Don’t Shrink Me to the Size of a Bullet: The Works of Hiwa K Edited by Anthony Downey. Contributors: Lawrence Abu Hamdan, Natasha Ginwala, Bonaventure Soh Bejeng Ndikung, Aneta Szyłak, and Bakir Ali. Publisher: Walther König Verlag. Publication Date: May 31, 2017. 244 pp. Colour illustrations.
Last time I saw my mom before my farewell, I said, “Mom, I am leaving for good. I don’t know… maybe I will not make it like the other 28 people who got shot last week” . She said “Son, if death comes, don`t panic. It is just death”.
Hiwa K, “Don’t Panic”, 2016
Covering over decade of projects, Don’t Shrink Me to the Size of a Bullet: The Works of Hiwa K provides the first comprehensive account of the artist’s practice to date. Edited by Anthony Downey, with a foreword by Heike Catherina Mertens and Krist Gruijthuijsen, the volume includes essays by Lawrence Abu Hamdan, Natasha Ginwala, Bonaventure Soh Bejeng Ndikung, Aneta Szyłak, and a conversation between the artist and Bakir Ali. A series of texts have been prepared and revised by the artist, and he has also included a collection of anecdotes that recount gossip, stories, jokes, personal insights, conundrums, and aphorisms garnered from multiple sources. These have all been translated into Kurdish for the first time. The volume is fully illustrated and will contain extended notes on the works.
To read Anthony Downey’s essay, “Unbearable States: Hiwa K and the Performance of Everyday Life”, see here
To read Anthony’s introductory essay “Future Imperfect: Critical Propositions and Institutional Realities in the Middle East”, click here
Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East critically examines the role played by cultural institutions in producing present-day and future contexts for the production, dissemination and reception of contemporary art in the Middle East and North Africa. It offers critical contexts for a discussion that has become increasingly urgent in recent years – the role of culture in a time of conflict and globalization – and an in-depth critique of the historical state of cultural institutions in an age of political upheaval, social unrest, exuberant cultural activity, ascendant neoliberal forms of privatization, social activism, and regional uncertainty.
Organised around three key areas, Future Imperfect draws attention to the ongoing demands and antagonisms that have affected cultural production across the region, both in historical and more recent post-revolutionary contexts. In doing so, it offers an in-depth discussion of how cultural producers have developed alternative institutional models to negotiate the constraints placed upon their practices. How cultural institutions operate within the conditions of a global cultural economy, and alongside the often conflicting demands they place on cultural production in the region, is likewise an over-arching point of reference throughout this volume.
While the politics of contemporary cultural production and institutional practices in the Middle East can tell us a great deal about local and regional concerns, one of the cornerstone ambitions of this volume is to enquire into what they can also impart about the politics of global cultural production. This involves exploring the multiple ways in which contemporary art practices are being reduced, willingly or otherwise, to the logic of global capital. What, in sum, is needed in terms of infrastructure for cultural production today, and how, crucially, can we speculatively propose new infrastructures and institutions in the context of present-day realities?
Future Imperfect contains essays, interviews, and projects from contributors including Monira Al Qadiri, Hoor Al-Qasimi, Anahi Alviso-Marino, AMBS Architects, Stephanie Bailey, Eray Çaylı, Rachel Dedman, Elizabeth Derderian, Anthony Downey, Karen Exell, Reema Salha Fadda, Wafa Gabsi, Hadia Gana, Adalet R. Garmiany, Baha Jubeh, Suhair Jubeh, Amal Khalaf, Kamel Lazaar, Jens Maier-Rothe, Guy Mannes-Abbott, Doreen Mende, Lea Morin, Jack Persekian, Rijin Sahakian, Gregory Sholette, Tom Snow, Ania Szremski, Christine Tohme, Toleen Touq, Williams Wells, Ala Younis and Yasmine Zidane.
The publication is accompanied by a collection of special projects on the Ibraaz website from Leila Al-Shami, Wided Rihana Khadraoui, Lois Stonock, Nile Sunset Annex, Alia Rayyan and Husam Al-Sarray.
Featuring writing, interviews and original art work – reproduced in full-colour – by internationally renowned academics, curators, activists, filmmakers and artists, Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East asks a crucial series of questions: How do we define the ongoing relationship between contemporary art and the archive? How do we understand the suppositional forms of knowledge that are being produced in contemporary art practices in North Africa and the Middle East? Do these practices foster a nostalgic fetishization for the archive or suggest an ongoing crisis in institutional and state-ordained archiving? And what, moreover, do artistic practices that engage with archives reveal about the politics of global cultural production?
