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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
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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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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Art Dubai's Global Art Forum 2016: The Future Was
Ibraaz
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Future Generation Art Prize 2013
Palazzo Contarini Polignac, Venice
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Meanwhile…History
Shumon Basar, Ala Younis and Omar Berrada in conversation with Sheyma Buali
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March Meeting 2012 Report
Sharjah Art Foundation, 17-19 March 2012
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The New Arab
Art and Culture in the ‘Imagined’ Arab World, Cornerhouse, Manchester, 13 April 2012
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Where to Now
Chkoun Ahna at the National Museum of Carthage, Tunis, 2012
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The Longevity of Rupture
1967 in Art and Its Histories, June 1-2, 2012 American University of Beirut, Lebanon
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The Jerusalem Show
News The Jerusalem Show 007 / 24 October 2014 Ibraaz is pleased to announce the opening of THE JERUSALEM SHOW VII: FRACTURES. Curated by Basak Senova and organized by Al-Ma'mal Foundation for Contemporary Art, Jerusalem, this year's show runs from 24 October to 7 November 2014, and is presented in...
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What About the Art?
The Art for Tomorrow Conference 2016 in Doha
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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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Glocal Reflections
APEAL's 'Museum in the Making' and Temporary. Art. Platform. present: The 2016 Ras Masqa Artists' Residency
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في ناس لبست ”ماسكيتا“ بل إلب
APEAL's 'Museum in the Making' and Temporary. Art. Platform. present: The 2016 Ras Masqa Artists' Residency
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Six Moments from a Revolution
Martyrs of the Egyptian Revolution: December 2011
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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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Beware of the Image
APEAL's 'Museum in the Making' and Temporary. Art. Platform. present: The 2016 Ras Masqa Artists' Residency
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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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Come Together
The Sharjah Art Foundation's 2014 March Meeting
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40 years of Running on the Same Spot
A Libyan Diary (Part III) - December 2011
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40 years of Running on the Same Spot
A Libyan Diary (Part II) - November 2011
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40 years of Running on the Same Spot
A Libyan Diary (Part I) - October 2011
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The mold that we melt in
APEAL's 'Museum in the Making' and Temporary. Art. Platform. present: The 2016 Ras Masqa Artists' Residency
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Ghosts of the Mediterranean Sea
APEAL's 'Museum in the Making' and Temporary. Art. Platform. present: The 2016 Ras Masqa Artists' Residency
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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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Response to Platform 6 by Héla Ammar
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...
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Field notes for 'What We Left Unfinished'
Dispatch One: the Artist and the Archive, June–September 2013
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Response to Platform 4 by Bassam El Baroni
'Networks have no inside, only radiating connectors. They are all edges. They provide connections but no structure. One does not reside in a network, but rather moves to other points through the edges'. Bruno Latour, 'Some Experiments in Art and Politics', e-flux journal, 03/2011. With the benefit of hindsight, one...
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Response to Platform 4 by Basim Magdy
Platform for discussion004 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? Basim Magdy 2 November 2012 Basim Magdy Every Subtle Gesture, 2012 - ongoing Colour prints on Fuji...
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Response to Platform 2 by Taysir Batniji
Platform for discussion002 What relationship does visual culture have to the world we live in? Taysir Batniji 1 November 2011 Taysir Batniji Sans titre (Sénégal) 74, 2003 Photograph Courtesy of the artist '> Taysir Batniji Sans titre (Sénégal) 74, 2003 Photograph Courtesy of the artist '> Taysir Batniji Sans titre...
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Response to Platform 2 by Raafat Ishak
Platform for discussion002 What relationship does visual culture have to the world we live in? Raafat Ishak 1 November 2011 Raafat Ishak Mount Appeal, 2011 Acrylic on MDF 65 x 50 cm Courtesy of the artist and Sutton Gallery, Melbourne '> Raafat Ishak Mount Appeal, 2011 Acrylic on MDF 65...
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Response to Platform 2 by Fayçal Baghriche
Platform for discussion002 What relationship does visual culture have to the world we live in? Fayçal Baghriche 1 November 2011 Fayçal Baghriche, Mekka, 2011, photograph, 120 x 150 cm. Courtesy of the artist. ' title=' Fayçal Baghriche, Mekka, 2011, photograph, 120 x 150 cm. Courtesy of the artist. '> Fayçal...
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Response to Platform 2 by Driss Ouadahi
Platform for discussion002 What relationship does visual culture have to the world we live in? Driss Ouadahi 1 November 2011 Driss Ouadahi Ainsi soit elle, 2011 Oil on canvas 190 x 240 cm Courtesy of the artist '> Driss Ouadahi Ainsi soit elle, 2011 Oil on canvas 190 x 240...
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Response to Platform 1 by Samah Hijawi
Samah Hijawi Documents for a Narrative of Art History of Jordan, 2010-ongoing M ulti-media project Video excerpt, 1'40" Courtesy of the artist This ongoing research project is concerned with different aspects that have influenced the development of visual art practices in Jordan over the last 60 years. It uses multi-media...
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Response to Platform 1 by Pryle Behrman
In an email dialogue between Beirut-based architect Tony Chakar and critic Stephen Wright (published in the catalogue for Out of Beirut at Modern Art Oxford in 2006), Chakar takes Wright to task for his habitual use of the label 'Middle East': 'The more I thought about it the more it...
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Response to Platform 1 by Nazgol Ansarinia
Platform for discussion001 What do we need to know about the MENA region today? Nazgol Ansarinia 1 June 2011 Nazgol Ansarinia Etelaat, from the Reflection series, 2011, paper collage, 21 x 21 cm. Courtesy of the artist. ' title=' Nazgol Ansarinia Etelaat, from the Reflection series, 2011, paper collage, 21...
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Response to Platform 1 by Mounir Fatmi
Platform for discussion001 What do we need to know about the MENA region today? Mounir Fatmi 1 June 2011 Mounir Fatmi, Place Mehdi Ben Barka, 2008, photograph. Courtesy of the artist and Galerie Hussenot, Paris. ' title=' Mounir Fatmi, Place Mehdi Ben Barka, 2008, photograph. Courtesy of the artist and...
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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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كتابة هذا البحر
نصوص تقاطع الأعمال الفنّيّة
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كتابة هذا البحر
مدن 5 | غزة، باللون الأحمر
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كتابة هذا البحر
"الأيدي العائدة | حول معرض "يا حوت لا توكل قمرنا
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كتابة هذا البحر
"اسم الجدّة | عن العمل الفوتوغرافي "مراية تيتا" لرندة شعث، من معرض "أهل البحر
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كتابة هذا البحر
متمردون بالمصادفة، سنوات لا ترحم" عن "العودة" غير المألوفة في المشهد الفلسطيني"
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كتابة هذا البحر
لما شتَّت الدنيا سمك
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كتابة هذا البحر
عودة" ليلية يقودها الحمام"
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كتابة هذا البحر
آثار حيَّة | على الطريق من النقب إلى كانبيرا
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The Future of a Promise
Edited by Anthony Downey & Lina Lazaar (Ibraaz Publishing, 2011)
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Slavs and Tatars: Mirrors for Princes
Edited by Anthony Downey (jrp|ringier, 2015)
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Art in public spaces in Lebanon
A tool-guide by Temporary. Art. Platform. (T.A.P.) with Nayla Geagea
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Reviews
Critical reflections on Ibraaz publications
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كتابة هذا البحر
Publications كتابة هذا البحر 010 / 31 August 2017 تمت كتابة هذه النصوص بأعقاب قلنديا الدولي 2016 نسخة 'هذا البحر لي'، وفي إطار مساق 'الكتابة مع الصور' وهو مساق تجريبي بادر إليه برنامج الثقافة والفنون في مؤسسة عبد المحسن القطَّان وتم تنظيمه بشراكة المتحف الفلسطيني وجمعية الثقافة العربية، ورواق، ومركز...
