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Sara Raza

Ibraaz

Edited by Anthony Downey (Sternberg Press, 2016)

Platform 010 Editorial

Ibraaz 5th Year Anniversary Editorial

JW Stella in conversation with Aimee Dawson

Amira Gad

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

Contemporary Art from the Middle East

Regional vis-à-vis Global Discourses: Contemporary Art from the Middle East

Edited by Anthony Downey (IB Tauris, 2014)

Edited by Anthony Downey (IB Tauris, 2015)

London book launch

Edited by Anthony Downey (Sternberg Press, 2016)

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...

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.

'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...'

'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...'

Determining the Axis of the Global South and Middle East

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,...

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...

A few Middle Eastern and North African countries having a strong control over means of expression are now present in some major artistic international events such as the Venice Biennale. The concept of national pavilions provides a vivid example demonstrating how international relations and diplomatic issues can influence artistic productions...

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...

Aesthetics, Civil Society, and the Politics of Representation

Guy Mannes-Abbott in conversation with Sheyma Buali

Roy Samaha in conversation with Anthony Downey

Pascal Hachem in conversation with Nour K Sacranie

Simone Fattal in conversation with Mirene Arsanios

Mario Rizzi in conversation with Dorothea Schoene

Randa Mirza in conversation with Amira Gad

Reza Aramesh in conversation with Lara Atallah

Adel Abidin in Conversation with Basak Senova

Hassan Sharif in conversation with Nujoom Al Ghanem

MADRASSA Collective in conversation with Antonia Alampi

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

Nour K Sacranie

Sheyma Buali

Ibraaz

Sheyma Buali

Two Exhibitions in Paris

Questions to be addressed

Ibraaz in partnership with Winchester Centre for Global Futures in Art

Ibraaz

Future Imperfect, A Symposium

Ibraaz

Edge of Arabia Launches Culturunners

Ibraaz

Shumon Basar: in conversation with Stephanie Bailey

1971-1979 The Short Seventies (World)

Ibn Khaldun’s The Muqadimmah

Crisis The End of Pearling in the Gulf (Qatar)

A Roundtable Discussion from The Middle East Institute

Mario Rizzi

Amer AlBarzawi

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,...

Exhibitions and Other Representations in 25 Years at Witte de With

At Aicon Gallery, New York

The Artist as Awakener at AUB

Mega-museums and modern artists from the Middle East

Participatory Art in the Middle East

An Introduction to Platform 010

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.

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.

To answer this question I propose an excerpt from a text in progress called 'Art and Garbage'. This piece is intended to look into the relation between urgent social problems – in this case the ongoing garbage crisis in Lebanon – and contemporary art.

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.

The development of a healthy regional Arab art scene, like anywhere else in the world, requires the collaborative efforts of the different components that constitute it.

Six Short Stories on Arabic Voice Acting

'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...'

Adel Abidin presents Subway Scene (2015).

For Ibraaz Platform 009, Hassan Darsi presents a photo essay.

'Do not pollute others' hearing with shameful sounds...'

'A few notes on the difference between performance art and mayonnaise...'

'Too Early, Too Late: Middle East and Modernity' at the Pinacoteca Nazionale di Bologna

Portrait of a Salafi en abyme in the Cyber World

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.

Instead of focusing on the location of the 'MENA' in the context of the Global South, I will speak from the perspective of how such a location is of relevance to South Asia (which will be excusable, I hope, since 'MENA' is often compounded with 'SA' to form MENASA in...

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.

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.

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

The 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...

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.

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.

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.

A Provocation to the Question

An Emergent Design Approach to the Gulf

Tina Sherwell

Building Institutions Through Practice

Leili Sreberny-Mohammadi

Imagining the Future, Assembling the Past

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

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

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

'You can't draw desire, you have to walk it.'

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

'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.'

'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.'

'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.'

'Better imagine now, rather than later.'

'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.'

