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Ackland Art Museum Press Release for She Who Tells a Story 2019
The Ackland Art Museum Shines Spotlight on Art of the Middle East and North Africa with Two Events: Exhibition “She Who Tells a Story: Women Photographers from Iran and the Arab World” and Installation of Recently Acquired Islamic Art FOR IMMEDIATE RELEASE (Chapel Hill, N.C. — Aug 14, 2019) –– The Ackland Art Museum at the University of North Carolina at Chapel Hill shines a spotlight on art of the Middle East and North Africa with an exhibition of contemporary photography by women artists and an installation of recent acquisitions of Islamic art. The exhibition “She Who Tells a Story: Women Photographers from Iran and the Arab World,” is on view from Friday, Sept. 20 through Sunday, Dec. 1, 2019. The Ackland’s new acquisitions of Islamic Art will be on view in a separate installation from Friday, Sept. 13, 2019 through Sunday, Feb. 2, 2020. "She Who Tells a Story: Women Photographers from Iran and the Arab World" brings together the vital pioneering work of 12 leading artists, ranging in genre from portraiture to documentary: Jananne Al-Ani, Boushra Almutawakel, Gohar Dashti, Rana El Nemr, Lalla Essaydi, Shadi Ghadirian, Tanya Habjouqa, Rula Halawani, Nermine Hammam, Rania Matar, Shirin Neshat, and Newsha Tavakolian. During this critical time for Iran and the Arab world, as national and personal identities are being dismantled and rebuilt, contemporary photography reflects the complexities of unprecedented change. One of the most significant trends to emerge is the work of women photographers, whose remarkable and provocative images provide insights into new cultural landscapes, questioning tradition and challenging perceptions of Middle Eastern and Arab identity. -
Martin Cloonan Introduction an Attack on the Idea of America
MUSICAL RESPONSES TO SEPTEMBER 11TH: FROM CONSERVATIVE PATRIOTISM TO RADICALISM Martin Cloonan Introduction I want to propose something very simple in this paper: that the attacks which took place on 11 September 2001 were attacks on the very idea of America. This is not a new idea. It was cited by the New York Times soon after the attack and subsequently by the cultural critic Greil Marcus (2002). But what I want to add is that as time went on it became clear that the mu- sical responses which were made were defences of America. However, there were not uniform responses, but diverse ones and that is partly be- cause the idea of America is not settled, but is open to contestation. So what I want to do in the rest of this paper is to first examine notion that the attacks on 11 September were an attack on the idea of America, look briefly at the importance of identity within popular music, chart initial musical reactions to the events and then look at longer term reactions. An attack on the idea of America The attacks on 11 September were strategically chosen to hit the symbols of America as well as the reality of it. The Twin Towers symbolised American economic power, the Pentagon its military might. This was an attack on the psyche of America as well as its buildings and people. Both the targets were attacked for propaganda purposes as much as military ones. What more devastating way could have been found to show rejection of America and all it stands for? But the point I want to note here is that America itself is a contested notion. -
Edgar Morin’S Path of Complexity
FOREWORD EDGAR MORIN’S PATH OF COMPLEXITY ALFONSO MONTUORI Ndlr: A Montuori et l’éditeur de ‘On Complexity’ nous autorisent à reprender ici le texte anglais de la préface de l’ouvrage d’Edgar Morin qu’ils publient « ON COMPLEXITY » The reform in thinking is a key anthropological and historical problem. This implies a mental revolution of considerably greater proportions than the Copernican revolution. Never before in the history of humanity have the responsibilities of thinking weighed so crushingly on us. Does knowing that knowledge cannot be guaranteed by a foundation not mean that we have already acquired a first fundamental knowledge? And should this not