<a href="https://egyptiandispatches.blogspot.com/">Egyptian Dispatches, by Stephen Perkins (USA)</a>
Egypt, Revolution, Armenians, Street Art
This <a href="https://egyptiandispatches.blogspot.com/">blog</a> documents two trips I took to Cairo, Egypt, in 2013 to visit my Armenian-Egyptian and American wife. Things were tense in this period as the reaction to the Muslim Brotherhood's new government was taking hold. Intertwined within the larger political situation were my more personal experiences as both a visitor to Egypt as well as a newly widowed husband making arrangements to bring his wife back home to the USA.
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egyptiandispatches.blogspot.com
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Blog
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A Sacred Stone, by Wael Darweish (Egypt)
Habibah Sheikh, Mediterranean Fire, Mediterranean Art, Egyptian Art, Mitli Mitlak, Contemporary Art, Arab Art
This work was created in response to poetic texts written by Habibah Sheikh, a nomadic performance artist originally from Lebanon, and the curator of the Mitli Mitlak exhibition. In the text, a character named Ruba experiences the destruction of war first hand and becomes a refugee in the process. The use of imagery of violence evokes the emotional and physical vulnerability of certain Mediterranean themes...such as being without asylum.
Act 1, Scene 1, Mitli Mitlak (Like You, Like Me):
(In the mirror) What do you want from me??
If it's a baby...can’t give you one...
Imagine how ugly it would be...
That led to poverty, fear, and shame.
(In the mirror) You whore! You like being a whore, don’t you?
You belong to me. You are my slave.
I'm going to kill you.
Her legs are stuck together
She stays close to the floor...
He whispers in her ear, ‘I hate you.
I hate you. I hate you.’
---------------------------
Darweish’s work is concerned with the changing perceptions related to the continuous social metamorphosis that Egypt has experienced as an African, Arab and Middle Eastern country. He explores issues of colonization and liberation and the contemporary constraints of time, diaspora, gender, and identity.
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=46&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mitli+Mitlak+%28Like+You%2C+Like+Me%29">Mitli Mitlak (Like You, Like Me)</a>
jpeg., 20 x 26
English
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Arab Spring 1, by Hani Alqam (Jordan)
The works in Hani Alqam’s Arab Spring series were created in response to poetic texts written by Habibah Sheikh, a nomadic performance artist originally from Lebanon, and the curator of the exhibition, Mitli Mitlak. In the text, a character named Ruba experiences the destruction of war firsthand and becomes a refugee in the process.
Alqam’s Arab Spring series uses Arabic alphabet characters layered discordantly, to portray feelings of pandemonium. This painting is a landscape of war, in which the character, Ruba, in Act 1, Scene 1 of Mitli Mitlak, sees outside her window.
“Come to the window...
Look outside,
Hot tanks on the street,
Mounds of rubble,
The building collapsed from top to bottom,
Over flooded narrow streets.
Oh Father, my burned city, the bloodshed of when our homeland was seized.”
(Above text taken from the Miller Art Museum Exhibition Description, 2019)
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=46&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Series%3A+Arab+Spring">Series: Arab Spring</a>
jpeg., Acrylic on Canvas.
English
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Arab Spring 2, by Hani Alqam (Jordan)
<p>The works in Hani Alqam’s Arab Spring series were created in response to poetic texts written by Habibah Sheikh, a nomadic performance artist originally from Lebanon, and the curator of the exhibition, <em>Mitli Mitlak</em>. In the text, a character named Ruba experiences the destruction of war firsthand and becomes a refugee in the process.<br /><br />Alqam’s Arab Spring series uses Arabic alphabet characters layered discordantly, to portray feelings of pandemonium. This painting is a landscape of war, in which the character, Ruba, in Act 1, Scene 1 of <em>Mitli Mitlak,</em> sees outside her window.</p>
<p>“Come to the window...<br />Look outside,<br />Hot tanks on the street, <br />Mounds of rubble, <br />The building collapsed from top to bottom, <br />Over flooded narrow streets. <br />Oh Father, my burned city, the bloodshed of when our homeland was seized.”</p>
<p>(Above text taken from the Miller Art Museum Exhibition Description, 2019)</p>
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jpeg., Acrylic on Canvas.
