ART IN LABOR - SKILL / DESKILLING / RESKILLING
AUB Art Galleries and Collections celebrates the opening of the new AUB Byblos Bank Art Gallery with the exhibition
Curated by Octavian Esanu
AUB Byblos Bank Art Gallery, Ada Dodge Hall (AUB upper campus), Tel: +961-1-350000 ext. 4347 (May 20-July 27, 2013)
ART IN LABOR
Artists: Georges Daoud Corm, Saliba Douaihy, John Carswell, Ghassan El Hajj, Khalid Hamza, Haitham Hassan, Lawrence Abu Hamdan, Mahmoud Khaled, Mohammad El Rawas, Gregory Sholette, Hito Steyerl, Rachid Wehbi, Vera Yeramian.
SKILL / DESKILLING / RESKILLING
Dates: May 20 - July 27, 2013
A recently published interview by Louis Doulas on Rhizome.org
IN BEIRUT from September 2011 to August 2012, participating in Ashkal Alwan's Home Workspace Program / HWP
Home Workspace Program / HWP 2011-12
Art & Agenda - Political Art and Activism
Editors: R. Klanten, M. Hübner, A. Bieber, P. Alonzo, G. Jansen
Release Date: April 2011
Format: 24 x 30 cm
Features: 288 pages, full color, hardcover
Catalog Price: €44,00 | $68,00 | £40,00
Shop Price: €44.00
This book explores the current interrelationship between art, activism, and politics. It presents new visual concepts and commentaries that are being used to represent and communicate emotionally charged topics, thereby bringing them onto local political and social agendas in a way far more powerful than words alone. It looks at how art is not only reflecting and setting agendas, but also how it is influencing political reaction. Consequently, Art & Agenda is not only a perceptive documentation of current urban interventions, installations, performances, sculptures, and paintings by more than 100 young and established artists, but also points to future forms of political discourse.
Life has become significantly more political in the new millennium, especially in the aftermath of worldwide financial crisis. Art is both driving and documenting this upheaval. Increasingly, new visual concepts and commentaries are being used to represent and communicate emotionally charged topics, thereby bringing them onto local political and social agendas in a way far more powerful than words alone.
Art & Agenda explores the current interrelationship between politics, art, and activism. The book introduces a variety of artists who are advocating political and social reform on a local or a global scale. The personalities and approaches of the featured artists are as diverse as their subject matter—the artists’ goals, techniques, and degrees of radicalness depend on the cultures to which they belong as well as the social and political circles in which they move. Some of the younger artists featured in the book are fighting against poverty and for women’s rights. Others are working to rebuild Haitian communities in the wake of that country’s devastating earthquake. Still others are using mass communication to criticize transnational oil companies. While Latin American artists are expressing their powerlessness in the face of totalitarian governments, Chinese artists are commenting on the radical changes taking place in their country, calling for human rights and freedom, and an end to cronyism and environmental destruction.
The book looks at how art is not only reflecting and setting agendas, but also how it is influencing political reaction. Consequently, Art & Agenda is not only a perceptive documentation of current urban interventions, installations, performances, sculptures, and paintings, but also points to future forms of political discourse.
In addition to presenting the diverse work of more than 100 artists, the book features comprehensive and insightful texts by curators Pedro Alonzo, Alain Bieber, and Silke Krohn as well as by Gregor Jansen, the director of the Kunsthalle Düsseldorf.
