Search results
Search results for 'Social Media'
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The Use of Social Media as a Dated Document and its Prospect as an Archive
Elif Öner and Vincent Rozenberg
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NOTES FROM THE RESISTANCE
Özgür Uçkan and Vasif Kortun in conversation with Basak Senova
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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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Visualizing Displacement
Foundland in conversation with Nat Muller
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Future Imperfect
Monira Al Qadiri: The Saudi New Wave | Digital Landscapes and Future Institutions
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My love for you, Egypt, increases by the day
Heba Y. Amin
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Archiving a Revolution in the Digital Age, Archiving as an Act of Resistance
Lara Baladi
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The Image(s) Between Us
The Performance of Death in a Post-9/11 World
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'We, the Intellectuals'
Re-routing Institutional Critique
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The Revolution Will Not Be Online
33rpm and a Few Seconds by Rabih Mroué and Lina Saneh
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5UNTHA
Abdullah Al-Mutairi
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هيجان البحر والدم
Sarah Abu Abdallah
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Hashem L Kelesh – هاشم الكلش
Medrar .TV
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Do You Have Work Tomorrow?
Mahmoud Khaled
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Some Pachinko Pieces
On Silence and Noise in Times of Crisis
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Vox Populi
Tahrir Archives
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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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The Art of the Written Word + New Media Dissemination: Syria
Tarek Khoury
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Staging the Transition in North Africa
Theatre As a Tool of Empowerment
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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 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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Reviews
Critical reflections on Ibraaz publications
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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
Pattern Recognition: 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
The People of the Sea: Haifa
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Qalandiya International 2016
Biographies
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Qalandiya International 2016
Partner institutions
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Qalandiya International 2016
Contextual Notes: Rawan Sharaf Reema Salha Fadda Stephanie Bailey
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Qalandiya International 2016
Foreword: Anthony Downey
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FIELD MEETING Take 4: Thinking Practice
Responses
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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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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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A Life in Language
Adonis in conversation with Laura Allsop
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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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After the Storm
Michket Krifa in conversation with Wafa Gabsi
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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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Fragments of Home
Jeanno Gaussi in conversation with Dorothea Schoene
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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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Absorbing Displacement
Bouchra Khalili in Conversation with Dorothea Schoene
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Against Interpretation
Hassan Khan in conversation with Omar Kholeif
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Active Interventions/ Intervening Actions
Jasmina Metwaly in conversation with Angela Harutyunyan
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The Noise of Cairo
Heiko Lange in conversation with Amira Gad
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Curating Film
Rasha Salti in conversation with Fawz Kabra
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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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Post-Apollonian
Simone Fattal in conversation with Mirene Arsanios
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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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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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Speaking as Witnessing
Hera Büyüktaşçıyan in conversation with Basak Senova
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The public domain has opened up!