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Qalandiya International 2016
Humans from Palestine, The Karimeh Abbud Award Exhibition: Bethlehem
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Qalandiya International 2016
Sites of Return: Ramallah
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Qalandiya International 2016
Cities Exhibition 5, 'Gaza – Reconstruction': Ramallah
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Qalandiya International 2016
Cities Exhibition 5, 'Gaza – Reconstruction': Gaza
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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
A Series of Un-Curated Events: Ramallah
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Qalandiya International 2016
/Tilted/: Ramallah
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Qalandiya International 2016
RE/viewing Jerusalem #2 – REturn: Jerusalem
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Qalandiya International 2016
The Jerusalem Show VIII 'Before and After Origins': Jerusalem
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Qalandiya International 2016
Moments for Possibilities 'Air, Land and Sea': London
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Qalandiya International 2016
This Sea is Mine: Amman
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Qalandiya International 2016
This Sea is Mine: Gaza
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Qalandiya International 2016
Sea of Stories: Beirut
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Qalandiya International 2016
The People of the Sea: Haifa
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Qalandiya International 2016
Biographies
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Qalandiya International 2016
After Thoughts: Shuruq Harb
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Qalandiya International 2016
Programme Downloads
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Qalandiya International 2016
Acknowledgements
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Qalandiya International 2016
Partner institutions
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Qalandiya International 2016
Encounters Programme
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Qalandiya International 2016
Bethlehem
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Qalandiya International 2016
Amman
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Qalandiya International 2016
London
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Qalandiya International 2016
Ramallah & Al-Bireh
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Qalandiya International 2016
Jerusalem
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Qalandiya International 2016
Haifa
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Qalandiya International 2016
Gaza
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Qalandiya International 2016
Beirut
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Qalandiya International 2016
Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey
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Qalandiya International 2016
Reflections: Ala Younis Adania Shibli
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Qalandiya International 2016
Foreword: Anthony Downey
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Qalandiya International 2016
Introduction: Qi2016 Curatorial Team
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FIELD MEETING Take 4: Thinking Practice
Responses
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A Prologue to the Past and Present State of Things
Acknowledgements
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A Prologue to the Past and Present State of Things
Installation Views
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A Prologue to the Past and Present State of Things
ARC.HIVE (2006–present): Adham Hafez
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A Prologue to the Past and Present State of Things
Curator's Essay: Aaron Cezar
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A Prologue to the Past and Present State of Things
Foreword: Anthony Downey
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A Prologue to the Past and Present State of Things
Exhibition Overview
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Turbulent
Shirin Neshat
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Echoes & Reverberations
Installation views
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Interview with Mohamed Talbi
Lina Lazaar
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Curatorial Conundrums – Arab Representation at the 54th Venice Biennale
A roundtable discussion
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New Vocabularies for New Challenges
Newsha Tavakolian in conversation with Sara Raza
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Resounding Images and Distances
Ismaïl Bahri in conversation with Silke Schmickl
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A Conversation
Ahmet Öğüt in conversation with Basak Senova
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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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A Life in Language
Adonis in conversation with Laura Allsop
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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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Home Workspace
Christine Tohme in conversation with Anthony Downey
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With Inside Outside
Nada Sehnaoui in conversation with Laura Allsop
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After the Storm
Michket Krifa in conversation with Wafa Gabsi
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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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An Accidental Orientalist
Tom Bogaert in conversation with Anthony Downey
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Workshopping the future
Shady El Noshokaty in conversation with Omar Kholeif
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Stereotyping the Stereotypes
Tarek Al-Ghoussein in conversation with Anthony Downey
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Looping the loop
Amina Menia in conversation with Laura Allsop
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Running the Territory
Guy Mannes-Abbott in conversation with Sheyma Buali
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Fragments of Home
Jeanno Gaussi in conversation with Dorothea Schoene
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What We Choose To Overlook
Lida Abdul in conversation with Sara Raza
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The Video That Exploded
Roy Samaha in conversation with Anthony Downey
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On Performing in a Hermetic Context
Nathan Witt in conversation with Amira Gad
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Towers, Portals and Myths
Diana Al-Hadid in Conversation with Fawz Kabra
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Absorbing Displacement
Bouchra Khalili in Conversation with Dorothea Schoene
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The Jerusalem Show
Chapter 1: Intensities
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Against Interpretation
Hassan Khan in conversation with Omar Kholeif
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Restaging the (Objective) Violence of Images
Reza Aramesh in conversation with Anthony Downey
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Active Interventions/ Intervening Actions
Jasmina Metwaly in conversation with Angela Harutyunyan
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Colourful Shadows and Reel Journeys
Tarzan and Arab in conversation with Laura Allsop
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Performing Histories
Wafaa Bilal in conversation with Sara Raza
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Geographic Gnomons
Ala Younis in conversation with Liane Al-Ghusain
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The Noise of Cairo
Heiko Lange in conversation with Amira Gad
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Conserving memories
Zeina Arida in conversation with Laura Allsop
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Curating Film
Rasha Salti in conversation with Fawz Kabra
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Domestic Nature
Abbas Akhavan in conversation with Anthony Downey
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Human Mechanics
Pascal Hachem in conversation with Nour K Sacranie
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Coding For Change
Ayah Bdeir in conversation with Omar Kholeif
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From Invisible Enemy to Enemy Kitchen
Michael Rakowitz in conversation with Anthony Downey
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Sonic Diaries
Cynthia Zaven in conversation with Basak Senova
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A State of Exception
Mario Rizzi in conversation with Dorothea Schoene
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Going Both Ways
Yuko Hasegawa in conversation with Walter D. Mignolo and Stephanie Bailey
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Succinctly Verbose
Visualizing Palestine in conversation with Haig Aivazian
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Representing Regions
Sheikha Hoor Al-Qasimi in conversation with Stephanie Bailey
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Breaking Glass
Monir Shahroudy Farmanfarmaian in conversation with Stephanie Bailey
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Errant Propositions
Jeremy Hutchison in conversation with Natasha Hoare
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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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A Fraction of Experience
Omar Robert Hamilton in conversation with Elisabeth Jaquette
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Speaking as Witnessing
Hera Büyüktaşçıyan in conversation with Basak Senova
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Letter to a Refusing Pilot
Seth Anziska in conversation with Daniella Rose King
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The public domain has opened up!
Fulya Erdemci in conversation with Basak Senova
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Opening Up: World Nomads Tunisia
Marie-Monique Steckel in conversation with Fawz Kabra
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The Jerusalem Show
Downloadable Exhibition Guide
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The Jerusalem Show
Fractures: Children's Activity Book
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The Jerusalem Show
Chapter 7: Fabric
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The Jerusalem Show
Chapter 6: Writing
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The Jerusalem Show
Chapter 5: Lines
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The Jerusalem Show
Chapter 4: Measures
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The Jerusalem Show
Chapter 3: Intervals
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The Jerusalem Show
Chapter 2: Details
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The Jerusalem Show
A Question: Jalal Toufic
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The Jerusalem Show
Editor's Foreword: Anthony Downey
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The Jerusalem Show
Preface: Jack Persekian
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The Jerusalem Show
Introduction: Basak Senova
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The Jerusalem Show
Online exhibition catalogue
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The Jerusalem Show
A View from the City: Tina Sherwell
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Echoes & Reverberations
Acknowledgements
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Echoes & Reverberations
Magdi Mostafa: Wisdom Tower: from the series Sound Cells (Fridays)
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Echoes & Reverberations
Basma Alsharif: We Began by Measuring Distance
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Echoes & Reverberations
Joe Namy: space, breath, time
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Echoes & Reverberations
Samah Hijawi: Paradise Series
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Echoes & Reverberations
Jumana Emil Abboud: A Happy Ending, Part II
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Echoes & Reverberations
Anas Al-Shaikh: My land, 2
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Echoes & Reverberations
Visitations: When aurality loses site* by Rayya Badran
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Echoes & Reverberations
Soundscapes: Taking Apart the Arab City by Dr. Alexandra MacGilp
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Echoes & Reverberations
Curator's Introduction
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Echoes & Reverberations
Foreword: Anthony Downey
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Echoes & Reverberations
Exhibition Overview
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A Prologue to the Past and Present State of Things
Looking at Wafaa Bilal's Domestic Tension : Barrak Alzaid
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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
End of War in Iraq: The Yes Men and Steve Lambert
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A Prologue to the Past and Present State of Things
Performance documentation: Lin Yilin
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A Prologue to the Past and Present State of Things
Chic Point Fashion for Israeli Checkpoints: Sharif Waked
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A Prologue to the Past and Present State of Things
Bent Jbeil: Wael Shawky
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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
Two Gunshots Fired at the Installation Dialogue : Xiao Lu
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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
I March In The Parade Of Liberty But As Long As I Love You I'm Not Free: Sharon Hayes
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A Prologue to the Past and Present State of Things
Variation on Discord and Divisions: Mona Hatoum
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A Prologue to the Past and Present State of Things
Crossing Surda (a record of going to and from work): Emily Jacir
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A Prologue to the Past and Present State of Things
Operation Atropos: Coco Fusco
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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 Prologue to the Past and Present State of Things
A Tress of Hair: Doa Aly
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Some Other Way, Somewhere Else...
Dream City in Tunis
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Theatre of the Present
Rabih Mroué in conversation with Göksu Kunak
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Place, Space and Purpose
Lina Majdalanie in conversation with Göksu Kunak
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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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Past Disquiet
Rasha Salti and Kristine Khouri in conversation with Samah Hijawi
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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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Film After Euphoria
Rasha Salti in conversation with Sheyma Buali
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FIELD MEETING Take 4: Thinking Practice
Programme / Schedule
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FIELD MEETING Take 4: Thinking Practice
Speaker Biographies + Synopses
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FIELD MEETING Take 4: Thinking Practice
Curatorial Narrative
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FIELD MEETING Take 4: Thinking Practice
Introduction
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Qalandiya International 2016: This Sea is Mine
Online exhibition catalogue
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Kuwait Transformed
Farah Al-Nakib in conversation with Todd Reisz
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FIELD MEETING Take 4: Thinking Practice
Closing Remarks
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Laughing Out Loud
Meriem Bennani in conversation with Myriam Ben Salah
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FIELD MEETING Take 4: Thinking Practice
Online Programme
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FIELD MEETING Take 4: Thinking Practice
Video documentation: Day 2
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FIELD MEETING Take 4: Thinking Practice
Video documentation: Day 1
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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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The Shortest Length Between Two Points
Slavs and Tatars in conversation with Franz Thalmair
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History All Wrapped Up
Gülsün Karamustafa in conversation with Basak Senova
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Still (the) Barbarians
Koyo Kouoh in conversation with Stephanie Bailey
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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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Not New Now
Reem Fadda in conversation with Fawz Kabra
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Between Middle and East
JW Stella in conversation with Aimee Dawson
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Enunciation Rather Than Representation
Alya Sebti in conversation with Göksu Kunak
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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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A Prologue to the Past and Present State of Things
Online exhibition catalogue
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Enacting the Void
Fayçal Baghriche in conversation with Sheyma Buali
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Performative States
Coco Fusco in conversation with Stephanie Bailey
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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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Image Politics
ismaël in conversation with Wafa Gabsi
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We Are Sick, But We Are Alive
Haig Aivazian in conversation with Rayya Badran
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The Symphony of Death
Adel Abidin in Conversation with Basak Senova
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Progressive Roots
Sussan Deyhim in conversation with Sheyma Buali
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The Personal and the Political All at Once
Adham Hafez in conversation with Suzy Halajian
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Ex Apartment
Matthias Lilienthal in conversation with Göksu Kunak
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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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Dark Matters
Morehshin Allahyari in conversation with Hannah Gregory
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Doing Performance
Hassan Sharif in conversation with Nujoom Al Ghanem
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The Art of Subversion
Caveh Zahedi in conversation with Stephanie Bailey
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A Woman's Place?
