For this public event, artists from the "Occupational Hazards" exhibition have added their voices to the gallery space. While their works are here, for many of the artists, travel to the United States is severely challenged or prohibited--whether by cost, visa regulations, or current travel bans. Join apexart and ArteEast on a guided tour of Occupational Hazards presented by the artists in their absence: incorporating the stories behind the works and experiences and challenges of artists working in the Middle East today, in their own words.
Join us Tuesday, August 7, 7pm at UnionDocs for an evening with Egyptian filmmaker Aida ElKashef, in conversation with Sarah Leah Whitson, Executive Director of Human Rights Watch's Middle East and North Africa Division. The evening will feature a sneak preview of Aida ElKashef’s The Day I Ate The Fish, the feature documentary in-progress revisits stories of women behind bars in Egypt’s infamous women’s prison, Al Qanater, convicted of murdering their husbands. The evening will include a screening of ElKashef’s activist video work with Operation Anti-Sexual Harassment (OpAntiSH), active in Egypt during the revolution to combat sexual harrassment and sexual assaults of female protestors in Tahrir Square.
Contribute now to help support July artist residency in NYC for Egyptian Filmmaker Aida ElKashef Support Aida's work on "The Day I Ate The Fish": the feature documentary revisits stories of women behind bars in Egypt’s infamous women’s prison, Al Qanater, convicted of murdering their husbands.
ArteEast presents through its new signature discussion series ArteHub, "The Price of Creation in Today's Egypt." Creative expression in Middle East and North Africa has flourished in recent years. With traditional lines of communication and authority being crossed and even rendered obsolete, writers, artists, journalists, and other generators of culture and expression are defying both geographic and social boundaries.
ArteEast invites you to a Double Screening Documentary event followed by a discussion with award-winning Directors and Sponsored Artists-in-Residence Myriam El Hage and M. Siam. Moderated by Soyoung Yoon, Assistant Professor of Visual Studies at The New School.
"Zig Zig opens with five women sitting behind desks in a row at the back of the stage. One plays the violin, another reads an archival document that sets the scene, and the others mime leafing through documents. I liked this set-up. They move around and return to the desks, combining dance, song and acting. Each play different roles at different moments, reading from the archives, reflecting on them, acting as the military, the native prosecution or the women themselves giving testimony and answering harsh questions in the British military court."
An administrative court has annulled a ministerial decision to grant powers of arrest to the musicians and actors syndicates, according to the Egyptian Center for Economic and Social Rights (ECESR). Last September, then-Minister of Justice Ahmed al-Zend issued a decree granting six council members of the Actors Syndicate – including the syndicate’s president and secretary general – judicial police powers, to be used in instances where the laws regulating the syndicate, its memberships or artistic production have been violated.
"On 25 January 2014, thousands of people gathered in Tahrir Square to celebrate the third anniversary of the Egyptian revolution. On that day, only the supporters of the army and the actions of its commander in chief were admitted into the square. The Muslim Brotherhood and opposition protests taking place in the vicinity were immediately crushed with tear gas and live ammunition. The proximity of the celebrations and the killings led many journalists to call it a day of 'death and dance'. The festive crowd was likened to a 'hysterical choir of fear'."
Nasser, a documentary by director Jihan El-Tahri, was recently screened as part of the Museum of Modern Art’s “Doc FortNight 2016” in collaboration with the African Film Festival. Nasser is the first part of the already completed trilogy, which further interrogates the eras of Anwar El-Sadat and Hosny Mubarak, “Egypt’s modern Pharaohs.”
Youssef Nabil’s hand-coloured homage to Egypt’s Golden Age and the art of the belly dancer. Nabil’s oeuvre is an act of self-preservation, but also an act of preserving a history beyond that of his own: the history of a country and culture