essays/7733 133 Ibraaz|November20133 I 'The danger of a single story' is a celebrated speech by Nigerian writer Chimamanda Ngozi Adichie, in

PUBLICATIONS

Banner image: Ahmet Ogut, Stones to Throw, 2011, mail and public art project, painted stones, air way bills, installation view from the streets of Diyarbakır. Courtesy of the artist.

THEDISCORD | IBRAAZ

Benji Boyadgian (b.1983, Jerusalem) studied architecture at ENSAPLV School of Architecture (L'Ecole Nationale Supérieure d'Architecture de Paris La Villette), attaining a Masters of Architecture.Boyadgian works on research-based projects that explore themes revolving around perception, heritage, territory, architecture and landscape.

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout THE PERSONAL AND THE POLITICAL ALL AT ONCE AH: The burning of the Institut d'Egypte was a horrific sight that reminded us all of the 1971 burning of the Cairo Opera House (the Khedivial Opera House).The fire that took place on 17 December 2011 left us immobilized. In retrospect, I think many important questions about national heritage, memory and architecture were raised at that time that I find very informative now. WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

NOSTALGIA FOR THE FUTURE Ala Ebtekar is an Iranian-American artist whose practice explores the juncture between history and myth. Forging a multi-faceted project that melds Persian mythology, science, philosophy and pop culture together, his work returns us to the past as a way of envisioning the

future.

MADE IN ALGERIA

Made in Algeria takes place at the Museum for Europe and Mediterranean Civilizations (MuCEM), which opened in 2013 when Marseille was European Capital of Culture. The show consists of approximately 200 artworks and documents have been brought together by two curators Zahia Rahmani, art historian and novelist, Head of the Art and Globalization programme at the Institut National RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

THE MUSEUM OF ISLAMIC ART IN DOHA AND THE ASIAN http://www.ibraaz.org/essays/7733 133 Ibraaz|November20133 I 'The danger of a single story' is a celebrated speech by Nigerian writer Chimamanda Ngozi Adichie, in MODERN IRAQI ART: A COLLECTION Bucking the usual Dubai summer trend of exhibiting up-and-coming artists or pulling work from the inner bowels of gallery storage, Meem Gallery instead chose to present a group exhibition of exceptional art historical depth in their current show, Modern Iraqi Art: A Collection.Although the title deceptively implies that the entire exhibition is dedicated to Modern Iraqi Art, in fact, there are THE MUSEUM OF ISLAMIC ART IN DOHA AND THE ASIAN CIVILIZATIONS http://www.ibraaz.org/essays/7733 133 Ibraaz|November20133 I 'The danger of a single story' is a celebrated speech by Nigerian writer Chimamanda Ngozi Adichie, in RABIH MROUÉ AND THE PIXELATED REVOLUTION Rabih Mroué stages this in his lecture-performance The Pixelated Revolution (2012), performed at Documenta 13. Here, Mroué performs a narrative to images culled from the Internet and videos posted by civilians attempting to document the latest acts of violence in the ongoing Syrian Revolution. NOSTALGIA FOR THE FUTURE Ala Ebtekar is an Iranian-American artist whose practice explores the juncture between history and myth. Forging a multi-faceted project that melds Persian mythology, science, philosophy and pop culture together, his work returns us to the past as a way of envisioning the

future.

FUTURE IMPERFECT: CONTEMPORARY ART PRACTICES AND CULTURAL Book launch and drinks reception . Wednesday 22 February 2017, 6.30-8.30pm. Delfina Foundation, 29-31 Catherine Place, London SW1E 6DY. We are pleased to celebrate the launch of Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East, volume 03 in our Contemporary Visual Culture in the Middle East series.. Future Imperfect: Contemporary Art Practices

A TRESS OF HAIR

A Tress of Hair. 2008. Video, 11 mins, 48 sec. A Tress of Hair is based on two short stories written by the nineteenth century French writer Guy de Maupassant.La Chevelure (A Tress of Hair) tells the story of a madman who finds a tress of hair hidden in an old cabinet and falls in love with it.Berthe (Bertha) is the story of a girl with learning difficulties, who is trained by her doctor to EFFECTIVE ON THE GROUND AND INVISIBLE TO THE GLOBAL ART TAGS Pamela Karimi Pamela Karimi is Associate Professor of Art History at the University of Massachusetts. Karimi is the author of Domesticity and Consumer Culture in Iran: Interior Revolutions of the Modern Era (Routledge, 2013) and co-editor of Images of the Child and Childhood in Modern Muslim Contexts (Duke, 2012). Her essays and reviews about the modern and contemporary art of the Middle

OFF THE RECORD

Nil Yalter's solo exhibition Off the Record is centered on immigration, displacement and neglected histories – themes that have defined the artist's practice for decades, as evidenced by an exhibition constructed as a retrospective over two floors that includes early digital experiments to recent oil paintings. It begins with a video installation placed at the gallery's entrance titled

PROGRESSIVE ROOTS

Sussan Deyhim is a performance artist, vocalist, and activist whose strong, bold vocals merge the mystical with the radical. With an interest in articulating a sense of self through boundless forms, Deyhim has developed a practice out of combining elements of theatrical, operatic, and choreographed performance with the poetics of film, literature and history. CONFLICTING NARRATIVES AND THE INVENTION OF GEOGRAPHIES This essay is a reflection on the term 'Global South', and, at the same time, a discussion of the challenges we facewhile thinking about the cultural and political

CHANNEL | IBRAAZ

Ibraaz. 009_00 / 28 May 2015. In this video, made exclusively for the Ibraaz Channel, Sheyma Buali talks to Jumana Emil Abboud about her practice as an artist and how her idea of performance extends into the visual arts in forms as diverse as drawing, text, sculpture, and installation. Read more.