Robin Kahn in conversation with Stephanie Bailey
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A Mobile Agent
Adelita Husni-Bey in conversation with Stephanie Bailey
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History as Concept
Lasse Lau in conversation with Amira Gad
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The Outsider
Mario Rizzi in conversation with Cristiana Perrella
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The Many Metamorphoses of Mounira al Solh
Mounira al Solh in conversation with Nat Muller
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Performative Resonances
Hiwa K in conversation with Anthony Downey and Amal Khalaf
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Role Play
Oreet Ashery in conversation with Amal Khalaf
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The Right to Shelter
Helene Kazan in conversation with Amal Khalaf
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Echoes & Reverberations
Online exhibition catalogue
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Image Appropriation
Urok Shirhan in Conversation with Stephanie Bailey
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Word Stress
Lawrence Abu Hamdan in conversation with Anthony Downey
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The Islamic Sonic-Social
Seth Ayyaz in conversation with Sheyma Buali
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Speculations for Collective Transformations
Farah Saleh in conversation with Marianna Liosi
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Spaces of Agency
Maya Zbib in conversation with Amal Khalaf
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Information Acts
Navine G. Khan-Dossos in conversation with Stephanie Bailey
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Family Ties
Mohssin Harraki in conversation with Karima Boudou
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NOTES FROM THE RESISTANCE
Özgür Uçkan and Vasif Kortun in conversation with Basak Senova
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Homeland(s)
Hrair Sarkissian in conversation with Raed Yassin
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A Certain Aesthetic
Walid Siti in conversation with Nat Muller
-
Reversing Power, Allowing Possibilities
Yael Bartana in conversation with Clelia Coussonnet
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An Architecture of Apprehension
Timo Nasseri in conversation with Laura Allsop
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Lost in Narration
Rabih Mroué in conversation with Anthony Downey
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A Militant Cinema
Mohanad Yaqubi in conversation with Sheyma Buali
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Disposable Memories
Raed Yassin in conversation with Nat Muller
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My Sister Who Travels
Martina Caruso in conversation with Sheyma Buali
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When Energy Becomes Form
Stefano Rabolli Pansera in conversation with Stephanie Bailey
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A Big Bang Theory
Eric Van Hove in conversation with Natasha Hoare
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Forensic Transgressions
Maryam Monalisa Gharavi in conversation with Mirene Arsanios
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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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Aquatic Memory
Hera Büyüktaşçıyan in conversation with Basak Senova
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Alternate Geographies
Sumesh Sharma in conversation with Amanprit Sandhu
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No Boundaries
Aikaterini Gegisian in conversation with Stephanie Bailey
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Mirrors for Princes
Anthony Downey and Beatrix Ruf in conversation with Slavs and Tatars
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Global Art Forum 9
Sheyma Buali in conversation with Turi Munthe and Sultan Sooud Al-Qassemi
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From Central Asia to the Caucasus
Leeza Ahmady in conversation with Taus Makhacheva
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A New World Summit
Jonas Staal in conversation with Stephanie Bailey
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A Cartography of Events
Vangelis Vlahos in conversation with Stephanie Bailey
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A Century of Centuries
November Paynter and Didem Pekün in conversation with Basak Senova
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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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Free Expression
The Arab Digital Expression Foundation in conversation with Laura Cugusi
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The Art of Resonance
Tarek Atoui in conversation with Stephanie Bailey
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Emergent Cinema
Ahd in conversation with Sheyma Buali
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Flash Futures
Monira Al Qadiri in conversation with Stephanie Bailey
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Collective Networking
Burak Arıkan in conversation with Basak Senova
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Time Over Development
Hisham Al-Madhloum in conversation with Stephanie Bailey
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A Hybrid Model
Antonia Carver in conversation with Omar Kholeif
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Positional Views
Eungie Joo in conversation with Stephanie Bailey
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Technologies of History
Jananne Al-Ani in conversation with Nat Muller
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Transmission Systems
Raed Yassin in conversation with Stephanie Bailey
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From the Ground Up
Discussing arts infrastructure in Tehran
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Archives on Archives
Maryam Jafri in conversation with Stephanie Bailey
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Chapters, Records, Keywords
Lucien Samaha in conversation with Walid Raad, Part I
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Lingering in Vicinity
Maha Maamoun in conversation with Aleya Hamza
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An Open Methodology
Ahmed Nagy in conversation with Mai Elwakil
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Object Study
Mona Marzouk in conversation with Aleya Hamza
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Alien Encounters
Rana Hamadeh in conversation with Stephanie Bailey
-
Image and Imagination
Ali Cherri in conversation with Sheyma Buali
-
Samples of Life
Joe Namy in conversation with Garine Aivazian
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Photography as Apparatus
Akram Zaatari in conversation with Anthony Downey
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An Artwork is not Just a Passive Object You Hang on Your Wall
Elif Öner in conversation with Derya Yücel
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After the Biennial
Fulya Erdemci in conversation with Basak Senova
-
Raising the Roof
Nevin Aladağ in conversation with Walter D. Mignolo
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Narrative Treatments
Wael Shawky in conversation with Stephanie Bailey
-
On Documentation
Parastou Forouhar in conversation with David Hodge and Hamed Yousefi
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Building Mental Infrastructures
Ayşe Erkmen in conversation with Basak Senova
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With Nail and Spring
Georgia Kotretsos 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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Hiding Out In My Own Place
Nida Sinnokrot in conversation with Natasha Hoare
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Picturing the Homeland
Carole Alfarah in conversation with María Gómez López
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Cultivating Continuities
Suha Shoman in conversation with Amin Alsaden
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Visualizing Displacement
Foundland in conversation with Nat Muller
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Then and Now
Adelina von Fürstenberg in conversation with Stephanie Bailey
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Where Are We Now?
Hicham Khalidi in conversation with Daniella Rose King
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Common Grounds and Common Cultures
Kamel Lazaar in conversation with Anthony Downey
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Expanding the Archive
Jumana Manna in conversation with Sheyma Buali
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Curating the Revolution: Meeting Points 7
WHW in conversation with Omar Kholeif
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Memory Montage
Uriel Orlow in conversation with Omar Kholeif
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The Tentmakers of Cairo
Kim Beamish in conversation with Sam Bowker
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Systems of Fragments
Hajra Waheed in conversation with Stephanie Bailey
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The Jerusalem Show
A View from Afar: Stephanie Bailey
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Influence, Passion, Process
Lucien Samaha in conversation with Walid Raad, Part II
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Politics in Practice
Younes Bouadi in conversation with Stephanie Bailey
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The Time is Out of Joint
Tarek Abou El Fetouh in conversation with Stephanie Bailey
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On Logical Revolts
Louis Henderson in conversation with Amira Gad
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Capturing Evanescence
Rifat Chadirji and Balkis Sharara in conversation with Amin Alsaden
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The Making of a Collective
MADRASSA Collective in conversation with Antonia Alampi
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Is This about Culture?
Leung Chi Wo in conversation with Robin Peckham
-
Re-Enacting Rupture
Lamia Joreige in conversation with Anthony Downey
-
Present Continuous
Christine Tohme in conversation with Rachel Dedman
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Art in the Time of the Anthropocene
Nora Razian, Nataša Petrešin Bachelez, and Angela Harutyunyan in conversation, with a contribution from Natasha Gasparian
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The Woven Archive
Héla Ammar in conversation with Wafa Gabsi
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Writing by Example
Meriç Algün Ringborg in conversation with Nora Razian
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On Sovereignty
Amar Kanwar in conversation with Stephanie Bailey
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Event Horizon
Eric Baudelaire in conversation with Anthony Downey
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Revisiting Internationalists
Fadi Bardawil in conversation with Zeynep Oz
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Shooting What is Missing
Hamza Halloubi in conversation with Natasha Hoare
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Future Imperfect
Anthony Downey: Introduction to 'Future Imperfect'
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Future Imperfect
Alia Rayyan: Recounting the Past, Present and Future
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Future Imperfect
Hussam al-Saray: in conversation with Ala Younis | A Cultural Encyclopaedia of Iraq
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Future Imperfect
Wided Rihana Khadraoui: Digitalizing Social Change through Cultural Institutions in Saudi Arabia
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Future Imperfect
Monira Al Qadiri: The Saudi New Wave | Digital Landscapes and Future Institutions
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Future Imperfect
Nile Sunset Annex: Plotting in Egypt: Art People
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Future Imperfect
Lois Stonock: Mapping the Possible: Syrian Organizations, Movements and Platforms
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Future Imperfect
Leila Al-Shami: Emerging from ‘The Kingdom of Silence’ | Beyond Institutions in Revolutionary Syria
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Ibraaz Launch Venice
Ibraaz
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October Newsletter
Ibraaz
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Platform 002 Launch Newsletter
Ibraaz
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December Newsletter
Ibraaz
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January Newsletter
Ibraaz
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Power Cut Middle East, International Film Festival Rotterdam
Amira Gad
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Art & Patronage Summit
Ibraaz
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Ibraaz February Newsletter
Ibraaz
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On Super-diversity by Tariq Ramadan
Reflections 03
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April Newsletter
Ibraaz
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Ibraaz Platform 003 Launch
Ibraaz
-
London Palestine Film Festival 2012
Nour K Sacranie
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Ibraaz May Newsletter
Ibraaz
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BRISMES Graduate Section Annual Conference 2012
Nour K Sacranie
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Jericho – beyond the celestial and terrestrial, 4th Edition of Cities Exhibition, Birzeit University Museum, 2012 -2013
Samiha Khalil
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Rabih Mroué and the Pixelated Revolution
Fawz Kabra
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Ibraaz June Newsletter
Ibraaz
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Where do we go from here? Women in Contemporary Arab Art
Isabella Ellaheh Hughes
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Zineb Sedira in Conversation
Coline Milliard
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/A.R.I.A/ (Artist Residency in Algiers)
Nour K Sacranie
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Virtual Agoras at the 7th Berlin Biennale
Charlotte Bank
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Ibraaz July Newsletter
Ibraaz
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Freedom to Express: The Abdellia Affair
Rachida Triki
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LACMA’s Art of the Middle East
Sara Raza
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On the Stage of the Event
The Cairo Seminar in Alexandria, dOCUMENTA (13)
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Ibraaz August Newsletter
Ibraaz
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Syrian filmmaker, Orwa Nyrabia, missing
Sheyma Buali
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Safar: A Journey Through Popular Arab Cinema
Sheyma Buali
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Press Release: Media and Artistic Practices in the Middle East and North Africa
Ibraaz
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Ibraaz September Newsletter
Ibraaz
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Ibraaz Platform 004 Launch
Ibraaz
-
Syrian Art Comes of Age
Malu Halasa
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First Paradise Then the World
Two Exhibitions in Paris
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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 November Newsletter
Ibraaz
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Is Artists' Independence Being Subsumed by Politics?
Notes from a roundtable discussion on the state of the arts in Egypt
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Alternative to What?
A roundtable discussion at Tate Modern contemplates the role of alternative education
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Ibraaz December Newsletter
Ibraaz
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The Art Of Dialogue
New initiative fosters connections between the Middle East and the western world
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Ibraaz January Newsletter
Ibraaz
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Nile Sunset Annex
An Artist-Run Gallery Space in Cairo
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Platform 005: Globalising Tactics in Contemporary Art
Questions to be addressed
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Ibraaz February Newsletter
Ibraaz
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Battle of Images
Contemporary Image Collective, Cairo
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Ibraaz March Newsletter
Ibraaz
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Ibraaz April Newsletter
Ibraaz
-
Ibraaz Platform 005
Ibraaz
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Global Futures Forum 2013
10 Years On: Art and Everyday Life in Iraq and Iran
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Renzo Martens
The Institute for Human Activities
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Ibraaz May Newsletter
Ibraaz
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Regional vis-à-vis Global Discourses
Contemporary Art from the Middle East
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10 Years On: Art and Everyday Life in Iraq and Iran
Ibraaz in partnership with Winchester Centre for Global Futures in Art
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Ibraaz June Newsletter
Ibraaz
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Critical Anxieties
Regional vis-à-vis Global Discourses: Contemporary Art from the Middle East
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Ibraaz Platform 006
The role of the archive in critical and culturally located art histories
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Ibraaz July Newsletter
Ibraaz
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Tongue Twists
A Slavs and Tatars Panel Discussion at Art Space Pythagorion
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Ibraaz August Newsletter
Ibraaz
-
Ibraaz Talks at SALT Beyoğlu, Istanbul
Ibraaz
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Symposium: Future Imperfect – Cultural Propositions and Global Perspectives
Ibraaz
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Art and its Prospects in Contemporary Maghrebi Societies
The second meeting of Maghreb des Arts
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Ibraaz September Newsletter
Ibraaz
-
Ibraaz October Newsletter
Ibraaz
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Ibraaz Platform 006
Ibraaz
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Present Projections
Future Imperfect, A Symposium
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Ibraaz December 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 April Newsletter
Ibraaz
-
Ibraaz Platform 007
Ibraaz
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Ibraaz May Newsletter
Ibraaz
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Ibraaz June Newsletter
Ibraaz
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Architecture After Revolution
Decolonizing Architecture at Tate Modern
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Ibraaz July Newsletter
Ibraaz
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Djerbahood
Erriadh is the Home of the ‘Street’
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Ibraaz September Newsletter
Ibraaz
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(Soft) Power Trip
Edge of Arabia Launches Culturunners
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Ibraaz October Newsletter
Ibraaz
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Ibraaz Platform 008
Ibraaz
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Jerusalem Show VII: Report
Reema Salha Fadda
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Ibraaz November Newsletter
Ibraaz
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Ibraaz December Newsletter
Ibraaz
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Ibraaz Platform 009
Theme: Performance
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JAOU Tunis 2015
Ibraaz
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Six Decades in the Making
Parviz Tanavoli’s Retrospective at the Davis Museum
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Culture Now: Renzo Martens at the ICA, London
Tom Snow
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Ibraaz February Newsletter
Ibraaz
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An Open Letter
Ibraaz
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Ibraaz March Newsletter
Ibraaz
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Ibraaz April Newsletter
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...
