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Search results for 'Art Dubai'
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Ibraaz/Kamel Lazaar Foundation announce online media partnership with Art Dubai's 2014 Global Art Forum
Ibraaz
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Ibraaz Talks: Art Dubai 2013
Ibraaz
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Art Dubai's Global Art Forum 2016: The Future Was
The Future Was Space Is The Place
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Art Dubai's Global Art Forum 2016: The Future Was
The Future Was ZZZZZZZZ
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Art Dubai's Global Art Forum 2016: The Future Was
The Future Was a Roundabout
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Art Dubai's Global Art Forum 2016: The Future Was
The Future Was Global/Art/Forum
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Art Dubai's Global Art Forum 2016: The Future Was
The Future Was Underwater
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Ibraaz Talks: Art Dubai 2013
Sophia Al-Maria: On Automobiles
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Ibraaz Talks: Art Dubai 2013
Shuruq Harb: On Agency
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Ibraaz Talks: Art Dubai 2013
Ala Younis: On Curating
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Ibraaz Talks: Art Dubai 2013
Guy Mannes-Abbott: On Drones
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Ibraaz Talks: Art Dubai 2013
Basim Magdy: On Science Fiction
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Ibraaz Talks: Art Dubai 2013
Murtaza Vali: On Domesticity
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Art Dubai's Global Art Forum 2016: The Future Was
Ibraaz
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In Lieu of Absence
Taysir Batniji in conversation with Silke Schmickl
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What Was Lost
Joana Hadjithomas and Khalil Joreige in conversation with Nat Muller
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A Hybrid Model
Antonia Carver in conversation with Omar Kholeif
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Meanwhile…History
Shumon Basar, Ala Younis and Omar Berrada in conversation with Sheyma Buali
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Future Musings
On the 2016 Global Art Forum ‘The Future Was’
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Global Art Forum 8
Live
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Ibraaz Talks: Global Art Forum 8
Hans Ulrich Obrist: in conversation with Omar Kholeif
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Ibraaz Talks: Global Art Forum 8
Shumon Basar: in conversation with Stephanie Bailey
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Ibraaz Talks: Global Art Forum 8
Shiva Balaghi: in conversation with Stephanie Bailey
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Ibraaz Talks: Global Art Forum 8
Oscar Guardiola-Rivera: in conversation with Anthony Downey
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Ibraaz Talks: Global Art Forum 8
Todd Reisz: in conversation with Omar Kholeif
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Ibraaz Talks: Global Art Forum 8
Okwui Enwezor: in conversation with Anthony Downey
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Ibraaz Talks: Global Art Forum 8
Farah Al-Nakib: in conversation with Stephanie Bailey
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Ibraaz Talks: Global Art Forum 8
Adam Szymczyk: in conversation with Omar Kholeif
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Ibraaz Talks: Global Art Forum 8
John Akomfrah: in conversation with Anthony Downey
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Ibraaz Talks: Global Art Forum 8
Ibraaz
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Global Art Forum 8
1971-1979 The Short Seventies (World)
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Global Art Forum 8
Soviet Orientalism and Political Mobilisation
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Global Art Forum 8
Ibn Khaldun’s The Muqadimmah
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Global Art Forum 8
Crisis The End of Pearling in the Gulf (Qatar)
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Global Art Forum 8
1972-1982 Spaceship Sheraton and the Making of Doha's Masterplans
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Global Art Forum 8
1971-1979 The Short Seventies (UAE)
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Global Art Forum 8
Ibraaz
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Jaou Tunis 2015
Antonia Carver: Director, Art Dubai
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News
To close Ibraaz Platform 010, we present new essays by Ibraaz Editor-in-Chief Anthony Downey, Ibraaz Senior Editor Stephanie Bailey, Ibraaz Contributing Editor Ala Younis, and Natasha Hoare; interviews with Szabolcs KissPál and Mahmoud Khaled, Toleen Touq, Cevdet Erek, Hammad Nasar; projects by Shadi Habib Allah, Mahmoud Bakhshi, Maryam Monalisa Gharavi,...
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Response to Platform 10 by Sabrina DeTurk
The varying political, cultural and economic circumstances of the participants of Art Dubai 2016, Design Days and the March Meeting, merit further consideration, as it is the differences among them that highlight the current constraints and opportunities for cultural production in the region.
