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Daniel Blaufuks B
Daniel Blaufuks b. 1963 Jean-Kenta Gauthier [gallery] [office] [email protected] 5 rue de l’Ancienne-Comédie 47 rue Blanche www.jeankentagauthier.com F-75006 Paris F-75009 Paris 1 Daniel Blaufuks Born in 1963 in Portugal, lives in Libon, Portugal. --- Formation: AR.CO, Lisbon, Portugal, 1989 Royal College of Art, London, UK, 1993 Watermill Center, New York City, USA, 1994 International Studio and Curatorial Program, New York City, USA, 2001-2002 Location One, New York City, USA, 2003 PhD, University of Wales, Cardiff, UK, 2017 Professor / teaching experiences: AR.CO, ETIC, EPI, Maumaus (co-founder), IPA, Atelier de Lisbon, Lisbon, Portugal SESC, Rio de Janeiro, Faculdade de Belas Artes, Lisbon, Portugal Masterclasses in institutions (selection): Consortium, Universidade Católica, Lisbon, Portugal Universidade Nova de Lisbon, Lisbon, Portugal Faculdade de Belas-Artes, Lisbon, Portugal Faculdade de Belas-Artes, Porto, Portugal Universidade do Minho, Braga, Portugal University of Minnesota, Minneapolis, USA Mount Holyoke College, South Hadley, Massachussets, USA Kahn Institute, Smith College, Northampton, Massachussets, USA Hampshire College, Amherst, Massachussets, USA Summer School, Universidade Católica, Lisbon, Portugal Jean-Kenta Gauthier [gallery] [office] [email protected] 5 rue de l’Ancienne-Comédie 47 rue Blanche www.jeankentagauthier.com F-75006 Paris F-75009 Paris 2 Awards and nominations: nomination, Deutsche Boerse Award, 2015 Best Portuguese Documentary, IndieLisboa, 2011 Best proposal, LOOP, Barcelone, 2008 -
Daniel Blaufuks-Paris Photo
Nos 60 anos da Revolução Cubana, Daniel On the 60 years of the Cuban Revolution, Blaufuks mostra nesta edição da feira Paris Photo DANIEL BLAUFUKS Daniel Blaufuks shows a photographic diptych um conjunto de trabalhos em que se destaca um taken after Fidel Castro’s death capturing what díptico fotográfico que representa o que aparenta seems to be an old man’s solitude and ser a solidão e orfandade de um homem idoso orphanhood of this longtime leader. The other depois da morte do líder histórico. Outros works from the series Cuba reveal a trabalhos da mesma série - Cuba - revelam um suspended time as if it were an index of tempo suspenso como se fosse um índice da displacement after the passage of a perda do sentido de pertença depois da transfiguring reality. passagem de uma realidade transfiguradora. The series "The Business of Living”, inspired by A série de "O Ofício de Viver" é um trabalho, Cesare Pavese's diaries, is about the inspirado nos diários de Cesare Pavese, sobre a experience of time and the memories that experiência do tempo e das recordações que remain after the passing days. Living as a restam dos dias que passam. Viver como um ofício, business, as something that requires its own como algo que necessita da sua própria ordem, order, as a task taken place in some office, como se tratasse de uma tarefa em algum sometimes a mechanical and bureaucratic escritório e da necessidade, por vezes mecânica e need, tidying up time: waking up, eating, burocrática, de arrumar o tempo: acordar, comer, thinking, doing, working, sleeping, living. -
Daniel Blaufuks Utz
Sep 22 – Nov 16 2012 Opening— Tuesday to Saturday From 2pm to 7pm September 21 at 10 pm Daniel Blaufuks Utz Av. 24 de Julho, 54–1ºE 1200-868 Lisboa Portugal T/F +351 213950177 www.veracortes.com Text by daniel blaufuks The exhibition “UTZ” presents several recent works of mine, dealing with “SELFPORTRAY”, sole work in video, but equally existing as photographs Lisbon, September, 2012 the history of Photography as a reproduction method and as an object of outside of the show, is a double object based on a double image by Man www.danielblaufuks.com artistic creation. Ray, an artist who experimented fully with his “rayographs”, rediscovering an old technique of setting an object