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Ibraaz Platform 009 | Launch Reader
Ibraaz
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Echoes & Reverberations
Online exhibition catalogue
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Ibraaz Reader 009/01
Ibraaz
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Performative Traces: The Union of Fire and Water
Almagul Menlibayeva in conversation with Basak Senova
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Encountering the Counterinstitution
Gregory Sholette at Home Workspace Program
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Ibraaz Reader 009/02
Ibraaz
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Ibraaz Reader 009/03
Ibraaz
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The Gulf: High Culture/Hard Labor
London book launch: 19 November, 18:30, Rivington Place
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Ibraaz Reader 009/04
Ibraaz
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Townhouse: Practical Solutions, Impractical Conditions
William Wells in conversation at Serpentine Galleries
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Ibraaz Reader 009/05
Ibraaz
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The Egyptian Surrealists in Global Perspective
A Report from the AUC
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Real Edgy
A Report from Home Works 7 and Athens Biennale 5 to 6
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Ibraaz Reader 009/06
Ibraaz
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Happy New Year from Ibraaz
Ibraaz
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New Appointments at Ibraaz
Ibraaz
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Ibraaz Platform 010 | Where to Now?
Ibraaz
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Ibraaz January Reader 009/07
Ibraaz
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Performing Politics
Işıl Eğrikavuk's The Art of Disagreement
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Ibraaz February Reader 009/08
Ibraaz
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Ibraaz March Reader 009/09
Ibraaz
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Future Musings
On the 2016 Global Art Forum ‘The Future Was’
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Time Share
The 2016 March Meeting
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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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Conflating Histories
Two Exhibitions on the Armenian Legacy in Anatolia
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Telling Other Stories
A Report from Cologne
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Ibraaz July Reader 010/03
Ibraaz
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Ibraaz Channel: Videobrasil's 'Collection in Context #1'
Videobrasil
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Chapter 31 at P21 Gallery, London
An Odd Piece of Research on the Many Virtues of Oriental Imagination
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Global Academy?
At the Salzburger Kunstverein
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FIELD MEETING Take 4: Thinking Practice
The Annual Signature Forum of Asia Contemporary Art Week (ACAW)
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Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East
Edited by Anthony Downey (Sternberg Press, 2016)
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Midad
The Public and Intimate Lives of Arabic Calligraphy
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JAOU 2017
Aimee Dawson
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10 Years On: Art and Everyday Life in Iraq
Ibraaz Talks: Slavs and Tatars
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10 Years On: Art and Everyday Life in Iraq and Iran
Ibraaz Talks: Wafaa Bilal
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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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Future Imperfect
Ibraaz
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The Future Imperfect Lectures
Ibraaz
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Slavs and Tatars in conversation with Anthony Downey
Language Arts at The Third Line
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Practices of Performance Art: Jumana Emil Abboud
Ibraaz
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Performance as Process: Jumana Emil Abboud at Delfina Foundation
Ibraaz
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Documentation of Making Work
Hassan Sharif
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Point, Line, Particles
Fayçal Baghriche
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Jaou Tunis 2015
Anthony Downey: Editor-in-Chief, Ibraaz
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Jaou Tunis 2015
Moncef Dhouib: Theatre- and film-maker
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Jaou Tunis 2015
Tania El Khoury: Live artist
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Jaou Tunis 2015
Rita Alaoui: Artist
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Jaou Tunis 2015
Hiwa K.: Artist
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Jaou Tunis 2015
Oumaïma Manai: Choreographer
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Jaou Tunis 2015
Ghazi Gherairi: Professor of Law, Carthage University
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Jaou Tunis 2015
Kamel Lazaar: Founder, Kamel Lazaar Foundation
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Jaou Tunis 2015
Adel Abidin: Artist
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Jaou Tunis 2015
Sultan Sooud Al-Qassemi: Writer
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Jaou Tunis 2015
Antonia Carver: Director, Art Dubai
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Jaou Tunis 2015
Ibraaz
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Curating Performance Art
Aaron Cezar, Delfina Foundation
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Bent Jbeil
Wael Shawky
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A Kind of Machine Called Liberation
Lin Yilin
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Dissonant Archives
John Akomfrah: Artist
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Dissonant Archives
Zineb Sedira: Artist
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Dissonant Archives
Ibraaz
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Chic Point (excerpt)
Fashion for Israeli Checkpoints
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Curating Live Art
Performances at Echoes & Reverberations
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My land 2
Anas Al-Shaikh
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Bit Téléférique
Dictaphone group
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Erasing
Wafaa Bilal
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This Lemon Tastes of Apple
Hiwa K.
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Last Man Out
Fayçal Baghriche
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Passing On II
Nancy Atakan
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The Invisible Scent of History
Katia Kameli: Untitled (2011)
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The Invisible Scent of History
Ibraaz
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Listening Through a Beam of Intense Darkness
Seth Ayyaz
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The Art of Disagreement
Işıl Eğrikavuk
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Art in Response to Conflict
A Roundtable Discussion from The Middle East Institute
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Dying on Stage
Christodoulos Panayiotou
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Hamletmachine 2
Zoukak Theatre Company
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Turbulent
Shirin Neshat
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Logical Revolts
Louis Henderson
-
BBC Arabic Cinema Badila: Sun Ra in Egypt
Tom Bogaert
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Larissa Sansour in conversation with Nat Muller
Nat Muller
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The Tentmakers of Cairo
Kim Beamish
-
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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Revisiting Genesis
Episode Twelve: Prayer, Aerialist
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Revisiting Genesis
Episode Five: Archives, Avatars
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Revisiting Genesis
Episode One
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Revisiting Genesis
Trailer
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Revisiting Genesis
A web series by Oreet Ashery
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‘You may say I'm a dreamer but I'm not the only one!’
The Outsider
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‘You may say I'm a dreamer but I'm not the only one!’
Kauther
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‘You may say I'm a dreamer but I'm not the only one!’
Al Intithar : (The Waiting )
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Figures Upon Landscape
A Hero Never Dies: Wissam Charaf
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Figures Upon Landscape
Short Wave/Long Wave: Vartan Avakian
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Figures Upon Landscape
Saving Face: Jalal Toufic
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Figures Upon Landscape
Beau Geste: Yto Barrada
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Figures Upon Landscape
Paris Without a Sea: Mounira Al Solh
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Figures Upon Landscape
Jim Quilty
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The Tethered
Sama Alshaibi
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Chta
Saad
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Kiarostami: Silent Moments
Water: Hamed Sahihi
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Kiarostami: Silent Moments
From Carpet to Celestial Heavens: Hamideh Razavi
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Kiarostami: Silent Moments
A tribute by Gelareh Kiazand
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My love for you, Egypt, increases by the day
Heba Y. Amin
-
Tariqah
Sama Alshaibi
-
Muraqaba
Sama Alshaibi
-
Dhikr
Sama Alshaibi
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Baraka
Sama Alshaibi
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Silsila
Sama Alshaibi
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Ordinary Madness (Sareyyet Ramallah)
Farah Saleh
-
Sanctity
Ahd
-
The Sun's Incubator
Ammar Al-Beik
-
Bouchra Khalili in conversation
Bouchra Khalili
-
Sunstone
Filipa César and Louis Henderson
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Drapchi Elegy
Ritu Sarin and Tenzing Sonam
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Monument of Arrival and Return
Basir Mahmood
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Clash
Mohamed Diab
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Déplacement
Mithkal Alzghair
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Planetary Records: Performing Justice Between Art and Law
Deceptive Authoritarianisms: Between Artificial and Discredited Personhoods
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Planetary Records: Performing Justice Between Art and Law
Notes Toward a Theory of Transformative Justice
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Planetary Records: Performing Justice Between Art and Law
Council presents: The Against Nature Journal
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Planetary Records: Performing Justice Between Art and Law
Performing the Trial: Re-enactment, Ritual, Remediation
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Planetary Records: Performing Justice Between Art and Law
Trace Environments: Sovereignty, toxicity and the littoral
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Planetary Records: Performing Justice Between Art and Law
Contour Biennale 8 / DAI Roaming Assembly #12
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Maajooneh: Stop-Motion on Syria
Yaman (2016)
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Maajooneh: Stop-Motion on Syria
Fade to Black (2015)
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Maajooneh: Stop-Motion on Syria
Amer AlBarzawi
-
Uncommon Grounds: New Media and Critical Practices in North Africa and the Middle East
Edited by Anthony Downey (IB Tauris, 2014)
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Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East
Edited by Anthony Downey (IB Tauris, 2015)
-
Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East
London book launch
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Six Moments from a Revolution: A Mosireen Video Timeline
Omar Robert Hamilton
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Don’t Shrink Me to the Size of a Bullet: The Works of Hiwa K
Edited by Anthony Downey (Walther König Verlag, 2017)
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History in Play
Hammad Nasar in conversation with Reema Salha Fadda
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Unfolding the Structures of Sound
Cevdet Erek in conversation with Başak Şenova
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Creating Intimacies: On the Spring Sessions Programme in Amman
Toleen Touq in conversation with Reema Salha Fadda
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On Building Nations
A two-part conversation with Szabolcs KissPál and Mahmoud Khaled
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Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East
Edited by Anthony Downey (Sternberg Press, 2016)
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Where to Now: Shifting Regional Dynamics and Cultural Production in North Africa and the Middle East
Platform 010 Editorial
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Now Where?