INTERVIEWS | IBRAAZ

Spring Sessions is an annual three-month art residency programme in Amman that was founded four years ago with a clear goal in mind: to address the absence of critical and experiential art education in Jordan. The programme brings together international artists, to host participatory workshops and collaborative sessions with young

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE NORTH OF THE SOUTH AND THE WEST OF THE EAST Take Huntington's logic of planetary classification as depicted in the legend from the map above. The 'West' – North America, Canada, Europe and Australia – is positioned on the top of the list, and is the civilization that classifies the remaining eight according to the following categories: 'Western', 'Orthodox' (meaning eastern Christianity), 'Islamic', 'African', 'Latin American THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

FAHRELNISSA ZEID IN THE MEGA-MUSEUM A cream coloured carte-de-visite captures many of the defining biographical features that make Zeid so appealing to a contemporary art world interested in global models of artistic practice.The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, 'Fahrünnissa Zeid El Hüssein', a small icon of a crown, and a casual note scribbled in THE GEOPOLITICS OF CONTEMPORARY ART The discourse on the geopolitics of contemporary art is caught within two conflicting paradigms: an emerging view that stresses the open system of global flows, and the residual framework that is derived from the bounded territories of national structures. We seek to challenge these binary options by proposing a view from the 'South'. ARCHIVING A REVOLUTION IN THE DIGITAL AGE, ARCHIVING AS AN Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance. From the very first day of the 2011 uprisings in Egypt that toppled president Mubarak, archiving played a central role. During the 18 days of the revolution in Tahrir square, photographing was an act of seeing and recording. Almost simultaneously, because a

photograph

CHANNEL | IBRAAZ

Ibraaz. 009_00 / 28 May 2015. In this video, made exclusively for the Ibraaz Channel, Sheyma Buali talks to Jumana Emil Abboud about her practice as an artist and how her idea of performance extends into the visual arts in forms as diverse as drawing, text, sculpture, and installation. Read more.

INTERVIEWS | IBRAAZ

Spring Sessions is an annual three-month art residency programme in Amman that was founded four years ago with a clear goal in mind: to address the absence of critical and experiential art education in Jordan. The programme brings together international artists, to host participatory workshops and collaborative sessions with young

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE NORTH OF THE SOUTH AND THE WEST OF THE EAST Take Huntington's logic of planetary classification as depicted in the legend from the map above. The 'West' – North America, Canada, Europe and Australia – is positioned on the top of the list, and is the civilization that classifies the remaining eight according to the following categories: 'Western', 'Orthodox' (meaning eastern Christianity), 'Islamic', 'African', 'Latin American THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

FAHRELNISSA ZEID IN THE MEGA-MUSEUM A cream coloured carte-de-visite captures many of the defining biographical features that make Zeid so appealing to a contemporary art world interested in global models of artistic practice.The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, 'Fahrünnissa Zeid El Hüssein', a small icon of a crown, and a casual note scribbled in THE GEOPOLITICS OF CONTEMPORARY ART The discourse on the geopolitics of contemporary art is caught within two conflicting paradigms: an emerging view that stresses the open system of global flows, and the residual framework that is derived from the bounded territories of national structures. We seek to challenge these binary options by proposing a view from the 'South'. ARCHIVING A REVOLUTION IN THE DIGITAL AGE, ARCHIVING AS AN Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance. From the very first day of the 2011 uprisings in Egypt that toppled president Mubarak, archiving played a central role. During the 18 days of the revolution in Tahrir square, photographing was an act of seeing and recording. Almost simultaneously, because a

photograph

PUBLICATIONS

Banner image: Ahmet Ogut, Stones to Throw, 2011, mail and public art project, painted stones, air way bills, installation view from the streets of Diyarbakır. Courtesy of the artist. WHERE TO NOW? SHIFTING REGIONAL DYNAMICS AND CULTURAL A platform is a space for speaking in public. It is an opportunity to express ideas and thoughts. It also suggests the formal declaration of a stance or position on any given subject.