Fulya Erdemci in conversation with Basak Senova
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The Jerusalem Show
Chapter 7: Fabric
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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
Editor's Foreword: Anthony Downey
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The Jerusalem Show
A View from the City: Tina Sherwell
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Echoes & Reverberations
Soundscapes: Taking Apart the Arab City by Dr. Alexandra MacGilp
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A Prologue to the Past and Present State of Things
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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Theatre of the Present
Rabih Mroué in conversation with Göksu Kunak
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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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Film After Euphoria
Rasha Salti in conversation with Sheyma Buali
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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
Closing Remarks
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Laughing Out Loud
Meriem Bennani in conversation with Myriam Ben Salah
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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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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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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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Accumulative Processes
Marwa Arsanios in conversation with Fawz Kabra
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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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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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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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Restaging Invisibilities
Fayçal Baghriche in conversation with Laura Allsop
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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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Image Appropriation
Urok Shirhan in Conversation with Stephanie Bailey
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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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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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Lost in Narration
Rabih Mroué in conversation with Anthony Downey
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When Energy Becomes Form
Stefano Rabolli Pansera in conversation with Stephanie Bailey
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Forensic Transgressions
Maryam Monalisa Gharavi in conversation with Mirene Arsanios
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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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Global Art Forum 9
Sheyma Buali in conversation with Turi Munthe and Sultan Sooud Al-Qassemi
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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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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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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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Transmission Systems
Raed Yassin 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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An Open Methodology
Ahmed Nagy in conversation with Mai Elwakil
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Alien Encounters
Rana Hamadeh in conversation with Stephanie Bailey
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Image and Imagination
Ali Cherri in conversation with Sheyma Buali
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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
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Meanwhile…History
Shumon Basar, Ala Younis and Omar Berrada in conversation with Sheyma Buali
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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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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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Then and Now
Adelina von Fürstenberg in conversation with Stephanie Bailey
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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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The Tentmakers of Cairo
Kim Beamish in conversation with Sam Bowker
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The Jerusalem Show
A View from Afar: Stephanie Bailey
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Politics in Practice
Younes Bouadi in conversation with Stephanie Bailey
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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
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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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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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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
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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The New Arab
Art and Culture in the ‘Imagined’ Arab World, Cornerhouse, Manchester, 13 April 2012
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Ibraaz Platform 003 Launch
Ibraaz
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Ibraaz May Newsletter
Ibraaz
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Ibraaz July Newsletter
Ibraaz
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Ibraaz August Newsletter
Ibraaz
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Ibraaz Platform 004 Announced
Ibraaz
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Safar: A Journey Through Popular Arab Cinema
Sheyma Buali
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Ibraaz Platform 004 Launch
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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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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Battle of Images
Contemporary Image Collective, Cairo
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Ibraaz March Newsletter
Ibraaz
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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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Deconstructing the Public Sphere
A Report on Future City
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Ibraaz October Newsletter
Ibraaz
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Present Projections
Future Imperfect, A Symposium
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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 February Newsletter
Ibraaz
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Ibraaz Platform 007
Ibraaz
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Ibraaz October Newsletter
Ibraaz
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Performative Traces: The Union of Fire and Water
Almagul Menlibayeva in conversation with Basak Senova
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Townhouse: Practical Solutions, Impractical Conditions
William Wells in conversation at Serpentine Galleries
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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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Ibraaz January Reader 009/07
Ibraaz
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Performing Politics
Işıl Eğrikavuk's The Art of Disagreement
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Time Share
The 2016 March Meeting
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Telling Other Stories
A Report from Cologne
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JAOU 2017
Aimee Dawson
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Ibraaz Talks: Art Dubai 2013
Sophia Al-Maria: On Automobiles
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Ibraaz Talks: Art Dubai 2013
Ala Younis: On Curating
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Ibraaz Talks: 13th Istanbul Biennial
Burak Arikan & Başak Şenova: Network Data
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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
Adam Szymczyk: in conversation with Omar Kholeif
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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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The Dance
Khaled Kaddal
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Warehouse Project Talks
Debra Levine: Toward A Common Satisfaction of Needs
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Silsila
Sama Alshaibi
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Planetary Records: Performing Justice Between Art and Law
Trace Environments: Sovereignty, toxicity and the littoral
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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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Six Moments from a Revolution: A Mosireen Video Timeline
Omar Robert Hamilton
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Unfolding the Structures of Sound
Cevdet Erek in conversation with Başak Şenova
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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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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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Channel
description
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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
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Polyphonic Worlds
Contour Biennale 8
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A Faustian Pact
Notes on Geo-cultural Exhibitions
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Works on Paper
Artists Intervening in Lebanese Dailies
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Al Araba Al Madfuna
Wael Shawky at the Fondazione Merz
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Mustafa Hulusi
Negative Ecstasy at Dirimart, Istanbul
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The 4th Aflam International Festival of Arab Cinema
Natasha Marie Llorens
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Off the Record
Nil Yalter at ARTER, Istanbul
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Field Meeting 4: Thinking Practice
Closing Remarks
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The Writing of Art
Inspired by calligraphy
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Invisible Threads
Technology and Its Discontents
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Against the Market
The Art of Shirin Neshat
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Absent Beirut
Reflections on Reflections
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The Arab Nude
The Artist as Awakener at AUB
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Towards a Spatial Imaginary
Walking Cabbages and Watermelons
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Return to the Former Middle East
Ibraaz 5th Year Anniversary Editorial
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The Turn المنعرج
Socially Engaged Art Practices in Tunisia
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Sous les Pavés, la Plage
On Assumption and Authority
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Queer Chronopolitics
Forests, Freaks and Performativity
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Where to Now?