Ariel Hassan

Uriel Orlow

Aikaterini Gegisian

Monira Al Qadiri

A project by Ali Cherri

A Video Game Mausoleum for Bashar al-Assad

Documenting the Backlash

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.

The idea of the art archive in the Middle East provokes a number of associations – some of them spiritual, some historical, some clearly political.

Ibraaz Platform 006 Editorial

The Museum of Islamic Art in Doha and the Asian Civilizations Museum in Singapore

An I for an Eye and Death of a Cameraman

Repatriation of Iraq's Looted Heritage under International and Domestic Law and Practice

Saloua Raouda Choucair, Ibrahim El-Salahi and Meschac Gaba at Tate Modern

Hauser & Wirth / Alan Cristea Gallery: A Spectrum Review

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

What if Rani al Rajji and Michel De Certeau met in Beirut?

Looking for Palestine in the Jordanian Music Scene

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...

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...

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...

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.

The globalisation of the modern art world is a fact. The rise of new economic powers has led to a shift in the balance of power in the art world as well. No longer is there one centre. Instead, we are faced with a mosaic of centres spread around the...

This is a big question with a lot of big words so I can either try and break down the question and resolve some of the semantic issues with it or simplify the question and try and answer that. Either way my response could be an essay, which I don't...

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...

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...

In the globalised world we live in, I feel that creating the image of an enemy becomes a difficult task. It becomes difficult to name and make symbols for an enemy – an abstract 'evil' – since things are never abstract, but always and at any time connected and related.

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...

The Story of Bahrain’s Pearl Roundabout

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,...

'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...

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...

Selçuk Artut. Courtesy of the artist.

A video by Ali Cherri.

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.

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...

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...

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...

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...

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...

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...

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...

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...

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...

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...

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...

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...

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...

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...

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.

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...

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...

When we began our research into the current art landscape of the Middle East, we noticed various reasons why the bonds between regional art communities are weakened. Prevailing art discourses are largely externally driven; the way in which art is circulated, marketed and publicised doesn't respond in any significant way...

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...

One needs to be careful with the concept of regions as geographical entities. Such an understanding is only valuable if it takes into account the way these regions relate to their neighbours, as frontiers are still too often frontiers of misunderstanding. The Middle East, like North Africa or the so-called...

The Middle East today is witnessing a clash of visual narratives. Images of aging dictators clinging on to their youth, clash with those of fresh-faced protestors. Scenes of medieval methods of curbing freedom of expression – as seen in the thugs on camel and horseback in Tahrir Square in Cairo...

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...

I believe that recent events and revolutions in the Middle East prove that getting acquainted with the region is more complicated than has been conveyed on the global scene until now. Behind a curtain of traditions, Middle Eastern people are dealing with the passion of globalization. My comments may only...

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,...

The political and cultural density of the Middle East is as diverse, rich and complex as that of Central Europe with which it shares a history of struggle about disputed borders, clashing ideologies and religious turmoil. The fact that the term by which the region is commonly identified is a...

Edited by Anthony Downey & Lina Lazaar (Ibraaz Publishing, 2011)

Edited by Anthony Downey (jrp|ringier, 2015)

