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Art Et Liberté
This publication accompanies the first exhibition dedicated to the manifestation of the Surrealist movement in Egypt. With images of over 200 works, it offers the reader a first-hand look at this artistic world. Through various visual (painting, drawing, photography) and literary media, this catalogue provides visitors with an indispensable companion for understanding the effervescent artistic context of 1930s-40s Egypt. More than example of aesthetic research, the creation of the movement was stimulated by a real revolutionary impetus. It stood against the opinions and conventions of the time. Works from the most important artists are represented, including visual artists Abdel Hadi El Gazzar, Kamel El Telmissany, Fouad Kamel, Ida Kar, Amy Nimr, and Ramsès Younan, as well as poets and writers Albert Cossery,Georges Henein, and Edmond Jabès.
Surrealism in North Africa and Western Asia
Der vorliegende Band beschäftigt sich mit dem Surrealismus in Literatur und Kunst in Algerien, Ägypten, Libanon, Syrien und der Türkei zwischen den 1930er und 1980er Jahren. In einer transkulturellen Perspektive erscheint die zu Beginn der 1920er Jahre von Frankreich ausgehende Bewegung gleichermaßen als globales wie als lokales Phänomen, das in den hier behandelten Regionen weniger auf kollektive als auf individualistische Weise, vornehmlich auf dem Gebiet von Poesie und Sprache, rezipiert wurde. Die Studien in diesem Band verfolgen das Ziel, ein klareres Bild von den Resonanzen des Surrealismus in diesen Regionen zu zeichnen und damit einen Beitrag zur Geschichte sowohl der Transmoderne als auch des Surrealismus zu leisten. Methodisch geht es darum, Verbindungen, Begegnungen und Austausch auf individuell-künstlerischer, politisch-institutioneller und soziohistorischer Ebene zu untersuchen. Ein neuer Blick auf den globalen Surrealismus muss diese Netzwerke und Verbindungen auf der Mikroebene berücksichtigen, wenn es um die Fragen geht, wann, wo und was Surrealismus war. Die Antwort könnte zeigen, dass der Surrealismus weitaus weiter verbreitet war als bisher angenommen.
Ways of Seeing
'Taking its cue from John Berger's 1972 critical text on visual culture, "Ways of Seeing" is an international group exhibition curated by Sam Bardaouil and Till Fellrath. In bringing together 33 artists, with works ranging from 1,000 BC to the present, the exhibition explores the various formalistic strategies that artists employ to re-configure our perception of the world. The publication that accompanies "Ways of Seeing" begins with a comprehensive conceptual framework by Bardaouil and Fellrath. Author and lecturer Mary Acton contributes to the publication with a text that acts as an elementary manual of sorts, bringing to the foreground an acknowledgement of some essential, yet often marginalised principles of visual interpretation. And Stephanie Moser, as a professor of archaeology, has contributed a text that assembles several incidents where the creation of images, as well as the modes of their display, has been utilised in the framing of the public perception of a certain place along with its people.' -- publisher.
The Green Movement in Iran
The Green Movement in Iran contains Hamid Dabashi's most important writings on the Iran's June 2009 election, its tumultuous aftermath, and the characteristics and aspirations of the emerging Green Movement. These analyses range from close analysis of the nature of the events to the Green Movement's historical background and future political consequences. The writings have been modified and updated for book publication. The volume presents Dabashi's account of the events since June 12, 2009-the Election Day itself-and his recap of highlights of the build-up period to the mass protests. He provides insightful background for events on the ground, dealing with debates about the credibility of t...
Aref el Rayess
Der libanesische Künstler Aref el Rayess (1928–2005) schuf ein beeindruckendes, bis heute wenig erforschtes Œuvre aus Malerei, Zeichnung, Collage und Skulptur. Rayess war ein Reisender. Er lebte in vielen Ländern, saugte den Geist dieser Orte in sich auf. Seine Arbeiten spiegeln den Zeitgeist jener Epochen und Kunstszenen wider. Er war ein unabhängiger Denker, ein politischer Mensch, ein Freigeist. Zu seinen Sujets gehören die Menschen, die Gesellschaft, die Abstraktion und die Natur. Seine Handschrift und sein Malstil wandeln sich dabei ständig, bleiben aber immer eigenständig und unverwechselbar. Diese erste Monografie widmet sich der vielseitigen künstlerischen Praxis von Rayess, vor allem seiner Malerei zwischen den Jahren 1949 und 2005.
Can Non-Europeans Think?
'In Can Non-Europeans Think? Dabashi takes his subtle but vigorous polemic to another level.' Pankaj Mishra What happens to thinkers who operate outside the European philosophical pedigree? In this powerfully honed polemic, Hamid Dabashi argues that they are invariably marginalised, patronised and misrepresented. Challenging, pugnacious and stylish, Can Non-Europeans Think? forges a new perspective in postcolonial theory by examining how intellectual debate continues to reinforce a colonial regime of knowledge, albeit in a new guise. Based on years of scholarship and activism, this insightful collection of philosophical explorations is certain to unsettle and delight in equal measure.
Social Change in the Gulf Region
This open access book, comprising thirty-nine chapters divided into social, cultural, economic, and political spheres, offers a unique opportunity to dive into the complex, dynamic, and sometimes contradictory transformation of Gulf societies in the last few decades. Whilst the Gulf region has at times been seen as impervious to this natural phenomenon of transformation—timeless, never changing, deeply rooted in its ancient tribal customs and traditions and able to blend past and present seamlessly without suffering the wrenching trauma of change—this is clearly not the case, and the region is not immune to the inevitable forces of social change. There is no doubt today that the social c...
Commitment in the Artistic Practice of Aref El-Rayess
In April 1968, ten months after the Arab defeat of the 1967 June War, Aref El-Rayess’s Dimaʾ wa Hurriyya (Blood and Freedom) opened to the public in the exhibition hall of the L’Orient newspaper headquarters in Beirut, Lebanon. The 5th of June, or, The Changing of Horses, a realist mural painting on canvas, was the exhibition’s centerpiece. With this artwork, El-Rayess declared his commitment to national liberation and socialist revolution. The Changing of Horses was presented and received as an allegory of political commitment, but the slips, silences, and repetitions in the public reception point to its excessive, disturbing, and fundamentally uncanny character. In Commitment in the...
The Routledge Companion to Surrealism
This book provides a conceptual and global overview of the field of Surrealist studies. Methodologically, the companion considers Surrealism’s many achievements, but also its historical shortcomings, to illuminate its connections to the historical and cultural moment(s) from which it originated and to assess both the ways in which it still shapes our world in inspiring ways and the ways in which it might appear problematic as we look back at it from a twenty-first-century vantage point. Contributions from experienced scholars will enable professors to teach the subject more broadly, by opening their eyes to aspects of the field that are on the margins of their expertise, and it will enable scholars to identify new areas of study in their own work, by indicating lines of research at a tangent to their own. The companion will reflect the interdisciplinarity of Surrealism by incorporating discussions pertaining to the visual arts, as well as literature, film, and political and intellectual history.
Acting Egyptian
At the turn of the twentieth century—during the “protectorate” period of British occupation in Egypt—theaters and other performance sites were vital for imagining, mirroring, debating, and shaping competing conceptions of modern Egyptian identity. A central figure in this diverse spectrum was the effendi, an emerging class of urban, male, anti-colonial professionals whose role would ultimately become dominant. Acting Egyptian argues that performance themes, spaces, actors, and audiences allowed pluralism to take center stage while simultaneously consolidating effendi voices. From the world premiere of Verdi’s Aida at Cairo’s Khedivial Opera House in 1869 to the theatrical rhetori...