On Navigating Without a Compass
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Violent Relatedness, Embeddings, Hindsight
Ala Younis
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Midad: The Public and Intimate Lives of Arabic Calligraphy at Dar El-Nimer
Reema Salha Fadda
-
Polyphonic Worlds
Contour Biennale 8
-
A Faustian Pact
Notes on Geo-cultural Exhibitions
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Act I: Sharjah Biennial 13
Stephanie Bailey
-
Recollections
Notes on a film by Kamal Aljafari
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Works on Paper
Artists Intervening in Lebanese Dailies
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Pattern Recognition at the Mosaic Rooms
Lizzy Collier
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Beyond Boundaries
Art By Email at Yorkshire Sculpture Park
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Condemned to Depth
Invisible Architecture in Rana ElNemr’s Streams of Synonyms
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Qalandiya International Report: Amman
Yazan Ashqar
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Both Sides of the Curtain
Meeting Points 8
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Questions of Collectivity in the Absence of Connectivity
On Qalandiya International 2016 in Ramallah
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Dear Animal
Notes in a Conversation on a Film by Maha Maamoun
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Al Araba Al Madfuna
Wael Shawky at the Fondazione Merz
-
Mustafa Hulusi
Negative Ecstasy at Dirimart, Istanbul
-
When Art Becomes Liberty
The Egyptian Surrealists (1938–1965)
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Art et Liberté
Rupture, War and Surrealism in Egypt (1938–1948) at the Centre Pompidou
-
The 4th Aflam International Festival of Arab Cinema
Natasha Marie Llorens
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Off the Record
Nil Yalter at ARTER, Istanbul
-
Casting Stories in Transit
Katia Kameli at the Mosaic Rooms
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Field Meeting 4: Thinking Practice
Closing Remarks
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Space Refugee
Halil Altındere at Neuer Berliner Kunstverein, Berlin
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The Portrait is an Address
Hassan Khan at Beirut Art Center
-
The Writing of Art
Inspired by calligraphy
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Kamal Aljafari: A Recollection
Hamid Dabashi
-
Portrait Sessions
Vikram Divecha at Tashkeel
-
What Representations?
Exhibitions and Other Representations in 25 Years at Witte de With
-
Invisible Threads
Technology and Its Discontents
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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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Absent Beirut
Reflections on Reflections
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War of Terror
Edmund Clark at the Imperial War Museum, London
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Sketchat: Min Hone Wah Honak
The Sketches of Mahmoud Al Rifai at FADA 317
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The Weight of the World
Etel Adnan at Serpentine Galleries
-
Chronographia
Gülsün Karamustafa Retrospective at Hamburger Bahnhof
-
La Mano de Dios
Rayyane Tabet at Museo Marino Marini
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Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance
Lara Baladi
-
Between Structure and Matter: Other Minimal Futures
At Aicon Gallery, New York
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The Arab Nude
The Artist as Awakener at AUB
-
Fahrelnissa Zeid in the Mega-Museum
Mega-museums and modern artists from the Middle East
-
Towards a Spatial Imaginary
Walking Cabbages and Watermelons
-
Showroom Dummies
The 9th Berlin Biennale of Contemporary Art
-
Return to the Former Middle East
Ibraaz 5th Year Anniversary Editorial
-
Mass Individualism: A Form of Multitude
At Ab Anbar Gallery
-
Globale: Allah’s Automata
Rozemin Keshvani
-
The Turn المنعرج
Socially Engaged Art Practices in Tunisia
-
Effective on the Ground and Invisible to the Global Art Market
Participatory Art in the Middle East
-
Mona Hatoum at Tate Modern
Nicola Baird
-
Seeking Togetherness
The 37th EVA International
-
Sous les Pavés, la Plage
On Assumption and Authority
-
Queer Chronopolitics
Forests, Freaks and Performativity
-
Where to Now?
An Introduction to Platform 010
-
Critique as Infrastructure
Organic Growth and the Rise of Visual Arts Organizations in the UAE
-
Staging the Nation
Barrak Alzaid
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Response to Platform 10 by Burcu Pelvanoğlu
What are the urgent questions affecting cultural production in Turkey? I am writing from the perspective of Turkey, rather than the perspective of the Middle East and North Africa in general...
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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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Response to Platform 10 by Iftikhar Dadi
Of course, I do not wish to be misunderstood as arguing for nativism or closure. But the specific history of the region matters deeply, as factual evidence, but even more so in terms of identifying resources that can be transformed and activated in new ways today.
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Response to Platform 10 by Talinn Grigor
There is never a neutral position for critique, but there certainly ought to be the practice of critique. And that is precisely the element that is missing in top-down formation of the art scene in West Asia and North Africa, and perhaps in the rest of the non-western art scene.
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Ibraaz Platform 009: Performance
Anthony Downey
-
Not so Silent
On Walking and Crawling
-
Windows on Work
Tarek Al-Ghoussein at Galerie Brigitte Schenk
-
Sounds as if
Downtown Contemporary Arts Festival (D-CAF)
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Sound and Vision
Earshot by Lawrence Abu Hamdan, Portikus, Frankfurt
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Experiencing ‘Badke’
KVS Theater in Brussels
-
Stéphanie Saadé
Grey Noise Gallery
-
Encroachment on the Everyday
Tehran’s Self-portrait
-
Mindful Body
An Introduction to Body Art and Performance in the Gulf
-
Un/Interrupted Formations
Choreographing Spaces of Gesticulation
-
Feeling Dubbing
Six Short Stories on Arabic Voice Acting
-
The Sleepwalkers
Rana Hamadeh at The Showroom, London
-
Arab Art Histories: The Khalid Shoman Collection
Samah Hijawi
-
Having the Stars
The Little Deaths of Christodoulos Panayiotou
-
Made in Algeria
Genealogy of a Territory at MuCEM, Marseille
-
1497
Green Art Gallery
-
Treading Gulf Waters
Ahmad Makia
-
In and Out of Algeria
Bruno Boudjelal's Documentary of Affect
-
An Unknown Lover's Discourse
An Ode to Performing Subjectivity in Research
-
The Great Hall Exhibition
Walead Beshty at The Institute of Fine Arts, NYU, James B Duke House
-
The Image(s) Between Us
The Performance of Death in a Post-9/11 World
-
Halim El Dabh
An Alternative Genealogy of Musique Concrète
-
Colony – Latitude
Shady El Noshokaty at Gypsum Gallery, Cairo
-
Collapsing Clouds of Gas and Dust
Vartan Avakian at Marfa’
-
Criticality Performed Itself
The performative in the work of Hassan Khan
-
On Constant Invention
Notes on Maverickism as Genealogy and Genealogy as Approach
-
Tarek Atoui
At the 41st Aeschylia Festival
-
Magic, Maybe
Jumana Manna at Chisenhale Gallery, London
-
Bouchra Ouizguen
The Subversive Feminine
-
SALTWATER: A Theory of Thought Forms
The 14th Istanbul Biennial 2015
-
Being ‘Inappropriate’
The Unspoken Battle of Self-Censorship
-
La Vie Moderne
The 13th Biennale de Lyon
-
The 5th Thessaloniki Biennale
Between the Pessimism of the Intellect and the Optimism of the Will
-
'A Deep Reverence for the Region's History'
Edited Urbanism on Dubai Creek
-
All the World’s Futures
A Review of the 56th Venice Biennale
-
Accented
Maraya Art Centre
-
Response to Platform 9 by Farah Khelil
'Mixed Media I (2009) is a list of 50 pages of technical descriptions of contemporary art pieces. The list, made up of automatic extractions of data about techniques used in contemporary art practices, is a multi-format, translatable database...'
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Response to Platform 9 by Adel Abidin
Adel Abidin presents Subway Scene (2015).
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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 Life and Times of Louis Saboungi
A Nomadological Study of Ottoman Arab Photography
-
Performativity and Public Space
Interventions as Performative Gestures For Political Engagement in Jordan
-
I Once Fell in Love with an Audience Member
Practice, Performance, Politics
-
Transition Times
Performing Armenity at the 56th Venice Biennale
-
Response to Platform 9 by Hassan Darsi
For Ibraaz Platform 009, Hassan Darsi presents a photo essay.
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Response to Platform 9 by Nezakat Ekici
'To avoid misunderstanding, I write from the perspective of Turkey, because I can't really speak for North Africa nor for the Middle East in general...'
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Response to Platform 9 by Lawrence Abu Hamdan
'Do not pollute others' hearing with shameful sounds...'
-
Response to Platform 9 by Joe Namy
'A few notes on the difference between performance art and mayonnaise...'
-
The Politics of the (im)Possible
Sharjah Biennial 12: The past, the present, the possible
-
Building in A-topia
Franco Berardi
-
Letters to Naeem Mohaiemen
Lara Khaldi
-
The Shadow Economies of Being Seen
Determining the Axis of the Global South and Middle East
-
Tout va bien?
'Too Early, Too Late: Middle East and Modernity' at the Pinacoteca Nazionale di Bologna
-
Past Disquiet
Narratives and Ghosts from the International Art Exhibition for Palestine, 1978, at MACBA
-
Atmosphere
A Curatorial Take on the Global South
-
Mobile Maghrebs
Contemporary Cinema from North Africa
-
Maps That Don’t Belong
Natasha Ginwala
-
BOOM, BOOM, BOOOOOM!
Notes on a Giant Implosion
-
How Toshihiko Made Me Understand Islam
Monira Al Qadiri
-
Hassan Matar
Lantian Xie at Grey Noise
-
Assembled in Streams of Synonyms
Rana ElNemr at the American University in Cairo’s Sharjah Art Gallery
-
Living Roundabouts in Bahrain
Five Stages of an Artist Residency
-
Aesthetics of Migration
Street Art in the Mediterranean Border Zones
-
Other Maps
On Bouchra Khalili’s Cartographies
-
As in an Ocean
On Nikolaj Larsen's End of Dreams
-
Farther Than Language Can Reach
On the Work of Basma Alsharif
-
'I am an Artist'
Portrait of a Salafi en abyme in the Cyber World
-
Platform 008 Editorial
Anthony Downey
-
The Geopolitics of Contemporary Art
Nikos Papastergiadis and Gerardo Mosquera
-
Between Iran and Dubai
An Art Collection as an Alternative Archive of Iranian History
-
Tracing Dissent at the Margins of Empire
Pan-Kaffirism in Iraq, South Africa, and Sri Lanka
-
Response to Platform 8 by Clare Davies and Nida Ghouse
This research-based response marks the beginning of a collaborative project undertaken by Clare Davies and Nida Ghouse that considers histories of artistic production in relation to the concept of metanoia.
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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 Maryam Jafri
In a recent video work, Mouthfeel (2014) and a related lecture-performance titled Playlist (2014), I focused on symmetries between forms of aspirational consumption in the Global South.
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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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Response to Platform 8 by Farida El Gazzar
The group of paintings is inspired by 'momentary images' or more accurately frozen moments taken from the contemporary cityscape of Egypt, as well as from personal records; old photographs found in family albums.
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Response to Platform 8 by Daria Kirsanova
In the years that followed the destruction of the Berlin Wall, which triggered the rise of post-colonial studies, the definition of the term 'the Global South' has changed dramatically.