English
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Art as Resistance: A Story from Immigration Detention, by Sarah Turnbull, Joanne Vincett, and Gabi Fröden (UK)
This public engagement project aims to foster public awareness of the lived experiences of people who are separated from their families and made vulnerable and marginalised by the state in indefinite immigration detention in the UK. Through storytelling and illustration of ethnographic data from research conducted in British immigration detention centres by Sarah Turnbull and Joanne Vincett, it also aims to innovate in how research is disseminated and shared both within and beyond academia. <br /><br />There is a lack of public awareness that the Home Office regularly detains foreign nationals and those seeking asylum “on the spot”, without notifying them how long they will remain detained or if they will be released or removed/deported from the UK. Mental health issues developed from confinement and uncertainty are further compounded by the Home Office’s policy to detain people without a maximum time limit. <br /><br />The narrative and illustration crafted in this project draw on a visual-tactile aspect of how people cope with immigration detention and resist its damage to their mental health that both Sarah and Jo observed in their separate ethnographic research projects. The practice of origami art (paper folding) in immigration detention was found to be particularly prevalent amongst female detainees in Yarl’s Wood Immigration Removal Centre. “Art as resistance” is a story of how detained women practice origami art, and transfer this knowledge to new arrivers, to counter the harmful effects of immigration detention on detained people and their families.<br /><br />For more on this project, see: <br />
<ul>
<li>Online project profile via The Open University, Milton Keynes, UK <a href="http://www.open.ac.uk/ikd/research/migration-forced-displacement/art-resistance-story-immigration-detention">http://www.open.ac.uk/ikd/research/migration-forced-displacement/art-resistance-story-immigration-detention</a>, August 2019 </li>
</ul>
<ul>
<li>The Open University Research news article, 8 October 2019, <a href="http://www.open.ac.uk/research/news/new-creative-resource-engaging-public-about-mental-health-and-immigration-detention">http://www.open.ac.uk/research/news/new-creative-resource-engaging-public-about-mental-health-and-immigration-detention</a></li>
</ul>
<ul>
<li>Blog via Border Criminologies at University of Oxford, Oxford, UK, (<a href="https://www.law.ox.ac.uk/research-subject-groups/centre-criminology/centreborder-criminologies/blog/2020/01/public-engagement">https://www.law.ox.ac.uk/research-subject-groups/centre-criminology/centreborder-criminologies/blog/2020/01/public-engagement</a>), 10 January 2020.</li>
</ul>
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PDF and animated GIFs
English
Image with accompanying text
AAR220
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Ashrama - What is your refuge?, by Aashray Harishankar (USA)
Refuge, Installation, Art, CalArts, Sound Art, Tapestry, Projection Art
"Ashrama" is an immersive, multi-disciplinary installation exploring refuge in our daily lives. Through collaboration on immersive surround soundscapes, video, projections, light, art, environment design, sound stories, writing, and many other forms of expression, Aashray connects the varying perspectives on life through a shared desire and need for comfort and security. This video documents the first iteration of "Ashrama", presented at California Institute of the Arts in Los Angeles, CA.
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https://youtu.be/u6u-d-Jkb7s
Aashray Harishankar is a composer, audio engineer, creative director, and keyboardist with musical foundations in Carnatic (South Indian classical) keyboard, media scoring, and electronic music production. With a BA in Music & Technology from Stevens Institute of Technology, and an MFA in Music Performance & Composition at California Institute of the Arts, Aashray has focused his pursuits in the art of sonic exploration and innovation in immersive audiovisual experiences. He has established himself as a pioneer of such technology as the ROLI Seaboard (a keyless keyboard), and has collaborated on a wide variety of works in film, television, animation, dance, music, and art installation. Spurred by his diverse background in the arts and technology, Aashray envisions future projects that will bring together artists and scientists alike to tackle solutions to real-world problems through a combination of creative and technical thinking.