Adalberto Abbate - Aernout Mik-AES+F group - Ai Weiwei - Alexandre Farto - Vhils - Allora & Calzadilla - Aram Bartholl - Artur Zmijewski -Barnaby Barford - Bliumis - Blue Noses - Brad Downey - Christoph Büchel - Christoph Faulhaber - Conflict Kitchen USA - Dulce Pinzón - Elmgreen & Dragset - Elvira Santamaría - Estudio Teddy Cruz - Eugenio Merino - Eva and Franco Mattes aka 0100101110101101.org - Evan Roth - Fernando Bryce - Filippo Minelli - Folke Köbberling & Martin Kaltwasser - Gao Brothers Studio - Gregor Schneider - Han Bing - Hank Willis Thomas - Harmen de Hoop - Helmut Smits - Hermann Josef Hack - Hwang Kim - Iñigo Manglano - Ovalle - James Powderly - Jennifer Karady - Jérôme Leuba - Jiang Pengyi - JoSeub - Jota Castro - JR / JR - ART.NET- Julien Berthier - Kara Walker - Kendall Geers - Kennardphillips - Khaled Hafez - Korpys/Löffler - Lars Ø Ramberg - Laura Keeble - Lenka Clayton - Li Wei - Lisa Anne Auerbach - Mahmoud Khaled - Marco Evaristti - Marcos Ramirez Erre - Marina Abramovic - Marjetica Potrč - Mark Jenkins - Maurizio Cattelan - Milica Tomic - Mona Hatoum - Moris (Israel Meza Moreno) - Murray Gaylard - Nasan Tur - Navid Tschopp - Sadrossadat - Néle Azevedo - OBEY GIANT ART - Oliver Goodhall - Ondrej Brody & Kristofer Paetau - OSA Office for Subversive Architecture - Packard Jennings - Paolo Canevari - Paul Chan - Paul McCarthy - PSJM - Regina José Galindo - Roland Roos: Free Repair - Ron English - Sam Durant - Santiago Sierra - Sarah Maple - Scott King - Sebastián Errázuriz - Superflex - Susan Hefuna - SWOON - The Doublethink Project - The Wa - THYLACINE - Tom Sachs - UBERMORGEN.COM - Vlad Nanca - Voina Group - Walter Robinson - Waste - Wiebke Grösch / Frank Metzger - William Kentridge - WochenKlausur - Yang Yi - YesMen - Zhang Huan - Zlatko Kopljar - Zoë Sheehan Saldaña - ztohoven
STEDELJIK MUSEUM BUREAU AMSTERDAM (SMBA)
‘Identity bluffs’ is the second exhibition to take place in the framework of Project 1975. Bringing together works mostly based on photography and video, the exhibition sheds light on the ways in which migratory processes related to globalisation affect the featured artists’ practices.
The increased mobility of information and people today has altered the modes in which contemporary subjects form their images of themselves and of others. An interest in the continuous formation of identities is the thread connecting the works displayed here. The participating artists present multilayered (self-) portraits of individuals who grew up in European or African nation states, which nowadays seem to have difficulty formulating appropriate political responses to contemporary migratory processes, perhaps partly due to the fact that in these states colonial mindsets still prevail. ‘Identity bluffs’ undermines fantasies that reduce people to fixed types, and at the same time acts as a platform for nuanced and multifaceted views on the complexities of life under post-colonial conditions.
The exhibition includes Bruno Boudjelal’s video installation Disquiet Days, a compilation of photographs taken in Algeria over a period of ten years during the artist’s visits to his father’s home country. With his camera Boudjelal sketches unparalleled scenes of Algerian life and its city- and landscapes, often in a colour scale that is reminiscent of early expressionist painting. The exhibition also includes Mahmoud Khaled’s This Show is My Business, a video recording of an interview with a male belly-dancer living in London, who talks about his artistic practice in a cultural setting where oriental dance is generally not regarded as a high form of cultural practice.
Another highlight is Sara Blokland’s installation Home. This photographic dissection of homes located in Amsterdam results in a complex installation of videos and photographs, either taken by the artist herself or found by her in Amsterdam’s municipal archives. The work 1966, a series of photographs by Nii Obodai, attempts to reanimate the ideal of freedom, which in the 1950s inspired the independence movement in Ghana, but which was nearly muzzled in 1966 during an almost bloodless coup d’etat. For her new work, Lucia Nimcova asked Kenyan artists to ‘translate’ David Rubadiri’s poem An African Thunderstorm into pictogram stamps. These stamps are offered to the exhibition visitor for making a stamped poem on a copy of one of the booklets presented, which comprises a controversial interview with an NGO worker. Nimcova invites the visitors to take the booklet with them in order to (re)read the interview as they have the opportunity.
