While exploring problematic issues such as European co-production for Arab art films, including their relation to cultural identity and their reception in the region and abroad, this new edition introduces readers to some of the most compelling cinematic works of the last decades. Despite dictatorship, international sanctions, and the ravages of war, Baghdad endures with a surprisingly exceptional modern architectural heritage. Look Inside Revolution Graffiti. English edition pp. Add to Wishlist.
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Download Nulled WordPress Themes. The Churches of Egypt Art and Architecture The curators fixed the sections, made their suggestions, and then we as editors were the ones checking if motifs were repeated or reappeared later, i. We selected these images and suggested presenting them. It was essentially our task to make their chains visible, to show how pictures circulate, not only depicting events but also provoking new events. One video shows this in a nutshell. Mohammed, a young street vendor, explains why he decided to take to the street. While the video The Politics of Bread shows these scenes it also tells another story of web-images: a young man, Mohammad Mounir, was arrested and during interrogation he was beaten unconscious.
A policeman filming with his mobile phone showed how during interrogation money was taken from his pocket. He uploaded the recording in order to denounce the young man as a paid agent of the state. In this single video, Philip Rizk brings together the different valences and qualities of the internet. In these documents such chains of pictures, pictures that initiate actions, become very visible. The exhibition, as well as the catalogue, are both constituted by such comparative juxtapositions.
And as a result digital and analog, online and offline presentations are interwoven — a picture becomes a graffiti in the city space, which again is photographed and uploaded on the internet or published in newspapers. In November , many protesters died in this street, which then reappears at many other sites in graffiti. At the same time, for many young Egyptians the street is a preferred location to pose for pictures that they then upload on the internet.
By carefully looking at the book it becomes apparant that this interlocking of the street, internet, digital image culture and Facebook pages is of great importance. There is one chapter in the book about one of her actions: after January 28, , one of the most bloody days of the rebellion, she started an appeal on her Facebook page and asked people to send her pictures taken that day. In the collection that resulted from her call the various aesthetics we have already mentioned reappear, from blurry pictures taken with mobile phones to press photographs taken with a good camera. Is the classical form of testimony that was based on a relatively direct indexicality of the photographic replaced by the interlocking of platforms?
If so then there are no longer authors of the images but a vague authorship — can we identify this authorship with the curator or with a concept? The longer we worked on this exhibition, the clearer it became that we can no longer think in binary categories. On the one hand there are the Flickr albums, the reactions to them, the comments, the eyewitness videos on internet platforms.
Egyptian revolution of 2011
But on the other, there is also something like the auteur, such as the Cairo based French photographer Denis Deilleux, who went to the different districts to photograph the relatives of the deceased. This is clearly the position of a photographer who is working with an analog medium-format camera with a book project in mind. Hence, there is this juxtaposition of various qualities of testimonies. We approached this exhibition more as photography historians than as media scholars thinking about intermediality and the internet.
For us, it was more important to show the images themselves and their juxtaposition.
Transcript - Revolution in Cairo | FRONTLINE | PBS
Photo: Manuel Reinartz. The difference you described between the pictures by professional or amateur photographers becomes apparent in the exhibition. But at the same time the pictures are all journalistic — they could have been made at another occasion in a similar way — because they are crucial for the local distribution of information. That is exactly what we tried to show. Everything these pictures communicate locally concerns one specific day, and is produced by for instance as many as eighteen photographers all working for the independent newspaper El Shorouk.
Here in our media this practice no longer exists. In addition, for the Egyptian producers of these pictures it is a question of attitude, of commitment, and of claiming: There is no separation; I am part of the movement. The producers of pictures here are definitely young people who are not professionally trained photo- journalists, but nevertheless their role models are great photographers. Accordingly, we showed the whole thing — clipped to the wall with magnets instead of with passe-partous in frames.
But they nevertheless try the same thing as classical press photographers; to compact the events and to communicate them in one picture. Even though not every photo is technically compelling, the pictures do possess their own quality and are oftentimes more affecting and fascinating than the pictures taken by western photojournalists who subordinate everything to their aesthetic concept. Did the representation of violence pose a problem? Some areas in the exhibit could only be entered by those over 18, and videostills outside of the video cubicles explained the content of what was shown inside.
Did you debate this question with the Museums?
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Generally, the representation of violence followed the particular policy of the specific museum. At Museum Folkwang the museum and their PR representatives talked to the Essen authorities regarding the terms of display. As I learned afterwards, state security even came and inspected the exhibition looking for politically problematic representations, such as images of the Muslim Brotherhood. It seems there was a great fear that things could have gotten too political, and out of control. Although in this context, one cannot do without images of dead people.
One prominent element of the installation are the images that are neither framed nor projected on a wall, but put on banners leaning against the walls as if they could be picked up at any moment and carried to the next protest march. Each of these shows pictures of images, protesters who carry images themselves, etc.
How should we understand this; as a quotation, as encouragement to participation, or as a reminder of the street? Rowan El Shimi , a young freelance journalist working mainly in the online section of one of the major newspapers curated this part. The idea was to develop together with her a kind of iconography — stereotypes and icons — of the images. The concept of the banners is that these pictures are precisely not outstanding photographs, but images that play a specific role in the protests.
We wanted to stress the public character of these images. Especially when the exhibition was presented in Essen and Hamburg we tried to clearly highlight this pre-history, and the work of Heba Farid shows two aspects of this. One follows our request to present earlier Egyptian photojournalism — which was performed only by a few people who were confronted with censorship — and thus very different from the situation at the time of the Arab Spring. The other was the historical prevalence of photo albums focussing on the identity of the military.
In the young, modern Egypt of the s under president Nasser, but even still under Sadat, the military was seen in an extremely positive light. These photo albums were supposed to show the importance of the military for the pride of the country.
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Public projection of Facebook pages, exhibition view, Museum Folkwang, Essen It is also interesting to see who took part in the shut down. Basically all mobile network carriers took part, but many, such as Mobinil, later used pictures of the square as the icon of the revolution for advertising…. A third stance is taken by the distinctly artistic projects.
How did you want to combine the journalistic and the artistic forms?
Actually, that was the most difficult task. How can those two be brought together? There is one party that is, for various reasons, rather reserved.