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Doha Days
Global Art Forum 8 at Katara Art Center
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Response to Platform 2 by Haig Aivazian
Platform for discussion002 What relationship does visual culture have to the world we live in? Haig Aivazian 1 November 2011 The Unimaginable Things We Build is a multi-part project exploring the evolution of the rhetoric surrounding, and material state of, the tallest man-made structure in the world, Dubai's Burj Khalifa....
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Response to Platform 1 by Anna Somers Cocks
When did the major museums of the West start taking contemporary Middle Eastern art into consideration? After 2006, with the first successful sale of Middle Eastern contemporary art by Christie's in Dubai, and the announcement shortly afterwards that Abu Dhabi was going to invest billions in museum creation. Of course,...
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Qalandiya International 2016
Sites of Return: Ramallah
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Qalandiya International 2016
O Whale, Don't Swallow Our Moon: Ramallah
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Qalandiya International 2016
Pattern Recognition: Ramallah
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Qalandiya International 2016
RE/viewing Jerusalem #2 – REturn: Jerusalem
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Qalandiya International 2016
This Sea is Mine: Gaza
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Qalandiya International 2016
Biographies
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FIELD MEETING Take 4: Thinking Practice
Responses
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New Vocabularies for New Challenges
Newsha Tavakolian in conversation with Sara Raza
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Suspended Lives and Emerging Voices
Nadia Kaabi-Linke in conversation with Lina Lazaar
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Un-thinking Systems
Shezad Dawood in conversation with Sara Raza
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An Aesthetics of Expiration
Ziad Antar in Conversation with Anthony Downey
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The Jerusalem Show
Jack Persekian in conversation with Basak Senova
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‘If Walls Could Talk ...’
Driss Ouadahi in conversation with Rachida Triki
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Nostalgia for the Future
Ala Ebtekar in conversation with Sara Raza
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Stereotyping the Stereotypes
Tarek Al-Ghoussein in conversation with Anthony Downey
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Running the Territory
Guy Mannes-Abbott in conversation with Sheyma Buali
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The Jerusalem Show
Chapter 1: Intensities
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Restaging the (Objective) Violence of Images
Reza Aramesh in conversation with Anthony Downey
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Colourful Shadows and Reel Journeys
Tarzan and Arab in conversation with Laura Allsop
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Geographic Gnomons
Ala Younis in conversation with Liane Al-Ghusain
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Domestic Nature
Abbas Akhavan in conversation with Anthony Downey
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Breaking Glass
Monir Shahroudy Farmanfarmaian in conversation with Stephanie Bailey
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A DREAM: The Iraq Pavilion at 55th Venice Biennale
Tamara Chalabi, Reem Shather-Kubba, and Jonathan Watkins in conversation with Basak Senova
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The Activity of Painting and Other Actions
Nadia Ayari in conversation with Haig Aivazian
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Letter to a Refusing Pilot
Seth Anziska in conversation with Daniella Rose King
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Echoes & Reverberations
Magdi Mostafa: Wisdom Tower: from the series Sound Cells (Fridays)
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Echoes & Reverberations
Anas Al-Shaikh: My land, 2
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Echoes & Reverberations
Soundscapes: Taking Apart the Arab City by Dr. Alexandra MacGilp
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A Prologue to the Past and Present State of Things
Sulayman Al Bassam in conversation with Ala Younis
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A Prologue to the Past and Present State of Things
Hair and Milk Bottle: Hassan Sharif
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A Prologue to the Past and Present State of Things
Photographs With A Flag: Mohammed Kazem
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A Prologue to the Past and Present State of Things
OLGA'S NOTES, all those restless bodies: Marwa Arsanios
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A Letter’s Discourse
Yazan Khalili and Lara Khaldi in conversation with Natasha Hoare
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The Great Journey
Lidia Al-Qattan in conversation with Monira Al Qadiri
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Acoustic Encounters
Magdi Mostafa in conversation with Clelia Coussonnet
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Hero to Hero
Sohrab Kashani in conversation with Taus Makhacheva
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FIELD MEETING Take 4: Thinking Practice
Speaker Biographies + Synopses
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Kuwait Transformed
Farah Al-Nakib in conversation with Todd Reisz
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The Performativity of Emotions
Abdullah Al-Mutairi in conversation with Sarah Abu Abdallah
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The Non-Located Space
Mahmoud Khaled in conversation with Omar Kholeif
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New Kids On The Block
Randa Mirza in conversation with Amira Gad
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Action Piece
Reza Aramesh in conversation with Lara Atallah
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Auto-Connections
UBIK in conversation with Isabella Ellaheh Hughes
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Accumulative Processes
Marwa Arsanios in conversation with Fawz Kabra
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We Are Sick, But We Are Alive
Haig Aivazian in conversation with Rayya Badran
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Migrations of Meaning
Lara Khaldi in conversation with Ghalya Saadawi
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Restaging Invisibilities
Fayçal Baghriche in conversation with Laura Allsop
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Doing Performance
Hassan Sharif in conversation with Nujoom Al Ghanem
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The Outsider
Mario Rizzi in conversation with Cristiana Perrella
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Information Acts
Navine G. Khan-Dossos in conversation with Stephanie Bailey
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Disposable Memories
Raed Yassin in conversation with Nat Muller
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When Energy Becomes Form
Stefano Rabolli Pansera in conversation with Stephanie Bailey
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States of Suspension
Youmna Chlala in conversation with Fawz Kabra
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Art After Identity Politics
Nav Haq in conversation with Stephanie Bailey
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Alternate Geographies
Sumesh Sharma in conversation with Amanprit Sandhu
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Global Art Forum 9
Sheyma Buali in conversation with Turi Munthe and Sultan Sooud Al-Qassemi
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Who's Afraid of Religion?