12 February - 27 March 2011
Sara Blokland, Bruno Boudjelal, Mahmoud Khaled, Lucia Nimcova, Nii Obodai
From 14th Dec 2010 to 8th Jan 2011
Solo Show curated by Aleya Hamza at CiC, Cairo.
For more information about this exhibition, please download the attached PDF file
Indicated by Signs - publication
Editor: HAMZAMOLNAR (Aleya Hamza and Edit Molnár)
Arabic editor: Lina Attalah
Design: eps51 Design Studio (Sascha Thoma and Ben Wittner)
Arabic Typesetting: Reem Naiem and eps51
Translation to Arabic: Mostafa Hashish
Published by Bonner Kunstverein (www.bonnerkunstverein.de)
Indicated by Signs project was initiated and supported by the Goethe-Institut, Kairo.
Indicated by Signs – Contested Public Space, Gendered Bodies, and Hidden Sites of Trauma in Contemporary Visual Art Practices
Indicated by Signs is an international visuals arts project jointly formed by curators based in Egypt, Germany, Lebanon and Morocco and presented in a series of exhibitions of newly commissioned and existing work, presentations, workshops, residencies and a publication.
Curators: Sandra Dagher, Yilmaz Dziewior, Aleya Hamza, Abdellah Karroum, Edit Molnár and Christina Végh.
Artists and Contributors: Omnia El Shakry, Joseph Pearson, Jalal Toufic, Mia Jankowicz, Doa Aly, Shahira Issa, Sherif el-Azma, Mark Westmoreland, Thomas Burkhalter, Tarek Atoui, LIGNA, Christina Végh, Aleya Hamza and Edit Molnár, Katrin Mayer, Sylvi Kretzschmar, Matti Braun, Mahmoud Khaled, Henrik Olesen, Akram Zaatari, Kinda Hassan and Yto Barrada.
About the Publication:
The book builds on the traditional format of the exhibition catalogue while not necessarily restricting itself to its limitations. Rather than focusing on a retroactive documentation of the various stages of the project, or the original point of departure for Indicated by Signs (depiction of forms of appearance in contemporary artistic practices), the structure of the publication follows a logic designed upon three key leitmotifs as the titles suggests. These lines of enquiry have been formulated through an intensive scanning of the artworks presented by the participating artists and the disciplines from which they draw their inspiration.
The creation of a platform for new artistic production is a principal impulse driving the publication. It consists mostly of ‘site-specific’ contributions conceived for the capacities of a publication: essays, scholarly texts, conversations and art projects, developed in dialogue with the editors. Tones and approaches vary. Shifting between theoretical and lyrical to analytical, introspective and critical, these degrees of densities are deliberate and shape a difficult discursive terrain.
Manifesta 8 - Murcia / from 9 October 2010 to 9 Jan 2011
You'd be So Nice to Come Home To, 2010
Economic bubbles based on speculative real-estate investment are popping up all over the world. Artists breathe the same late capitalist air full of flashy advertising teaching people how to desire lifestyles. But, what happens when the economy that dictates the circumstances of their professional lives begins to encroach on their private lives and personal welfare? "A house is not a home", but what constitutes a home when one is challenged to survive professionally, emotionally, and physically all at once? The elements of this work are a property advertisement with lifestyle undertones, an artist as an evicted homeless man, and technology that will keep us connected, three sides of one economy of lust.
Thanks to Aya Tarek and Ikon
A million thanks to Aya Tarek and ikon for their great help in producing my project for Manifesta 8. You both are great and I enjoyed very much working with you.
I Never Wanted to Be Alone in a Room
solo show at BALTIC Center for Contemporary Art Newcastle. UK
20 March - 19 April 2010
-As if you weren't in your own Home, 2008
-Safety Zoom, 2008-9
I Never Wanted to Be Alone in a Room is an exhibition looking at notions of public and private, social and political and includes two recent works by Mahmoud Khaled: As if You Weren't in your Own Home, 2008 Khaled, armed with a small camera visited locations with personal associations in the city of Cairo; the downtown square, train station, the banks of the Nile and night club boats. The resulting installation investigates self expression, social rituals, rhythms and meaning in shared space.