lead us to abandon the architectural metaphor, in which the term “foundation” assumes an indispensable meaning, in favor of a musical metaphor of construction in movement that transforms in its very movement the constitutive elements that form it? And might we not also consider the knowledge of knowledge as a construction in movement? We need a kind of thinking that reconnects that which is disjointed and compartmentalized, that respects diversity as it recognizes unity, and that tries to discern interdependencies. We need a radical thinking (which gets to the root of problems), a multidimensional thinking, and an organizational or systemic thinking. History has not reached a stagnant end, nor is it triumphantly marching towards the radiant future. It is being catapulted into an unknown adventure. Edgar Morin: A Biblio-biography Perhaps the best way to provide a contextual introduction to Morin’s work is through an outline of his intellectual trajectory, in the form of a “biblio-biography.” A review of Morin’s journey helps us, I believe, to better understand the man and his mission in the essays that follow. -
Sandbox SEPTEMBER 18 2019 MUSIC MARKETING for the DIGITAL ERA ISSUE 236
BROUGHT TO YOU COURTESY OF 06-07 Tools CompanionLabs 08-09 Campaigns Björk, X Ambassadors, Mabel 10–15 Behind The Campaign- Hot Chip IN ASSOCIATION WITH sandbox SEPTEMBER 18 2019 MUSIC MARKETING FOR THE DIGITAL ERA ISSUE 236 THE NEXT STEP FOR PLAYLISTS BEHIND THE CAMPAIGN HOT CHIP BEHIND THE CAMPAIGNHOT CHIP A Bath Full Of Ecstasy is Hot Chip’s seventh album and was released in June – their first new album since Why Make Sense? in 2015. COREY ZALOOM (senior manager, digital marketing) and BROOKE SALISBURY (head of marketing) of Domino Recording Company explain how they set up the album by getting their catalogue streaming in order after the label acquired three of their previous albums from EMI/Parlophone, where live was used to reawaken interest in the band, how the video for ‘Hungry Child’ reached far beyond their core audience and why both Instagram and TikTok were key new platforms in the band’s marketing arsenal. Getting the band’s catalogue streaming Domino acquired the band’s EMI/ CZ: We had a few goals going into the change in three or four years, so in order before the new album Parlophone catalogue in early 2018 album in spring 2019 and one was things like Instagram were a new BS: This is only our third album with [covering three albums between 2006 and to reactivate their catalogue. Some priority for the band. We were the band [after 2012’s In Our Heads and 2010] and that was a key part of the set up of that included re-uploading high- looking at how to integrate things 2015’s Why Make Sense?]. -
Modes of Knowing: Resources from the Baroque John Law 17
MATTERING PRESS Mattering Press is an academic-led Open Access publisher that operates on a not-for-profit basis as a UK registered charity. It is committed to developing new publishing models that can widen the constituency of academic knowledge and provide authors with significant levels of support and feedback. All books are available to download for free or to purchase as hard copies. More at matteringpress.org. The Press’s work has been supported by: Centre for Invention and Social Process (Goldsmiths, University of London), Centre for Mobilities Research (Lancaster University), European Association for the Study of Science and Technology, Hybrid Publishing Lab, infostreams, Institute for Social Futures (Lancaster University), Open Humanities Press, and Tetragon. Making this book Mattering Press is keen to render more visible the unseen processes that go into the produc- tion of books. We would like to thank Endre Dányi, who acted as the Press’s coordinating editor for this book, the reviewers Anna Tsing and Margaret Wiener, Jenn Tomomitsu for the copy-editing, Tetragon for the production and typesetting, Sarah Terry for the proof- reading, and Ed Akerboom at infostreams for formatting the html versions of this book. Cover In 1693, the French Académie des Sciences introduced a new, supposedly more rational system for categorising letterforms and constructing them according to an underlying grid. This was employed in the design of Romain du Roi, a new typeface for Louis XIV’s royal printer. The grid-engraved plates, on which the ‘B’ on the cover is based, were produced to demonstrate the typeface’s geometrical construction at a time when letterforms were generally derived from stylised handwriting. -