Critical reflections on Ibraaz publications

Cities Exhibition 5, 'Gaza – Reconstruction': Ramallah

Cities Exhibition 5, 'Gaza – Reconstruction': Gaza

Pattern Recognition: Ramallah

RE/viewing Jerusalem #2 – REturn: Jerusalem

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

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

This Sea is Mine: Gaza

Sea of Stories: Beirut

The People of the Sea: Haifa

Biographies

Partner institutions

Encounters Programme

Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey

Foreword: Anthony Downey

Responses

ARC.HIVE (2006–present): Adham Hafez

Curator's Essay: Aaron Cezar

Lina Lazaar

A roundtable discussion

Newsha Tavakolian in conversation with Sara Raza

Ismaïl Bahri in conversation with Silke Schmickl

Nadia Kaabi-Linke in conversation with Lina Lazaar

Christine Tohme in conversation with Anthony Downey

Nada Sehnaoui in conversation with Laura Allsop

Michket Krifa in conversation with Wafa Gabsi

Tom Bogaert in conversation with Anthony Downey

Tarek Al-Ghoussein in conversation with Anthony Downey

Jeanno Gaussi in conversation with Dorothea Schoene

Nathan Witt in conversation with Amira Gad

Bouchra Khalili in Conversation with Dorothea Schoene

Chapter 1: Intensities

Hassan Khan in conversation with Omar Kholeif

Wafaa Bilal in conversation with Sara Raza

Zeina Arida in conversation with Laura Allsop

Rasha Salti in conversation with Fawz Kabra

Ayah Bdeir in conversation with Omar Kholeif

Michael Rakowitz in conversation with Anthony Downey

Yuko Hasegawa in conversation with Walter D. Mignolo and Stephanie Bailey

Sheikha Hoor Al-Qasimi in conversation with Stephanie Bailey

Jeremy Hutchison in conversation with Natasha Hoare

Tamara Chalabi, Reem Shather-Kubba, and Jonathan Watkins in conversation with Basak Senova

