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  • For the Common Good

    Artistic Practices, Collective Action and Civil Society in Tunisia

  • Response to Platform 3 by Tessa Jackson OBE

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

  • Response to Platform 3 by Omar Berrada

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

  • Response to Platform 3 by Shumon Basar

    Can or should or will? Everything is possible, while a lot less is likely. These to me are three discrete topics: the health of institutions; public space (itself a maligned, misused term, most of the time); and civil society. I think if artists – or curators, or any agent involved...

  • Response to Platform 3 by Laura U. Marks

    Yes, artistic practices can offer insights into those things – but need they? Many artists in the region deftly wield smart institutional critique without breaking a sweat. But why not pass that responsibility to the audiences for their work? I think the best way to develop civil society is not...

  • Response to Platform 3 by Larissa Sansour

    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....

  • Response to Platform 3 by Aaron Cezar

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

  • The public domain has opened up!

    Fulya Erdemci in conversation with Basak Senova

  • New Kids On The Block

    Randa Mirza in conversation with Amira Gad

  • Ex Apartment

    Matthias Lilienthal in conversation with Göksu Kunak

  • NOTES FROM THE RESISTANCE

    Özgür Uçkan and Vasif Kortun in conversation with Basak Senova

  • Free Expression

    The Arab Digital Expression Foundation in conversation with Laura Cugusi

  • Emergent Cinema

    Ahd in conversation with Sheyma Buali

  • Technologies of History

    Jananne Al-Ani in conversation with Nat Muller

  • After the Biennial

    Fulya Erdemci in conversation with Basak Senova

  • The Woven Archive

    Héla Ammar in conversation with Wafa Gabsi

  • Speaking as Witnessing

    Hera Büyüktaşçıyan in conversation with Basak Senova

  • The Outsider

    Mario Rizzi in conversation with Cristiana Perrella

  • Lingering in Vicinity

    Maha Maamoun in conversation with Aleya Hamza

  • The Tentmakers of Cairo

    Kim Beamish in conversation with Sam Bowker

  • Capturing Evanescence

    Rifat Chadirji and Balkis Sharara in conversation with Amin Alsaden

  • Future Imperfect

    Monira Al Qadiri: The Saudi New Wave | Digital Landscapes and Future Institutions

  • Future Imperfect

    Leila Al-Shami: Emerging from ‘The Kingdom of Silence’ | Beyond Institutions in Revolutionary Syria

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

    Ibraaz in partnership with Winchester Centre for Global Futures in Art

  • Symposium: Future Imperfect – Cultural Propositions and Global Perspectives

    Ibraaz

  • Art and its Prospects in Contemporary Maghrebi Societies

    The second meeting of Maghreb des Arts

  • Deconstructing the Public Sphere

    A Report on Future City

  • Present Projections

    Future Imperfect, A Symposium

  • The Square

    Aimee Dawson

  • Art in Response to Conflict

    A Roundtable Discussion from The Middle East Institute

  • Hysterical Choir of the Frightened

    Doa Aly

  • Girl

    Sondos Shabayek

  • The Tentmakers of Cairo

    Kim Beamish

  • ‘You may say I'm a dreamer but I'm not the only one!’

    The Outsider

  • ‘You may say I'm a dreamer but I'm not the only one!’

    Kauther

  • ‘You may say I'm a dreamer but I'm not the only one!’

    Al Intithar : (The Waiting )

  • ‘You may say I'm a dreamer but I'm not the only one!’

    Mario Rizzi

  • My love for you, Egypt, increases by the day

    Heba Y. Amin

  • Sanctity

    Ahd

  • The Sun's Incubator

    Ammar Al-Beik

  • Clash

    Mohamed Diab

  • Works on Paper

    Artists Intervening in Lebanese Dailies

  • Condemned to Depth

    Invisible Architecture in Rana ElNemr’s Streams of Synonyms

  • Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance

    Lara Baladi

  • Towards a Spatial Imaginary

    Walking Cabbages and Watermelons

  • The Turn المنعرج

    Socially Engaged Art Practices in Tunisia

  • Critique as Infrastructure

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

  • Sous les Pavés, la Plage

    On Assumption and Authority

  • Un/Interrupted Formations

    Choreographing Spaces of Gesticulation

  • 1497

    Green Art Gallery

  • Scripts of the Art World

    Burak Delier

  • 'We, the Intellectuals'