Köken Ergun in conversation with Omar Kholeif
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Video Channelling
Mai Elwakil in conversation with Daniella Rose King
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Transmission Systems
Raed Yassin in conversation with Stephanie Bailey
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An Open Methodology
Ahmed Nagy in conversation with Mai Elwakil
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Samples of Life
Joe Namy in conversation with Garine Aivazian
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Narrative Treatments
Wael Shawky in conversation with Stephanie Bailey
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The State of a Nation
Larissa Sansour in conversation with Sheyma Buali
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Cultivating Continuities
Suha Shoman in conversation with Amin Alsaden
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Where Are We Now?
Hicham Khalidi in conversation with Daniella Rose King
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The Time is Out of Joint
Tarek Abou El Fetouh in conversation with Stephanie Bailey
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The Woven Archive
Héla Ammar in conversation with Wafa Gabsi
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Future Imperfect
Monira Al Qadiri: The Saudi New Wave | Digital Landscapes and Future Institutions
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Future Imperfect
Leila Al-Shami: Emerging from ‘The Kingdom of Silence’ | Beyond Institutions in Revolutionary Syria
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Platform 002 Launch Newsletter
Ibraaz
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Art & Patronage Summit
Ibraaz
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Ibraaz February Newsletter
Ibraaz
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March Meeting 2012 Report
Sharjah Art Foundation, 17-19 March 2012
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April Newsletter
Ibraaz
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Ibraaz May Newsletter
Ibraaz
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Where do we go from here? Women in Contemporary Arab Art
Isabella Ellaheh Hughes
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Ibraaz July Newsletter
Ibraaz
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A Playhouse in Shangri La
The Doris Duke Foundation for Islamic Art's Artist Residency Programme
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Ibraaz February Newsletter
Ibraaz
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Ibraaz March Newsletter
Ibraaz
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Ibraaz April Newsletter
Ibraaz
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Ibraaz Platform 005
Ibraaz
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Ibraaz June Newsletter
Ibraaz
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Ibraaz August Newsletter
Ibraaz
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The Square
Aimee Dawson
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Ibraaz January Newsletter
Ibraaz
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Ibraaz February Newsletter
Ibraaz
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Ibraaz March Newsletter
Ibraaz
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Ibraaz May Newsletter
Ibraaz
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Ibraaz June Newsletter
Ibraaz
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Ibraaz October Newsletter
Ibraaz
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Ibraaz Platform 008
Ibraaz
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Six Decades in the Making
Parviz Tanavoli’s Retrospective at the Davis Museum
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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...
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Ibraaz Reader 009/01
Ibraaz
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Ibraaz Reader 009/02
Ibraaz
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Ibraaz February Reader 009/08
Ibraaz
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Ibraaz Reader 009/10
Ibraaz
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Ibraaz Platform 010 | Where to Now?