Nadia Ayari in conversation with Haig Aivazian

Omar Robert Hamilton in conversation with Elisabeth Jaquette

Seth Anziska in conversation with Daniella Rose King

Marie-Monique Steckel in conversation with Fawz Kabra

Chapter 4: Measures

Chapter 3: Intervals

Chapter 2: Details

A Question: Jalal Toufic

Visitations: When aurality loses site* by Rayya Badran

Soundscapes: Taking Apart the Arab City by Dr. Alexandra MacGilp

Sulayman Al Bassam in conversation with Ala Younis

Hair and Milk Bottle: Hassan Sharif

Two Gunshots Fired at the Installation Dialogue : Xiao Lu

Lina Majdalanie in conversation with Göksu Kunak

Yazan Khalili and Lara Khaldi in conversation with Natasha Hoare

Lidia Al-Qattan in conversation with Monira Al Qadiri

Sohrab Kashani in conversation with Taus Makhacheva

Rasha Salti in conversation with Sheyma Buali

Speaker Biographies + Synopses

Farah Al-Nakib in conversation with Todd Reisz

Meriem Bennani in conversation with Myriam Ben Salah

Abdullah Al-Mutairi in conversation with Sarah Abu Abdallah

Mahmoud Khaled in conversation with Omar Kholeif

Reem Fadda in conversation with Fawz Kabra

Alya Sebti in conversation with Göksu Kunak

UBIK in conversation with Isabella Ellaheh Hughes

Marwa Arsanios in conversation with Fawz Kabra

Joana Hadjithomas and Khalil Joreige in conversation with Nat Muller

Sussan Deyhim in conversation with Sheyma Buali

Fayçal Baghriche in conversation with Laura Allsop

Morehshin Allahyari in conversation with Hannah Gregory

Mario Rizzi in conversation with Cristiana Perrella

Mounira al Solh in conversation with Nat Muller

Hiwa K in conversation with Anthony Downey and Amal Khalaf

Oreet Ashery in conversation with Amal Khalaf

Urok Shirhan in Conversation with Stephanie Bailey

Seth Ayyaz in conversation with Sheyma Buali

Navine G. Khan-Dossos in conversation with Stephanie Bailey

Mohssin Harraki in conversation with Karima Boudou

Hrair Sarkissian in conversation with Raed Yassin

Walid Siti in conversation with Nat Muller

Yael Bartana in conversation with Clelia Coussonnet

Raed Yassin in conversation with Nat Muller

Martina Caruso in conversation with Sheyma Buali

Stefano Rabolli Pansera in conversation with Stephanie Bailey

Youmna Chlala in conversation with Fawz Kabra

Sumesh Sharma in conversation with Amanprit Sandhu

Aikaterini Gegisian in conversation with Stephanie Bailey

Anthony Downey and Beatrix Ruf in conversation with Slavs and Tatars

Sheyma Buali in conversation with Turi Munthe and Sultan Sooud Al-Qassemi

Leeza Ahmady in conversation with Taus Makhacheva

Vangelis Vlahos in conversation with Stephanie Bailey

Köken Ergun in conversation with Omar Kholeif

The Arab Digital Expression Foundation in conversation with Laura Cugusi

Monira Al Qadiri in conversation with Stephanie Bailey

Antonia Carver in conversation with Omar Kholeif

Jananne Al-Ani in conversation with Nat Muller

Maryam Jafri in conversation with Stephanie Bailey

Lucien Samaha in conversation with Walid Raad, Part I

Akram Zaatari in conversation with Anthony Downey

Fulya Erdemci in conversation with Basak Senova

Shumon Basar, Ala Younis and Omar Berrada in conversation with Sheyma Buali

Parastou Forouhar in conversation with David Hodge and Hamed Yousefi

Georgia Kotretsos in conversation with Stephanie Bailey

Larissa Sansour in conversation with Sheyma Buali

Nida Sinnokrot in conversation with Natasha Hoare

Carole Alfarah in conversation with María Gómez López

Suha Shoman in conversation with Amin Alsaden

Foundland in conversation with Nat Muller

Adelina von Fürstenberg in conversation with Stephanie Bailey

Hicham Khalidi in conversation with Daniella Rose King

Kamel Lazaar in conversation with Anthony Downey

Jumana Manna in conversation with Sheyma Buali

Uriel Orlow in conversation with Omar Kholeif

Kim Beamish in conversation with Sam Bowker

Hajra Waheed in conversation with Stephanie Bailey

Lucien Samaha in conversation with Walid Raad, Part II

Younes Bouadi in conversation with Stephanie Bailey

Louis Henderson in conversation with Amira Gad

Rifat Chadirji and Balkis Sharara in conversation with Amin Alsaden

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

Héla Ammar in conversation with Wafa Gabsi

Amar Kanwar in conversation with Stephanie Bailey

Eric Baudelaire in conversation with Anthony Downey

Anthony Downey: Introduction to 'Future Imperfect'

Alia Rayyan: Recounting the Past, Present and Future

Wided Rihana Khadraoui: Digitalizing Social Change through Cultural Institutions in Saudi Arabia

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

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

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Sharjah Art Foundation, 17-19 March 2012

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Art and Culture in the ‘Imagined’ Arab World, Cornerhouse, Manchester, 13 April 2012

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Isabella Ellaheh Hughes

1967 in Art and Its Histories, June 1-2, 2012 American University of Beirut, Lebanon

Coline Milliard

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Malu Halasa

The Doris Duke Foundation for Islamic Art's Artist Residency Programme

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An Artist-Run Gallery Space in Cairo

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Contemporary Image Collective, Cairo

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A Report on Future City

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09–11 May, Museé National du Bardo, Tunis

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Theme: Performance

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Parviz Tanavoli’s Retrospective at the Davis Museum

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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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Online exhibition catalogue

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Gregory Sholette at Home Workspace Program

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William Wells in conversation at Serpentine Galleries

A Report from the AUC

A Report from Home Works 7 and Athens Biennale 5 to 6

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Işıl Eğrikavuk's The Art of Disagreement

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Jim Quilty

Two Exhibitions on the Armenian Legacy in Anatolia

A Report from Cologne

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An Odd Piece of Research on the Many Virtues of Oriental Imagination

Larissa Sansour

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Language Arts at The Third Line

Hans Ulrich Obrist: in conversation with Omar Kholeif

Shiva Balaghi: in conversation with Stephanie Bailey

Oscar Guardiola-Rivera: in conversation with Anthony Downey

Okwui Enwezor: in conversation with Anthony Downey

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Soviet Orientalism and Political Mobilisation

