Quarterly

Simohamed Fettaka
Simohamed Fettaka

Winter 2014 | Gallery

The vote, Simohammed Fettaka and Omar Mahfoudi 2009, Morocco, 50 min 24, Video Sd, 4/3, color, stereo. Arabic with French subtitles The artist plays the role of the interviewer, it’s a film about the municipal elections in Tangier, 2009, campaign, discussions, interviews, symbols. Who to vote for and why? The machine can only count in […]

Propaganda, Aesthetics and Ruptures
Propaganda, Aesthetics and Ruptures

Winter 2014 | ArteZine

This publication deals thematically with ruptures in a given artistic practice or within a country’s arts history, with special attention to power dynamics in the art world. As a consequence it also deals with propaganda and the role of the state in shaping certain dynamics of power. HaRaKa operates as a non-profit platform for research […]

Reconstituting Identities: Performing Propaganda 1958-1965
Reconstituting Identities: Performing Propaganda 1958-1965

Winter 2014 | ArteZine

There is a certain weariness among Egyptians living now under the rule of a complicit and corrupt military regime. A survey of recent social media and online platforms reveals that  attempts at “propaganda” are commonly judged to be somewhere between “pitiful” and “disgusting”, and inspire an intense negative emotional and intellectual reaction. Some even went […]

Reda Troupe: Once a Gambler, Always a Backbone
Reda Troupe: Once a Gambler, Always a Backbone

Winter 2014 | ArteZine

The Reda Troupe is an iconic Egyptian dance company that survived six decades of Egyptian political history, and Egyptian dance history. The company produced work that raised questions on contemporaneity and tradition, as well as on what are the references of Arab and Egyptian modernism in dance and performance, and how institutions of dance came […]

Resi[lience]stance
Resi[lience]stance

Winter 2014 | ArteZine

One of the first goals of state power, is in controlling the body by direct engineering of the containing space and time. It is often one of the most common scenes to be performed by the stifling regime. (the term “regime” here does not only refer to the political regime(s) as States and/or governments, but […]

Shame
Shame

Winter 2014 | ArteZine

On ruptures and new shifts in the artistic practice of Egyptian visual artist Shayma Aziz “The painting flashed one night through my head, as I was in my studio in Cairo. I was passing some time reflecting on old works of mine, studying how I used to see things”. Artist Shayma Aziz was saying, while […]

Cartography of the Everyday

Fall 2013 | ArteZine

This issue marks the fifth installment of a six-quarter cycle of the Virtual Gallery that spotlights artists from the Maghreb leading up to the 2014 edition of the Marrakech Biennial. Each subsequent gallery will showcase artists who deal with the every day in their work to reveal the conceptual threads and regional connections that underlie […]

The Sea Is This Way: Editorial Note
The Sea Is This Way: Editorial Note

Fall 2013 | ArteZine

“The right to the city is far more than the individual liberty to access urban resources: it is a right to change ourselves by changing the city more after our heart’s desire… The freedom to make and remake our cities is one of the most precious yet most neglected of our human rights.”- David Harvey, 2008 […]

This Sea Is Mine …هذا البحر لي
This Sea Is Mine …هذا البحر لي

Fall 2013 | ArteZine

We met Abu Hussein when we were sitting once at Abu Adal’s kiosk in “Dalieh” in Beirut. He told us that he is one of the ten fishermen who were evicted from their sea-front rooms that were located under the Grand Café, a café on the southern coast of Beirut. These fishermen had been using […]

Bahrain: An Island Without Sea البحرين جزيرة بلا بحر
Bahrain: An Island Without Sea البحرين جزيرة بلا بحر

Fall 2013 | ArteZine

“The sea was neither stolen, nor looted (manhouba). It was bestowed (mawhouba)” Perched on a bench next to a rickety wooden fisherman’s hut by the sea, sits a man in his 60s, wearing a grin and traditional white Bahraini headscarf. Only ten years ago, if the bench stayed where it is now, it would have […]

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