An Introduction to Platform 010
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Critique as Infrastructure
Organic Growth and the Rise of Visual Arts Organizations in the UAE
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Staging the Nation
Barrak Alzaid
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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 Octavian Esanu
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.
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Ibraaz Platform 009: Performance
Anthony Downey
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Windows on Work
Tarek Al-Ghoussein at Galerie Brigitte Schenk
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Experiencing ‘Badke’
KVS Theater in Brussels
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Mindful Body
An Introduction to Body Art and Performance in the Gulf
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Arab Art Histories: The Khalid Shoman Collection
Samah Hijawi
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In and Out of Algeria
Bruno Boudjelal's Documentary of Affect
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Halim El Dabh
An Alternative Genealogy of Musique Concrète
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Bouchra Ouizguen
The Subversive Feminine
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SALTWATER: A Theory of Thought Forms
The 14th Istanbul Biennial 2015
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Being ‘Inappropriate’
The Unspoken Battle of Self-Censorship
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'A Deep Reverence for the Region's History'
Edited Urbanism on Dubai Creek
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All the World’s Futures
A Review of the 56th Venice Biennale
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Accented
Maraya Art Centre
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Response to Platform 9 by Timo and Nadia Kaabi-Linke
'The following considerations on performance as an artistic medium in the region of North Africa and Middle East refer to more general problems that relate to the art form's status as an institutionalized aesthetic practice...'
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The Life and Times of Louis Saboungi
A Nomadological Study of Ottoman Arab Photography
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Performativity and Public Space
Interventions as Performative Gestures For Political Engagement in Jordan
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I Once Fell in Love with an Audience Member
Practice, Performance, Politics
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Transition Times
Performing Armenity at the 56th Venice Biennale
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The Shadow Economies of Being Seen
Determining the Axis of the Global South and Middle East
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Mobile Maghrebs
Contemporary Cinema from North Africa
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BOOM, BOOM, BOOOOOM!
Notes on a Giant Implosion
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Aesthetics of Migration
Street Art in the Mediterranean Border Zones
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'I am an Artist'
Portrait of a Salafi en abyme in the Cyber World
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Platform 008 Editorial
Anthony Downey
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The Geopolitics of Contemporary Art
Nikos Papastergiadis and Gerardo Mosquera
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Between Iran and Dubai
An Art Collection as an Alternative Archive of Iranian History
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The North of the South and the West of the East
A Provocation to the Question
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The Global South
Conflicting Narratives and the Invention of Geographies
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The Jerusalem Show VII
Outside Looking In: Taking a Title and Running With It*
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Notes on Performative Urbanism
An Emergent Design Approach to the Gulf
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Scripts of the Art World
Burak Delier
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Platform 007: Future Imperfect (Part II)
Building Institutions Through Practice
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Making Stories Visible
A Yemeni Art History
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The Future of Art in the Age of Militarized De-Production
Re-Thinking Cultural Development in Palestine
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Future Fiction
In the Shadow of Nasser
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Utopian Dust Versus Perfumed Amplification
Object Lessons from Saadiyat Island and Gehry’s Guggenheim, Abu Dhabi
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Freedom has no script
Burak Delier at Iniva
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Anachronistic Ambitions
Imagining the Future, Assembling the Past
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Filling the Gaps
Arts Infrastructures and Institutions in Libya Post-Dictatorship
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Designing the Future
What Does It Mean to Be Building a Library in Iraq?