under the light of the enlarger Using different techniques, partly obsolete, such as printing with the to create a copy of its shadow, a positive-negative. It is therefore in help of solar light (cyanotype), stereographs and polaroid, and contrast- direct connection with the other works in the show, including the image ing these with recent ones as inkjet printing and video projection, the of “THE PHOTOGRAPHER”, a contact printed under solar light from exhibition will try do dialogue directly with works by seminal photogra- a found negative. phers, such as Talbot, Niepce and Man Ray, thus establishing connec- tions with the memory of photography itself as a practice and with the Another project for this show is “THE FIRST IMAGE”, a series of fourteen present evolution of the process, from analogue to digital, not only in polaroids in 8.5 x 8.5 cm. -
Austria's Shift to Authoritarian Islam Politics
NO: 40 PERSPECTIVE MAY 2018 Austria’s Shift to Authoritarian Islam Politics FARID HAFEZ • How can we contextualize the initiative for banning the hijab? • What is this ban’s main function? • Is this law just another step of introducing discriminatory laws that treat Muslims differently than other religious groups? • What can the Islamic Religious Community do about these plans? INTRODUCTION The latest legal initiative for banning the hijab While Austria was long known for its inclusion into was initiated by the new Austrian government, which the polity of Muslim institutions by recognizing Islam is a coalition of the People’s Party (ÖVP) under the as early as 1912 and the existence of an authorized re- leadership of Sebastian Kurz, who is a central actor ligious community, a corporate public body, for Mus- in the recent changes of Austria’s Islam politics - he lims since 1979, Austria’s Islam politics have recently was state secretary of integration and then minister shifted to a much more authoritarian relation to its of foreign affairs and integration s-, and the right- Muslims citizens that reflect the tendencies of securiti- wing populist Freedom Party (FPÖ). This also breaks zation of Islam in many countries across the world. with a very loose regulation of the hijab that predat- With the new Islam Act of 2015, the Austrian govern- ed this new initiative.3 ment institutionalized a discriminatory act, which The latest initiative for banning the hijab builds on made Muslims second-class citizens regarding their a long campaign targeting -
Banning Symbols of Extremism in Austria: Targeting Extremism Or Civil Society?
NO: 49 PERSPECTIVE DECEMBER 2018 Banning Symbols of Extremism in Austria: Targeting Extremism or Civil Society? FARID HAFEZ • What is the Symbols Act pretending to fight? • Which forms of “extremism” are ignored? • Who is the act targeting? • What are the act’s possible long-time impacts? INTRODUCTION is framed as a measure to protect Muslim girls from The Republic of Austria is currently governed by a co- premature sexualization. As the responses of the oppo- alition formed by the Christian democratic-conserva- sition show, this strategy works. One strategy is to pre- tive Austrian People’s Party (ÖVP) and the radical right tend to fight “political Islam,” thus not acting against Freedom Party of Austria (FPÖ). Both ministries that Islam and Muslims, but against the “politicized ver- are home to the three secret services (one belonging to sion of Islam.” In this vein, is the Symbols Act serving the Ministry of Interior and two to the Defense Min- what it pretends to deliver? Is really every form of “ex- istry) are in the hands of the radical right FPÖ. Cur- tremism” challenged? Who is the act really targeting rently, the minister of interior is facing huge criticism and what are its possible long-time impacts? after the opposition parties questioned an initiative to illegally dismiss the head of the Federal Office for the WHAT IS THE SYMBOLS Protection of the Constitution and Counterterrorism ACT PRETENDING TO FIGHT? (BVT) and for infiltrating the latter with staff with a After World War II, Austria outlawed symbols of neo-Nazi background.1 National Socialism by issuing the Prohibition Act of Given the stark Islamophobic election campaigns 1947. -
