Search archive


Ibraaz Reader 009/04

009_04 / 29 October 2015

Continuing our 009 theme on the genealogies of performance art in the Middle East, Ibraaz is pleased to publish an essay on Hassan Khan's recent exhibition at Frankfurt's Museum für Moderne Kunst. Khan has also produced an online presentation of 17 and AUC in Projects. We are also showcasing an original commission by Hasan Hujairi, alongside a personal response from the artist to our Platform 009 theme. In Interviews, we publish conversations with Oreet Ashery, Eric Baudelaire, and Gülsün Karamustafa, whilst on our Channel, we present videos from Wafaa Bilal and The Dictaphone Group.



Event Horizon

Eric Baudelaire in conversation with Anthony Downey


Visual artist and filmmaker Eric Baudelaire talks to Ibraaz Editor-in-Chief Anthony Downey about the themes of disjunction, the real, and the representation of the 'event' in his work.


Role Play

Oreet Ashery in conversation with Amal Khalaf


In this interview with Ibraaz Commissioning Editor Amal Khalaf, Oreet Ashery discusses the contested socio-political territories explored throughout her work.


History All Wrapped Up

Gülsün Karamustafa in conversation with Basak Senova


Gülsün Karamustafa discusses recent solo exhibition Swaddling the Baby at Villa Romana, Florence, and a project that traces the migratory patterns of vulnerable ethnic identities in modern history.




17 and in AUC: Documentation

Hasan Hujairi

Hassan Khan

Nosebleed traces a semi-autobiographic narrative that begins with Beethoven, incorporates Majeed Marhoon (the celebrated Bahraini saxophonist), and travels via a telemarketing company to Des Moines, Iowa.

Hassan Khan gives an online presentation of 17 and AUC, first performed between 7 and 20 April 2003, in which Khan sat in a soundproofed glass room drinking beer, smoking cigarettes and talking.


Criticality Performed Itself

Ajay Hothi


Ajay Hothi explores Flow My Tears, the Policeman Said, Hassan Khan's first solo institutional show in Germany, and considers performativity an integral part of the exhibitionary process.


On Constant Invention: Notes on Maverickism as Genealogy and Genealogy as Approach

Hasan Hujairi


In this personal response to Platform 009, sound artist Hasan Hujairi wonders how he might, as an artist from the Middle East and North Africa, position himself within a genealogy.



Tarek Atoui at the 41st Aeschylia Festival

Magic, Maybe: Jumana Manna at Chisenhale Gallery

Stephanie Bailey

Daniel Berndt

Stephanie Bailey reviews Tarek Atoui's Elaiourgeio installation and performance at the 41st iteration of the Aeschylia Festival, Greece.

Daniel Berndt reviews Jumana Manna's first UK solo exhibition at Chisenhale Gallery, and her first feature-length film, A Magical Substance Flows into Me.


Book Launch: The Gulf: High Culture/Hard Labor



Ibraaz is pleased to host the launch of Gulf Labor's book The Gulf: High Culture/Hard Labor (edited by Andrew Ross [for Gulf Labor], OR Books, 2015). The launch will take place in London on Thursday 19 November 2015, at Rivington Place.




Wafaa Bilal


Erasing was a durational performance piece that consisted of a large display table, a set of archivist tools and an inkjet photograph approximately 58" x 77" in size.


Bit Téléférique

Dictaphone group


Bit Téléférique was Dictaphone Group's first site specific work, performed in 2010. It was a response to questions regarding the abrupt urbanization of Jounieh city, north of Beirut.





In the following months, Ibraaz will continue publishing content related to Platform 009, which explores the genealogies of performance art in North Africa and the Middle East. Confirmed contributions include interviews with Cevdet Erek, Helene Kazan, Urok Shirhan and Hrair Sarkissian, projects by Sohrab Kashani, Anahita Razmi, David Birkin and Burak Delier, essays by Marwa Arsanios, Rana Hamadeh and Shuruq Harb, as well as texts on Bruno Boudjelal, Halim El Dabh, Christodoulos Panayiotou and Lantian Xie. We will also be publishing reviews and reports from Antwerp, Beirut, Cairo, and Tunis.





About the author