Safety Zoom, 2008-9 is a video installation conceived around the filmmaker Jean-Luc Godard’s statement that ‘The problem is not to make political films, but to make films politically’. While filming a picturesque scene in London, from a vantage point on the river, Khaled happened upon a small private yacht with a father, mother and two children on board. The artist was drawn to filming the boat, but caught the attention of the father, who pointed his own digital camera at Khaled, revealing a complex set of relationships at play behind this fleeting silent dialogue.
Call for Job, 2007. at AAS|SM, İzmir/ Turkey
4 March - 30 April 2010
part of : Overtime Work
Curator: Elmas Deniz
Artists : Mark Brogan - Köken Ergun - Gökçe Erhan - Pilvi Takala - Esra Okyay - Mahmoud Khaled - Alp İlyas Klanten
The Overtime Work exhibition treats the topics of job, business life and basically the ‘Working’ issue which the modern individual is required to experience in life by adopting as its point of departure the agenda brought forth by the economic crisis permeating the international level. The exhibition approaches the subject of ‘working’ from a wide perspective without touching on class related differences. The historical transformation which mankind has experienced upon being introduced to work and the working ethics of life requires a reexamination of how realistic these needs are which we strive to meet. It serves to remind us of what we have forgotten along the way in our struggle to survive and meet the requirements; i.e. one’s satisfaction with his/her job, the need to consider to what extent does working add to our lives in the path to realizing ourselves. In daily life, the question of ‘what we do for a living: occupation’ is used within the same context as ‘who we are’. Yet, the answer to this question is usually a remote possibility independent from any individual choice. For those millions who live close to the poverty line, the quality of work isn’t a subject open to question. People live to work, solely to survive, yet no more to realize themselves nor to be able to question it. To what extent are these working conditions which we are forced into congenial with human nature? What is our share and role in sustaining these conditions? While business life often turns out to be a hell for those who are able to work, for the jobless hell is still an another aspect. Being hard-working is a human virtue but its political manifestations at the mass level are not humane at all. The ‘’Never Work’’ slogan was a wall inscription - which later dissolved into anonymity - used by Guy Debord, the founding member of Situationist International, active at the start of the early 1950s in France. “Never Work!” is advice, an offer that proposes a different way, the possibility of living rather than just abiding by the system. Today, it is an expression which is incomprehensible to a money-oriented, corporate world.
Safety Zoom, 2008 - 09. at Art Dubai 2010.
March 17–20, 2010.
Madinat Jumeirah, Dubai.
part of : A New Formalism
Curated By: Hassan Khan
Artists:Hazem El Mestikawy, Iman Issa, Mahmoud Khaled and the collective U5
Bidoun Projects’ exhibition at Art Dubai brings together a bold design—referencing the art fair context—with a precise selection of works by Hazem El Mestikawy, Iman Issa, Mahmoud Khaled and U5 that together pose an expanded understanding of formalism. This is a formalism that takes as its raw material everything from personal and social references, theoretical concerns, the imaginary and abstract understandings of objecthood, to a deep and profound interest in how an artwork articulates itself in space. The dominant art system, as manifested in both the market place and the rarefied museum hall, has tended to promote two equally unsatisfying and reductive obsessions: the easily and superficially political, or the increasingly decorative and exotic. Yet there is work that defies such categorisation: work that remains resistant to easy explanations yet invested in the world; work that manages to posit formal concerns through a direct and powerful engagement with personal associations, the social landscape or even the history of forms themselves. This is an exhibition that chooses to make a simple argument that takes as its starting point the subtle articulation of four works that share a space.
DVD – 10.30 min - color, sound, loop. ‘found videos on YouTube’
Premiered at: Invisible Presence: Looking at the body in Contemporary Egypt
curated by Stefania Angarano.
16/12/2009 - 23/1/2010
Location: SAMAA KHANA, 31 El Siyufiah St., Helmia Gedida.
