Platform for discussion 006
What role can the archive play in developing and sustaining a critical and culturally located art history?
Archival Dissonance6 November 2013
Ibraaz Platform 006 Editorial
Beyond the Odalisque31 March 2014
A Perspective on Algeria's Cultural Scene
Sultan Sooud Al-Qassemi
Rethinking National Archives in Colonial Countries and Zones of Conflict28 January 2014
The Israeli-Palestinian Conflict and Israel's National Photography Archives as a Case Study
Housing Archives6 November 2013
When Buildings Become Part of the Record
Field notes for 'What We Left Unfinished'6 November 2013
Dispatch One: the Artist and the Archive, June–September 2013
An Archive of Refusal 6 November 2013
On Shuruq Harb's The Keeper
The Spectre (of Knowledge)6 November 2013
The Recordings of the Cosmopolitan
Enacting the Archives, Decentring the Muses 6 November 2013
The Museum of Islamic Art in Doha and the Asian Civilizations Museum in Singapore
Walter D. Mignolo
Locating the Archive6 November 2013
The Search for 'Nurafkan'
In/distinction6 November 2013
Yasmine Eid-Sabbagh’s 'A photographic conversation from Burj al-Shamali Camp'
Re-Enacting Rupture30 April 2014
Lamia Joreige in conversation with Anthony Downey
With Nail and Spring31 March 2014
Georgia Kotretsos in conversation with Stephanie Bailey
Building Mental Infrastructures31 March 2014
Ayşe Erkmen in conversation with Basak Senova
Where Are We Now?31 March 2014
Hicham Khalidi in conversation with Daniella Rose King
Daniella Rose King
On Documentation31 March 2014
Parastou Forouhar in conversation with David Hodge and Hamed Yousefi
David Hodge and Hamed Yousefi
The Woven Archive31 March 2014
Héla Ammar in conversation with Wafa Gabsi
Narrative Treatments27 February 2014
Wael Shawky in conversation with Stephanie Bailey
Meanwhile…History27 February 2014
Shumon Basar, Ala Younis and Omar Berrada in conversation with Sheyma Buali
Raising the Roof27 February 2014
Nevin Aladağ in conversation with Walter D. Mignolo
Walter D. Mignolo
After the Biennial27 February 2014
Fulya Erdemci in conversation with Basak Senova
An Artwork is not Just a Passive Object You Hang on Your Wall27 February 2014
Elif Öner in conversation with Derya Yücel
Photography as Apparatus28 January 2014
Akram Zaatari in conversation with Anthony Downey
Samples of Life28 January 2014
Joe Namy in conversation with Garine Aivazian
Curating the Revolution: Meeting Points 719 December 2013
WHW in conversation with Omar Kholeif
Image and Imagination6 November 2013
Ali Cherri in conversation with Sheyma Buali
Alien Encounters6 November 2013
Rana Hamadeh in conversation with Stephanie Bailey
Expanding the Archive6 November 2013
Jumana Manna in conversation with Sheyma Buali
Object Study6 November 2013
Mona Marzouk in conversation with Aleya Hamza
An Open Methodology6 November 2013
Ahmed Nagy in conversation with Mai Elwakil
Then and Now6 November 2013
Adelina von Fürstenberg in conversation with Stephanie Bailey
Lingering in Vicinity6 November 2013
Maha Maamoun in conversation with Aleya Hamza
Influence, Passion, Process6 November 2013
Lucien Samaha in conversation with Walid Raad, Part II
Chapters, Records, Keywords6 November 2013
Lucien Samaha in conversation with Walid Raad, Part I
Archives on Archives6 November 2013
Maryam Jafri in conversation with Stephanie Bailey
Painter on a Study Trip II
Residents on Tripoli Street Archive War
The Hierarchy of Being
Wafaa Bilal at Maraya Art Park, Sharjah
The Use of Social Media as a Dated Document and its Prospect as an Archive
Elif Öner and Vincent Rozenberg
Notes from three spaces in which the law resounds
Lawrence Abu Hamdan
Finding the Date
An online archive by Lucien Samaha
A project by Ali Cherri
The Goodness Regime
A project by Jumana Manna and Sille Storihle
A project by Maha Maamoun
Orality, an Immaterial Heritage
A project by Katia Kameli
From the photo-text series Getty vs. Ghana (2012).
When family members die they take their memories, facts and figures with them. Their stories, as well as their lies and omissions, become harder to track after they've gone. They leave behind mountains of material, with few entry points. If you dare to enter, you will find yourself alone in the archive.
I felt the desire to examine the reverse process: what in art history and, more specifically, in the making of art, can contribute to the development of an archiving process?
Through art practices, particularly in this region, the artist might slip into this muddy area, which is mostly based on fetishes and collective political memory and which somehow stands on the most influential component of media archive. It is not necessarily only that which is visible and legible, but more an area that relies on the storytelling archive.
Working with archives is a relatively new development, only recently have artists and institutions had access to archives. In the Middle East in general, the idea of the archive and of history is very vague. Even the idea of archiving, of having an institution that holds an archive, is new.
I envision the liberation of an archive (from attachment to a person, state, or region) through its transfiguration into a database. This emancipation requires dematerialization and displacement.
...one of the main problems with modernity in the Arab World is the lack of credibility, criticality and scrutiny in understanding, presenting, and evaluating its nature and objects.
The conceptual turn of the 1970s gave full legitimacy to queries into the document and the archive. Issues of memory become the favourite material of contemporary artists. Yet, in Tunisia, we missed the conceptual turn of the 1970s – it took us until the start of the revolution in 2011 to question our memory, since it became clear that we would not be able to understand the turmoil of our present and ask questions about our future if we were not able to know our past. Unfortunately, this past has been largely confiscated by the last two authoritarian regimes, which have written their own history.
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 an archival fragment, or the lack of any physical archive at all.
The Soldier: 'Indeed, I took these photographs from the pocket of a dead Arab, killed in Bab Al-Wad in the beginning of May 1948.
The idea of the art archive in the Middle East provokes a number of associations – some of them spiritual, some historical, some clearly political.
What is a platform?
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.
Unique to Ibraaz is a 'platform', a question put to writers, thinkers and artists about an issue relevant to the MENA region. This platform is sent to respondents both within and beyond the MENA region and contributions will be archived every 12 months.