Fall 2012
Charles Esche
By Charles Esche Fall 2012 | ArteZine What happens when a painting crosses cultural and political borders? Does it change its meaning en route? Do certain places have different potential to excite responses from a work of art? Taking a 1943 Picasso painting from Eindhoven to Ramallah involved two years of planning and negotiation including experiences…
Haig Aivazian
By Haig Aivazian Fall 2012 | ArteZine Six-Shooter Lessons: The 12 Clint Eastwoods Project is a multi-layered narrative structure in the form of a lecture performance, examining the first American basketball team of professionals allowed to participate in the first post-Soviet games of Barcelona in 1992. This narrative is overlayed onto United States’ military involvement in Iraq….
Ceren Erdem, Michael Rakowitz
By Michael Rakowitz and Ceren Erdem Fall 2012 | ArteZine TWO OF USTHE LONG AND WINDING ROADDON’T LET ME DOWNGET BACKLET IT BE Ceren Erdem: Your contribution to The Jerusalem Show culminates in a performance featuring celebrated Palestinian rock band Sabreen playing five Arabic inflected Beatles songs, selected and ordered to form a kind of poem about collaboration and…
Murtaza Vali
By Murtaza Vali Fall 2012 | ArteZine What does it feel like to belong to a Gulf? What does it mean to dwell in a chasm? How does one commune in an abyss? For those thousands of expatriates who have grown up in the United Arab Emirates, many born as resident aliens knowing no other home,…
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….
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
Ingrid Chu
By Ingrid Chu Summer 2012 | ArteZine Excerpt from an interview by Ingrid Chu first published in fillip #8, 2008 (Full interview accessible here). The interview coincides with the Pantheon of Broken Men and Women, a special poster insert by Slavs and Tatars that took place over e-mail exchange after a preliminary discussion on Friday, January 24, 2008 between the author and…
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…