Artists: Adel El Siwi - Essam Marouf - Hani Rashed - Ibrahim El Haddad - Malak Helmy - Ahmed Sabri - Ahmed Bassiouny - Ahmed Askalany - Mohamed Taman - Suzy El Masry - Amr El Kafrawy - Shady El Noshokaty - Nermine El Ansary - Sherif El Azma - Hala El Koussy - - Mohamed Nabil - Mahmoud Khaled - Rania Ezzat - Ahmed Kamel - Adham Hafez - Hossam Hodhod.
Commissioned by: Mashrabia Gallery for Contemporary Art.
Editing: Perry Moataz
The publication PhotoCairo4: The Long Shortcut documents and expands upon the 2008
project curated by Edit Molnár and Aleya Hamza
through CIC. In addition to documentation and reflection on the exhibited works, the publication contains newly commissioned essays, conversations, artist pages and a 'catalogue' of the Publishing House project.
Art historian and critic CLARE DAVIES introduces a critical reexamination of the practice of commissioning in contemporary art production. Sociologist MONA ABAZA elaborates on current urban developments in Downtown Cairo, giving a futuristic vision on how the city would transform in relation to the interests of real estate investors and the growing number of satellite cities. Curator BASSAM EL BARONI talks to artists HASSAN KHAN and RAED YASSIN about their artistic strategies and more specifically about the pieces they presented in The Long Shortcut. MOTAZ ATTALA, the editor of the temporary Publishing House, provides an insight into the two-month long collaboration between designers and artists in which six low-budget publications were produced. PhotoCairo4: The Long Shortcut was an international multi disciplinary visual arts project in five venues in Downtown Cairo featuring a series of exhibitions, screenings, presentations, residencies, a workshop and a temporary publishing house. PhotoCairo4: The Long Shortcut explored the dynamics between informal and official modes of operation that continue to shape the social reality in this region and beyond. The project revolved around a number of loose coordinates. One main site was Cairo itself as a quintessential example of an explosive mega city situated in a state characterised by a mode of perpetual crisis. Under these conditions one can think of informal structures and strategies of existence as creatively pragmatic answers that are by default subversive. On the one hand, the project examined transformations in images of officialdom and the rhetoric of power through media representations. However, it also presented poetic accounts of daily life, personal narratives and creative strategies employed by individuals in the face of the reality of navigating mutating and hybrid structures.
Artists in PhotoCairo4: The Long Shortcut: Agency, Ala’ Younis, Ahmed Kamel, Artur Żmijewski, Babak Afrassiabi, Bernard Guillot, David Thorne & Julia Meltzer, Doa Aly, Hala Elkoussy, Hassan Khan, Heidrun Holzfeind, Ihab Jadallah, Kareem Lotfy, Larissa Sansour, Leopold Kessler, Maha Maamoun, Mahmoud Khaled, Mandy Gehrt, Mohamed Allam, Pages, Raed Yassin and Rana El Nemr.
From the 3rd of September to the 30th of November 2009
Residency at HANGAR. Barcelona.Spain
Hangar is a visual arts production centre situated in the Poblenou area of Barcelona.
Parallel Events - Indicated by Signs
The Camouflaged nature of artworks in virtual and actual spaces
Artist talk by Mahmoud Khaled at BEIRUT ART CENTER,
Wednesday September 30, 2009 at 8pm
Mahmoud khaled will deliver a presentation on his work in a form that will attempt to examine the camouflaged nature of his work in the virtual and the actual zones along the path of some of the projects he has worked on in the last four years. Most of these projects have at their core a thorough exploration of the document, in its many variations of official, social, historical, and personal. The document, as he sees it, can be an image, a text, an event, online materials or even a space. Khaled makes use of video, found objects, and various photographic resources, to test the boundaries between the personal, the political, the historical and the social domains. His projects tend to examine the often coded and powerful socio-political trajectories that run through our daily lives.
Beirut Art Center
Jisr El Wati - Off Corniche an Nahr. Building 13, Street 97,
Zone 66 Adlieh. Beirut, Lebanon.