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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."
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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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We Are What We Eat
The Politics of Food at Delfina Foundation
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Notes on Women in Iranian Art
A Review
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The Strangeness of Sports
Haig Aivazian’s multi-piece installation FUGERE at Sfeir-Semler, Hamburg
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Incidents of the Paradoxical Gaze
Yogesh Barve & Clark House Initiative
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Submarine Writing
Hera Büyüktaşçıyan
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Capitulation of Discourse
Ariel Hassan
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2922 Days
Uriel Orlow
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Codes of Limbo
Basak Senova on Zeren Göktan's Counter (2013)
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Minecraft Mausoleum
A Video Game Mausoleum for Bashar al-Assad
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Beyond the Image
A Project by Lara Baladi with an introduction by Dorothea Schoene
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Revolutionary art
Naira Antoun
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The Saaheb Collective
Dream Homes and Community-building
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Culture In Defiance
Continuing Traditions of Satire, Art and the Struggle for Freedom in Syria
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Family Friendly
A project by Fayçal Baghriche
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Untitled YouTube Stills
A Project by Anahita Razmi
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On-longing
A Project by Saba Innab
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The Video Diaries
Khaled Hafez
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Rendezvous
Nikolaj Larsen
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40 years of Running on the Same Spot
A Libyan Diary (Part I) - October 2011
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'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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theDISCORD
A project by Benji Boyadgian
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A Dictionary of the Revolution
Amira Hanafi
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The Taste of Displacement
Dena Al-Adeeb
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The Provisionary That Lasts (series)
Ahmed Badry
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Love Letters to a Union – The Falling Comrades
Yazan Khalili Lara Khaldi
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On The Admissibility of Sound
Seth Ayyaz
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Where are the Arabs?
Samah Hijawi
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An Archive of Refusal
On Shuruq Harb's The Keeper
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The Spectre (of Knowledge)
The Recordings of the Cosmopolitan
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Enacting the Archives, Decentring the Muses
The Museum of Islamic Art in Doha and the Asian Civilizations Museum in Singapore
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In/distinction
Yasmine Eid-Sabbagh’s 'A photographic conversation from Burj al-Shamali Camp'
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Curating Conflict in Art
An I for an Eye and Death of a Cameraman
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Long ago, and not true anyway
Waterside Contemporary
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Freedom of Expression
FIAF’s 2013 World Nomads Tunisia Festival
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The Crisis of Art in Tunisia
Farah Makni Hendaoui
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Articulating Dissensus
Contemporary Artistic Practice in Iran at a Revolutionary Moment
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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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To the Barricades
Gezi Resistance, Public Space and the Counter-monumental
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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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DISPATCH - Here We Are: The Imagination of Public Space in Gezi Park
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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The Future of the Future
Ibraaz Platform 005 Editorial
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On Being 'The Other' In Post-Civil War Lebanon
Aid and the Politics of Art in Processes of Contemporary Cultural Production
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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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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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On One Side of the Same Water
Introduction
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On One Side of the Same Water
Artistic Practice from Tirana to Tangier
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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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Digital, Aesthetic, Ephemeral
The Shifting Narrative of Uprising
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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 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 4 by Ali Cherri
A video by Ali Cherri.
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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 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 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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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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The Social Impulse
Politics, Media and Art after the Arab Uprisings
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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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Ramallah, in a Student Encounter
Yazid Anani
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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 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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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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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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10th Sharjah Biennial
Mayssa Fattouh
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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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Beyond the Former Middle East
Aesthetics, Civil Society, and the Politics of Representation
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Terms and conditions
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