New book on cultural institutions in the Middle East

Ibraaz is pleased to announce the publication of our third book in the Visual Culture in the Middle East series, Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East.futureimperfect_cover

Buy the book via the Sternberg Press website and on Amazon.de.

Read the introduction, “Critical Propositions and Institutional Realities in the Middle East” by Anthony Downey, by clicking here.

#FutureImperfect critically examines the role played by cultural institutions in producing present-day and future contexts for the production, dissemination and reception of contemporary art in the Middle East and North Africa.

It offers critical contexts for a discussion that has become increasingly urgent in recent years – the role of culture in a time of conflict and globalization – and an in-depth critique of the historical state of cultural institutions in an age of political upheaval, social unrest, exuberant cultural activity, ascendant neoliberal forms of privatization, social activism, and regional uncertainty.

Organised around three key areas, Future Imperfect draws attention to the specific antagonisms that have affected cultural production across the region, both in historical and more recent post-revolutionary contexts, and offers an in-depth discussion of how cultural producers have developed alternative institutional models through their practices. How cultural institutions operate within the conditions of a global cultural economy, and alongside the often conflicting demands they place on cultural production in the region, is likewise an over-arching concern throughout this volume.

While the politics of contemporary cultural production and institutional practices in the Middle East can tell us a great deal about local and regional concerns, one of the cornerstone ambitions of this volume is to enquire into what they can also impart about the politics of global cultural production, including the multiple ways in which contemporary art practices are being reduced, willingly or otherwise, to the logic of global capital. What, in sum, is needed in terms of infrastructure for cultural production today, and how, crucially, can we speculatively propose new infrastructures and institutions in the context of present-day regional realities?

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Monira Al Qadiri, Myth Busters VIII, 2014.

Future Imperfect contains essays, interviews, and projects from contributors including Monira Al Qadiri, Hoor Al-Qasimi, Anahi Alviso-Marino, AMBS Architects, Stephanie Bailey, Eray Çaylı, Rachel Dedman, Elizabeth Derderian, Anthony Downey, Karen Exell, Reema Salha Fadda, Wafa Gabsi, Hadia Gana, Adalet R. Garmiany, Baha Jubeh, Suhair Jubeh, Amal Khalaf, Kamel Lazaar, Jens Maier-Rothe, Guy Mannes-Abbott, Doreen Mende, Lea Morin, Jack Persekian, Rijin Sahakian, Gregory Sholette, Tom Snow, Ania Szremski, Christine Tohme, Toleen Touq, Williams Wells, Ala Younis and Yasmine Zidane.

The publication is accompanied by a collection of special projects from Leila Al-Shami, Wided Rihana Khadraoui, Lois Stonock, Nile Sunset Annex, Alia Rayyan and Hussam al-Saray. Click here to view the online projects commissioned for Future Imperfect.

 

Other titles in the Visual Culture in the Middle East series, edited by Anthony Downey, include Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East (2015); and Uncommon Grounds: New Media and Critical Practices in North Africa and the Middle East (2014).

 The production of this book was accomplished through the generous support of the Kamel Lazaar Foundation.

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Qatar to stage largest-ever solo exhibition of works by an Arab artist

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Dia Al-­Azzawi (Image: © Anthony Dawten)

Qatar Museums (QM) is due to stage a major retrospective of the Iraqi Modernist artist Dia Al-Azzawi in October. The exhibition is believed to be the largest-ever solo exhibition of works by an Arab artist. Spanning two venues in Doha, Mathaf: Arab Museum of Modern Art and QM Gallery Al Riwaq, the exhibition will cover 9,000 sq. m and include 400 works.

Curated by Catherine David, the deputy director of the Centre Pompidou in Paris, the show includes works in a variety of media, including painting, sculpture, drawing, print and artist books, as well as original and limited editions of works on view for the first time. The two venues, across the city from one another, will highlight two different narratives in Al-Azzawi’s work. The first will focus on the artist’s use of image and text, and the other will trace the artist’s engagement with the political history of Iraq and the Arab world.

 

Dia Al-Azzawi, Mission of Destruction (2004-07)
Dia Al-Azzawi, Homage to Baghdad VI (1982)
Dia Al-Azzawi, Untitled IX (1975)
Dia Al-Azzawi, Majnun Layla no.2 (Temptation, 1995)

 

Al-Azzawi, who was born in Baghdad in 1939, has been a central figure in Iraq’s art scene. Before moving to London in 1976, where he continues to live and work today, Al-Azzawi was the director of the Iraqi Antiquities Department in Baghdad and an active member of the country’s emerging art groups at the time. “Al-Azzawi is considered one of the most important artists of the Arab world and for the first time a major retrospective will allow visitors to study the evolution of his practice and themes,” says Sultan Sooud Al-Qassemi, the founder of the Barjeel Art Foundation, whose collection features many works by the artist.

Alongside 90 works from the QM collection, the exhibition will feature loans from 17 private collections and four institutions, including the Barjeel Foundation, Sharjah; Centro de Arte Moderna Fundação Calouste, Lisbon; Kinda Foundation, Riyadh; and Tate Modern, London. The Tate is lending one of Al-Azzawi’s most renowned works, the vast mural Sabra and Shatila Massacre (1982-85). Often likened to Picasso’s seminal painting Guernica (1937), Al-Azzawi’s painting depicts the massacre of Palestinian refugees in 1982 during the civil war in Lebanon.

• I am the cry, who will give voice to me? Dia Al-Azzawi: a Retrospective (from 1963 until tomorrow),  Mathaf: Arab Museum of Modern Art and QM Gallery Al Riwaq, Doha, Qatar, 16 October-16 April 2017

Originally published on The Art Newspaper.

Destruction and Creativity: ISIS, Artefacts and Art in the Middle East

Morehshin Allahyari, Material Speculation: ISIS (2015-ongoing), Lamassu.
Morehshin Allahyari, Material Speculation: ISIS (2015-ongoing), Lamassu.

Widespread outrage. National and international mourning. History redefined. These are the terms used to describe the destruction caused by Islamic State of Iraq and al-Shams (ISIS) who, since bursting into the international limelight by capturing Mosul in June 2014, have made acts of iconoclasm – the purposeful destruction and defacement of art and artefacts – key to their strategy of inducing fear, exerting power, and garnering support. The Temple of Baalshamin and the funeral towers in Palmyra, which both date back almost 2,000 years, are the latest targets in ISIS’s increasingly widespread and rapidly growing attack on history that now includes ancient sites in Nimrud, Hatra and Mosul in Iraq and Aleppo and Palmyra in Syria. These acts are constantly discussed in terms of Islamic fundamentalism and the ultimate loss and waste of human history – but is there more to iconoclasm than these reductionist portrayals?

Continue reading on the Mosaic Rooms blog.