Ibraaz
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Ibraaz June Reader 010/01
Ibraaz
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Ibraaz Talks: 13th Istanbul Biennial
Trevor Paglen: Aesthetics
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Ibraaz Talks: 13th Istanbul Biennial
Köken Ergun: Lived Experience
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Ibraaz Talks: 13th Istanbul Biennial
Karen Mirza and Brad Butler: Social Imagination
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Ibraaz Talks: 13th Istanbul Biennial
Lawrence Abu Hamdan: Listening
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Ibraaz Talks: 13th Istanbul Biennial
Basim Magdy & Stephanie Bailey: Collective Memory
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Ibraaz Talks: 13th Istanbul Biennial
Burak Arikan & Başak Şenova: Network Data
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Ibraaz Talks: 13th Istanbul Biennial
Ibraaz
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Slavs and Tatars in conversation with Anthony Downey
Language Arts at The Third Line
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Documentation of Making Work
Hassan Sharif
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My land 2
Anas Al-Shaikh
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Warehouse Project Talks
Debra Levine: Toward A Common Satisfaction of Needs
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Warehouse Project Talks
Kevin Jones: Marketing Presentation for Boxed Branded Plush Toys as Art
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Warehouse Project Talks
Murtaza Vali: 'Arresting Flows, Stacking Forms'
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Warehouse Project Talks
Neha Vora: Warehouse as Dubai's Cultural Heritage
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Warehouse Project Talks
Vikram Divecha
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Figures Upon Landscape
A Hero Never Dies: Wissam Charaf
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The Tethered
Sama Alshaibi
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Tariqah
Sama Alshaibi
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Muraqaba
Sama Alshaibi
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Dhikr
Sama Alshaibi
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Baraka
Sama Alshaibi
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Silsila
Sama Alshaibi
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Larissa Sansour Trilogy
In the Future They Ate From the Finest Porcelain
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The Sun's Incubator
Ammar Al-Beik
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History in Play
Hammad Nasar in conversation with Reema Salha Fadda
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Now Where?
On Navigating Without a Compass
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Act I: Sharjah Biennial 13
Stephanie Bailey
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Works on Paper
Artists Intervening in Lebanese Dailies
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Portrait Sessions
Vikram Divecha at Tashkeel
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Against the Market
The Art of Shirin Neshat
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Black Friday
Sophia Al-Maria at the Whitney Museum of American Art
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Fahrelnissa Zeid in the Mega-Museum
Mega-museums and modern artists from the Middle East
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Return to the Former Middle East
Ibraaz 5th Year Anniversary Editorial
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Mass Individualism: A Form of Multitude
At Ab Anbar Gallery
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Critique as Infrastructure
Organic Growth and the Rise of Visual Arts Organizations in the UAE
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Response to Platform 10 by Alex Dika Seggerman
As a historian of nineteenth- and twentieth-century Middle Eastern art, I am concerned with the urgent questions facing cultural production as well as those facing histories of cultural production. My response below reflects that concern.
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Ibraaz Platform 009: Performance
Anthony Downey
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Sounds as if
Downtown Contemporary Arts Festival (D-CAF)
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Stéphanie Saadé
Grey Noise Gallery
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Mindful Body
An Introduction to Body Art and Performance in the Gulf
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Feeling Dubbing
Six Short Stories on Arabic Voice Acting
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1497
Green Art Gallery
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Treading Gulf Waters
Ahmad Makia
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An Unknown Lover's Discourse
An Ode to Performing Subjectivity in Research
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The Great Hall Exhibition
Walead Beshty at The Institute of Fine Arts, NYU, James B Duke House
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Collapsing Clouds of Gas and Dust
Vartan Avakian at Marfa’
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'A Deep Reverence for the Region's History'
Edited Urbanism on Dubai Creek
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Accented
Maraya Art Centre
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Response to Platform 9 by Timo and Nadia Kaabi-Linke
'The following considerations on performance as an artistic medium in the region of North Africa and Middle East refer to more general problems that relate to the art form's status as an institutionalized aesthetic practice...'
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The Politics of the (im)Possible
Sharjah Biennial 12: The past, the present, the possible
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How Toshihiko Made Me Understand Islam
Monira Al Qadiri
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Hassan Matar
Lantian Xie at Grey Noise
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Other Maps
On Bouchra Khalili’s Cartographies
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'I am an Artist'
Portrait of a Salafi en abyme in the Cyber World
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Between Iran and Dubai
An Art Collection as an Alternative Archive of Iranian History
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Tracing Dissent at the Margins of Empire
Pan-Kaffirism in Iraq, South Africa, and Sri Lanka
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Response to Platform 8 by Pio Abad
The Cultural Centre of the Philippines opened to great political fanfare on 10 September 1969, with a ceremony that was graced by none less than California Governor Ronald Reagan and his wife Nancy acting on the orders of President Nixon.