TURBULENT | IBRAAZ

Turbulent (1998) is a two-screen video installation demonstrating the binaries in Iran's musical history. Between the dark and the light, the male and the female, the spiritual and the physical, we are confronted with social constructs, cultural loss, and that which can be regained. 'An important aspect of Turbulent is that women in Iran

are

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

UNCOMMON GROUNDS: NEW MEDIA AND CRITICAL PRACTICES IN Ibraaz Publishing and I.B. Tauris are pleased to announce the book launch of Uncommon Grounds: New Media and Critical Practices in North Africa and the Middle East, edited by Anthony Downey. In this groundbreaking book, a range of internationally renowned and emerging academics, writers, artists, curators, activists and filmmakers

critically

THE PERSONAL AND THE POLITICAL ALL AT ONCE AH: The burning of the Institut d'Egypte was a horrific sight that reminded us all of the 1971 burning of the Cairo Opera House (the Khedivial Opera House).The fire that took place on 17 December 2011 left us immobilized. In retrospect, I think many important questions about national heritage, memory and architecture were raised at that time that I find very informative now. FAHRELNISSA ZEID IN THE MEGA-MUSEUM A cream coloured carte-de-visite captures many of the defining biographical features that make Zeid so appealing to a contemporary art world interested in global models of artistic practice.The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, 'Fahrünnissa Zeid El Hüssein', a small icon of a crown, and a casual note scribbled in

A TRESS OF HAIR

A Tress of Hair. 2008. Video, 11 mins, 48 sec. A Tress of Hair is based on two short stories written by the nineteenth century French writer Guy de Maupassant.La Chevelure (A Tress of Hair) tells the story of a madman who finds a tress of hair hidden in an old cabinet and falls in love with it.Berthe (Bertha) is the story of a girl with learning difficulties, who is trained by her doctor to FUTURE IMPERFECT: CONTEMPORARY ART PRACTICES AND CULTURAL Book launch and drinks reception . Wednesday 22 February 2017, 6.30-8.30pm. Delfina Foundation, 29-31 Catherine Place, London SW1E 6DY. We are pleased to celebrate the launch of Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East, volume 03 in our Contemporary Visual Culture in the Middle East series.. Future Imperfect: Contemporary Art Practices ON REPORTING, THE DOCUMENTARY AND THE AESTHETIC IN URSULA Europlex, made in 2003 by artist Ursula Biemann and visual anthropologist Angela Sanders, provides an account of the trade routes that have been carved out by the continual move of people and goods on the Ibero-Moroccan border.Articulated as a video-essay, it explores the impact of macro-economic and political processes on the bodies of individuals and the micro-procedures of daily life.

CHANNEL | IBRAAZ

Ibraaz. 009_00 / 28 May 2015. In this video, made exclusively for the Ibraaz Channel, Sheyma Buali talks to Jumana Emil Abboud about her practice as an artist and how her idea of performance extends into the visual arts in forms as diverse as drawing, text, sculpture, and installation. Read more.

INTERVIEWS | IBRAAZ

Spring Sessions is an annual three-month art residency programme in Amman that was founded four years ago with a clear goal in mind: to address the absence of critical and experiential art education in Jordan. The programme brings together international artists, to host participatory workshops and collaborative sessions with young

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE NORTH OF THE SOUTH AND THE WEST OF THE EAST Take Huntington's logic of planetary classification as depicted in the legend from the map above. The 'West' – North America, Canada, Europe and Australia – is positioned on the top of the list, and is the civilization that classifies the remaining eight according to the following categories: 'Western', 'Orthodox' (meaning eastern Christianity), 'Islamic', 'African', 'Latin American THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

FAHRELNISSA ZEID IN THE MEGA-MUSEUM A cream coloured carte-de-visite captures many of the defining biographical features that make Zeid so appealing to a contemporary art world interested in global models of artistic practice.The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, 'Fahrünnissa Zeid El Hüssein', a small icon of a crown, and a casual note scribbled in THE GEOPOLITICS OF CONTEMPORARY ART The discourse on the geopolitics of contemporary art is caught within two conflicting paradigms: an emerging view that stresses the open system of global flows, and the residual framework that is derived from the bounded territories of national structures. We seek to challenge these binary options by proposing a view from the 'South'. ARCHIVING A REVOLUTION IN THE DIGITAL AGE, ARCHIVING AS AN Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance. From the very first day of the 2011 uprisings in Egypt that toppled president Mubarak, archiving played a central role. During the 18 days of the revolution in Tahrir square, photographing was an act of seeing and recording. Almost simultaneously, because a

photograph

CHANNEL | IBRAAZ

Ibraaz. 009_00 / 28 May 2015. In this video, made exclusively for the Ibraaz Channel, Sheyma Buali talks to Jumana Emil Abboud about her practice as an artist and how her idea of performance extends into the visual arts in forms as diverse as drawing, text, sculpture, and installation. Read more.

