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Past Disquiet
The International Art Exhibition for Palestine took place in Beirut in 1978 and mobilized international networks of artists in solidarity with anti-imperialist movements of the 1960s and ’70s. In that era, individual artists and artist collectives assembled collections; organized touring exhibitions, public interventions and actions; and collaborated with institutions and political movements. Their aim was to lend support and bring artistic engagement to protests against the ongoing war in Vietnam, the Pinochet dictatorship in Chile, and the apartheid regime in South Africa, and they were aligned in international solidarity for anti-colonial struggles. Past Disquiet brings together contributions from scholars, curators and writers who reflect on these marginalized histories and undertakings that took place in Baghdad, Beirut, Belgrade, Damascus, Paris, Rabat, Tokyo, and Warsaw. The book also offers translations of primary texts and recent interviews with some of the artists involved.
Past Disquiet
The International Art Exhibition for Palestine took place in Beirut in 1978 and mobilized international networks of artists in solidarity with anti-imperialist movements of the 1960s and '70s. In that era, individual artists and artist collectives assembled collections; organized touring exhibitions, public interventions and actions; and collaborated with institutions and political movements. Their aim was to lend support and bring artistic engagement to protests against the ongoing war in Vietnam, the Pinochet dictatorship in Chile, and the apartheid regime in South Africa, and they were aligned in international solidarity for anti-colonial struggles. Past Disquiet brings together contributions from scholars, curators and writers who reflect on these marginalized histories and undertakings that took place in Baghdad, Beirut, Belgrade, Damascus, Paris, Rabat, Tokyo, and Warsaw. The book also offers translations of primary texts and recent interviews with some of the artists involved.
Museums in Arabia
Museum activity has, in recent years, undergone major and rapid development in the Arabian Peninsula, with the regeneration of existing museums as well as the establishment of new ones. Alongside such rapid expansion, questions are inevitably raised as to the new challenges museums face in this region and whether the museum, as a central focus of heritage preservation, also runs the risk of overshadowing local forms of heritage performance and preservation. With contributions from leading academics from a range of disciplines and heritage practitioners with first-hand experience of working in the region, this volume addresses the issues and challenges facing museums in Kuwait, Saudi Arabia, ...
Iridescent Kuwait
Die Erdöl-Moderne ist ein lokales Phänomen der Geschichte Kuwaits, aber auch ein globales Ereignis und massgebliche Ursache des Klimawandels. Die Studie untersucht die Rolle von Erdöl in der visuellen Kultur Kuwaits im Kontext von Ideologien wie Modernisierung und politischer Repräsentation. Der Begriff des Irisierenden, eines in Regenbogenfarben schillernden Farbenspiels, dient als analytisch-ästhetisches Konzept, um den umstrittenen Beitrag von Erdöl in der Moderne zu diskutieren: sowohl Wohlstandsversprechen wie auch destruktive Kraft in soziokultureller und ökologischer Hinsicht. Das Buch versammelt eine Fülle historischen Bildmaterials, darunter Luft- und Farbfotografien, Briefmarken, Stadtpläne und Architekturdarstellungen, um unter Berücksichtigung von zeitgenössischer Kunst aus der Golfregion das visuelle Erbe der Erdöl- Moderne kritisch zu hinterfragen.
The Politics of Art
Over the last three decades, a new generation of conceptual artists has come to the fore in the Arab Middle East. As wars, peace treaties, sanctions, and large-scale economic developments have reshaped the region, this cohort of cultural producers has also found themselves at the center of intergenerational debates on the role of art in society. Central to these cultural debates is a steady stream of support from North American and European funding organizations—resources that only increased with the start of the Arab uprisings in the early 2010s. The Politics of Art offers an unprecedented look into the entanglement of art and international politics in Beirut, Ramallah, and Amman to under...