    Re-routing Institutional Critique

  • The Revolution Will Not Be Online

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

  • Beyond the Odalisque

    A Perspective on Algeria's Cultural Scene

  • Notes on Women in Iranian Art

    A Review

  • Vox Populi

    Tahrir Archives

  • A Dictionary of the Revolution

    Amira Hanafi

  • The Use of Social Media as a Dated Document and its Prospect as an Archive

    Elif Öner and Vincent Rozenberg

  • Night Visitor

    A project by Maha Maamoun

  • The One That Got Away

    The Circus (2)

  • The One That Got Away

    On the Rooftop

  • The Spectre (of Knowledge)

    The Recordings of the Cosmopolitan

  • Everywhere But Now

    The 4th Thessaloniki Biennale

  • Freedom of Expression

    FIAF’s 2013 World Nomads Tunisia Festival

  • Articulating Dissensus

    Contemporary Artistic Practice in Iran at a Revolutionary Moment

  • To the Barricades

    Gezi Resistance, Public Space and the Counter-monumental

  • DISPATCH - Here We Are: The Imagination of Public Space in Gezi Park

    Creative Time Reports

  • Common Grounds

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

  • Response to Platform 3 by Daniella Rose King

    The two-year-old MASS Alexandria, founded by artist Wael Shawky in the working-class neighbourhood of Miami in east Alexandria, Egypt, aims to create a space for the production and dissemination of ideas and debates concerning contemporary visual culture. Apart from displaying and encouraging the consumption of art through exhibitions, it creates...

  • Response to Platform 3 by Hatem Imam, Rana Issa

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

  • Response to Platform 3 by Seher Shah

    From Brute Ornament: Seher Shah's Recent Drawings

  • Response to Platform 3 by Saba Innab

    On-longing: A Project by Saba Innab

  • Response to Platform 3 by Dictaphone group

    Dictaphone Group is a collaboration between performance artist Tania El Khoury and urban researcher architect Abir Saksouk-Sasso, whose aim is to research specific urban spaces in Lebanon. Issues of public space and public amenities, or indeed the lack thereof in Beirut, come to the fore in Bus Cemetery, a sound-based...

  • Response to Platform 3 by Home Workspace

    Home Workspace: A Conversation Between Christine Tohme and Anthony Downey

  • Response to Platform 3 by Sinisa Vlajkovic

    The Past is Another Country: Two Projects by Sinisa Vlajkovic

  • Response to Platform 3 by Beral Madra

    Cultural institutions in Turkey are divided into those run by the state, local governments and private sectors; each have different culture policies and no significant collaborative policies. Contemporary art productions and practices are based in Istanbul and are dependent on private sector investments, rather than official funds. Compared to the...

  • Response to Platform 3 by Amira Gad

    'The young conservatives embrace the fundamental experience of aesthetic modernity – the disclosure of a de-centered subjectivity, freed from all constraints of rational cognition and purposiveness, from all imperatives of labour and utility – and in this way break out of the modern world. They transpose the spontaneous power of...

  • Response to Platform 3 by Shuruq Harb

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

  • Response to Platform 3 by Khaled Alhamzah

    I will limit myself to tackling the situation from the point of view of the ‘common ground’, which is lost or has never been found. There is a wide gap between art practice on one side and the institutions on the other; the first doing the minimum in terms of...

  • Response to Platform 3 by Houcine Tlili

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

  • Response to Platform 3 by William Wells

    Since the 25th of January 2011, a traditional arts programming model has become functionally irrelevant in Egypt. In this context of conflict and change, diverse publics have asked to use Townhouse's spaces in ways that extend far beyond the scope of visual arts exhibitions. Consequently, over the past year, we...

  • Response to Platform 3 by Sandra Teitge

    News from the Arab World reaches western audiences on a daily basis. The various analogue and online formats of media – TV, radio, newspapers, and blogs – are extensively reporting on the events in this region. In Berlin, and certainly elsewhere in Europe, cultural institutions and festivals reacted very quickly...