INTERVIEWS | IBRAAZ

Spring Sessions is an annual three-month art residency programme in Amman that was founded four years ago with a clear goal in mind: to address the absence of critical and experiential art education in Jordan. The programme brings together international artists, to host participatory workshops and collaborative sessions with young

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE NORTH OF THE SOUTH AND THE WEST OF THE EAST Take Huntington's logic of planetary classification as depicted in the legend from the map above. The 'West' – North America, Canada, Europe and Australia – is positioned on the top of the list, and is the civilization that classifies the remaining eight according to the following categories: 'Western', 'Orthodox' (meaning eastern Christianity), 'Islamic', 'African', 'Latin American THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

FAHRELNISSA ZEID IN THE MEGA-MUSEUM A cream coloured carte-de-visite captures many of the defining biographical features that make Zeid so appealing to a contemporary art world interested in global models of artistic practice.The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, 'Fahrünnissa Zeid El Hüssein', a small icon of a crown, and a casual note scribbled in THE GEOPOLITICS OF CONTEMPORARY ART The discourse on the geopolitics of contemporary art is caught within two conflicting paradigms: an emerging view that stresses the open system of global flows, and the residual framework that is derived from the bounded territories of national structures. We seek to challenge these binary options by proposing a view from the 'South'. ARCHIVING A REVOLUTION IN THE DIGITAL AGE, ARCHIVING AS AN Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance. From the very first day of the 2011 uprisings in Egypt that toppled president Mubarak, archiving played a central role. During the 18 days of the revolution in Tahrir square, photographing was an act of seeing and recording. Almost simultaneously, because a

photograph

PUBLICATIONS

Banner image: Ahmet Ogut, Stones to Throw, 2011, mail and public art project, painted stones, air way bills, installation view from the streets of Diyarbakır. Courtesy of the artist. WHERE TO NOW? SHIFTING REGIONAL DYNAMICS AND CULTURAL A platform is a space for speaking in public. It is an opportunity to express ideas and thoughts. It also suggests the formal declaration of a stance or position on any given subject.

TURBULENT | IBRAAZ

Turbulent (1998) is a two-screen video installation demonstrating the binaries in Iran's musical history. Between the dark and the light, the male and the female, the spiritual and the physical, we are confronted with social constructs, cultural loss, and that which can be regained. 'An important aspect of Turbulent is that women in Iran

are

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

UNCOMMON GROUNDS: NEW MEDIA AND CRITICAL PRACTICES IN Ibraaz Publishing and I.B. Tauris are pleased to announce the book launch of Uncommon Grounds: New Media and Critical Practices in North Africa and the Middle East, edited by Anthony Downey. In this groundbreaking book, a range of internationally renowned and emerging academics, writers, artists, curators, activists and filmmakers

critically

THE PERSONAL AND THE POLITICAL ALL AT ONCE AH: The burning of the Institut d'Egypte was a horrific sight that reminded us all of the 1971 burning of the Cairo Opera House (the Khedivial Opera House).The fire that took place on 17 December 2011 left us immobilized. In retrospect, I think many important questions about national heritage, memory and architecture were raised at that time that I find very informative now. FAHRELNISSA ZEID IN THE MEGA-MUSEUM A cream coloured carte-de-visite captures many of the defining biographical features that make Zeid so appealing to a contemporary art world interested in global models of artistic practice.The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, 'Fahrünnissa Zeid El Hüssein', a small icon of a crown, and a casual note scribbled in

A TRESS OF HAIR

A Tress of Hair. 2008. Video, 11 mins, 48 sec. A Tress of Hair is based on two short stories written by the nineteenth century French writer Guy de Maupassant.La Chevelure (A Tress of Hair) tells the story of a madman who finds a tress of hair hidden in an old cabinet and falls in love with it.Berthe (Bertha) is the story of a girl with learning difficulties, who is trained by her doctor to FUTURE IMPERFECT: CONTEMPORARY ART PRACTICES AND CULTURAL Book launch and drinks reception . Wednesday 22 February 2017, 6.30-8.30pm. Delfina Foundation, 29-31 Catherine Place, London SW1E 6DY. We are pleased to celebrate the launch of Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East, volume 03 in our Contemporary Visual Culture in the Middle East series.. Future Imperfect: Contemporary Art Practices ON REPORTING, THE DOCUMENTARY AND THE AESTHETIC IN URSULA Europlex, made in 2003 by artist Ursula Biemann and visual anthropologist Angela Sanders, provides an account of the trade routes that have been carved out by the continual move of people and goods on the Ibero-Moroccan border.Articulated as a video-essay, it explores the impact of macro-economic and political processes on the bodies of individuals and the micro-procedures of daily life.

CHANNEL | IBRAAZ

Ibraaz. 009_00 / 28 May 2015. In this video, made exclusively for the Ibraaz Channel, Sheyma Buali talks to Jumana Emil Abboud about her practice as an artist and how her idea of performance extends into the visual arts in forms as diverse as drawing, text, sculpture, and installation. Read more.