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Response to Platform 8 by Anthony Gardner
Strategic though it may be, the binary of 'South' and 'North' is no less reductive than the stale binaries of yore: of 'East' and 'West', communist and capitalist, aesthetics and politics, the list goes on.
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The North of the South and the West of the East
A Provocation to the Question
-
The Global South
Conflicting Narratives and the Invention of Geographies
-
The Jerusalem Show VII
Outside Looking In: Taking a Title and Running With It*
-
Measures of Uncertainty
Tina Sherwell
-
Scripts of the Art World
Burak Delier
-
Unedited History, Iran 1960–2014
A Recourse to the Past
-
Mirror Worlds
Here and Elsewhere at the New Museum
-
Platform 007: Future Imperfect (Part II)
Building Institutions Through Practice
-
Making Stories Visible
A Yemeni Art History
-
The Future of Art in the Age of Militarized De-Production
Re-Thinking Cultural Development in Palestine
-
'We, the Intellectuals'
Re-routing Institutional Critique
-
Informal Domains
Art and Culture Beyond Institutions in Amman
-
Intervening Space
From the Intimate to the World
-
Imed Jemaïel’s Talismanic Paintings/Les tableaux talismans de Imed Jemaïel
Le Dessous des Ratures (Beneath the Crossings Out)
-
GCC: Achievements in Retrospective
Leili Sreberny-Mohammadi
-
Basma Alsharif: The Doppelgänger
Berlin Documentary Forum 3 at Haus der Kulturen der Welt, Berlin
-
Walling Strategy
Can T-Wall Murals really Beautify the Fragmented Baghdad?
-
Future Fiction
In the Shadow of Nasser
-
Utopian Dust Versus Perfumed Amplification
Object Lessons from Saadiyat Island and Gehry’s Guggenheim, Abu Dhabi
-
Hassan Khan in Cairo
Downtown Contemporary Arts Festival (D-CAF)
-
All Mother Tongues Are Difficult
Mounira Al Solh at Sfeir-Semler Gallery, Beirut
-
Freedom has no script
Burak Delier at Iniva
-
The Revolution Will Not Be Online
33rpm and a Few Seconds by Rabih Mroué and Lina Saneh
-
Anachronistic Ambitions
Imagining the Future, Assembling the Past
-
Filling the Gaps
Arts Infrastructures and Institutions in Libya Post-Dictatorship
-
Designing the Future
What Does It Mean to Be Building a Library in Iraq?
-
Other People’s Stories
Or, Severing History From the Person
-
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!
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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 Youmna Chlala
'You can't draw desire, you have to walk it.'
-
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 Sherri Wasserman
'I suggest that we look at the past and present strengths of cultural organizations, which have always served social and informational purposes, regardless of region and time. It is in these two spheres that the future resides.'
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Response to Platform 7 by Nora Razian
'The future of arts looks promising, but it also risks looking stale if we're not too careful. I will concentrate here on what I think are important considerations in the shaping of spaces of encounter.'
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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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Response to Platform 7 by Burak Arikan
'Better imagine now, rather than later.'
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Response to Platform 7 by Asunción Molinos Gordo
'The future of art infrastructures in the region is still very much determined by pre-existing cultural misconceptions applied to audiences... During the last four years in Cairo, I've witnessed in several occasions how part of the audience has been marginalized according to nationality, class, race or economic income.'
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Knowledge Bound
Reflections on Ashkal Alwan's Home Workspace Program, 2013-14
-
Knowledge Bound
Reflections on Ashkal Alwan's Home Workspace Program, 2013-14
-
Language Arts
Slavs and Tatars at The Third Line
-
Mouthfeel
Maryam Jafri at Gasworks
-
Aerial Abstraction
Jananne Al-Ani, Excavations, at the Hayward Gallery Project Space
-
Alt Üst
Cevdet Erek at Spike Island, Bristol
-
Recalling the Future
Post-Revolutionary Iranian Art at SOAS
-
Critical Machines
Mirene Arsanios
-
Beyond the Odalisque
A Perspective on Algeria's Cultural Scene
-
We Are What We Eat
The Politics of Food at Delfina Foundation
-
Flash Frozen Fire
Haleh Redjaian at Arratia Beer
-
Ways of Un-Seeing
Georgia Kotretsos: SPRING CLEANING and KARFI in Rabat
-
Notes on Women in Iranian Art
A Review
-
Curated Conversations
HIWAR | Conversations in Amman
-
The Strangeness of Sports
Haig Aivazian’s multi-piece installation FUGERE at Sfeir-Semler, Hamburg
-
Rethinking National Archives in Colonial Countries and Zones of Conflict
The Israeli-Palestinian Conflict and Israel's National Photography Archives as a Case Study
-
Fire talks to me
Almagul Menlibayeva
-
5UNTHA
Abdullah Al-Mutairi
-
هيجان البحر والدم
Sarah Abu Abdallah
-
Juvenalia
Malak Helmy and Sophia Al Maria
-
Semitic Score
Oreet Ashery
-
The Elounda Summit
(The Differences Between The Parts Are The Subject of The Composition)
-
The Ugly One
Eric Baudelaire
-
Istanbul Microphone Men
Santiago Mostyn
-
19 a Day
Taus Makhacheva
-
On the Back of Sleep
Malak Helmy
-
Incidents of the Paradoxical Gaze
Yogesh Barve & Clark House Initiative
-
End of Dreams
Nikolaj Larsen
-
Les Voyages
Simohammed Fettaka & Basak Senova
-
Deep Sleep II
Basma Alsharif
-
My Dick in My Dick, Kiss Me Again, After Eight, All Mother Tongues Are Difficult and their sisters.
Mounira Al Solh
-
Submarine Writing
Hera Büyüktaşçıyan
-
… A story I never forgot…
Rosana Palazyan
-
Capitulation of Discourse
Ariel Hassan
-
Notes For Leaving and Arriving
Youmna Chlala
-
Billboards
Meriç Algün Ringborg
-
2922 Days
Uriel Orlow
-
So I don't really know sometimes if it's because of culture
Leung Chi Wo
-
It is small, we like it this way
Aikaterini Gegisian
-
The Tree School
Campus in Camps and Grupo Contrafilé
-
Towards the Possible Film
Shezad Dawood
-
The Imaginary Aquarium
Mohamed Fariji
-
There, before
Isak Berbic
-
The Future of Smart Technology is In Your Hands
Caline Aoun
-
Two Stories Distorted
Mohamed Abdelkarim
-
Painter on a Study Trip II
Mahmoud Khaled
-
Chronicles from Majnun until Layla
Azin Feizabadi
-
Myth Busters
Monira Al Qadiri
-
Common Elements
Iman Issa
-
From Behind the Monument
Jasmina Metwaly
-
The Work Does Not Mean Anything To Me
Thoughts on Art and Art Discourse
-
Hashem L Kelesh – هاشم الكلش
Medrar .TV
-
Residents on Tripoli Street Archive War
Adelita Husni-Bey
-
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
-
Portraits
Setareh Shahbazi
-
Received Pronunciations
Notes from three spaces in which the law resounds
-
Finding the Date
An online archive by Lucien Samaha
-
Ventriloquism
A project by Ali Cherri
-
The Goodness Regime
A project by Jumana Manna and Sille Storihle
-
Night Visitor
A project by Maha Maamoun
-
Orality, an Immaterial Heritage
A project by Katia Kameli
-
The One That Got Away
The Circus (2)
-
SENSING OTHERWISE
A Story of an Exhibition
-
The One That Got Away
On the Rooftop
-
98weeks: Our Lines Are Now Open
A Radio Series on the Poetics and Politics of Language
-
The Incidental Insurgents
The Part about the Bandits Pt.2
-
Codes of Limbo
Basak Senova on Zeren Göktan's Counter (2013)
-
Saadiyat Island
Hans Haacke
-
Chewing the Data Fat
Sophia Al-Maria
-
Dropping a Yassin Dynasty Vase
Raed Yassin
-
Sound from the Hallways
Lasse Lau
-
Morse Code Composition
Cynthia Zaven
-
ALWAN
Adelita Husni-Bey
-
Sahrawi Scrapbook
A Project by Robin Kahn
-
Minecraft Mausoleum
A Video Game Mausoleum for Bashar al-Assad
-
I Was Blacklisted by Thom Powers
Documenting the Backlash
-
Beyond the Image
A Project by Lara Baladi with an introduction by Dorothea Schoene
-
The Sound And The Fury
An Image of a Revolution
-
Nation Estate
Elevator Advertisements
-
Do You Have Work Tomorrow?
Mahmoud Khaled
-
Revolutionary art
Naira Antoun
-
Wandering of a Collective
Makan
-
The Saaheb Collective
Dream Homes and Community-building
-
Following, A week in Cairo
Roy Samaha
-
Incomprehensible
Yousef Moscatello
-
The Incidental Insurgents
A Story in Parts
-
Soundscapes
A project by Tom Bogaert for Ibraaz
-
Culture In Defiance
Continuing Traditions of Satire, Art and the Struggle for Freedom in Syria
-
Map of Faith
A project by Yousef Moscatello
-
Family Friendly
A project by Fayçal Baghriche
-
Untitled YouTube Stills
A Project by Anahita Razmi
-
Writing on the Walls
Transition, a photographic series by Myriam Abdelaziz
-
The Past Was Another Country
Two Projects by Sinisa Vlajkovic
-
From Brute Ornament
Seher Shah's Recent Drawings
-
D.M., The Arabian Gulf Chapter
Isak Berbic
-
On-longing
A Project by Saba Innab
-
Bus Cemetery
A Project by Dictaphone Group
-
The Missing Link 3
A Mother's Tongue, On Ahmad Ghossein's film My Father is Still a Communist
-
Ode to the Worthy Extinction of the Metaphor
Mustapha Benfodil
-
Fallin' Dictators
Lina Khatib
-
The Video Diaries
Khaled Hafez
-
Rendezvous
Nikolaj Larsen
-
Supposing I love you. And you also love me.
Wendelien van Oldenborgh
-
The Missing Link Part Two
Marwa Arsanios
-
Batroun Concrète 0.0
Batroun Projects
-
The A77A Project
On Presidents & Superheroes
-
17,000 Missing: A Nation in Denial
Dalia Khamissy
-
Dubai Citytellers
Francesco Jodice
-
The Missing Link
Cecilia Andersson
-
'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,...