Dossier De Presse
DOSSIER DE PRESSE Contacts presse 2e BUREAU Sylvie Grumbach [email protected] Marie-Laure Girardon [email protected] tel +33 1 42 33 93 18 www.2e-bureau.com PEUPLES & NATURE Expos p. 6 1992-2012 p. 12 Gilles Bassignac p. 13 Bayard Nature et Territoires / Emmanuel Boitier p. 7 Peter Bialobrzeski p. 6 Julio Bittencourt p. 11 Juan Manuel Castro Prieto p. 7 Cédric Delsaux p. 8 Raymond Depardon p. 9 Robert Doisneau p. 4 Marc Ferrez p. 8 Stuart Franklin p. 5 Anouk Garcia p. 10 Heidi & Hans-Jurgen Koch p. 11 Andreï Kamenev p. 13 Collectif Image Sans Frontière p. 4 José Medeiros p. 12 Agence Reuters p. 5 Agence Tyba p. 12 Jean-Michel Turpin p. 10 Pierre de Vallombreuse 1er juin au 30 septembre Edito Jacques Rocher maire de La Gacilly Un Festival Photo porteur pour l’image du Pays de la Gacilly, du Morbihan et de la Bretagne A coup sûr, La Gacilly peut se flatter d’être devenu un 3. Hommage à Robert Doisneau, maître de la haut lieu de la photographie : tous les spécialistes de photographie humaniste ce genre y exposent ou y ont exposé. On y trouve Robert Doisneau n’est pas un inconnu ; ses photos donc ce qui se fait de mieux en la matière. Pour la plus concernant la vie quotidienne à Paris lui ont procuré grande satisfaction des initiés, mais aussi d’un public qui la célébrité. Pourtant il restait quelques trésors cachés. trouve là, matière à évasion ainsi qu’à réflexion ; car le C’est le cas de la vingtaine de tirages jamais présentés photojournalisme aide à décrypter le monde qui se au public et qui le seront à La Gacilly. -
Feminists, Freedom Fighters and Daughters - a Discourse Analysis of the United States Media’S Portrayal of the Kurdish Female Fighters in Syria
Lund University FKVK02 Social Sciences Faculty Spring 2020 Peace and Conflict Studies Thesis Advisor: Maria Småberg Feminists, Freedom Fighters and Daughters - A Discourse Analysis of the United States Media’s Portrayal of the Kurdish Female Fighters in Syria Sophie Hogevall Antal tecken: 69 658 Abstract The purpose of this study is to examine how the US media has portrayed the Kurdish female fighters in Syria. Since the battle of Kobane the fighters of the Women’s Protection Units (YPJ) have been sensationalised and received immense attention in western news media. Previous research has shown that female combatants are portrayed differently than their male counterparts, and this assumption is the foundation for the research on the representations of the YPJ. Thirteen articles from ten different newspapers in the United States were analysed through a Critical Discourse Analysis which was complemented by a framework developed by Brigitte L. Nacos. The research shows that the Female Kurdish fighters are depicted through gendered stereotypes and that there are similarities in their portrayal and depiction of illegitimate political actors. The female fighters are presented as feminists, brave, and rational while framed through their physical appearances and family connections. The analysis also reveals that there is a particular focus on the YPJ members age as well as a recurring theme in US media of trying to separate the Kurdish female fighters from the traditional western image of a Muslim woman. Keywords: Discourse analysis, Gender, Islamic State, Kurdish female fighters, Media framing, Syria, YPJ Table of contents List of Abbreviations 1. Introduction .........................................................................................................................1 1.1 Research Purpose and Question.……….……………………………………….…2 1.2 Background…………………………………………………………………….….3 1.2.1 YPJ………………………………………………………………………3 1.2.2 U.S. -
ARTH 391F/533AB Islamic
