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.
Whoever comes into the world, builds a new house his own; He passes, leaves it to a second, Who fits it as the builder never reckoned, And no one lays the topmost stone. –Johann Wolfgang von Goethe Early 2014 while visiting ARCO Madrid for the first time, dealer Sabrina Amrani invited me to visit the […]
In the following fragments, transcribed from actual recordings in Spanish, adding aural and oral elements to a delicate thread of ideas about the nature and future of cities and the urban experience in general, Madrid-based Brazilian artist Marlon de Azambuja – rather experienced with the architectural forms of new cities – sets out in this […]
What does it mean to listen to a city? In order to re-evaluate one’s city for a distant listener’s ears one must remove oneself from any comfortable, lasting perception of a home one feels one knows intimately and set out instead to perceive it anew. A city, more than the spatial sum of its streets […]
In the following fragments, complementary to a selection from serialized photographic essays by the artist, Christian Carle-Catafago will not simply introduce any work, but rather lay out the conditions under which these works were produced, along a thread of memories, historical circumstances and political events, connecting the largely diverging latitudes of the Middle East, Europe […]