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Endless Celebration
Mahmoud Bakhshi
-
theDISCORD
A project by Benji Boyadgian
-
Looking for the Dhab
Shadi Habib Allah
-
Contain Contain
Maryam Monalisa Gharavi
-
Laika
Zamir Suleymanov
-
DEBE BE wakollou sawt ka wak3i el7afer 3ala el2ard essolba
The Society of False Witnesses
-
Doppelgänging
Basma Alsharif
-
Huma
Morehshin Allahyari
-
Recollection
Kamal Aljafari
-
Expanding and Remaining
Navine G. Khan-Dossos
-
Fastforward And Rewind
Setareh Shahbazi
-
A Dictionary of the Revolution
Amira Hanafi
-
Some Pachinko Pieces
On Silence and Noise in Times of Crisis
-
Vox Populi
Tahrir Archives
-
The Taste of Displacement
Dena Al-Adeeb
-
The Provisionary That Lasts (series)
Ahmed Badry
-
The two women and the beautiful boy behind 'Of Men, Champagne and Victory Aside'
Maya Chami
-
pepsi, cola, water?
Tom Bogaert
-
TandemWorks
Written by Mayssa Fattouh
-
In the Future they Ate from the Finest Porcelain
Larissa Sansour and Soren Lind
-
The Battle Scene
Zoukak Theatre Company
-
Arm Wrestling with Super Sohrab
Sohrab Kashani
-
RAM-COM
Meriem Bennani
-
Love Letters to a Union – The Falling Comrades
Yazan Khalili Lara Khaldi
-
Learning to Dance
An Online Performance
-
On The Admissibility of Sound
Seth Ayyaz
-
Author as Swindler
Burak Delier
-
Watani Al Akbar
Urok Shirhan
-
Cola Revlon Mouthwash
Adham Faramawy
-
17 and in AUC: Documentation
Hassan Khan
-
Nosebleed
Hasan Hujairi
-
space, breath, time
Joe Namy
-
Engineering Shelter
Helene Kazan
-
Where are the Arabs?
Samah Hijawi
-
Response to Platform 6 by Hassan Darsi
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?
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Response to Platform 6 by Mohamed Abdelkarim
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...
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Response to Platform 6 by Mounir Fatmi
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.
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Response to Platform 6 by Sandra Skurvida
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.
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Response to Platform 6 by Nada Shabout
...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.
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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...
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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.
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Response to Platform 6 by Ian Almond
The idea of the art archive in the Middle East provokes a number of associations – some of them spiritual, some historical, some clearly political.
-
Locating the Archive
The Search for 'Nurafkan'
-
An Archive of Refusal
On Shuruq Harb's The Keeper
-
Archival Dissonance
Ibraaz Platform 006 Editorial
-
Housing Archives
When Buildings Become Part of the Record
-
The Spectre (of Knowledge)
The Recordings of the Cosmopolitan
-
Enacting the Archives, Decentring the Muses
The Museum of Islamic Art in Doha and the Asian Civilizations Museum in Singapore
-
In/distinction
Yasmine Eid-Sabbagh’s 'A photographic conversation from Burj al-Shamali Camp'
-
Response to Platform 6 by Maryam Jafri
From the photo-text series Getty vs. Ghana (2012).
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Response to Platform 6 by Joy Garnett
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...
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Curating Conflict in Art
An I for an Eye and Death of a Cameraman
-
Murder in Three Acts
Alsi Çavuşoğlu at Delfina Foundation, London
-
Everywhere But Now
The 4th Thessaloniki Biennale
-
Thieves of Babylon
Repatriation of Iraq's Looted Heritage under International and Domestic Law and Practice
-
Watching the Lonely Crowd
/si:n/ Festival of Video Art and Performance, Ramallah
-
Dancing with Barbarians
The 13th Istanbul Biennial
-
Long ago, and not true anyway
Waterside Contemporary
-
Freedom of Expression
FIAF’s 2013 World Nomads Tunisia Festival
-
The Crisis of Art in Tunisia
Farah Makni Hendaoui
-
Articulating Dissensus
Contemporary Artistic Practice in Iran at a Revolutionary Moment
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On the set of the 55th Venice Biennale
The Encyclopedic Palace
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Re-Framing Modernism
Saloua Raouda Choucair, Ibrahim El-Salahi and Meschac Gaba at Tate Modern
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Two Responses to Peeping Tom Digest ♯3: Beirut
Omar Kholeif
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Trials of Arab Modernity
Literary Affects and the New Political by Tarek El-Ariss
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Tea With Nefertiti
The Making of the Artwork by the Artist, the Museum and the Public
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Modern Iraqi Art: A Collection
Meem Gallery, Dubai
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The Business of Culture
Profiles: Collecting Art in Lebanon at AUB Gallery, Lebanon
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Points of Departure
Institute of Contemporary Art, London
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Art After War
Kuwait’s National Works at the 55th Venice Biennale
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To the Barricades
Gezi Resistance, Public Space and the Counter-monumental
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Welcome to Iraq and Otherwise Occupied
Iraq and Palestine at the 2013 Venice Biennale
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Home Works 6
Tinkerings on the Instable Present Tense
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Trade Routes / Conflicted Memory
Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review
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Covering One's Back
Gezira Art Center, Cairo
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DISPATCH - Here We Are: The Imagination of Public Space in Gezi Park
Creative Time Reports
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DISPATCH - FITNA AND THE IRANIAN ELECTIONS
Creative Time Reports
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On Reporting, the Documentary and the Aesthetic in Ursula Biemann and Angela Sanders’ Europlex
Amy Charlesworth
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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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One City, Two Guides – An Untimely Collaboration
What if Rani al Rajji and Michel De Certeau met in Beirut?
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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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Going Around in Circles
Looking for Palestine in the Jordanian Music Scene
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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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Noise in the Courtyard
Sharjah Biennial 11 – Re:emerge, Towards a New Cultural Cartography
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SEEP
Nasrin Tabatabai & Babak Afrassiabi at Chisenhale Gallery
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A Steady Progress of Nothingness
Basim Magdy at Newman Popiashvili
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Palestinian Ghettos in White Wall Galleries
The Problem of Nationality
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No Place Like Home
Refraction: Moving Images on Palestine at P21 Gallery
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Take Me to This Place, I want to do the memories
Atfal Ahdath at Running Horse Contemporary
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CAMPING AND TRAMPING THROUGH THE COLONIAL ARCHIVE
A Talk and Screening by Shabbir Hussain Mustafa
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An Unconventional Angle
Mario Rizzi’s Al Intithar (The Waiting)
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Response to Platform 5 by Tsolin Nalbantian
It stipulates in my working contract as a professor in Middle East history at Leiden University that I must participate in 'media outreach'. This means that I must either seek out media outlets and contribute to a particular conversation about the Middle East, or, if contacted by a media representative,...
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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 Michaela Crimmin
The excited chatter about unrest and uprisings in the western world has focused particularly on a number of countries in North Africa and in what we here refer to as the Middle East (meaning anything between eighteen to thirty-eight countries according to Wikipedia). In the UK, we have received a...
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Response to Platform 5 by Rania Jawad
Demonstrations by Palestinian villagers against Israeli colonisation has been described by non-local media sources as 'theatrics' and 'spectacle.' Such categorisation positions Palestinian acts of protest in the realm of 'acting'- a visual 'show' for the cameras, complete with homemade props, a soundtrack of chants performed to the rhythm of Israeli...
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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 Basim Magdy
Basim Magdy, 13 Essential Rules for Understanding the World , 2011, super 8 film transferred to HD video, 5 min. 16 sec. Courtesy the artist and Newman Popiashvili Gallery, New York.
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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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Response to Platform 5 by Rayya Badran
A new book has surfaced on the shelves of Lebanese and possibly Arab bookstores. The title reads: Pure Nostalgia . As in Exclusive Nostalgia, as in free from this contaminated present . The emergence of this publication is perhaps symptomatic of something larger than a trivial nostalgia quenched by the...
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Response to Platform 5 by Sarah Rogers
In certain respects, the demands on contemporary artists issued forth by a (purportedly novel) globalised cultural economy are starkly obvious in the Arab world. The concurrent fascination with contemporary art and the region has resulted in the now well-documented - and equally well-debated - critical and curatorial investment in contemporary...
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On One Side of the Same Water
Introduction
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The Double Reflection
Objects in Mirror are Closer than they Appear
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On One Side of the Same Water
Artistic Practice from Tirana to Tangier
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Making Universes
Khalil Rabah: Pages 7, 8, 9 at e-flux
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For the Common Good
Artistic Practices, Collective Action and Civil Society in Tunisia
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The Many Afterlives of Lulu
The Story of Bahrain’s Pearl Roundabout
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On Revolution and Rubbish
What has Changed in Tunisia since Spring 2011
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An Explanation of an Irrelevant Monument
On the Memory of a Memorial
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Art’s Networks
A New Communal Model
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Citizens Reporting and the Fabrication of Collective Memory
Jens Maier-Rothe
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The Paradox Of Media activism
The Net is Not a Tool, It’s an Environment
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Digital, Aesthetic, Ephemeral
The Shifting Narrative of Uprising
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The ‘Cut-n-mix’ Culture
The Impossibilities of Production in New Media
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The Art of the Written Word + New Media Dissemination: Syria
Tarek Khoury
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Common Grounds
Artistic Practices, Civil Society, and Secular Determination in Tunisia Today
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Staging the Transition in North Africa
Theatre As a Tool of Empowerment
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TASWIR Projects
A.S. Bruckstein Çoruh
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Propaganda Fantasies and Stand-in Heroes
Foundland
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Response to Platform 4 by Khaled Alhamzah
Some artists in these parts of the world began using new media in their work in the 1990s. This happened for a number of reasons but the most important one, I believe, was that of reaching the general public, which was far from being interested in art. In this respect,...
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Response to Platform 4 by Marko Stamenkovic
Shining a spotlight on something in order to 'make it visible' is a task indeed. It does not only entail personal and professional risk but also demands courage and responsibility. The ethics of monstration (on behalf of those whose intention is precisely that - to make sense of vision, to...
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Response to Platform 4 by Selçuk Artut
Selçuk Artut. Courtesy of the artist.
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Response to Platform 4 by Ali Cherri
A video by Ali Cherri.
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Response to Platform 4 by Fırat Arapoğlu
New media has played a role in artistic practices, activism and social change for a long time, and we are increasingly seeing artists using and manipulating images from mainstream media and circulating them online to elucidate political causes.
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Response to Platform 4 by Başak Şenova
Digitised media in the last decade has undoubtedly been propelled by the enormous speed of new technology and spontaneous platforms for rights, defined by Hakim Bey as 'Temporary Autonomous Zones' and 'network guerrillas' by Ozgur Uckan. Consequently, despite the mediated content of the mainstream media, social media sites have emerged...
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Response to Platform 4 by Mandy Merzaban
Using new media tools and technologies available today has become standard practice for a range of activities; it's become a source of educational content and entertainment, as well as a means of communicating from conflict zones or even from the comfort of our homes. New media technologies available on smart...
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Response to Platform 4 by Ricardo Mbarkho
Artists have for some time been using new media to investigate and question their mainstream socio-political environments. In Arab countries, the revolutions that took place are a direct expression of this process's shift from the art community to the mass, from the artist to the public. It was a mutation...