Islamic Art from the Ulrich Museum of Art Permanent Collection Shahzia Sikander American, born Pakistan 1969 Afloat, 2001 Serigraph Museum Purchase 2002.6 Click to view in Collection Portal Born and raised in Pakistan, Shahzia Sikander mixes traditional Islamic and Hindu motifs, Persian pattern designs, and a Western perspective to create artwork that reveals the superficiality of cultural borders and definitions, which she calls “surface identity.” Her art is based on traditional Islamic decorative miniature painting, a style in which the artist has extensive training and which is commonly considered “women’s work.” Sikander is interested in creating and exploring contradiction. Speaking of her work, Sikander states that “the focus is always to create icons that are neither personal nor cultural, but somewhere between both.” The synthesis of Muslim and Hindu culture that exists in her work stems from the cultural diffusion and conflict that exists between Pakistan and India. What she creates is not just an allegory of Western and Eastern cultural differences. Rather, what is revealed is the “nearness of difference” that exists everywhere in the world. This is a direct statement about inconsistency and contradiction that challenges our view of history, gender roles, and cultural identity. Nusra Qureshi Nusra Qureshi Pakistani, born 1973 Pakistani, born 1973 Three Songs of Devotion, 2003 Gardens of Desire, 2003 Lithograph Lithograph Museum Purchase Museum Purchase 2016.11 2016.10 Click to view in the Collection Portal Click to view in the Collection Portal Primarily working in painting, Nusra Qureshi’s work explores themes of gender, colonization and power. Her works reference and incorporate the aesthetic of various texts such as South Asian illuminated manuscripts and botanical manuals. -
LA CAJA BLANCA Presents Newsha Tavakolian (Tehran, Iran, 1981)
PRESS RELEASE | 5th JUNE 2014 LA CAJA BLANCA presents Newsha Tavakolian (Tehran, Iran, 1981) La Caja Blanca is proud to present Newsha Tavakolian’s second solo show in Spain. Currently considered to be one of the most representative contemporary artists from the Middle East, Tavakolian’s career began in the field of photo documentary. By the time she was 20, her work was widely acclaimed by international audiences through collaborations with the likes of Time Magazine, Newsweek, Stern, Le Figaro, The New York Times Magazine, Der Spiegel, Le Monde, NRC Handelsblad and National Geographic which increasingly relied on her to bring images of Iran, Iraq, Siria, Lebanon, Saudi Arabia, Yemen and Pakistan, to the West. Her career in in Contemporary Fine Art began when the Iranian authorities annulled her press pass following the publication of one of her most compelling stories in the New York Times, covering the so called “Green Revolution” following the Presidential Elections. “Listen”, her first artistic project, comprised a series of portraits conjuring images of contemporary Iranian Women which defied Western stereotypes and Middle Eastern clichés alike, positioning Tavakolian as one of the most eloquent and influential voices emerging from the new generation of female artists in Asia. Her work is currently in major private and public art collections including LACMA (US) and Victoria & Albert Museum (UK). “Look”, presented at La Caja Blanca in June 2014, is an intimate yet highly charged portrait of Iran at a turning point in the country’s convulsive history. Artist: Newsha Tavakolian (Teheran, Iran, 1981) Exhibition dates: June - August 2014 Address: La Caja Blanca, Calle Can Verí 9, Palma de Mallorca 07001, Baleares, España. -
Newsha Tavakolian 1981, Tehran, Iran Curriculum Vitae