INTERVIEWS | IBRAAZ

Spring Sessions is an annual three-month art residency programme in Amman that was founded four years ago with a clear goal in mind: to address the absence of critical and experiential art education in Jordan. The programme brings together international artists, to host participatory workshops and collaborative sessions with young

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE NORTH OF THE SOUTH AND THE WEST OF THE EAST Take Huntington's logic of planetary classification as depicted in the legend from the map above. The 'West' – North America, Canada, Europe and Australia – is positioned on the top of the list, and is the civilization that classifies the remaining eight according to the following categories: 'Western', 'Orthodox' (meaning eastern Christianity), 'Islamic', 'African', 'Latin American THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

FAHRELNISSA ZEID IN THE MEGA-MUSEUM A cream coloured carte-de-visite captures many of the defining biographical features that make Zeid so appealing to a contemporary art world interested in global models of artistic practice.The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, 'Fahrünnissa Zeid El Hüssein', a small icon of a crown, and a casual note scribbled in THE GEOPOLITICS OF CONTEMPORARY ART The discourse on the geopolitics of contemporary art is caught within two conflicting paradigms: an emerging view that stresses the open system of global flows, and the residual framework that is derived from the bounded territories of national structures. We seek to challenge these binary options by proposing a view from the 'South'. ARCHIVING A REVOLUTION IN THE DIGITAL AGE, ARCHIVING AS AN Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance. From the very first day of the 2011 uprisings in Egypt that toppled president Mubarak, archiving played a central role. During the 18 days of the revolution in Tahrir square, photographing was an act of seeing and recording. Almost simultaneously, because a

photograph

CHANNEL | IBRAAZ

Ibraaz. 009_00 / 28 May 2015. In this video, made exclusively for the Ibraaz Channel, Sheyma Buali talks to Jumana Emil Abboud about her practice as an artist and how her idea of performance extends into the visual arts in forms as diverse as drawing, text, sculpture, and installation. Read more.

INTERVIEWS | IBRAAZ

Spring Sessions is an annual three-month art residency programme in Amman that was founded four years ago with a clear goal in mind: to address the absence of critical and experiential art education in Jordan. The programme brings together international artists, to host participatory workshops and collaborative sessions with young

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE NORTH OF THE SOUTH AND THE WEST OF THE EAST Take Huntington's logic of planetary classification as depicted in the legend from the map above. The 'West' – North America, Canada, Europe and Australia – is positioned on the top of the list, and is the civilization that classifies the remaining eight according to the following categories: 'Western', 'Orthodox' (meaning eastern Christianity), 'Islamic', 'African', 'Latin American THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

FAHRELNISSA ZEID IN THE MEGA-MUSEUM A cream coloured carte-de-visite captures many of the defining biographical features that make Zeid so appealing to a contemporary art world interested in global models of artistic practice.The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, 'Fahrünnissa Zeid El Hüssein', a small icon of a crown, and a casual note scribbled in THE GEOPOLITICS OF CONTEMPORARY ART The discourse on the geopolitics of contemporary art is caught within two conflicting paradigms: an emerging view that stresses the open system of global flows, and the residual framework that is derived from the bounded territories of national structures. We seek to challenge these binary options by proposing a view from the 'South'. ARCHIVING A REVOLUTION IN THE DIGITAL AGE, ARCHIVING AS AN Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance. From the very first day of the 2011 uprisings in Egypt that toppled president Mubarak, archiving played a central role. During the 18 days of the revolution in Tahrir square, photographing was an act of seeing and recording. Almost simultaneously, because a

photograph

PUBLICATIONS

Banner image: Ahmet Ogut, Stones to Throw, 2011, mail and public art project, painted stones, air way bills, installation view from the streets of Diyarbakır. Courtesy of the artist. WHERE TO NOW? SHIFTING REGIONAL DYNAMICS AND CULTURAL A platform is a space for speaking in public. It is an opportunity to express ideas and thoughts. It also suggests the formal declaration of a stance or position on any given subject. RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

UNCOMMON GROUNDS: NEW MEDIA AND CRITICAL PRACTICES IN Ibraaz Publishing and I.B. Tauris are pleased to announce the book launch of Uncommon Grounds: New Media and Critical Practices in North Africa and the Middle East, edited by Anthony Downey. In this groundbreaking book, a range of internationally renowned and emerging academics, writers, artists, curators, activists and filmmakers

critically

TURBULENT | IBRAAZ

Turbulent (1998) is a two-screen video installation demonstrating the binaries in Iran's musical history. Between the dark and the light, the male and the female, the spiritual and the physical, we are confronted with social constructs, cultural loss, and that which can be regained. 'An important aspect of Turbulent is that women in Iran

are

THE PERSONAL AND THE POLITICAL ALL AT ONCE AH: The burning of the Institut d'Egypte was a horrific sight that reminded us all of the 1971 burning of the Cairo Opera House (the Khedivial Opera House).The fire that took place on 17 December 2011 left us immobilized. In retrospect, I think many important questions about national heritage, memory and architecture were raised at that time that I find very informative now. FAHRELNISSA ZEID IN THE MEGA-MUSEUM A cream coloured carte-de-visite captures many of the defining biographical features that make Zeid so appealing to a contemporary art world interested in global models of artistic practice.The card, dating from the mid-twentieth century and now held in the SALT archives in Istanbul, features her name, 'Fahrünnissa Zeid El Hüssein', a small icon of a crown, and a casual note scribbled in