- This Show is My Business. 2008-09
- Safety Zoom. 2008-2009
at The Bonner Kunstverein Bonn, Germany.
from July 21 - October 4 - 2009
[INDICATED BY SIGNS]:
Curated by: Yilmaz Dziewior and Christina Végh.
Artists: DOA ALY (*1976, lives in Cairo), YTO BARRADA (*1971, lives in Tanger/Paris), MATTI BRAUN (*1968, lives in Cologne), SHERIF EL-AZMA (*1975, lives in Cairo), KINDA HASSAN (*1984, lives in Beirut), MAHMOUD KHALED (*1982, lives in Alexandria), KATRIN MAYER/SYLVI KRETZSCHMAR (*1974 und *1977, both live in Hamburg), LIGNA (founded 1995, based in Hamburg), HENRIK OLESEN (*1967, lives in Berlin), AKRAM ZAATARI (*1966, lives in Beirut).
INDICATED BY SIGNS:
APPEARANCE IN BEIRUT, BONN, CAIRO AND FEZ/RABAT
Curators: Sandra Dagher, Yilmaz Dziewior, Aleya Hamza, Abdellah Karroum, Edit Molnar and Christina Végh.
Coordination: Yilmaz Dziewior.
This international project forms a joint effort of curators based in Egypt, Germany, Lebanon and Morocco presented in a series of exhibitions of newly commissioned and existing work, presentations, workshops, residencies and a publication collectively born out of heated discussions of a loaded topic. The actual locations in which the projects are staged and from where they gain their inspiration (Beirut, Bonn, Cairo, Fez/Rabat) are crucial to the conceptualization process of the project and have directly influenced the parallel directions pursued in each city. Equally important is the dynamics of how curatorial work comes into play that is informed by a loose group of individuals. This process is informed by the different curatorial methodologies, cultural background and distinct conceptions of how an artwork can be mediated in a multipart theme-based project. One key angle on the notion of appearance is focused on the social and political realm. How are categories such as class, race, sexuality and cultural background negotiated in appearance (e.g. of somebody)? Within this approach, appearance functions as an instrument for defining positions. Sometimes actively (with deliberation and awareness) or passively, inevitably informing personal and public interactions. In this context “Indicated by Signs” deals also with physical appearance (e.g. of the body) as a tool for communication. Appearance also implies that something might be there that maybe is not. More specifically, attention is put on the question how artists investigate beyond the surface of things and in the process render visible a subtext. Through the means of commissioning and initiating residencies the project puts a special emphasis on process oriented and dialogue based works. This working methodology mirrors the nature of “appearance” that is not fixed or static but under constant negotiation and reformulation. In that context ambiguity is an effective tool for creating meaning and this aspect the project also intends to investigate. The curatorial work is more an articulation between the artist and the public in general. The multiplicity of approaches and possibilities negotiate the artwork in dialogue within the context of its appearance.
Artists: DOA ALY (*1976, lives in Cairo), TAREK ATOUI (*1980, lives in Beirut/Paris), YTO BARRADA (*1971, lives in Tanger/Paris), MATTI BRAUN (*1968, lives in Cologne), SHERIF EL-AZMA (*1975, lives in Cairo), KINDA HASSAN (*1984, lives in Beirut), MAHMOUD KHALED (*1982, lives in Alexandria), KATRIN MAYER/SYLVI KRETZSCHMAR (*1974 und *1977, both live in Hamburg), LIGNA (founded 1995, based in Hamburg), HENRIK OLESEN (*1967, lives in Berlin), JALAL TOUFIC (*1962, lives in Beirut/Istanbul), AKRAM ZAATARI (*1966, lives in Beirut).
