We are, I am, you are by cowardice or courage the ones who find our way back to this scene carrying a knife, a camera a book of myths in which our names do not appear* The clearing. We find ourselves in the wreck, once again and then again. A perpetual crisis that leaves us […]
During the summer of 2014 I traveled to Israel for six weeks under the auspices of an Artport curatorial residency to work with artist and historian Dor Guez. It was a rather open-ended visit as far as a concrete collaboration was concerned. We had met before, both in New York and Israel, and decided we […]
“Perhaps, the moon landing was one of the most demoralizing events in history” Robert Smithson “We are being exposed to a catastrophe of meaning. Let’s not hurry to hide this exposure under pink, blue, red or black silks. Let us remain exposed, and let us think about what is happening to us: Let us think […]
What are some novel ways of understanding the Earth along with soil, water, air and ecosystems surrounding us in the age of climate change? How do we as artists, researchers and cultural programmers connect with indigenous knowledge in the contemporary context? How does our engagement with indigenous knowledge help us grasp such a global phenomena […]
Can inner liberty wait for institutions, states and authoritarian structures? In her letter to an editor friend Fawwaz Traboulasi – initially meant to be an essay on feminism for the Zawaya magazine’s Arab Women issue – Etel Adnan describes different forms of freedom.
Frankly, dear little dove, you and I should have met well before our unrecognized lives turned into hell, not now! Not restrained by the evil frame of this video, in slight showers every now and then, in the sunshine afterwards, when rainbows appeared among the flocks of white clouds like your feathers, without the war evoking the peace and the peace evoking the war.
Artist Simone Fattal responds to the issue’s title Freedom is a State of Mind, an Etel Adnan quote that lends itself to the issue’s title, with collages from a decade ago. Simone’s collages weaved together here with her co-contributor Etel’s poems from the book titled The Indian Never Had a Horse and Other Poems (1985) and presented online in such a context for the first time provide a multilayered visual and literary reading of brief moments of escapes in everyday life.
With this hope in my mind, I look at the ghostly emptiness in the sea in Khaled Barker’s Untitled Images – Repetitive Patterns (2015), presented publicly for the first time here in Act of Excision. The absence of the bodies in Khaled’s most recent images, produced as a response to this issue’s theme and that expand on his 2014 Untitled Images series, is meaningful. It refers to turning a blind eye to something that exists ‘far away’ and that these bodies are no longer alive, calling to mind Susan Sontag’s seminal book Regarding the Pain of Others (2014)
Lebanon-born, New York-based artist, writer and lecturer Walid Raad’s practice is instinctively nourished by the tension between two acts of human nature: preserving and destroying. Dealing with the codes, forms and languages derived from the Western models of museology with a skeptical attitude and context-sensitive approach, Raad questions their location, geographical reality and historical validity […]
The progression of a day is charted through the passing of time, visually marked by the changing presence of light that feeds cyclical processes of growth and renewal. Sunlight bookends its beginning and end, while moonlight can appear unannounced. Much like the sequential passing of a day, George Awde shoots in serial rhythms, sectioning together moments across days, weeks, and years to write an expanded image-based narrative of existence in times of extreme political and social unrest.