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Speculations for collective transformations
Farah Saleh in conversation with Marianna Liosi, Ibraaz, 31st October 2016
Farah Saleh, Cells of Illegal Education, 2016, video dance installation, Birzeit, Palestine. Photo: Zina Zarour
Farah Saleh, A Fidayee Son in Moscow: Singing class, 2015, video installation. Photo: Sari Hammouri
Farah Saleh, Free Advice, 2015, performance, Vienna. Photo: Daniel Grimm
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detail from Oreet Ashery, Party for Freedom, 2014. Courtesy the artist for Ibraaz
"Do-main 5×4" 80×60 cm Acrylique sur toile 2016 #maindupeuple #pouvoir #politiques #algérie #africa #main_orange #يدالشعب #handforchang #alger_culture #gtpcomp #jamaity #artma #ibraaz #mappin #north_african #domingo #joué #jeu #nouvelles_élections #mandalatattoo #quatre_mandats #4mandats #5e_mandats #pop #artist #life #painting #paintingfun #urbano #algerian #artsyaf #creativa #inkarts #graffitis #graffitiartistry #drawingartworks #drawinganime
"reflux acides" 180 ×140 cm Acrylique sur toile 2017 #citrons #acidité #loi_de_finances_2017 #loi_de_finance #miser #misere #maindupeuple #pouvoir #politiques #algerie #africa #main_orange #يدالشعب #handforchange #alger_culture #gtpcomp #jamaity #artma #ibraaz #mapping #north_africa
Here are some pictures from the latest lecture that Anthony Downey gave at AH Studio in London on March 9th 2016. His talk was focused on Contemporary Arab from the Middle East. Anthony is Editor-in-Chief of Ibraaz, the leading critical forum on visual culture in North Africa and the Middle East founded in 2011. The long-term ambition of Ibraaz is to contribute critically and creatively to the production of cultural knowledge about contemporary artistic production within the Arab world and beyond. Please see: http://www.ibraaz.org
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I've always been interested in minorities within different minorities: sexual minorities, gender minorities, ethnic and economic minorities – outsiders. The most consistent thing in my work has actually been immigrants. Things overlap, so whether it's immigrants with a particular sexual orientation or whether it's immigrants with different musical interests, it's always been a constant in a strange way. I've always felt some connection with other immigrants because of being one myself. I notice the difference between meeting people with whom I share this particular immigrant sensibility or subjectivity, and those who were born in Britain. You haven't watched the same childrens programmes, your cultural and emotional frame of reference is different, your confidence in using the English language is different. Also, this feeling of being a guest produces interesting side-effects, like not feeling as free to criticize the government, knowing how much worse it is where you come from, not feeling like you can really have a say, or feeling like a fraud if you did say something because you are not from here. You often end up producing your own networks based on more improvized structures, or suddenly shifting into your first language when you are angry or excited, and looking for simulated experiences in London that remind you of home.
Oreet Ashery,’Role Play: Oreet Ashery in Conversation with Amal Khalaf, Ibraaz [http://www.ibraaz.org/interviews/174]
As of late, there has been a misleading adage that the Arab world has lacked a sense of science fiction,[4]'misleading' because it is simply untrue.[5] The question to ask is why there is this misperception, and why science fiction has been challenged and marginalized. Commenting on the a-politicization of the genre, writer Yazan al-Saadi has noted: 'The problem is that science fiction has not had the critical attention and role that would make it function as literature such as social realism had in Egypt or elsewhere in the world in the 50s and 60s.'[6]
Anachronistic Ambitions. Imagining the Future, Assembling the Past by Sheyma Buali
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14th January 2015
Screen Printing Day 9
Today I have been doing a lot of research into the work of Zineb Sedira and I also booked a short session in the screen printing room to expose my screen so that I can print tomorrow. I found this interview that Sedira did for www.ibraaz.org I found it so inspiring and interesting the way that she talks about her work with such passion is incredible. I love how she documents her family history and draws from personal experience and circumstance to create her beautiful pieces of work. Sedira's work is very culturally orientated as she says in the interview how she went through a time at art school where she was trying to found out where she fit in whether she was Algerian, British or French. As Sedira came from such a rich cultural background she wanted to know where she stood and I think that this is something that I personally will never experience, but after looking a Sedira's work I Know more about how this journey of self discovery feels.