His newest project, “Ashrama”, is an immersive installation piece that explores the idea of refuge and the basic need of all humans to be sheltered and cared for. It explores refuge as it exists in our environment, in people, nature, things, ideas, music, dance, technology, etc. The project explores both the physical and mental need for comfort and shelter from the chaos of the world around us, and aims to open our eyes, ears, hearts, minds, and bodies to the lives of others, to their struggles and refuges. “Ashrama” eventually intends to deliver tangible change to those who are without refuge, whether physical or mental. It aims to not only bring awareness but to support those who are literally or emotionally unhoused, to give them a refuge to re-balance and revitalize their life energy.
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Tapestry Design - Pablo de Larrañaga Aramoni
Centerpiece Design - Charlie Jacobs
Scenic Design - Teresa Piecuch
Scenic Design - Askia Vargas-Toure
Lighting Design - Alejandro Melendez
Choreography - Livya Howard-Yashar
Film - Nehemiah Luciano Stark, Irene Gil Ramon, Lara Kurdoglu, Manuel Inacker</a>';
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YouTube Video
English
Installation Documentation
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=BB3+Soundstage%2C+California+Institute+of+the+Arts%2C+Valencia%2C+CA%2C+USA%2C+4%2F29%2F22+-+5%2F1%2F22">BB3 Soundstage, California Institute of the Arts, Valencia, CA, USA, 4/29/22 - 5/1/22</a>
Asylum in Art: A Photo-Narrative Exhibition by Maria De Angelis and Jeremy Abrahams (UK)
‘Asylum in Art’ is a photo-narrative exhibition taking the audience on an experiential tour of lived reality. Asylum in Art shines a lens on what life is like inside a British Immigration Removal Centre (IRC) and beyond release into a community in Leeds, West Yorkshire. <br /><br />The exhibition is a photo-narrative of 11 photographs visualising the primary narrative research of Maria De Angelis in photographs by Jeremy Abrahams. At its heart, photo-narrative captures the tension between the institutional IRC (tasked with detaining and deporting those without papers) and the gendered, cultural, human face of detainees hidden away inside it. Using a photo-narrative method, the exhibition reflects key narratives across detention experience: Amongst them - a lack of institutional legitimacy; its modern slavery typology; its carceral practices, its netting of poor people of colour; counter-conduct and belonging both within and beyond IRC walls. Due to women’s ongoing asylum claims, women did not want to feature in their own photographs. Therefore, to protect participants, all the actors are students or colleagues from Leeds Beckett University. <br /><br />Asylum in Art is a collaborative project with Critical Friends from City of Sanctuary; Refugee Education Training Advice Service (RETAS); Toast-Love-Coffee café; Asmarina Voices; Hinsley Hall; and Universities Chaplaincy in Leeds. It is based on the collective experience of 15 former detainees - truly remarkable women whose generous sharing of stories has made the exhibition possible. Given that women cannot take photos inside these Centres, photographs are artistic representations of key lived moments, as narrated by women, and negotiated between women, critical friends, researcher, and photographer in the attempt to show the experience the women wished to tell. As it takes the audience on an experiential tour into the lived reality of detainees, it becomes an interactive process. Art as witness to trauma and resistance encourages all of us to think through oppressive dynamics imposed on people by the State and its institutions so we are better equipped to understand <em>our</em> place in asylum practices and <em>our</em> capacity for social change.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=39&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Maria+De+Angelis%3A+Leeds+Beckett+University+in+partnership+with+Jeremy+Abrahams%3A+Photographer">Maria De Angelis: Leeds Beckett University in partnership with Jeremy Abrahams: Photographer</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=47&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%C2%A92020+Maria+De+Angelis+%26+Jeremy+Abrahams.+All+rights+reserved">©2020 Maria De Angelis & Jeremy Abrahams. All rights reserved</a>
PDF. Original format = 30 inches x 30 inches
English
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Leeds%2C+UK.+The+bricks+and+mortar+exhibition+was+hosted+by+the+Leeds+Church+Institute%2C+Leeds%2C+between+12-16+October+2020">Leeds, UK. The bricks and mortar exhibition was hosted by the Leeds Church Institute, Leeds, between 12-16 October 2020</a>
Athlone DP Centre, by Vukašin Nedeljković (Ireland)
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Atlantic View Direct Provision Centre, by Vukašin Nedeljković (Ireland)
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Birchwood House Direct Provision Centre, by Vukašin Nedeljković (Ireland)
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Waterford City, Ireland
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