In this review from Amman, Kyle Craig looks at an exhibition of work by Jordanian artist Mahmoud Al Rifai, whose work presents urban landscapes, in Jordan as well as throughout Europe, created in pen and watercolour and then digitally manipulated., Gülsün Karamustafa's retrospective exhibition, currently on display at Berlin's Hamburger Bahnhof.
With 110 works dating back to the 1970s, from paintings, installations and videos, this thematic retrospective offers a multi-temporal, multi-layered insight into Karamustafa's practice, which has consistently dealt with the traumatic affects of nation building in Turkey.
'Based on short stories by Mohamed Mustagab, an Egyptian author...
Shawky adapts Mustagab's prose in a startling and sometimes deeply unsettling way...a dystopian world in which tradition has gone sour.', curated by November Paynter, for Dirimart's recently-opened space in Istanbul.
Art et Liberté: Rupture, War and Surrealism in Egypt (1938–1948) at the Centre Pompidou in Paris is the culmination of six years of research, initiated by guest curators Sam Bardaouil and Till Fellrath.
On display is a comprehensive exhibition about the Egyptian Art and Liberty group (A&L) – an eclectic group of artists, writers and intellectuals prominent in the 1930s and 1940s.
The exhibition examined the plasticity between word, idea, and image, juxtaposed as discrete visual systems to challenge the increased sense of a homogenous global identity., looks at the sky and contemplates receiving salvation in space, a supposed no man's land, in the exhibition Space Refugee at Neuer Berliner Kunstverein Berlin.
This exhibition of new work is premised on sending refugees to Mars and researching the potentiality of starting a civilization from scratch.', at the NYU Abu Dhabi Art Gallery and finds that it is presented with 'a lack of contextualization [that] places the show within a very post-internet critique: the idea that the artwork's circulation helps determine its very meaning or political potential...
is the latest exhibition by Hassan Khan, at Beirut Art Center.
And so, a work of art [becomes] an index of its own tradition.'Dubai-based Vikram Divecha is one of the few artists working in the Middle East whose practice is socially engaged.
Inspired by the urban expansion in the UAE, Divecha regularly collaborates with institutions, infrastructures and communities, identifying and capitalizing on hidden seams within these systems to work to disrupt the status quo.
Contributing artists were mentored by curator Nat Muller, to produce artworks initially displayed in a traditional house in Ramallah during Qalandiya International in 2016.'It is in the digital realm, in the dissolution of territory and nation, where art and ideas are made free, or so informs the concept proposed by Beyond Boundaries: Art By Email, an exhibition that brings art from the Middle East to the North of England.' Siobhan Forshaw examines the exhibition and reflects on its questioning of the function and efficacy of border procedures, and its limits on creativity.'The importance of expanding Qalandiya International to other cities lies mainly in re-thinking what constitutes Palestinian art, as well as how artists in the diaspora choose to connect with their Palestinian artistic and political identity,' writes Yazan Ashqar, in this review of Laura Cugusi describes '[t]he eerily quiet upward alleys of the Ixelles neighbourhood in Brussels', home to La Loge, an art space hosting the second chapter of the eighth edition of Meeting Points, Both Sides of the Curtain, which ran from 7 to 17 December 2016.
The first chapter took place in Cairo in May 2016, and the third will be held in Beirut in April 2017.