A TRESS OF HAIR

A Tress of Hair. 2008. Video, 11 mins, 48 sec. A Tress of Hair is based on two short stories written by the nineteenth century French writer Guy de Maupassant.La Chevelure (A Tress of Hair) tells the story of a madman who finds a tress of hair hidden in an old cabinet and falls in love with it.Berthe (Bertha) is the story of a girl with learning difficulties, who is trained by her doctor to FUTURE IMPERFECT: CONTEMPORARY ART PRACTICES AND CULTURAL Book launch and drinks reception . Wednesday 22 February 2017, 6.30-8.30pm. Delfina Foundation, 29-31 Catherine Place, London SW1E 6DY. We are pleased to celebrate the launch of Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East, volume 03 in our Contemporary Visual Culture in the Middle East series.. Future Imperfect: Contemporary Art Practices ON REPORTING, THE DOCUMENTARY AND THE AESTHETIC IN URSULA Europlex, made in 2003 by artist Ursula Biemann and visual anthropologist Angela Sanders, provides an account of the trade routes that have been carved out by the continual move of people and goods on the Ibero-Moroccan border.Articulated as a video-essay, it explores the impact of macro-economic and political processes on the bodies of individuals and the micro-procedures of daily life.

PROJECTS | IBRAAZ

Banner image: Timo Nasseri, detail of One and One #22, from the series One and One.Courtesy of the artist.

PUBLICATIONS

Banner image: Ahmet Ogut, Stones to Throw, 2011, mail and public art project, painted stones, air way bills, installation view from the streets of Diyarbakır. Courtesy of the artist.

THEDISCORD | IBRAAZ

Benji Boyadgian (b.1983, Jerusalem) studied architecture at ENSAPLV School of Architecture (L'Ecole Nationale Supérieure d'Architecture de Paris La Villette), attaining a Masters of Architecture.Boyadgian works on research-based projects that explore themes revolving around perception, heritage, territory, architecture and landscape.

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout THE PERSONAL AND THE POLITICAL ALL AT ONCE AH: The burning of the Institut d'Egypte was a horrific sight that reminded us all of the 1971 burning of the Cairo Opera House (the Khedivial Opera House).The fire that took place on 17 December 2011 left us immobilized. In retrospect, I think many important questions about national heritage, memory and architecture were raised at that time that I find very informative now. WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

MADE IN ALGERIA

Made in Algeria takes place at the Museum for Europe and Mediterranean Civilizations (MuCEM), which opened in 2013 when Marseille was European Capital of Culture. The show consists of approximately 200 artworks and documents have been brought together by two curators Zahia Rahmani, art historian and novelist, Head of the Art and Globalization programme at the Institut National THE MUSEUM OF ISLAMIC ART IN DOHA AND THE ASIAN http://www.ibraaz.org/essays/7733 133 Ibraaz|November20133 I 'The danger of a single story' is a celebrated speech by Nigerian writer Chimamanda Ngozi Adichie, in

PROJECTS | IBRAAZ

Banner image: Timo Nasseri, detail of One and One #22, from the series One and One.Courtesy of the artist.

PUBLICATIONS

Banner image: Ahmet Ogut, Stones to Throw, 2011, mail and public art project, painted stones, air way bills, installation view from the streets of Diyarbakır. Courtesy of the artist.

THEDISCORD | IBRAAZ

Benji Boyadgian (b.1983, Jerusalem) studied architecture at ENSAPLV School of Architecture (L'Ecole Nationale Supérieure d'Architecture de Paris La Villette), attaining a Masters of Architecture.Boyadgian works on research-based projects that explore themes revolving around perception, heritage, territory, architecture and landscape.

FRAGMENTS OF HOME

Dorothea Schoene: In your recent work, you began to document the remains of your grandfather's house.How did you find it? Jeanno Gaussi: The first information I was given came from my family members, who knew the area in which the house once stood.It was in a part of the old city called Darwaza-e-Lahori/Lahore Gate of Kabul district; in the past, there was a gate to the city in the direction THE EGYPTIAN SURREALISTS IN GLOBAL PERSPECTIVE The Sharjah Art Foundation's two-volume publication and exhibition, When Arts Become Liberty: The Egyptian Surrealists (1938–1965), will be presented in 2017, about a year after Baby Elephants Die Alone, which is an unrelated project. Of course, with all this attention now focused on Egyptian surrealism, the conference was haunted throughout THE PERSONAL AND THE POLITICAL ALL AT ONCE AH: The burning of the Institut d'Egypte was a horrific sight that reminded us all of the 1971 burning of the Cairo Opera House (the Khedivial Opera House).The fire that took place on 17 December 2011 left us immobilized. In retrospect, I think many important questions about national heritage, memory and architecture were raised at that time that I find very informative now. WHERE DO WE GO FROM HERE? WOMEN IN CONTEMPORARY ARAB ART The subject of women in Arab art is one that curator and art historian Dr. Salwa Mikdadi addressed in the early 1990s in her curatorial work. Mikdadi expressed the view that the subject of addressing both the literal representation of women in Arab art and the larger representation of Arab women in the artistic field was 'a closed

chapter'.

RE:EMERGING, DECENTRING AND DELINKING In Re:emerge, Towards a New Cultural Cartography, curator Yuko Hasegawa proposes a biennial that reassesses the Westerncentrism of knowledge in modern times and reconsiders the relationship between the Arab world, Asia, the Far East, through North Africa and Latin

America.

