How does one try to lead a different way of looking at things? It’s not about feeding the bourgeois discourse of Bataille or Barthes, my drawings are about solitude, about the inability to transfer eroticism between different social classes.
I started to do more research (…) there is always an interrelation between sound effects and experienced events; people describe sounds as eggs cracking or watermelons smashing.
Lawrence Abu Hamdan, Earwitness Inventory (detail) (2018). Commissioned and produced by Chisenhale Gallery, London in partnership with: Witte de With Center for Contemporary Art, Rotterdam; Contemporary Art Museum St. Louis; and Institute of Modern Art, Brisbane. Courtesy of the artist. Photo: Andy Keate.
Editor-Researcher Denise Clarke explores the role and nature of artistic research practices in the extra-commercial exhibitions and activities at Abu-Dhabi Art 2018.
Setareh Fatehi // Shahrzad Irannejad
Bodiless Heads is a metaphor, a hypothesis, an imaginary state that relates to the evasive, multi-layered cultures of courtesy evolved over time particularly, but not exclusively, within Iran’s [cultural] borders.
Utopian as all this might sound, Tate’s conference was not all about hazy reminiscence and vague hagiography (…), a central concern became the merits or otherwise of large conferences as representing state/institutional voices vis-a vis grassroots organisations, non-institutional voices.
The Atlas Mountains, Maghreb
Potential Archeologies is a research project inscribed in Haythem Zakaria’s practice, which reflects specifically on the multiple possibilities of looking at the Atlas Mountains through landscape and mythology.
Setareh Fatehi and Shahrzad Irannejad (Iran) perform ideas, bodies and movement at major migration conference in the UK.
Movement and Migration in the Middle East
Islamic and Middle Eastern Studies
University of Edinburgh, July 2017
In movement…is a series of experimental proposition for the conceptualisation of a digital platform.
The anthropologist Bernard Muller accounts how he explored the uniqueness of an original practice, which goes beyond traditional research frameworks.
Interview by Dr Annabelle Boissier, 2017
A collaborative dissertation project with King’s College London and Arts Cabinet.
Klara highlights the complexities of the context through which independent organisations like Arts Cabinet identify alternative modes of collaboration and exchange transnationally.
Tourab, Syria Art in Brussels
Svetlana Sequeira Costa interviews Arts Cabinet Advisor Alma Salem, as she opens Tourab in Brussels, an exhibition sponsored by Goethe Institut and designed to provoke, challenge and give voice to unheard and vulnerable individuals in Syria and the world.
Brussels, April 2018
In this piece, Dr Erik Vlaeminck examines the phenomenon of cultural relations in Siberia through the lens of the practices of four visual artists, and questions whether these can influence the role of culture in international relations.
Politics always come first. We are not able to just start to look at art practices and simply see how they produce imaginary settings in which people are creating political and other possibilities. Once more, it’s the agency of art that is underestimated.
Dr Annabelle Boissier interviews Art Anthropologist and Historian Kirsten Scheid, 2017
Art certainly does play a part in knowledge production: we understand a lot about our being in the world and our cultural histories through art.
Dr Laurie Benson interviews Lola Frost about the relationship between her own artistic practice and research.
Only through close interactions between civic societies can genuine cultural exchange can take place.
Image: The Diplomatic Academy of the Ministry of Foreign Affairs of the Russian Federation, Courtesy Erik Vlaeminck