Emerging throughout this volume as a troubled, dissonant and performative space, the archive is central to a process whereby contemporary artists produce their own critical and highly speculative visions of the future. In exploring and producing archives, be they alternative, interrogative, or fictional, these artists are not simply questioning the authenticity, authority or authorship of the archive; rather, they are unlocking its regenerative, radical potential.
Basel Abbas and Ruanne Abou-Rahme, Lawrence Abu Hamdan, John Akomfrah, Jananne Al-Ani, Meriç Algün Ringborg, Héla Ammar, Burak Arıkan, Ariella Azoulay, Vahap Avşar, Sussan Babaie, Alessandro Balteo Yazbeck, Timothy P.A Cooper, Joshua Craze, Laura Cugusi, Ania Dabrowska, Nick Denes, Chad Elias, Media Farzin, Mariam Ghani, Gulf Labor, Tom Holert, Adelita Husni-Bey, Maryam Jafri, Guy Mannes-Abbott, Amina Menia, Shaheen Merali, Naeem Mohaiemen, Mariam Motamedi Fraser, Pad.ma, Lucie Ryzova, Lucien Samaha, Rona Sela and Laila Shereen Sakr (VJ Um Amel).
Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East launches on 30 May 2015 at JAOU Tunis 2015 at the National Museum of Bardo, Tunis.
A form of political writing often called advice literature shared by Christian and Muslim lands, during the Middle Ages, mirrors for princes attempted to elevate statecraft (dawla) to the same level as faith/religion (din). These guides for future rulers- Machiavelli’s The Prince being a widely known example- addressed the delicate balance between seclusion and society, spirit and state, echoes of which we continue to find in the US, Europe and the Middle East several centuries later.
Today, we suffer from the very opposite: there’s no shortage of political commentary but a notable lack of intelligent, eloquent discourse on the role of faith and the immaterial as a valuable agent in society or public life.
Mirrors for Princes brings together the writing of pre-eminent scholars and commentators using the genre of medieval advice literature as a starting point to discuss contemporary politics in Turkey, Indian television dramas, fate, fortune and governance, and advice for female nobility.
From photographers and filmmakers to the creators of immersive installations, today’s artists are engaging with some of the most pressing issues of our time – opening up new areas of discussion and debate and expanding our understanding of contemporary art as well as the role of those who create it.
Art and Politics Now is a richly illustrated and compelling survey of more than 200 contemporary artists whose works address the political. Themed chapters explore how, since the turn of the twenty-first century, artists have addressed real-world issues such as globalization, terrorism, conflict, the environment and knowledge, often using radical approaches and techniques to communicate their ideas.
Anthony Downey’s clear and insightful discussion of the major issues and themes is closely interwoven with detailed analysis of the artworks, which include projects by Ai Weiwei, Chantal Akerman, Harun Farocki, Omer Fast, Thomas Hirschhorn, Carsten Höller, Steve McQueen, Teresa Margolles, Adrian Paci, Walid Raad, Doris Salcedo and Santiago Sierra.
In this groundbreaking book, a range of internationally renowned and emerging academics, writers, artists, curators, activists and filmmakers critically reflect on the ways in which visual culture has appropriated and developed new media across North Africa and the Middle East. Examining the opportunities presented by the real-time generation of new, relatively unregulated content online, Uncommon Grounds evaluates the prominent role that new media has come to play in artistic practices – and social movements – in the Arab world today. Analysing alternative forms of creating, broadcasting, publishing, distributing and consuming digital images, this book also enquires into a broader global concern: does new media offer a ‘democratisation’ of – and a productive engagement with – visual culture, or merely capitalise upon the effect of immediacy at the expense of depth?
Featuring full-colour artists’ inserts, this is the first book to extensively explore the degree to which the grassroots popularity of Twitter and Facebook has been co-opted into mainstream media, institutional and curatorial characterisations of ‘revolution’ – and whether artists should be wary of perpetuating the rhetoric and spectacle surrounding political events. In the process, Uncommon Grounds reveals how contemporary art practices actively negotiate present-day notions of community-based activism, artistic agency and political engagement.
Uncommon Grounds: New Media and Critical Practices in North Africa and the Middle East is Volume 01 in Ibraaz’s Visual Culture in North Africa and the Middle East Series. Volume 02, Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East, will be published in May 2015.