1971-1979 The Short Seventies (UAE)

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Hassan Sharif

Anthony Downey: Editor-in-Chief, Ibraaz

Moncef Dhouib: Theatre- and film-maker

Tania El Khoury: Live artist

Rita Alaoui: Artist

Hiwa K.: Artist

Oumaïma Manai: Choreographer

Ghazi Gherairi: Professor of Law, Carthage University

Kamel Lazaar: Founder, Kamel Lazaar Foundation

Adel Abidin: Artist

Sultan Sooud Al-Qassemi: Writer

Antonia Carver: Director, Art Dubai

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John Akomfrah: Artist

Zineb Sedira: Artist

Guy Mannes-Abbott: Writer

Nick Denes: Researcher

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Hiwa K.

Seth Ayyaz

Nat Muller

Kevin Jones: Marketing Presentation for Boxed Branded Plush Toys as Art

Al Intithar : (The Waiting )

Jim Quilty

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

Sama Alshaibi

Nation Estate

A Space Exodus

Larissa Sansour

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Hammad Nasar in conversation with Reema Salha Fadda

A two-part conversation with Szabolcs KissPál and Mahmoud Khaled

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On Navigating Without a Compass

Ala Younis

Notes on Geo-cultural Exhibitions

Artists Intervening in Lebanese Dailies

Lizzy Collier

Art By Email at Yorkshire Sculpture Park

Meeting Points 8

Rupture, War and Surrealism in Egypt (1938–1948) at the Centre Pompidou

Natasha Marie Llorens

Vikram Divecha at Tashkeel

The Art of Shirin Neshat

Edmund Clark at the Imperial War Museum, London

Etel Adnan at Serpentine Galleries

Gülsün Karamustafa Retrospective at Hamburger Bahnhof

Lara Baladi

Walking Cabbages and Watermelons

The 37th EVA International

APEAL's 'Museum in the Making' and Temporary. Art. Platform. present: The 2016 Ras Masqa Artists' Residency

On Assumption and Authority

Forests, Freaks and Performativity

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

Barrak Alzaid

Anthony Downey

Earshot by Lawrence Abu Hamdan, Portikus, Frankfurt

Tehran’s Self-portrait

An Introduction to Body Art and Performance in the Gulf

Choreographing Spaces of Gesticulation

Ahmad Makia

An Alternative Genealogy of Musique Concrète

Notes on Maverickism as Genealogy and Genealogy as Approach

Jumana Manna at Chisenhale Gallery, London

The 13th Biennale de Lyon

Between the Pessimism of the Intellect and the Optimism of the Will

Edited Urbanism on Dubai Creek

A Review of the 56th Venice Biennale

Maraya Art Centre

A Nomadological Study of Ottoman Arab Photography

Interventions as Performative Gestures For Political Engagement in Jordan

Practice, Performance, Politics

Performing Armenity at the 56th Venice Biennale

Sharjah Biennial 12: The past, the present, the possible

Lara Khaldi

A Curatorial Take on the Global South

Contemporary Cinema from North Africa

Notes on a Giant Implosion

Monira Al Qadiri

Street Art in the Mediterranean Border Zones

On Bouchra Khalili’s Cartographies

Anthony Downey

An Art Collection as an Alternative Archive of Iranian History

Conflicting Narratives and the Invention of Geographies

Re-Thinking Cultural Development in Palestine

From the Intimate to the World

Can T-Wall Murals really Beautify the Fragmented Baghdad?

In the Shadow of Nasser

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

What Does It Mean to Be Building a Library in Iraq?

