Arts & Culture Publications

Converging Lines: Tracing the Artistic Lineage of the Arab Diaspora in the U.S. seeks to situate Arab and Arab American artists within the larger history of American art while emphasizing the rich history of cultural production that has come from the larger Arab American community.

Inside the Khaleeji Art Museum’s Architecture of Memory, which showcases the work of Dana Al Rashid.

بينما يشاهد العالم استيلاء طالبان على أفغانستان وما أعقب ذلك من أحداث متلاحقة، يبدو الأمر وكأنه “ديجافو” أو تكرار لمعاناة أبناء هذه الأمة. ومع عودة طالبان إلى وادي باميان، وهو أحد مواقع التراث العالمي لليونسكو الذي أجاز فيه الملا عمر تدمير تمثالين من القرن السادس لبوذا قبل 20 عامًا، ندرك أننا شاهدنا هذا الفيلم من قبل ونعرف كيف تكون نهايته.

As the world watches the Taliban takeover of Afghanistan and its aftermath, it’s like déjà vu all over again for the nation’s long-suffering peoples. With the Taliban back in the Bamiyan Valley, the UNESCO World Heritage site where Mullah Omar sanctioned the destruction of the 6th century Buddhas 20 years ago, we’ve seen this movie before and we know how it ends.

Masameer County, the Netflix animated television series taking Saudi Arabia by storm, reveals how the country’s creative class, over the last two decades, has posed awareness-raising questions while reevaluating the assumptions and terms used to discuss contentious social issues. This is not the Saudi Arabia of clerics, oil, and the royal family, but the one experienced by everyday people.

The digital space has not only enabled claims to online avatars or alter-egos, it has also ushered in new forms of digital ownership. The explosion of the online marketplace is changing the ways in which art is created, perceived, and owned. If post-internet art propelled artworks into immateriality, Cryptoart, which uses blockchain technology, is creating a new generation of art collectors. Sales of Cryptoart have leaped from over $416,000 in June 2020 to $616 million in the past year, based on data from cryptoart.io.

In Zarzis, on Tunisia’s southern coast, Algerian artist Rachid Koraichi has created a moving memorial to the thousands of migrants who have died crossing the Mediterranean. A hybrid of graveyard, garden, and art installation, Jardin d’Afrique has become the final resting place for over 300 souls whose bodies washed up on the shore of this tourist town.

Singer Kamilya Jubran, founding member of the iconic Palestinian band Sabreen, once famously sang, “We’ve tried resistance, we’ve tried confrontation, we’ve tried intifada, we’ve tried peace. What else is left to us?” The answer of course, that hung in the air of her breathtaking vocals, was “to sing.”

The rapidly growing state-supported arts infrastructure in Saudi Arabia tends to overshadow the lesser-known history of independent artist-led initiatives. The pioneering modernist Mohammed Alsaleem, for example, is known for establishing Dar Al Funoon Al Sa’udiyyah (The Saudi Art House) in Riyadh in 1979, the first space where artists could gather, work, mentor each other, and stage exhibitions at a time when there were no art schools or galleries. The Kingdom has gone through various stages in its cultural development from the 1960’s oil boom, a time of artistic productivity and government scholarships to study art abroad, to the tumultuous late 1970s of Islamic militancy and religious conservatism until the 2000s. “The 1960s was a time when art flourished in the Kingdom. In Riyadh, exhibitions by modernist painters were held in football clubs in order to engage the public,” says Raneem Farsi, an expert in Saudi Arabian contemporary art, of a time that has influenced her curatorial narrative. Along with Susan Davidson, former senior curator at the Guggenheim Museum, she is co-curator of the exhibition Light Upon Light: Light Art since the 1960s, which runs until June 12.

In 2020, the 14th edition of Art Dubai went completely online due to the coronavirus outbreak, with programming focused on performance art and healing curated by Marina Fokidis, a live broadcast of the Global Art Forum, and a digital catalogue. “We didn’t have a model to follow,” Pablo del Val, Art Dubai’s Artistic Director explained. “The online viewing rooms came later and the art industry has shifted to make these platforms meaningful. The future was unknown so we worked blindly.”

Only two days after an extremist attack that saw 14 missiles rain down on Erbil, and in the midst of a new coronavirus surge and lockdown, the Chaldean Catholic Archbishop of Mosul, Najeeb Michaeel, was optimistic about the upcoming visit of Pope Francis.

“Everyone is very happy about this historic event,” he said of Iraq’s inaugural papal visit, from his home in Ankawa, Erbil’s Christian enclave, which has given refuge to thousands of those displaced by ISIS. A previously planned visit in 2000 by Pope John Paul II to Ur, birthplace of the Prophet Abraham according to the Torah, was foiled by protracted negotiations with the government of Saddam Hussein. In 2020, Pope Francis had to cancel a trip due to security and pandemic concerns.

Artists Asim Ahmed, Reem Aljeally, and Jamila Rizgalla join guest host Lyne Sneige to discuss the challenges facing artists across the region during the global pandemic. Their works are featured in MEI’s first ever open call exhibition, titled “Art in Isolation: Creativity in the Time of Covid-19,” which is on display at the MEI Art Gallery until January 29. The pieces can also be viewed and are for sale online.

Drawing on ideas and styles passed from vibrant Middle East trading cities into the West, the architectural heritage of Europe — and America — owes an important debt to the Arab and Islamic world.

Patrick Baz, Kristine Khouri, and Emilie Madi join guest host Lyne Sneige to discuss the impact of the August 4 Beirut Port explosion on Lebanon’s artistic community; how museums and galleries are working to preserve cultural heritage; and how photojournalists recorded this tragic moment in Lebanon’s history. They are among the contributors and co-sponsors of “Lebanon Then and Now: Photography from 2006 to 2020,” an interactive virtual exhibit hosted by the MEI Art Gallery through September 30.

Love for Fairuz has proven that Iranians, despite their intense political differences, can have a common interest. After the deadly explosion in Beirut — which killed more than 190 people and displaced about 300,000 — the first thing Iranians thought of to express their sympathy was Fairuz’s famous song “Li Beirut,” which became a trending hashtag on Persian Twitter.