MADE IN ALGERIA

Made in Algeria takes place at the Museum for Europe and Mediterranean Civilizations (MuCEM), which opened in 2013 when Marseille was European Capital of Culture. The show consists of approximately 200 artworks and documents have been brought together by two curators Zahia Rahmani, art historian and novelist, Head of the Art and Globalization programme at the Institut National THE MUSEUM OF ISLAMIC ART IN DOHA AND THE ASIAN http://www.ibraaz.org/essays/7733 133 Ibraaz|November20133 I 'The danger of a single story' is a celebrated speech by Nigerian writer Chimamanda Ngozi Adichie, in

THEDISCORD | IBRAAZ

Benji Boyadgian (b.1983, Jerusalem) studied architecture at ENSAPLV School of Architecture (L'Ecole Nationale Supérieure d'Architecture de Paris La Villette), attaining a Masters of Architecture.Boyadgian works on research-based projects that explore themes revolving around perception, heritage, territory, architecture and landscape. NOSTALGIA FOR THE FUTURE Ala Ebtekar is an Iranian-American artist whose practice explores the juncture between history and myth. Forging a multi-faceted project that melds Persian mythology, science, philosophy and pop culture together, his work returns us to the past as a way of envisioning the

future.

THE MUSEUM OF ISLAMIC ART IN DOHA AND THE ASIAN http://www.ibraaz.org/essays/7733 133 Ibraaz|November20133 I 'The danger of a single story' is a celebrated speech by Nigerian writer Chimamanda Ngozi Adichie, in MODERN IRAQI ART: A COLLECTION Bucking the usual Dubai summer trend of exhibiting up-and-coming artists or pulling work from the inner bowels of gallery storage, Meem Gallery instead chose to present a group exhibition of exceptional art historical depth in their current show, Modern Iraqi Art: A Collection.Although the title deceptively implies that the entire exhibition is dedicated to Modern Iraqi Art, in fact, there are ORALITY, AN IMMATERIAL HERITAGE Al-Halqa is a public gathering in the form of a circle around a performer in a public space. This temporary circular architecture contributes to the representation of historical consciousness and cultural identity, stages a script that is persistently rewritten, hovering between High and low culture, sacred and profane, literacy

and orality.

RABIH MROUÉ AND THE PIXELATED REVOLUTION Rabih Mroué stages this in his lecture-performance The Pixelated Revolution (2012), performed at Documenta 13. Here, Mroué performs a narrative to images culled from the Internet and videos posted by civilians attempting to document the latest acts of violence in the ongoing Syrian Revolution. SYRIAN ART COMES OF AGE The revolution in Syria has brought both danger and new possibilities for the little recognised Syrian art scene. According to the German art historian Charlotte Bank, who lived for 12 years between Damascus and Berlin and is an expert on the artistic scene there: 'Because of the lack of opportunities to show at home, there was never an art scene as there is in Beirut and in Cairo.

PROGRESSIVE ROOTS

Sussan Deyhim is a performance artist, vocalist, and activist whose strong, bold vocals merge the mystical with the radical. With an interest in articulating a sense of self through boundless forms, Deyhim has developed a practice out of combining elements of theatrical, operatic, and choreographed performance with the poetics of film, literature and history. EFFECTIVE ON THE GROUND AND INVISIBLE TO THE GLOBAL ART TAGS Pamela Karimi Pamela Karimi is Associate Professor of Art History at the University of Massachusetts. Karimi is the author of Domesticity and Consumer Culture in Iran: Interior Revolutions of the Modern Era (Routledge, 2013) and co-editor of Images of the Child and Childhood in Modern Muslim Contexts (Duke, 2012). Her essays and reviews about the modern and contemporary art of the Middle MY DICK IN MY DICK, KISS ME AGAIN, AFTER EIGHT, ALL MOTHER 6-F becoming kh and kh simplified into a hh/ح--In English, for example, consider the common exclamation of disgust 'ukh', which involves a constrictive consonant kh (reminiscent of the sound transcribed by the Castilian letter jota or the Arabic letter خ),and which appears in some languages in distinctive opposition to a velar k (such as in Dutch), or a more fully guttural h, but which has Contemporary Visual Culture in North Africa and the Middle East

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WHERE TO NOW? SHIFTING REGIONAL DYNAMICS AND CULTURAL PRODUCTION IN NORTH AFRICA AND THE MIDDLE EAST

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Platform 010: Where to Now? Shifting Regional Dynamics and Cultural Production in North Africa and the Middle East 009: What are the genealogies of performance art in North Africa and the Middle East? 008: How do we productively map the historical and contemporary relationships that exist between North Africa, the Middle East and the Global South? 007: What is the future of arts infrastructures and audiences across North Africa and the Middle East? 006: What role can the archive play in developing and sustaining a critical and culturally located art history? 005: How has a globalised cultural economy affected the production of contemporary visual culture in North Africa and the Middle East? 004: 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? 003: Can Artistic Practices Negotiate the Demands of Cultural Institutions, Public Space, and Civil Society? 002: What relationship does visual culture have to the world we live in? 001: What do we need to know about the MENA region today?