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

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

Jananne Al-Ani, Excavations, at the Hayward Gallery Project Space

The Sharjah Art Foundation's 2014 March Meeting

Post-Revolutionary Iranian Art at SOAS

Mirene Arsanios

A Perspective on Algeria's Cultural Scene

Haleh Redjaian at Arratia Beer

A Review

HIWAR | Conversations in Amman

Oreet Ashery

Yogesh Barve & Clark House Initiative

Hera Büyüktaşçıyan

Youmna Chlala

Shezad Dawood

Mohamed Fariji

Mahmoud Khaled

Azin Feizabadi

Thoughts on Art and Art Discourse

A project by Maha Maamoun

The Circus (2)

A Story of an Exhibition

A Radio Series on the Poetics and Politics of Language

Raed Yassin

A Project by Lara Baladi with an introduction by Dorothea Schoene

An Image of a Revolution

Elevator Advertisements

Mahmoud Khaled

Yousef Moscatello

A project by Yousef Moscatello

A Project by Anahita Razmi

Transition, a photographic series by Myriam Abdelaziz

Two Projects by Sinisa Vlajkovic

A Libyan Diary (Part II) - November 2011

Nikolaj Larsen

Wendelien van Oldenborgh

Marwa Arsanios

Dalia Khamissy

Cecilia Andersson

Mahmoud Bakhshi

The Society of False Witnesses

Basma Alsharif

Amira Hanafi

On Silence and Noise in Times of Crisis

Tahrir Archives

Dena Al-Adeeb

Yazan Khalili Lara Khaldi

Seth Ayyaz

Samah Hijawi

...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.

On Shuruq Harb's The Keeper

When Buildings Become Part of the Record

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

The 4th Thessaloniki Biennale

FIAF’s 2013 World Nomads Tunisia Festival

Farah Makni Hendaoui

Contemporary Artistic Practice in Iran at a Revolutionary Moment

The Encyclopedic Palace

Literary Affects and the New Political by Tarek El-Ariss

The Making of the Artwork by the Artist, the Museum and the Public

Meem Gallery, Dubai

Gezi Resistance, Public Space and the Counter-monumental

Celebrating Arab Women Filmmakers

Shifting the Geographies of Sensing, Believing and Knowing

Ibraaz Platform 005 Editorial

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

Gulf Labor

Nadia Mounajjed

An Exhibition between Cairo and London

Sharjah Biennial 11 – Re:emerge, Towards a New Cultural Cartography

The Problem of Nationality

Refraction: Moving Images on Palestine at P21 Gallery

Atfal Ahdath at Running Horse Contemporary

Mario Rizzi’s Al Intithar (The Waiting)

Introduction

Artistic Practice from Tirana to Tangier

Artistic Practices, Collective Action and Civil Society in Tunisia

On the Memory of a Memorial

Jens Maier-Rothe

The Shifting Narrative of Uprising

The Impossibilities of Production in New Media

Tarek Khoury

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

A.S. Bruckstein Çoruh

An Introduction

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,...

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....

'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 -...

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...

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...

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...

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

The Practice of Contemporary Art in Algeria Today

Anthony Downey

Politics, Media and Art after the Arab Uprisings

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

For a Polysemic Reading of Both City and Territory

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...

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...

Walking in the Darkness of a Promised Light

Ela Greenberg

Raymond Baker

Joe Khalil

It is in protest.

For so many decades the region of MENA has been synonymous with religious extremism, oppression of women, dictatorial regimes and, at varying levels, high rates of illiteracy and backwardness. In the last decade of the twentieth century the region has seen various political tumults including Islamic terrorism and its war...

The question 'What do we need to know about the MENA region today?' triggered a series of questions from my part. My contribution will be these questions; the aim is to start a game of Q&Q (instead of a Q&A) with no rules and no time limits. Who is this...

There are two things we need to know. Firstly, we need to know what we know, that is, how much or how little? Secondly, we need to know who 'we' are in this context. Obviously, there is a different 'we' at stake, whether inside or outside the region, as well...

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...

Mark Westmoreland

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