The Arabist

The Arabist

By Issandr El Amrani and friends.

Posts tagged art
High art and hard labour in the Gulf

This is form my review in The Nation of the book The Gulf: High Art/Hard Labour (edited by NYU professor Andrew Ross) which chronicles the boycott of the Guggenheim Abu Dhabi museum by the artist-activist collective Gulf Labour, in solidarity with the constructions workers building the museum. Below is some of the artwork included in the book. 


By asking, loudly and repeatedly, “Who’s Building the Guggenheim Abu Dhabi?,” Gulf Labor punctured a convenient silence. Its other accomplishments are less clear. The Guggenheim pledged to respect workers’ rights and to house its laborers in a purpose-built model facility on Saadiyat. A field visit by Gulf Labor members in 2014 found that the camp was outfitted with Ping-Pong tables and a pristine cricket pitch, but it was also isolated and sinisterly regimented (the workers also complained that the food was terrible). Thanks to Gulf Labor and other groups, there is much greater, if superficial, international awareness of the plight of migrant workers in the Gulf, with newspapers regularly reporting, for example, on the number of Nepalese workers dying in Qatar on future World Cup construction sites. But as the artist-activist collective itself notes, despite meetings and assurances, the Guggenheim and the Emirati development company building Saadiyat “have yet to deliver any tangible results on behalf of workers,” who “continue to pay recruitment fees, to be forced into different jobs at lower pay than they signed up for, and to be controlled through the kafala system,” in which they are beholden to all-powerful local “sponsors.” 
In the spring, Raad, Ross, and the Indian artist Ashok Sukumaran, another member of Gulf Labor, were banned from entering the UAE. Western cultural institutions with branches in Abu Dhabi expressed no indignation over these bans, seeming to justify Ross’s claim that “far from promoting liberalization of speech, the presence of the museums and the university appeared to be generating exactly the opposite effect.”
The construction of the Guggenheim itself has been delayed, but not derailed. Given the creaky state of Western economies and public spending on the arts, Qatar and the UAE are clearly set to become significant patrons of international culture. It’s a good investment for them, one that will burnish their image and create strategic links with the West. And the new prizes, museums, and other cultural institutions recently established in the Gulf provide an important support to Arab writers and artists, especially as traditional cultural capitals like Baghdad, Damascus, and Cairo totter or collapse. For many young academics, artists, and other white-collar professionals from the West, taking a job in the Gulf is also an opportunity that, in a spotty academic job market, can be hard to pass up. Defenders of -Saadiyat and similar ventures will say that art has always been patronized by elites, that it faces and weathers censorship everywhere, and that there’s a whiff of Orientalism behind the endless denunciation of oil sheikhs buying “our” culture. 

American Qur'an

The artist Sandow Birk spent 9 years handwriting and illustrating an American Quran, featuring scenes from his native California. From the artist's site: 

At a time when the United States was involved in two wars against Islamic nations and declared itself to be in a cultural and philosophical struggle against Islamic extremists, American artist Sandow Birk’s latest project considers the Qur’an as it was intended – as a universal message to humankind. If the Qur’an is indeed a divine message to all peoples, he ponders, what does it mean to an individual American in the 21st Century? How does the message of the Qur’an relate to us, as Americans, in this life, in this time? What is this message that we have spent so much blood and treasure fighting against, and how can the message of the Qur’an be applied to a contemporary American life? In short, what might the Qur’an mean to contemporary Americans?

 I love this, and you can see it all here. HT Simon. 

Palestinian iconography

The Palestine Museum -- a new museum that should open in Birzeit in 2016 -- has created a collection of images that mash up contemporary photographs with Baroque religious paintings. (Another series, also at this link, juxtaposes photos from the refugee camps today and decades ago). 

The Deposition (c. 1507) Raphaello Sanzio da Urbino 

Photo: Israeli soldiers kill a Palestinian and detain others, downtown Ramallah. 31 Mar. 2002 

byAlexandra Boulat

Art in Cairo
photo 1.JPG
Details of Clash of Forever, Ganzeer, from the Cairo Berlin show, sponsored by the German Embassy in Cairo

Details of Clash of Forever, Ganzeer, from the Cairo Berlin show, sponsored by the German Embassy in Cairo

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Freedom is Coming, Lara Baladi, Townhouse Gallery

Freedom is Coming, Lara Baladi, Townhouse Gallery

Discarded, Hoda Lutfy, Townhouse Gallery

Discarded, Hoda Lutfy, Townhouse Gallery

PostsUrsula Lindseyegypt, art
A dictionary of the revolution

Artist Amira Hanafy -- whose work I've written about here before -- is doing a kickstarter campaign to raise money for her next project, a dictionary of the revolution. She will travel around the country soliciting people's definition of various terms that have come into heavy use in the last years. 


From a press release about the project: 

“I’m not interested in creating one uncomplicated narrative for the revolution,” says Hanafi. “You could say, I’m not interested in “the Truth”. Instead, I’m interested in the truths that people believe. Egypt’s population is around 85 million. That means 85 million unique perspectives, 85 million truths. For one unique and incredible moment, it seemed that a great majority of those people were in agreement on what the country needed. But what’s happening in Egypt today is a clash of many truths. I’m interested in documenting the complexity of this moment.”