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publication

BOOK PUBLICATION: FUTURE IMPERFECT: Contemporary Art Practices and Cultural Institutions in the Middle East Edited by Anthony Downey (Sternberg Press, 2016)

interview

ON BUILDING NATIONS

A two-part conversation with Szabolcs KissPál and Mahmoud Khaled

project

'GRAPHIC WITNESS' AT DRAWING ROOM, LONDON

channel

PLANETARY RECORDS: Performing Justice Between Art and Law Contour Biennale 8 / DAI Roaming Assembly #12

review

MIDAD: The Public and Intimate Lives of Arabic Calligraphy at Dar

El-Nimer

Reema Salha Fadda

channel

DÉPLACEMENT

Mithkal Alzghair

channel

CLASH

Mohamed Diab

project

ENDLESS CELEBRATION

Mahmoud Bakhshi

FEATURED CONTENT

essays

WHERE TO NOW: SHIFTING REGIONAL DYNAMICS AND CULTURAL PRODUCTION IN NORTH AFRICA AND THE MIDDLE EAST PLATFORM 010 EDITORIAL _I__braaz _Editor-in-Chief ANTHONY DOWNEY closes PLATFORM 010 with a reflection on the regional politics of cultural production and what, if anything, they disclose about the politics of global cultural production today?

essays

VIOLENT RELATEDNESS, EMBEDDINGS, HINDSIGHT 'I favour to look at archives non-chronologically,' writes _Ibraaz _Contributing Editor ALA YOUNIS, 'Partly because of impatience and un-imagination, but mainly because I do not want archives/collections to be didactic through the logic of relatedness...' In this wide-ranging essay, Younis imagines the potential within the themes of _Ibraaz _Platform 010 at its close.

essays

NOW WHERE?

ON NAVIGATING WITHOUT A COMPASS 'This essay is not about the politics of terminology,' writes _Ibraaz _Senior Editor STEPHANIE BAILEY in her closing editorial for Platform 010, 'as much as it is about the histories to which regional terminologies are bound, and the processes that occur in and around

their making.'

essays

CONDEMNED TO DEPTH

INVISIBLE ARCHITECTURE IN RANA ELNEMR’S STREAMS OF SYNONYMS 'Invisible architecture is alive even when it is dead,' writes DOA ALY. 'I'm looking at the buildings in Rana ElNemr's photographs, pondering the _roots_ of desire, the action of multicellular organs collectively carrying out a common function.'

interviews

CREATING INTIMACIES: ON THE SPRING SESSIONS PROGRAMME IN AMMAN TOLEEN TOUQ IN CONVERSATION WITH REEMA SALHA FADDA TOLEEN TOUQ, co-founder of Spring Sessions talks about the evolution of Spring Sessions, an annual three-month art residency programme in

Amman.

interviews

UNFOLDING THE STRUCTURES OF SOUND CEVDET EREK IN CONVERSATION WITH BAŞAK ŞENOVA In this conversation, musician and visual artist CEVDET EREK talks about his practice through sound, biennals, and public installation to

BAŞAK ŞENOVA.

interviews

HISTORY IN PLAY

HAMMAD NASAR IN CONVERSATION WITH REEMA SALHA FADDA In this conversation between HAMMAD NASAR, former Head of Research & Programmes at Asia Art Archive, and REEMA SALHA FADDA, Commissioning Editor at _Ibraaz_, the two discuss a particular Walid Raad intervention as a starting point for questions of art historiography and the role of art-making.

PUBLICATIONS

_DON'T SHRINK ME TO THE SIZE OF A BULLET: THE WORKS OF HIWA K_ Edited by Anthony Downey (Walther König Verlag, 2017)

PROJECTS

_THEDISCORD_

Benji Boyadgian

Basak Senova

PROJECTS

_LOOKING FOR THE DHAB_

Shadi Habib Allah

REVIEWS

_RECOLLECTIONS: NOTES ON A FILM BY KAMAL ALJAFARI_

Adania Shibli

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PREVIOUS PLATFORMS

Platform 006

What role can the archive play in developing and sustaining a critical and culturally located art history?

Platform 007

What is the future of arts infrastructures and audiences across North Africa and the Middle East?

Platform 008

How do we productively map the historical and contemporary relationships that exist between North Africa, the Middle East and the

Global South?

CHANNEL

channel

_SIX MOMENTS FROM A REVOLUTION: A MOSIREEN VIDEO TIMELINE_

Mosireen

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NEWS

_FUTURE IMPERFECT: CONTEMPORARY ART PRACTICES AND CULTURAL INSTITUTIONS IN THE MIDDLE EAST_

London book launch

PUBLICATIONS

Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East Uncommon Grounds: New Media and Critical Practices in North Africa and

the Middle East

IBRAAZ ON SOCIAL

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Copyright © Ibraaz 2020 Terms & Conditions Banner image: Joe Namy, cassette (The Long American Movie), 2010, digital print. Courtesy the artist.