Newsha Tavakolian 1981, Tehran, Iran Curriculum Vitae EXHIBITIONS 2011 Listen. La Caja Blanca Gallery. Solo Show, Palma de Mallorca, Spain. Listen. Jakob Cultural Church. Solo Show, Oslo, Norway. Listen. Aaran Gallery. Solo Show, Tehran, Iran. My Super Hero. Morono Kiang Gallery. Los Angeles, USA. Good City For Dreamers. Nicolas Silin Gallery. Paris, France. 2010 Jungle. Shirin Gallery. Group Show. Tehran, Iran. Black or White. Verso Gallery. Group Show. Turin, Italy. No More Bad Girls? Kunthalle Exnergasse. Group Show. Vienna, Austria. Newsha Tavakolian. Thomas Erben Gallery. Two artist Show. New York, USA. 2009 Art Dubai, U.A.E. Chador and Chanel. Side Gallery. Solo Show. Newcastle, United Kingdom. Newsha Tavakolian. Centre Culturel Franco Allemand. Solo Show. Karlsruhe, Germany. Iran Inside Out. Chelsea Art Museum. Group Show. New York, USA. 2008 EVE Women Photographers Collective. Group Show. Angkor Photographic Festival. Cambodia. Made in Tehran: 6 Frauen-Blicke. Group Show. Cicero Gallery Berlin. Germany. 2005 Group Show. Silk Road Gallery. Tehran, Iran. AWARDS 2009 Magic of Persia Contemporary Art Prize. Finalist. United Kingdom. 2007 Inge Morath Award. Finalist. Magnum PhotoAgency. New York, USA. 2006 Joop Swart Masterclass. World Press Photo. Amsterdam, Netherlands. Still Photography Award from the All Roads Film Project. National Geographic. Washington D.C. USA. LA CAJA BLANCA 1/2 Calle Can Verí 9, 07001 Palma de Mallorca, España – tel. +34 971722364 – fax. +34 971578149 2003 Picture of the Year International Competition. Magazine Feature Category. Finalist. National Press Photographers Association and Missouri School of Journalism. USA. PUBLICATIONS 2010 A History of Women’s Photographers’. By Naomi Rosenblum, Abbeville Press. 2009 Iranian Photography Now. -
Brazilian Magazine About the Electroacoustic Culture
Y, 2015 Y, MA V, V, I - BRAZILIAN MAGAZINE ABOUT THE ELECTROACOUSTIC CULTURE iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii This linda-iv we’re presenting now is comprised And if in linda-i we stopped by Sweden in iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii of articles and visual works published in the a conversation with Eva Sidén and Jens iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii FOREWORD iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii Hedman and in linda-ii we got a taste of the iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiiiiiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii iiiiiiiiiiii experimental music scene in Russia, we close iiiiiiiiiiii -
QUATRE ANS CHEZ LES «HOMMES DES ROCHERS» Les Tau’T Batu, Un Peuple Autochtone Des Philippines, Vivent En Quasi-Autarcie Dans Une Vallée Cernée De Falaises
REGARD PALAWAN QUATRE ANS CHEZ LES «HOMMES DES ROCHERS» Les Tau’t Batu, un peuple autochtone des Philippines, vivent en quasi-autarcie dans une vallée cernée de falaises. Depuis 1987, le photographe Pierre de Vallombreuse a passé, au total, quatre années chez eux. Il raconte l’irruption du monde extérieur dans ce lieu de liberté. PAR NADÈGE MONSCHAU (TEXTE) ET PIERRE DE VALLOMBREUSE (PHOTOS) OCÉAN PACIFIQUE Mer de Chine méridionale Mer des Philippines Manille PHILIPPINES Vallée de Singnapan N A W A L A Mer P de Sulu 200 km MALAISIE Mer Bornéo de Célèbes Cet enfant a l’air d’un Lilliputien à côté des tiges et des feuilles démesurées du taro géant. Autour des maisons en bois qu’ils occupent pendant la saison sèche, les Tau’t Batu font pousser plantes comestibles (taro, mais aussi haricots, oignons…) et médicinales. 50 GEO Abonnez-vous sur geomag.club GEO 51 REGARD Habitués à évoluer dans la jungle dès l’enfance, les Tau’t Batu sont capables de grimper ou de se balancer sur une liane à des dizaines de mètres du sol. De février à août, ces acrobates d’exception habitent des huttes en bois et palmes sur pilotis. Leurs hameaux, dispersés dans les 170 hectares de la vallée de Singnapan, s’organisent souvent par famille. Et aussi parfois par bulun bulun, un cercle d’entraide entre amis. Mais quand vient la mousson, ils quittent ces paillotes pour vivre dans des grottes. D’où leur surnom d’«Hommes des rochers». AGILES, INSENSIBLES AU VERTIGE, LES TAU’T BATU FONT DE LA HAUTE VOLTIGE DEPUIS LA CANOPÉE 52 GEO Abonnez-vous sur geomag.club GEO 53 REGARD DANS CETTE SOCIÉTÉ SANS CHEF, SEUL LE CYCLE DES SAISONS ET DES MOISSONS FAIT LOI Avant 1990 et la nouvelle, ce peuple construction d’une route pacifique et assez dans le sud de l’île de réfractaire à la hiérarchie Palawan, les étrangers tente de préserver son faisaient rarement mode de vie, notamment irruption dans la l’agriculture itinérante Singnapan.