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Response to Platform 8 by Jeannette Ehlers
The term 'Global South' is quite new to me – but since my practice is concerned with the legacy of the transatlantic slave trade and the impact colonialism has on today's power structures I find it obvious that the concept of the 'Global South' is of great relevance in my...
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Notes on Performative Urbanism
An Emergent Design Approach to the Gulf
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Mirror Worlds
Here and Elsewhere at the New Museum
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'We, the Intellectuals'
Re-routing Institutional Critique
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GCC: Achievements in Retrospective
Leili Sreberny-Mohammadi
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Utopian Dust Versus Perfumed Amplification
Object Lessons from Saadiyat Island and Gehry’s Guggenheim, Abu Dhabi
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All Mother Tongues Are Difficult
Mounira Al Solh at Sfeir-Semler Gallery, Beirut
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Anachronistic Ambitions
Imagining the Future, Assembling the Past
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Response to Platform 7 by Youmna Chlala
'You can't draw desire, you have to walk it.'
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Response to Platform 7 by Sirine Fattouh
'By producing an idea of the future, art transgresses official history and produces its own reality.'
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Response to Platform 7 by Judith Greer
'When one speaks of 'art infrastructures', it is crucial to recognize that infrastructures are, most importantly, people...and one of the most critical and urgent needs is for arts education.'
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Language Arts
Slavs and Tatars at The Third Line
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Mouthfeel
Maryam Jafri at Gasworks
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Come Together
The Sharjah Art Foundation's 2014 March Meeting
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Beyond the Odalisque
A Perspective on Algeria's Cultural Scene
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Notes on Women in Iranian Art
A Review
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5UNTHA
Abdullah Al-Mutairi
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End of Dreams
Nikolaj Larsen
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Notes For Leaving and Arriving
Youmna Chlala
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Myth Busters
Monira Al Qadiri
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Night Visitor
A project by Maha Maamoun
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98weeks: Our Lines Are Now Open
A Radio Series on the Poetics and Politics of Language
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Saadiyat Island
Hans Haacke
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Beyond the Image
A Project by Lara Baladi with an introduction by Dorothea Schoene
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Family Friendly
A project by Fayçal Baghriche
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Untitled YouTube Stills
A Project by Anahita Razmi
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The Past Was Another Country
Two Projects by Sinisa Vlajkovic
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From Brute Ornament
Seher Shah's Recent Drawings
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D.M., The Arabian Gulf Chapter
Isak Berbic
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The Missing Link 3
A Mother's Tongue, On Ahmad Ghossein's film My Father is Still a Communist
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Rendezvous
Nikolaj Larsen
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The Missing Link Part Two
Marwa Arsanios
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17,000 Missing: A Nation in Denial
Dalia Khamissy
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Dubai Citytellers
Francesco Jodice
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The Missing Link
Cecilia Andersson
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Some Pachinko Pieces
On Silence and Noise in Times of Crisis
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The Taste of Displacement
Dena Al-Adeeb
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Maximum you can touch me
APEAL's 'Museum in the Making' and Temporary. Art. Platform. present: The 2016 Ras Masqa Artists' Residency
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TandemWorks
Written by Mayssa Fattouh
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In the Future they Ate from the Finest Porcelain
Larissa Sansour and Soren Lind
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Arm Wrestling with Super Sohrab
Sohrab Kashani
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Love Letters to a Union – The Falling Comrades
Yazan Khalili Lara Khaldi
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Learning to Dance
An Online Performance
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Cola Revlon Mouthwash
Adham Faramawy
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Long ago, and not true anyway
Waterside Contemporary
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Modern Iraqi Art: A Collection
Meem Gallery, Dubai
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Future Generation Art Prize 2013
Palazzo Contarini Polignac, Venice
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Welcome to Iraq and Otherwise Occupied
Iraq and Palestine at the 2013 Venice Biennale
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Trade Routes / Conflicted Memory
Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review
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Amman’s West Side Story
Is soft power helping or hindering the state of the arts in Jordan?