CV 2010! Between Times
Clare Strand CV Born 1973! Living and working in Brighton Uk.! www.clarestrand.co.uk! http://clarestrand.tumblr.com! !www.macdonaldstrand.co.uk.! ! ! Solo Exhibitions! 2015 ! Grimaldi Gavin. london . (Title TBC)! 2014! Further Reading. National Museum Of Krakow. Photomonth, Krakow.! 2013! Arles Discovery Award. Rencontre Arles. France.! 2012! Tacschenspielertrick, Forum Fur Fotografie, Cologne. Germany.! 2011! Sleight, Brancolini Grimaldi Gallery, London.! 2009! Clare Strand Fotographie Und Video, Museum Fur Photograhie Braunschweig,! Germany.! Clare Strand Fotographie Und Video, Museum Folkwang, Essen, Germany.! 2008! Clare Strand Recent Works, Fotografins Hus, Stockholm Sweden.! 2005! The Betterment Room – Devices for Measuring Achievement, Senko Studio. Denmark.! 2003! Gone Astray, London College of Communication, London.! 2000! Wasted, Galleri Image, Aarhus, Denmark.! 1998! Seeing Red, Museum of Photography Film and Television, Bradford, England; Imago! Festival, Universidad Salamanca, Spain; Viewpoint Gallery, Salford, England and! Royal Photographic Society, Bath England.! 1997! !The Mortuary, F-Stop Gallery, Bath.! ! Group Exhibitions.! 2015! A History of Art, Archetecture, Design from the 1980’s until Today. curated by Christiane Macel. Center Pompidou. Paris France.! European Portraits ( working title) The Centre of Fine Arts, Brussels, Bozor, Nedermands Fotomuseum , Rotterdam and The National Museum of Photography in Thessaloniki .! 2014! (Mis) Understanding Photography, Folkwang Museum, Essen, Germany. Curated by Florian Ebner! -
Islamophobia Studies Yearbook Jahrbuch Für Islamophobieforschung 2016
Islamophobia Studies Yearbook Jahrbuch für Islamophobieforschung 2016 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. Alle Rechte, insbesondere das Recht der Vervielfältigung und Verbreitung sowie der Übersetzung, vorbehalten. Kein Teil des Werkes darf in irgendeiner Form (durch Fotokopie, Mikrofilm oder ein anderes Verfahren) ohne schriftliche Genehmigung des Verlages reproduziert oder unter Verwendung elektronischer Systeme gespeichert, verarbeitet, vervielfältigt oder verbreitet werden. © 2016 by new academic press og A-1160 Wien www.newacademicpress.at www.jahrbuch-islamophobie.de ISBN 978-3-7003-1953-5 Cover: Max Bartholl Satz: Peter Sachartschenko Druck: Primr Rate, Budapest Islamophobia Studies Yearbook Jahrbuch für Islamophobieforschung 2016 Vol. 7 Farid Hafez (Ed./Hg.) Editor/Herausgeber: Dr. Farid Hafez Department of Sociology and Political Science, Universität Salzburg Editorial Staff/Redaktion: Fatma Kücük, University of Vienna Sanaa Laabich, University Greifswald International Advisory Board/Wissenschaftlicher Beirat: Prof. Iman Attia Alice Salomon Hochschule Berlin Prof. Klaus J. Bade Historian, Universität Osnabrück Dr. Hatem Bazian Editor, Islamophobia Studies Journal, University of California Berkeley Prof. Wolfgang Benz Zentrum für Antisemitismusforschung, Technische Universität Berlin Prof. John Bunzl Österreichisches Institut -
Graciela Iturbide's Private Universe
