Fall 2012
Anthony Downey
By Anthony Downey Fall 2012 | ArteZine “Doing art means displacing art’s borders, just as doing politics means displacing the borders of what is acknowledged as the political … “ Jacques Rancière , “The Paradoxes of Political Art”, in Dissensus: On Politics and Aesthetics, ed. and trans. By Steve Corcoran (Continuum: London, 2012), pp. 134-151 (p….
Haig Aivazian
By Haig Aivazian Fall 2012 | ArteZine “Okay, the stadium went to Afghanistan. So, if the stadium was given to Afghanistan, then when the Afghanis are playing in it, where are they?” – Nida Ghouse.(1) In a country where the South Asian community makes up close to 50% of the population, it is unsurprising that cricket…
Alya Sebti
By Alya Sebti Fall 2012 | Gallery This issue marks the start of a six-quarter cycle of the Virtual Gallery that spotlights artists from the Maghreb leading up to the 2014 edition of the Marrakech Biennial. Each subsequent gallery will showcase artists who deal with the every day in their work to reveal the conceptual threads…
By Alya Sebti Fall 2012 | Gallery Defined as what is “happening or used daily,” the everyday shapes that comprise Younes Baba Ali’s work reflects their quotidian use and simultaneously diverts everyday objects from this normative use. In doing so he also stands up against an elitist art to create artworks that target the everyday man…
Summer 2012
Wafa Jadallah
By Wafa Jadallah Summer 2012 | Gallery Featured artists Khalil Rabah, Mona Hatoum, Tarek Al Ghoussein and Ayman Baalbaki offer us an opportunity to explore issues surrounding collective trauma that emanate from both historical concerns and the artists’ lived reality. Anchored not in narrative but in a subjective and bodily engagement, these artworks produce an affective…
Barrak Alzaid
By Barrak Alzaid Summer 2012 | ArteZine When the Arab or Middle Eastern or Muslim body enters critical art discourses it is often cast as an overdetermined site that must bear responsibility for conveying social, political and identitarian issues. Bodies are inscribed within rigid expectations and norms by social dynamics and proscribed cultural values, and subsequently…
Sadia Shirazi
By Sadia Shirazi Summer 2012 | ArteZine Harun Farocki’s films Comparison via a Third (2007) and In Comparison (2009) begin with identical footage, minus In Comparison’s prefacing this footage with a still diagram of a white orthographic image of a brick on a black background. While both Comparison via a Third (2007) and In Comparison (2009) document various contemporary technologies of brick production and even…
Stéphanie Dadour
By Stephanie Dadou Summer 2012 | ArteZine Randa Mirza’s work discloses preexisting representations and identity-based issues in the urban fabric of Beirut. Through notions related to representations of sex and gender, Mirza aims to explore the Lebanese postwar conditions of identity constructions. Representations are to be understood as systems of production that convey meanings, depending on…
Dina Ibrahim
By Dina Ibrahim Summer 2012 | ArteZine Dina Ibrahim: Generally speaking, contemporary art has deemed figuration obsolete in representing such abstract notions as identity and sexuality, yet your work manages to seamlessly integrate the two to rather confronting yet highly aesthetic effects. Why figuration (and precisely the human figure)? And what role does it play in your…
Joseph Shahadi
By Joseph Shahdadi Summer 2012 | ArteZine In the spring of 2006 I had a residency that allowed me access to studio space—a precious commodity in New York City. The long trek from my Brooklyn apartment to the studio, which was on the western-most edge of Chelsea, brought me past the Bridge Gallery, a temporary space…