  • Response to Platform 3 by Charlotte Bank

    One major obstacle for a diverse art scene in a country or region is the lack of artistic infrastructure with institutions that offer support for artistic research and the production of independent, non-market-related work. During the past decade, most countries in the MENA region have seen the establishment of independent,...

  • Response to Platform 3 by Hanan Toukan

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

  • Response to Platform 3 by Ergin Çavuşoğlu

    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...

  • Response to Platform 3 by Brian Kuan Wood

    Artistic practices can offer many insights, but it is important to remember that when art’s role is reduced to a tool for social development or economic prospects, it ceases to be art. Rather than provide a broad qualification of the use value of art in the world, it can be...

  • Response to Platform 3 by Barrak Alzaid

    A recent project led by Walid Raad attempted to draw attention to, and improve the treatment of, migrant workers on Saadiyat Island by Guggenheim and its Abu Dhabi partner, the Tourism Development and Investment Company (TDIC). Tactics were initially conducted privately but when it was clear to those involved that...

  • Response to Platform 3 by Angela Harutyunyan

    The question implies a view on artistic practice informed by a liberal framework of reception and interpretation: artistic practices are expected to politely negotiate within and with the larger sphere of culture; they are expected to expose, reveal, unmask, reform and finally find a place within various institutional configurations. The...

  • Response to Platform 3 by Alice Planel

    How artistic practices define and negotiate public space is to me the most significant issue in the question posed, which I will begin to discuss in the context of Algiers. The site specific practice of Amina Menia testifies to both the richness of meaning and difficulties of execution endemic to...