Different formats and participating artist in each city:
Exhibition/Prasentation in Cairo (CIC Contemporary Image Collective): 22nd March to 26th April 2009 (Kinda Hassan, Henrik Olesen, Jalal Toufic)
Workshop & Exhibition in Fez/Rabat (Appartement22): 1st April to July 2009 (YTO BARRADA, MATTI BRAUN, KATRIN MAYER/SYLVI KRETZSCHMAR)
Exhibition/Performances in Bonn (Kunstverein):18th July – 27th September 2009, opening Friday, 17th July, 7 p.m. (DOA ALY, TAREK ATOUI, YTO BARRADA, MATTI BRAUN, SHERIF EL-AZMA, KINDA HASSAN, MAHMOUD KHALED, SILVI KRETZSCHMAR / KATRIN MAYER, LIGNA, HENRIK OLESEN, JALAL TOUFIC, AKRAM ZAATARI)
Performance and Talks in Beirut (Art Center) September/Oktober 2009 (Mahmoud Khaled, LIGNA and others)
The project was initiated and is supported by the Goethe Institut Egypt, Lebanon and Marocco Supported by the Institut Francais
- Safety Zoom. 2008-2009
at Unge Kunstneres Samfund (UKS) . Oslo, Norway.
21st February - 22nd March 2009
[Trapped in Amber: Angst for a Reenacted Decade]
Curated by: Bassam El Baroni and Helga-Marie Nordby
Artists: Daniel Garcia Andujar (ESP)
Hamdi Attia (EGY/USA)
Bodil Furu (NO)
Assefa Gebrekidan (ETH)
Iman Issa (EGY/USA)
Mahmoud Khaled (EGY)
Magnus Monfeldt (SWE/NDL)
Thanks 4 the Ad/d. 2008
[PHOTOCAIRO 4: THE LONG SHORTCUT] Cairo, Egypt
Curated by Aleya Hamza and Edit Molnar
17 December 2008 – 14 January 2009
An international multi-disciplinary visual arts festival in Downtown Cairo featuring a series of exhibitions, screenings, presentations, residencies, a workshop and a temporary publishing house. THE LONG SHORTCUT is a large-scale visual arts project that explores the dynamics between informal and official modes of operation that continue to shape the social reality in the region and beyond.
Artists: AGENCY, ARTUR ŻMIJEWSKI, DOA ALY, HALA ELKOUSSY, ALA’ YOUNIS, HASSAN KHAN, HEIDRUN HOLZFIEND, IHAB JADALLAH, JULIA MELTZER & DAVID THORNE, WITH RAMI FARAH, MAHA MAAMOUN, RANA ELNEMR, LEOPOLD KESSLER, RAED YASSIN, AHMED KAMEL, BERNARD GUILLOT, KAREEM LOTFY, MANDY GEHRT, MOHAMED ALLAM, LARISSA SANSOUR, BABAK AFRASSIABI, PAGES, MAHMOUD KHALED
Organised by the CONTEMPORARY IMAGE COLLECTIVE
from the 25th of March till the 25th of May 2008
MKMAEL Stories (An Image Passionate)
p.o.box 317 Amman,
As if you weren't in your own House, 2008
176 colored photographs, 17 typed-out statements, digital prints on paper. 2008.
[TALES AROUND THE PAVEMENT: CHAPTER TWO] A multi-staged contemporary arts project curated by Aleya Hamza and Edit Molnar at the Contemporary Image Collective Until 20 February 2008
ARTISTS: Hany Rashed Jean-luc Marchina Katarina Šević Mahmoud Khaled Mohamed Allam Osman Bozkurt Randa Shaath Tarek Hefny --
Contemporary Image Collective
MKMAEL Stories (An Image Passionate) & 15 Minutes of Acting as if I'm in my House
[All Clear] curated by Hemma Schmutz
Artists: Ghada Amer, Hamdi Attia, Halal Elkoussy, Mahmoud Khaled, Maha Maamoun from
18thof July till 9th of September 2007
Left of photograph: 'An Image Passionate', 2007. Light box 300cm X 100cm. Right of photograph '15 Minutes of Acting as if I'm in my House', 2006, 190 Stills, 3 X 4 cm each. Digital print on paper. Installation view, Salzburger Kunstverien, Salzburg, 2007.
Photo © Andrew Phelps and the Salzburger Kunstverien