Abu-Dhabi Art 2018: Thoughts on the invisible and the intangible

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. Inherent in the artworks discussed in this essay, is the imperative to question, to probe to challenge knowledge and to partake in the negotiations between the representable and the intangible, the visible and the invisible. They engage with knowledge in a variety of ways to focus on its production and its loss, it’s retrieval and documentation and its multifarious mutations.

Photographs from the ongoing project Odysseus, by the artist Tarek al-Ghoussein, courtesy of the artist.

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An Enquiry in Identity, Politics and Artistic Practice in Siberia: Artists’ Portraits

In February of this year, an ongoing research project was initiated between researchers of the University of Edinburgh and the University of Tyumen. As part of the project which dealt primarily dealt with the phenomenon of cultural relations in the context of Siberia, in-depth interviews were conducted with four local artists.

Image:

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The Agency of Art. When will we take art seriously?

As part of our ongoing commitment to the MENA region, we are developing an interview series with Art Historians and Curators who chose to devote their career to the promotion of Middle-Eastern and North African art. Our aim is to give their work more visibility and to create links between them as part of a growing network.

Image: The Arab Nude: The Artist as Awakener @Kirsten Scheid

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Living in Exile: Far From Home by Paphonsak La-or

Far From Home connects and compares the two sensations of being away from home, one of the ruling elite of the early twentieth century, another of the commoners who currently struggle to survive. A writing of an unnamed exile individual that appears on the art book Far From Home 2017 encapsulates the difficult situation in which most of them have confronted when fleeing from Thailand.


Image: Paphonsak La-or, Far From Home, exhibition view at ARTIST + RUN in Bangkok, Thailand, 2017 @Thanavi Chotpradit

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Fieldwork as a convivial and undisciplinary practice

In this interview for Arts Cabinet, Bernard explores the uniqueness of an original practice, which goes beyond traditional research frameworks. Based on is personal experience, he provides an overview of situations that may lead researchers to open their practices to art and describes the obstacles they face inside the academy, their traditional space of action.

Image: Azé Kokovina, The clown, Lomé, 2013. @Gaétan Noussouglo

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Egyptian artists know the art of their world well, it's us who don't know it!

As part of our ongoing commitment to the MENA region, we are starting an interview series with Art Historians and Curators who chose to devote their career to the promotion Middle-Eastern and North African art. Our aim is to give their work more visibility and to create links between them as part of a growing network.

Image: Nadia Radwan on a study trip with her students, Pera Museum, Istanbul, June 2016. Courtesy © Nadia Radwan

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Reconsidering Culture in Times of Trouble: A Call for Re-conceptualization of Russian-EU Cultural Relations

Going beyond traditional methods of foreign cultural diplomacy, our definition of cultural relations is characterised by an increased focus on cultural communities and initiatives coming from within civic society, rather than from governmental circles. Only in close interactions between both civic societies can genuine cultural exchange can take place, as this enables all actors to avoid the well-known obstacles, and to lay the foundation for interstate cultural cooperation characterised by mutual understanding and dialogue, rather than by repulsion.

Image: The Diplomatic Academy of the Ministry of Foreign Affairs of the Russian Federation, Image ©Erik Vlaeminck, 2017

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EssayErik Vlaeminck
What is art and research?

Art and research is not only a matter of free collaboration between artists and researchers. Since 2008, it’s a political, educational, bureaucratic issue in Europe. On this matter, French debate is extensive. Is it because of the history of art education in this country.

Image: Open doors at the Ecole des Beaux Arts, Atelier Alberola ©Ludmilla Barrand, Instagram @psacparis

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