  • Response to Platform 3 by Myriam Abdelaziz

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

  • Beyond the Former Middle East

    Aesthetics, Civil Society, and the Politics of Representation

  • Reviews

    Critical reflections on Ibraaz publications

  • Suspended Lives and Emerging Voices

    Nadia Kaabi-Linke in conversation with Lina Lazaar

  • A Life in Language

    Adonis in conversation with Laura Allsop

  • An Aesthetics of Expiration

    Ziad Antar in Conversation with Anthony Downey

  • An Accidental Orientalist

    Tom Bogaert in conversation with Anthony Downey

  • Looping the loop

    Amina Menia in conversation with Laura Allsop

  • What We Choose To Overlook

    Lida Abdul in conversation with Sara Raza

  • FIELD MEETING Take 4: Thinking Practice

    Responses

  • Qalandiya International 2016

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

  • Qalandiya International 2016

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

  • Qalandiya International 2016

    Partner institutions

  • Conserving memories

    Zeina Arida in conversation with Laura Allsop

  • Curating Film

    Rasha Salti in conversation with Fawz Kabra

  • Representing Regions

    Sheikha Hoor Al-Qasimi in conversation with Stephanie Bailey

  • The Jerusalem Show

    A View from Afar: Stephanie Bailey

  • A Prologue to the Past and Present State of Things

    Looking at Wafaa Bilal's Domestic Tension : Barrak Alzaid

  • A Prologue to the Past and Present State of Things

    Sulayman Al Bassam in conversation with Ala Younis

  • Performative States

    Coco Fusco in conversation with Stephanie Bailey

  • Art in the Time of the Anthropocene

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

  • Event Horizon

    Eric Baudelaire in conversation with Anthony Downey

  • Reversing Power, Allowing Possibilities

    Yael Bartana in conversation with Clelia Coussonnet

  • The Right to Shelter

    Helene Kazan in conversation with Amal Khalaf

  • Lost in Narration

    Rabih Mroué in conversation with Anthony Downey

  • A Militant Cinema

    Mohanad Yaqubi in conversation with Sheyma Buali

  • Disposable Memories

    Raed Yassin in conversation with Nat Muller

  • My Sister Who Travels

    Martina Caruso in conversation with Sheyma Buali

  • On Sovereignty

    Amar Kanwar in conversation with Stephanie Bailey

  • A New World Summit

    Jonas Staal in conversation with Stephanie Bailey

  • Collective Networking

    Burak Arıkan in conversation with Basak Senova

  • Transmission Systems

    Raed Yassin in conversation with Stephanie Bailey

  • From the Ground Up

    Discussing arts infrastructure in Tehran

  • Alien Encounters

    Rana Hamadeh in conversation with Stephanie Bailey

  • Cultivating Continuities

    Suha Shoman in conversation with Amin Alsaden

  • Not New Now

    Reem Fadda in conversation with Fawz Kabra

  • Hiding Out In My Own Place

    Nida Sinnokrot in conversation with Natasha Hoare

  • On Logical Revolts

    Louis Henderson in conversation with Amira Gad

  • The Making of a Collective

    MADRASSA Collective in conversation with Antonia Alampi

  • Politics in Practice

    Younes Bouadi in conversation with Stephanie Bailey

  • On Building Nations

    A two-part conversation with Szabolcs KissPál and Mahmoud Khaled

  • History as Concept

    Lasse Lau in conversation with Amira Gad

  • Speculations for Collective Transformations

    Farah Saleh in conversation with Marianna Liosi

  • Picturing the Homeland

    Carole Alfarah in conversation with María Gómez López

  • Future Imperfect

    Alia Rayyan: Recounting the Past, Present and Future

  • Future Imperfect

    Lois Stonock: Mapping the Possible: Syrian Organizations, Movements and Platforms

  • January Newsletter

    Ibraaz

  • Art & Patronage Summit

    Ibraaz

  • Platform 003 Call for Submissions Announced

    Ibraaz

  • Ibraaz February Newsletter

    Ibraaz

  • April Newsletter

    Ibraaz

  • Ibraaz Platform 003 Launch

    Ibraaz

  • Freedom to Express: The Abdellia Affair

    Rachida Triki

  • The Art Of Dialogue

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

  • Ibraaz Platform 005

    Ibraaz

  • Global Futures Forum 2013

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

  • Ibraaz May Newsletter

    Ibraaz

  • Ibraaz Platform 007

    Ibraaz

  • JAOU Tunis 2015

    News JAOU Tunis 2015 008 / 18 May 2015 Jaou Tunis 2015. Copyright Kamel Lazaar Foundation. Visual Culture in an Age of Global Conflict The Kamel Lazaar Foundation is pleased to announce that it will stage a two-day conference at the National Museum of Bardo from 28–29 May, 2015. This...

  • Townhouse: Practical Solutions, Impractical Conditions

    William Wells in conversation at Serpentine Galleries

  • Performing Politics

    Işıl Eğrikavuk's The Art of Disagreement

  • Future Imperfect

    Ibraaz

  • The Future Imperfect Lectures

    Ibraaz

  • Ibraaz Talks: Global Art Forum 8

    Okwui Enwezor: in conversation with Anthony Downey

  • Ibraaz Talks: Global Art Forum 8

    Farah Al-Nakib: in conversation with Stephanie Bailey

  • This Lemon Tastes of Apple

    Hiwa K.

  • Uncommon Grounds: New Media and Critical Practices in North Africa and the Middle East

    Edited by Anthony Downey (IB Tauris, 2014)

  • News

    This month, Ibraaz publishes two new essays, by Doa Aly on the work of Rana ElNemr , and by Sasha Ussef , who examines an ambitious curatorial project to bring contemporary artworks into the Lebanese daily press. In addition, we feature new interviews with Walid Siti , Hajra Waheed ,...

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  • Kamal Aljafari: A Recollection

    Hamid Dabashi

  • What Representations?

