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| January
2005 |
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The Impossibility
of Communication: Nooshin farhid
by Sara Raza The
impossibility of communication is UK based video artist
Nooshin Farhid's forte. Born in Iran and residing in London
following the country's Islamic Revolution, Farhid fast
took to the role of spectator attempting to document and
make sense of the absurdities and banality of everyday
life, which can often result in frustration and impotence
when provoked by non-reciprocal exchange. (Read
More...) |
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| June
2005 |
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Sumayyah
Samaha Explores Issues of War and Occupation
By Maymanah Farhat
In recent years, artist Sumayyah Samaha
has been creating works that communicate the catastrophic
nature of current Middle Eastern conflicts. In works
such as Palestinian Fence, Fifth Crusade, and Mausoleums
Samaha mourns the loss of life and destruction of homelands
that have resulted from the Israeli occupation of Palestine
and the American occupation of Iraq. (more...) |
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| July
2005 |
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Mary
Tuma: Dancing Girls, Passages and Homes for the Disembodied
By Maymanah Farhat
Mary Tuma: Dancing Girls, Passages and
Homes for the Disembodied
Since 1992, Palestinian-American artist
Mary Tuma has been creating works that address issues
of the body, the spirit and identity. Tuma’s work
incorporates the use of textiles, found objects and
costume design in installation works that are profoundly
introspective; yet engage the viewer through explorations
of the human condition. (more...) |
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| August
2005 |
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IN/VISIBLE
By Maymanah Farhat
Currently on display at the Arab American
National Museum in Dearborn, Michigan, IN/VISIBLE
is an art exhibition that articulates the experiences
of a community that has often been silenced. IN/VISIBLE
consists of work by first- and second-generation Arab
Americans and is the first of its kind. (more...) |
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The
Modern Middle East Through the Eyes of Mohammed
Al Sadoun
By Maymanah Farhat
Iraqi artist Mohammed Al Sadoun has been
engaging viewers with multifaceted explorations of Middle
Eastern history and sociopolitical issues for thirty
years. His work has been exhibited in international
art exhibitions since 1975 (more...) |
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| October
2005 |
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In
the Shadow of “Fallen” Heroes*
by Sara Raza
2nd Bishkek International Art Exhibition
“In the Shadow of Heroes”, 7-23 October
2005
Hovering somewhere between myth and reality
resides the historical concept of heroes as almighty
figures with miraculous capabilities to transform both
time and place. These mystical super-characters were
revered, feared and loathed in equal quantities; just
as they were constructed, maintained, abolished and
resurrected and have now come to exist comfortably within
an easily digestible semi-mythological and historical
repartee of once upon a time in a far away land. (more...) |
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| November
2005 |
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The
Art and Activism of Samia Halaby
By Maymanah Farhat
Samia Halaby has been contributing to
the development of international art for nearly fifty
years. As one of the most established Palestinian-American
artists, Halaby’s work is aligned with the progression
of the Palestinian art movement, which is renowned for
its deep connection to Palestinian culture and political
advocacy. (more...) |
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| December
2005 |
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Made
in Palestine
by Maymanah Farhat
Made in Palestine is the first
museum exhibition of Modern Palestinian art in American
history. Until the exhibition’s opening in 2003,
never before had an American institution showcased the
works of some of the most influential and established
Palestinian artists on such a grand scale. Made
in Palestine has become one of the most important
art exhibitions in the history of Modern Arab art. (more...) |
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Calling
into the Void
by Sara Raza
“Calling into the Void” is
a curatorial project initiated and executed Iranian-American
artist, curator and art historian Nazanin Shenasa. This
artistic venture was personally motivated by the desire
to reassess the current notion and status of “Islamic
art” via the language of contemporary visual culture.
Frustrated by the concept that Islamic art is perceived
as a passé genre in art history, which is ordinarily
confined to the collections of worldly influential museums’
or universities’ Near Eastern departments; Shenasa
was intent on curating a project that not only challenged,
but simultaneously re-contextualised, the way in which
this particular branch of art is perceived. (more...) |