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Response to Platform 4 by Nat Muller
When we talk about media, whether we consider them old or new, and critical practices, whether we label them as artistic, activist or hybrid, we would do well to look at issues of embodiment, and where virtual presence and physical presence intersects. The Arab uprisings have shown that no matter...
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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 Jeannine Tang
Can the subaltern tweet? asked Lisa Nakamura, in response to the formulation 'social media caused the Arab Spring'. If Spivak famously deconstructed the promotion of democracy by supremacist means, Nakamura and others subsequently dismantled the digital orientalism latent in rhetoric suggesting that a US twittersphere galvanised Arab revolutionaries against Arab...
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Response to Platform 4 by Anne Barlow
New media's role as an agent for social change in the MENA region has been somewhat sensationalised by mainstream media in referring to recent incidents of unrest as 'Facebook' or 'Twitter revolutions'. Whether used for the purpose of social exchange or as part of an artistic practice, real-time communication and...
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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 Sarah Samy
The state of the Internet, or more specifically, the state of 'online surfing' is similar to that of dreaming; things leach into each other according to a logic that does not belong to us and cannot be correlated to our chronological time; images are constantly morphing into ghosts of other...
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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 Nermin Saybaşılı
The digitally mediated world operates as a gigantic magnet for centralisation, regulation and control by giving shape to our lives, our languages and bodies. This means that the digital domain is increasingly becoming the very location of politics. I propose the term 'magnetic' as an invitation to re-think audio-visual artwork...
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Response to Platform 4 by Ganzeer
I treated a young homeless kid to some tea at the local coffee shop one morning and asked him how he usually spent his day. He told me he would hang out on the street, ask people for money so that later in the evening he would go to the...
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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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Archives, Museums and Collecting Practices in the Modern Arab World
An Introduction
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In the Event of Fire
Precarious Images, the Aesthetics of Conflict, and the Future of an Anachronism
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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...
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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...
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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...
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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 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,...
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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....
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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 -...
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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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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...
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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...
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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...
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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...
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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...
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Response to Platform 3 by Myriam Abdelaziz
Writing on the Walls: Transition, A Photographic Series by Myriam Abdelaziz
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Productive Contexts and Contemporary Restraints
The Practice of Contemporary Art in Algeria Today
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Ibraaz Platform 003 Editorial: What Was Lost?
Anthony Downey
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A Philosophical Banquet in the Country, staged by Dar al-Ma’mûn
Ali Benmakhlouf
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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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Occupying the Occupied
Perceptions of Occupation and Control in Cyprus
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The Urban Observatory of Beirut
For a Polysemic Reading of Both City and Territory
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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 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,...
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Response to Platform 3 by Seher Shah
From Brute Ornament: Seher Shah's Recent Drawings
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Response to Platform 3 by Saba Innab
On-longing: A Project by Saba Innab
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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...
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Response to Platform 3 by Home Workspace
Home Workspace: A Conversation Between Christine Tohme and Anthony Downey
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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 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...
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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...
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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...
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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...
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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...
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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...
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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...
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Ramallah, in a Student Encounter
Yazid Anani
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Comparative Notes on the Cultural Magazine in Lebanon
Mirene Arsanios
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Go Down, Moses: Tourism, Space and Ideology.
Reflections from a book on South Sinai
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How I became a politician, or, How theft turned me into an artist
Yazan Khalili
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Response to Platform 2 by Lara Baladi
During the July sit-in in Tahrir Square in Cairo, the site of the revolution at the beginning of the year, a group of artists and filmmakers lit up a corner of the square with an open-source 'revolutionary' screen: Tahrir Cinema . Every night, a filmmaker, journalist or activist presented a...
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Response to Platform 2 by Juliana Khalaf
Nada Sehnaoui, Fractions of Memory 2003, installation. In the world we live in, where public spaces are meagre, artists create visual ideas where the onlooker becomes an active citizen. Installation artist Nada Sehnaoui deals with collective memory and identity, communicated in unused large public areas in Beirut, Lebanon (Fractions of...
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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 Newsha Tavakolian
Platform for discussion002 What relationship does visual culture have to the world we live in? Newsha Tavakolian 1 November 2011 Newsha Tavakolian, 2011 Photograph Courtesy of the artist 7: Members of the voluntary paramilitary force, the baseej, shot and killed one man and wounded others in a one million strong...
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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 Mohamed Arejdal
Visual culture in a country like Morocco does not differ from its counterparts in the rest of those countries that remain, to some extent, beneath a foreign-made umbrella. The production of the image in the post-colonial age compels us strongly to undergo subordination to foreign ideologies, because this is a...
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Response to Platform 2 by Ibrahim Farghali
It is so difficult to imagine the people in the world now getting their cultural resources without a visual component, especially in the Arab world where the photograph is becoming increasingly dominant in the media. For example, most newspapers and Arabic magazines are giving much more space to photographs, considering...
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Response to Platform 2 by Hassan Darsi
The scale of the resistance among the people of the MENA region in the last year will remain an example in contemporary history. This resistance expresses a desire to build new ground and another social entity, which up till now has been latent. The clear desire is to build a...
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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 2 by Giuseppe Moscatello
Nowadays, visual culture is considered to be a vehicle for the constant delivering of messages of identity to the public. The image has become the universal means of recalling to an audience the history of how we speak; how we think; and how we envision the future. Until a few...
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Response to Platform 2 by Faten Rouissi
By bicycle, he travels the roads and the districts searching for an answer to his many questions. He is a man, Tunisian, Arab, Berber and a native with roots in the Maghreb, Africa, the Middle East ... He is of this Earth and these oceans.
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Response to Platform 2 by Farhad Ahrarnia
Visual Culture since 3000BC
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Response to Platform 2 by Bérénice Saliou
Cardboards are leaned against a wall in a street. They form a peculiar assemblage one can identify as makeshift shelters. Fashioned out of the detritus of consumer society, the cardboards have become facades. They conceal women who were probably repudiated by their families. One of them emerges from her 'house'...
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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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Response to Platform 2 by Anahita Razmi
Platform for discussion002 What relationship does visual culture have to the world we live in? Anahita Razmi 1 November 2011 Anahita Razmi White Wall Tehran, 2007 Video, 0'49' Courtesy of the artist Anahita Razmi --> Anahita Razmi is an artist based in Stuttgart, Germany, working with video, photography and installation....
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Response to Platform 2 by Adalet R. Garmiany
Middle Eastern culture, which is Islamic and mainly very conservative, is in the process of redefining its interpretation of, and relationship to, visual culture. The role of contemporary art in the Middle East is different to that in many parts of world. Design, advertising, media, performance, photography, conceptual art, new...
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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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Kutluğ Ataman
The Enemy Inside Me
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Making Men through Hip Hop in Jerusalem’s Shu’afat Refugee Camp
Ela Greenberg
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State Ending and the Durable Illusions of Empire
Raymond Baker
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Understanding the Threat to Arab Youth Uprisings
Joe Khalil
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Revolution and Cultural Mutation
Rachida Triki
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Talinn Grigor, Building Iran
Modernism, Architecture, and National Heritage under the Pahlavi Monarchs
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10th Sharjah Biennial
Mayssa Fattouh
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Response to Platform 1 by Yazan Khalili
01: An old woman gets into a taxi and asks the driver to take her somewhere. The driver hits the accelerator and takes off. As they arrive at a traffic light, the driver hits the gas and speeds across the red light. The old lady panics and screams; 'Why did...
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Response to Platform 1 by Tina Sherwell
One of the important developments required in the region is the expansion of a critical discourse on local artistic practices. It is crucial to gain an in-depth understanding of the various generations of art practitioners, through detailed studies of their work in relation to the relevant contexts and debates. Research...
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Response to Platform 1 by Rayya Badran
Sitting in the sweltering sun of Sharjah on a large rolled carpet on the open esplanade facing the museum, I express to an acquaintance, my uneasiness and inability to respond to the question. We need MENA (I had continually mistaken it for MENASA, unconsciously adding yet another region to the...
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Response to Platform 1 by Mehran Mohajer
For this project I have used a pinhole square-format camera to take urban pictures of a metropolis. From the start, this device produced a paradox. The long exposure times and the low quality of the images it takes do not fit with the documentary genre. Intentionally I have used the...
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Response to Platform 1 by Maymanah Farhat
When initially presented with the task of summing up the nearly two-dozen nations that are lumped together under this peculiar acronym, my immediate impulse was to emphasize that it is impossible to describe such a vast region in less than 200 words. Even the few commonalities that do exist among...
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Response to Platform 1 by Khaled Alhamzah
For the past decades, culture, including visual art, has not been a priority for most governments in the region, and this has led to the status quo in fine arts we experience today. The isolation between the public and the arts is the result of the lack of serious programmes...
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Response to Platform 1 by Joana Hadjithomas & Khalil Joreige
In Lebanon, we live surrounded by dead people looking at us. Since the beginning of the civil wars, posters have covered the walls of the city. They are images of men, martyrs who died tragically while fighting or on mission, or who were political figures and were murdered. For years,...
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Response to Platform 1 by Jinoos Taghizadeh
The Middle East is not a safe place. It is either the source of news, or the witness of strange incidents. Its streets and cities are under the threat of suicidal terrorists and of tribal religious wars. The Middle East is unpredictable: its aging dictators fall overnight, its borders have...
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Response to Platform 1 by Jananne Al-Ani
Platform for discussion001 What do we need to know about the MENA region today? Jananne Al-Ani 1 June 2011 Jananne Al-Ani Aerial I, 2011 Stills from Shadow Sites II Single channel digital video Courtesy the artist and the Abraaj Capital Art Prize Photograph by Adrian Warren '> Jananne Al-Ani Aerial...
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Response to Platform 1 by Ghalya Saadawi
Two-Hundred and Thirty Three What can I say In order to be vigilant? How do I organize pessimism Into surviving fireflies? What and where are these images, Like germs germinating, Gestating in the belly of some vowel That lingers after all horizons are Gone ...
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Response to Platform 1 by CPS Chamber of Public Secrets
Chamber of Public Secrets Here, There, Then, Elsewhere, 2011 Video, 21' Produced by CPS Chamber of Public Secrets
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Response to Platform 1 by Annabelle Sreberny
Richard Sennett calls 'we' a weasel word. Which 'we' is hailed in this project? Let's say that this 'we' is in the West, and that it doesn't include politicians and policy-makers but ordinary people. My answer to this question is certainly different than it would have been six months ago....
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Ethnography + Art: Convergence or Collision?
Mark Westmoreland
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Response to Platform 1 by Ahlam Shibli
Platform for discussion001 What do we need to know about the MENA region today? Ahlam Shibli 1 June 2011 Peace and Love Ahlam Shibli Peace and Love (Untitled no. 1), Palestine, 2000 Gelatin silver print 57.7 x 38 cm Courtesy and © the artist '> Ahlam Shibli Peace and Love...
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Beyond the Former Middle East
Aesthetics, Civil Society, and the Politics of Representation
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Terms and conditions
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