Rethinking Statehood in Palestine
"The quest for an inclusive and independent state has been at the center of the Palestinian national struggle for a very long time. This book critically reexamines this quest by exploring the meaning of Palestinian statehood and the challenges that face alternative models to it today. Rethinking Statehood in Palestine gives prominence to a young set of diverse Palestinian scholars, both men and women, to show how notions of citizenship, sovereignty, and nationhood are being currently rethought within the broader context of decolonization. Bringing forth critical and multifacetted engagements with what Palestinian self-determination entails within a larger regional context, this groundbreaking book sets the terms of debate for the future of Palestine beyond partition"--
Infrastructure and Form
In the 1990s and 2000s, contemporary art in India changed radically in form, as an art world once dominated by painting began to support installation, new media, and performance. In response to the liberalization of India’s economy, art was cultivated by a booming market as well as by new nonprofit institutions that combined strong local roots and transnational connections. The result was an unprecedented efflorescence of contemporary art and growth of a network of institutions radiating out from India. Among the first studies of contemporary South Asian art, Infrastructure and Form engages with sixteen of India’s leading contemporary artists and art collectives to examine what made this development possible. Karin Zitzewitz articulates the connections among formal trajectories of medium and material, curatorial frames and networks of circulation, and the changing conditions of everyday life after economic liberalization. By untangling the complex interactions of infrastructure and form, the book offers a discussion of the barriers and conduits that continue to shape global contemporary art and its relationship to capital more broadly.
Fantasmic Objects
In Lebanon, the study of modern art--rather than power or hierarchy--has compelled citizens to confront how they define themselves as a postcolonial nation. In Fantasmic Objects, Kirsten L. Scheid offers a striking study of both modern art in Lebanon and modern Lebanon through art. By focusing on the careers of Moustapha Farrouk and Omar Onsi, forefathers of an iconic national repertoire, and their rebellious student Saloua Raouda Choucair, founder of an antirepresentational, participatory art, Scheid traces an emerging sense of what it means to be Lebanese through the evolution of new exhibition, pedagogical, and art-writing practices. She reveals that art and artists helped found the nation during French occupation, as the formal qualities and international exhibitions of nudes and landscapes in the 1930s crystallized notions of modern masculinity, patriotic femininity, non-sectarian religiosity, and citizenship. Examining the efforts of painters, sculptors, and activists in Lebanon who fiercely upheld aesthetic development and battled for new forms of political being, Fantasmic Objects offers an insightful approach to the history and formation of modern Lebanon.
Arab Modernism as World Cinema
Arab Modernism as World Cinema explores the radically beautiful films of Moroccan filmmaker Moumen Smihi, demonstrating the importance of Moroccan and Arab film cultures in histories of world cinema. Addressing the legacy of the Nahda or “Arab Renaissance” of the nineteenth and early twentieth century—when Arab writers and artists reenergized Arab culture by engaging with other languages and societies—Peter Limbrick argues that Smihi’s films take up the spirit of the Nahda for a new age. Examining Smihi’s oeuvre, which enacts an exchange of images and ideas between Arab and non-Arab cultures, Limbrick rethinks the relation of Arab cinema to modernism and further engages debates about the use of modernist forms by filmmakers in the Global South. This original study offers new routes for thinking about world cinema and modernism in the Middle East and North Africa, and about Arab cinema in the world.
Beautiful Agitation
In modern Syria, a contested territory at the intersection of differing regimes of political representation, artists ventured to develop strikingly new kinds of painting to link their images to life forces and agitated energies. Examining the works of artists Kahlil Gibran, Adham Ismail, and Fateh al-Moudarres, Beautiful Agitation explores how painters in Syria activated the mutability of form to rethink relationships of figure to ground, outward appearance to inner presence, and self to world. Drawing on archival materials in Syria and beyond, Anneka Lenssen reveals new trajectories of painterly practice in a twentieth century defined by shifting media technologies, moving populations, and the imposition of violently enforced nation-state borders. The result is a study of Arab modernism that foregrounds rather than occludes efforts to agitate against imposed identities and intersubjective relations.