    Exhibitions and Other Representations in 25 Years at Witte de With

  • Sketchat: Min Hone Wah Honak

    The Sketches of Mahmoud Al Rifai at FADA 317

  • La Mano de Dios

    Rayyane Tabet at Museo Marino Marini

  • Return to the Former Middle East

    Ibraaz 5th Year Anniversary Editorial

  • Effective on the Ground and Invisible to the Global Art Market

    Participatory Art in the Middle East

  • Queer Chronopolitics

    Forests, Freaks and Performativity

  • Mindful Body

    An Introduction to Body Art and Performance in the Gulf

  • Feeling Dubbing

    Six Short Stories on Arabic Voice Acting

  • Transition Times

    Performing Armenity at the 56th Venice Biennale

  • The Life and Times of Louis Saboungi

    A Nomadological Study of Ottoman Arab Photography

  • Maps That Don’t Belong

    Natasha Ginwala

  • Living Roundabouts in Bahrain

    Five Stages of an Artist Residency

  • Between Iran and Dubai

    An Art Collection as an Alternative Archive of Iranian History

  • The North of the South and the West of the East

    A Provocation to the Question

  • The Geopolitics of Contemporary Art

    Nikos Papastergiadis and Gerardo Mosquera

  • Tracing Dissent at the Margins of Empire

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

  • Response to Platform 8 by Embroiderers of Actuality

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

  • The Jerusalem Show VII

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

  • The Future of Art in the Age of Militarized De-Production

    Re-Thinking Cultural Development in Palestine

  • Walling Strategy

    Can T-Wall Murals really Beautify the Fragmented Baghdad?

  • Utopian Dust Versus Perfumed Amplification

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

  • Filling the Gaps

    Arts Infrastructures and Institutions in Libya Post-Dictatorship

  • Knowledge Bound

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

  • Response to Platform 7 by Redha Moali

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

  • Response to Platform 7 by Paul Vandenbroeck

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

  • Response to Platform 7 by Stéphanie Dadour

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

  • Response to Platform 7 by Sirine Fattouh

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

  • Response to Platform 7 by Burak Arikan

    'Better imagine now, rather than later.'

  • Rethinking National Archives in Colonial Countries and Zones of Conflict

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

  • Doppelgänging

    Basma Alsharif

  • 'Graphic Witness' at Drawing Room, London

    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,...

  • Learning to Dance

    An Online Performance

  • The Saaheb Collective

    Dream Homes and Community-building

  • Map of Faith

    A project by Yousef Moscatello

  • Writing on the Walls

    Transition, a photographic series by Myriam Abdelaziz

  • Ode to the Worthy Extinction of the Metaphor

    Mustapha Benfodil

  • 40 years of Running on the Same Spot

    A Libyan Diary (Part I) - October 2011

  • Supposing I love you. And you also love me.

    Wendelien van Oldenborgh

  • Housing Archives

    When Buildings Become Part of the Record

  • In/distinction

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

  • Response to Platform 6 by Laura U. Marks

    Akira Mizuta Lippit, in Atomic Light (Shadow Optics), characterizes the shadow archive as what cannot be archived, and therefore survives when the archive is destroyed. The shadow archive describes the majority of Arab cultural memory, which survives in non-visual traces, such as the work done by memory and imagination in...

  • Response to Platform 6 by Rona Sela

    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.

  • Dancing with Barbarians

    The 13th Istanbul Biennial

  • Trials of Arab Modernity

    Literary Affects and the New Political by Tarek El-Ariss

  • DISPATCH - FITNA AND THE IRANIAN ELECTIONS

    Creative Time Reports

  • Amman’s West Side Story

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

  • On Being 'The Other' In Post-Civil War Lebanon

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

  • CAMPING AND TRAMPING THROUGH THE COLONIAL ARCHIVE

    A Talk and Screening by Shabbir Hussain Mustafa

  • The Many Afterlives of Lulu

    The Story of Bahrain’s Pearl Roundabout

  • On Revolution and Rubbish

    What has Changed in Tunisia since Spring 2011

  • An Explanation of an Irrelevant Monument

    On the Memory of a Memorial

  • Citizens Reporting and the Fabrication of Collective Memory

    Jens Maier-Rothe

  • Digital, Aesthetic, Ephemeral

    The Shifting Narrative of Uprising

  • Staging the Transition in North Africa

    Theatre As a Tool of Empowerment

  • Ibraaz Platform 003 Editorial: What Was Lost?

    Anthony Downey

  • Fast Forward to the Past

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

  • The Urban Observatory of Beirut

    For a Polysemic Reading of Both City and Territory

  • Ramallah, in a Student Encounter

    Yazid Anani

  • State Ending and the Durable Illusions of Empire

    Raymond Baker

  • Talinn Grigor, Building Iran

    Modernism, Architecture, and National Heritage under the Pahlavi Monarchs