Graciela Iturbide’s Private Universe September 24th, 2010 by Cassandra McGrath An ostrich stares indignantly at me, hip jutting out as though I had ditched its Thanksgiving dinner. “What are you doing in this gallery staring at me?” it seems to say. “Why didn’t you bring the cranberry sauce?” Like an exaggerated cartoon version of an image in National Geographic, the ostrich is one of the more vivid subjects in Graciela Iturbide’s most recent exhibition, Graciela Iturbide: asor, ending this week in the Rose Gallery at the Santa Monica Museum of Art. Iturbide once said, “While using my camera I am, above all, an actress participating in the scene taking place at the moment, and the other actors know what role I play.” In “asor,” taken straight from her personal archive, Iturbide creates a fantasy world that explores the terror and joy of childhood solitude. Inspired by her grandchildren and Alice in Wonderland, Iturbide photographed the Southern United States, Italy, India and Mexico, using snippets from each location but nothing identifiable from any of them. Instead, she crafted a new narrative that makes the fantastic pedestrian and the pedestrian fantastic. Clocks and abandoned buildings take on the significance of mythical creatures. In one pair of photographs, two blank eyeholes carved out of rocks peer out at the viewer, observing and saying nothing. Birds gather ominously in the sky like locusts, and in one arresting image, sunflowers are backlit and shot from below, drooping and spiky as Venus Fly Traps. Iturbide plays with perspective: A giant plaster head sits next to a parked car, disorienting any sense of scale. -
Daniel Blaufuks
!1 of !9 Daniel Blaufuks Born 1963 in Lisbon. Lives and works in Lisbon. Education 1989 AR.CO, Lisboa, Portugal 1993 Royal College of Art, London, UK 1994 Watermill Center, New York, USA 2001-2002 International Studio and Curatorial Program, New York, USA 2003 Location One, New York, USA (Currently) University of Wales, UK Teaching Experience : AR.CO, ETIC, EPI, Maumaus (co-founder), IPA, Lisboa, SESC, Rio de Janeiro Awards 2011 Best Portuguese Documentary, IndieLisboa 2008 Best proposal, LOOP, Barcelona 2007 Shortlisted for the Pilar Citoller Award Selected for the Deutsche Boerse Award Best Photography Book of the Year in the International Category, Photoespana BES Photo Award 2006 Nominated for the Albert Renger-Patzsch Award 2002 Best Director, Caminhos do Cinema Portugues, Coimbra 2001 Best Director, Vila do Conde International Short Film Festival 1996 Shortlisted for the European Photography Award 1990 Kodak National Award Jean-Kenta Gauthier | office: 47 rue Blanche F-75009 Paris | [email protected] !2 of !9 Solo exhibitions 2014 ‘All the Memory of the World, Part 1’, Museu Nacional de Arte Contemporânea do Chiado, Lisbon, Portugal ‘Fábrica’, Usina Cultural, João Pessoa, Brasil ‘Entre Imagens’, Vera Cortês Art Agency, Lisbon, Portugal 2013 ‘Fábrica’, CAAA, Guimarães, Portugal 2012 ‘Utz’, Vera Cortes, Lisbon, Portugal ‘Works on Memory’, Ffotogallery, Cardiff, UK (curated by David Drake and Filipa Oliveira) 2011 ‘Três quartos de memória’ (curated by Marcio Doctors), Fundação Eva Klabin, Rio de Janeiro, Brasil ‘Os olhos da -
Flat-Pack Native and Other Pacific Constructions
CARLOS NORONHA FEIO Flat-Pack Native and Other Pacific Constructions Carlos Carvalho Arte Contemporânea, Lisboa 16 de Março a 27 de Abril 2013 | From March 16 to April 27 2013 Imagens da exposição Exhibition views Imagens da exposição Exhibition views Imagens da exposição Exhibition views Imagens da exposição Exhibition views Imagens da exposição Exhibition views Imagens da exposição Exhibition views Por mais que andasse à volta com flat-packs e chaves universais, a única constante era o som do mar | 2013 Parafusos Z1, chaves de parafusos z1, 3 radios, broca 2.5mm, 3 pen-drives, Viroc Bolt Z1, screwdrivers Z1, 3 radios, 2.5 mm drill bit, Viroc | Som do Mar em São Francisco, Som do Mar em Waiheke island, Som do Mar em Díli Sound of Sea in São Francisco, Sound of Sea in Waiheke island, Sound of Sea in Díli Por mais que andasse à volta com flat-packs e chaves universais, a única constante era o som do mar | 2013 Parafusos Z1, chaves de parafusos z1, 3 radios, broca 2.5mm, 3 pen-drives, Viroc Bolt Z1, screwdrivers Z1, 3 radios, 2.5 mm drill bit, Viroc | Som do Mar em São Francisco, Som do Mar em Waiheke island, Som do Mar em Díli Sound of Sea in São Francisco, Sound of Sea in Waiheke island, Sound of Sea in Díli Plant Life of the Pacific World series Native People of the Pacific World: dispositif X | 2013 Conversation on the Heath | Figure 95: Lecanopteris Carnosa Óleo e guache sobre impressão digital em tela Hahnemühle Monet Oil Carlos Noronha Feio e Alexander Garcia-Düttmann Colagem fotográfica digital s/ papel Hahnemühle photo rag 500gsm -