Sarah Abu Abdallah | Sophia Al-Maria | Fayçal Bahgriche | Franco ‘Bifo’ Berardi | Wafaa Bilal | Sheyma Buali | Anthony Downey | Maymanah Farhat | Azin Feizabad | Ganzeer | Hans Haacke | Hamzamolnár | Timo Kaabi-Linke | Dina Kafafi | Amal Khalaf | Omar Kholeif | Tarek Khoury | Gulf Labor | Jens Maier-Rothe | Laura U. Marks | Dina Matar | Mosireen | Rabih Mroué | Nat Muller | Philip Rizk | Roy Samaha | Nermin Saybasili | Annabelle Sreberny | Tarzan and Arab | Derya Yücel | Maxa Zoller
This book collects new contributions from an international group of leading scholars – including many who have worked closely with Agamben – to consider the impact of Agamben’s thought on research in the humanities and social sciences. Giorgio Agamben: Legal, Political and Philosophical Perspectives addresses the potential of Agamben’s thought by re-focusing attention away from his critiques of Western politics and towards his scheme for a political future. Part I of the book draws upon a wide range of issues such as legal oaths, legal reasoning and Christian conceptions of love in order to examine the potential for Agamben’s work to impact upon future legal scholarship. Part II focuses on political perspectives that include references to Marx, Rousseau and Agamben’s conception of the ‘messianic’. Theology, biology, and the thought of Gilles Deleuze, Walter Benjamin and Antonin Artaud are all drawn upon in Part III to explore philosophical perspectives in Agamben’s thought.
This book demonstrates the importance and originality of Giorgio Agamben, who has articulated a vision of politics that must be recognised as an influential contribution to modern philosophical and political thinking. It is a book that will be of considerable interest to many working across the humanities and social sciences.
This book is the first attempt to capture the new wave of art patronage in the near and Middle East. Profiling fifty leading collectors and patrons in the the Middle East, Turkey, Iran and North Africa, it goes behind closed doors to take a peek at their collections, and explore the motivation and passion behind their inspiring visions. A fantastically diverse range of collections are covered, stretching from contemporary and modern art to Orientalist painting, traditional Islamic miniatures to pottery and earthenware, regional maps and manuscripts to religious icons.
University of California Press, 2012 | CONTRIBUTOR
Ambitious and interdisciplinary, this long-awaited collaboration is a landmark presentation of the writings of contemporary artists. These influential essays, interviews, and critical and theoretical comments provide bold and fertile insights into the construction of visual knowledge. Featuring a wide range of leading and emerging artists since 1945, the collection – while comprehensive and authoritative – offers the reader some eclectic surprises as well. Included here are texts that have become pivotal documents in contemporary art, along with writings that cover unfamiliar ground. Some are newly translated, others have never before been published. Together they address visual literacy, cultural studies, and the theoretical debates regarding modernism and postmodernism. The full panoply of visual media is represented, from painting and sculpture to environments, installations, performance, conceptual art, video, photography, and virtual reality. Thematic concerns range from figuration and process to popular culture, art and technology, and politics and the media. Contemporary issues of gender, race, class, and sexuality are also addressed. Kristine Stiles’ general introduction is a succinct overview of artists’ theories in the evolution of contemporary discourse around art. Introductions to each chapter provide synopses of the cultural contexts in which the texts originated and brief biographies of individual artists. The text is augmented by outstanding photographs, many of artists in their studios, and vivid, contemporary art images. Reflecting the editors’ shared belief that artists’ own theories provide unparalleled access to visual knowledge, this book, like its distinguished predecessors, Hershel Chipp’s “Theories of Modern Art” (with Peter Selz and Joshua Taylor) and Joshua Taylor’s “Nineteenth-Century Theories of Art”, will be an invaluable resource for anyone interested in contemporary art.
Updated and reorganized to offer the best collection of state-of-the-art readings on the role of critical theory in contemporary art, this second edition of Theory in Contemporary Art since 1985 brings together scholarly essays, artists’ statements, and art reproductions to capture the vibrancy and dissonance that define today’s art scene.
Incorporates new and updated topics that have become central to art theory and practice over the past decade
New and updated chapters cover such topics as: international biennials, historicizing of the term “contemporary art”, aesthetics, art and politics, feminism and pornography, ecology and art, the Middle East and conflict studies, Eastern European art and politics, gender and war, and technology
Features a thematic reconfiguration of sections and new introductions to make readings user–friendly
Extensively illustrated throughout with an expanded color-plate section
New contributions to this edition include those by Alexander Alberro, Claire Bishop, T.J. Demos, Anthony Downey, Liam Gillick, Marina Gr iniæ, Mary Kelly, Chantal Mouffe, Beatriz Preciado, Jacques Ranciere, Blake Stimson, and Chin-Tao Wu.