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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D-Sisyphe / Décisif: Constructing a Better Future For Tunisia

D-SISYPHE © Dahlia Katz
D-SISYPHE © Dahlia Katz

D-Sisyphe (pronounced as in the French ‘décisif’, meaning ‘decisive’ in English) is an important piece of performance, both as a creative expression that fuses contemporary dance with physical theatre and as an insight into the kind of socio-political situation of Tunisians that ultimately led to the 2011 uprisings that began in Tunisia and spread across the Middle East. The piece offers a humanised perspective of one man, Khmais, with his own feelings of loss and desperation at what he sees as the wreckage of his life – loathed by his wife and son, rejected by society and having lost faith in God, he is alone and afraid.

The play follows Khmais for one night at the construction site where he works, overthinking his life. Award-winning actor Meher Awachri developed D-Sisyphe as his final project at university, starting with a text he had written based upon The Myth of Sisyphus by Albert Camus. In an interview with al.arte magazine, Awachri described how the book raised questions for him “about my life in Tunisia before the revolution during the time of dictatorship, about the problems within Tunisian society and about my problems with society. Camus compares the absurdity of man’s life with the situation of Sisyphus. In D-Sisyphe I created a Tunisian version of Sisyphus”.

Continue reading on the Shubbak Festival blog.

Interview with eL Seed

As part of Shubbak Festival 2015, I interviewed calligraffiti artist eL Seed during his first street art commission in London. For the piece, which he created just after the terrorist attack in Sousse in eL Seed’s home country of Tunisia, he chose a quote by John Locke reads that reads “It is one thing to show a man that he is in an error and another to put him in possession of truth”. Accompanying music: ‘Sand Song’ by Syrian musician Hello Psychaleppo (check out his music here).