Comparing Anti-Semitism and Islamophobia: the State of the Field
16 ISJ 3(2) Comparing Anti-Semitism and Islamophobia: The State of the Field Farid Hafez University of Salzburg ISLAMOPHOBIA STUDIES JOURNAL VOLUME 3, NO. 2, Spring 2016, PP. 16-34. Published by: Islamophobia Research and Documentation Project, Center for Race and Gender, University of California, Berkeley. Disclaimer: Statements of fact and opinion in the articles, notes, perspectives, etc. in the Islamophobia Studies Journal are those of the respective authors and contributors. They are not the expression of the editorial or advisory board and staff. No representation, either expressed or implied, is made of the accuracy of the material in this journal and ISJ cannot accept any legal responsibility or liability for any errors or omissions that may be made. The reader must make his or her own evaluation of the accuracy and appropriateness of those materials. 17 Comparing Anti-Semitism and Islamophobia: The State of the Field Farid Hafez University of Salzburg “Vienna shall not become Jerusalem” —Karl Lueger, Major of Vienna, c. 19101 “Vienna shall not become Istanbul” —Heinz Christian Strache, Chair of the Austrian Freedom Party, 2005 ABSTRACT: In the European public discourse on Islamophobia, comparisons of anti- Semitism and Islamophobia have provoked heated debates. The academic discourse has also touched on this issue, an example being the works of Edward Said, where he alludes to connections between anti-Semitism and Islamophobia. Following the 2003 publication of the Islamophobia report produced by the EU Fundamental Rights Agency (FRA), which discusses the similarities between Islamophobia and anti-Semitism, scholars in various fields began a debate that compares and contrasts anti-Semitism and Islamophobia. -
Official Islam As a Threat? the Paradigm Shift in Austria's Security Politics
OFFICIAL ISLAM AS A THREAT? THE PARADIGM SHIFT IN AUSTRIA’S SECURITY POLITICS FARID HAFEZ PERSPECTIVE SEPTEMBER 2019 . NUMBER 56 • What is the history of Austria’s security politics vis-à-vis Islam? • What are the factors explaining the new security politics? • What are the implications of the new security politics? • What can be done to counteract this new development? INTRODUCTION the Islamic Religious Community as a partner against For a very long time Austria has been known as one extremism and especially Jihadism. This seems to have of the most open and progressively accommodat- profoundly changed with the new annual report of the ing countries in terms of Muslim life and practice. security agency BVT; the yearly report is entitled Ver- With the Islam Act of 1912, which goes back to the fassungsschutzbericht (literally: Report on the Protec- Habsburg monarchy, Austria was one of the very few tion of the Constitution). countries to legally recognize Muslims as a religious In the past, Islam as a religion had never been re- community. On the other hand, in more recent times, garded as a threat. Rather the opposite, the Staatspo- Austria has become infamous for the anti-Muslim pro- lizei (State Police) had clearly regarded the Islamic paganda in party politics, spearheaded especially by Religious Community (IGGÖ, Islamische Glaubens- the right-wing extreme Freedom Party that previously gemeinschaft in Österreich), which is the legally recog- governed the country together with Sebastian Kurz’s nized denomination of Muslims based on the Islam newly branded Conservatives (OVP). Especially the Act of 1912, as the main institution of Muslims.