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Birds Eye View Festival 2013
Celebrating Arab Women Filmmakers
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RE:EMERGING, DECENTRING AND DELINKING
Shifting the Geographies of Sensing, Believing and Knowing
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The Future of the Future
Ibraaz Platform 005 Editorial
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On Being 'The Other' In Post-Civil War Lebanon
Aid and the Politics of Art in Processes of Contemporary Cultural Production
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Saadiyat and the Gulf Labor Boycott
Gulf Labor
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Dubai’s Mystified Promise of Globalization
Nadia Mounajjed
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The Magic of the State
An Exhibition between Cairo and London
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Response to Platform 5 by HG Masters
Firstly, and most immediately, I object to the characterisation of the context in which this question is situated. There is, of course, a marketplace for what we call cultural goods, including artworks, but there's no reason to situate all artworks immediately in an economy. Things that are made solely for...
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Response to Platform 5 by Nadia Kaabi-Linke
Correct me if I'm wrong, but the word 'demand' seems to be the key word of the poll. In relation to a 'globalised cultural economy' it refers to the core term of economics that is used to rationalise the development of prices. Talking about 'demands of news media, journalism, cultural...
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Response to Platform 5 by Jessica Winegar
In the 1990s, it would have been difficult to find an artist in Egypt who thought that any of their contemporaries would sell their work at international auction and for thousands or hundreds of thousands of dollars at that. Artists were busy negotiating other, more immediately local, elements of a...
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On One Side of the Same Water
Introduction
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Response to Platform 4 by Rijin Sahakian
A significant component of Sada's programming provides seminars, lectures, and workshops to young, emerging artists and students in Baghdad. We do this using basic Internet connection, Skype, some simple software, and a projector. A private Facebook group is the site of extensive conversations, critique and debate. This was not done...
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Response to Platform 4 by Adham Faramawy
One of the more important aspects of the uses of new media and in particular social media is the emergence and visualisation of online communities. These participant groups have utilised the tools offered by social media sites, such as the creation and exchange of user-generated content, to inform and influence...
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Response to Platform 4 by Sama Alshaibi
vs. The Ruler was made during the first year of the Arab uprising. It is comprised of two custom-made wooden 'electrocution' chairs (thrones) sitting in opposition to each other. The patriarchal male throne suggests the military and religion. Its counterpart is also suggestive of Islamic architecture, but is grounded by...
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Response to Platform 4 by Lantian Xie
I Think I Love You is an installation of oil paintings produced by art workers in Dafen, China. Paintings are crafted as replicas of a single, publicly-distributed image of His Highness Mohammed bin Rashid Al Maktoum, Prime Minister and Vice President of the United Arab Emirates, and constitutional monarch of...
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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...
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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...
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Ibraaz Platform 003 Editorial: What Was Lost?
Anthony Downey
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The Social Impulse
Politics, Media and Art after the Arab Uprisings
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Fast Forward to the Past
Cultural Institutions, Urban Development, and Regional Cinema in the Gulf Today
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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...
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Response to Platform 3 by Sinisa Vlajkovic
The Past is Another Country: Two Projects by Sinisa Vlajkovic
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Response to Platform 2 by Alaa Al-Shroogi
Critique of Middle Eastern art often demands that the relationship between visual culture and our world be overtly socio-political to be relevant. There is no denying that visual culture is a powerful outlet for peaceful protest. And there is certainly merit in preserving ethnicity and providing an authentic representation of...
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Response to Platform 2 by Nadia Kaabi-Linke
As far as I can see, there is little room for blind people and too much space for those who don’t listen.
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Response to Platform 2 by Antonia Carver
This is a very wide question and impossible to answer in a book, let alone a paragraph. However, it could boil down to two questions concerning visual artists, rather than visual culture per se: What can art do? And do artists have a responsibility to react and respond to their...
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About us
Initiated by the Kamel Lazaar Foundation in 2011, Ibraaz is the leading critical forum on visual culture in North Africa and the Middle East. We publish an annual online platform – consisting of essays, interviews, artists' projects, and platform responses – that focuses on research questions conceived through a network...
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Reza Aramesh
Walking in the Darkness of a Promised Light
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Understanding the Threat to Arab Youth Uprisings
Joe Khalil
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Beyond the Former Middle East
Aesthetics, Civil Society, and the Politics of Representation
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Terms and conditions
Copyright Notice The copyright for content on this website is held by the Ibraaz Publishing, except for material provided by other organisations, where copyright ownership is indicated. The views expressed on this website are not necessarily those of Ibraaz Publishing. You may link to us from your site, as long...