From the Editors
The New York Times says Jadaliyya "Brings New Life to Arab Studies." Read about it by clicking here.
It is lunchtime and I am meeting Chant Avedissian again, after an awkward initial encounter. We first met in the childhood apartment he now shares with his sister, amid cigarette butts and vertically hung scrolls in downtown Cairo. After making coffee, we began a conversation in which all my attempts to talk about Avedissian’s artwork were sidelined. We spoke, instead, about my work, interests and intentions. I was then shown around Avedissian’s room and studio, a 3x4 m. ...Keep Reading »
Zarina: Paper Like Skin. Art Institute of Chicago, Chicago, IL, 26 June – 22 September, 2013. Zarina Hashmi has been based in New York City since the 1970s, producing a significant body of work over the decades that she stored in her densely packed home and studio in Chelsea. The majority of the work from the retrospective Zarina: Paper Like Skin came from the seventy-six-year-old artist’s modest studio. The sixty-some impeccably kept works, ranging from woodcuts to paper ...Keep Reading »
Casualties of War Lahore today looks like a city at war. One of the greatest unacknowledged casualties of the United States’ “war on terror” has been the cities—and citizenry—of Pakistan. The US invaded Afghanistan in 2001 to oust the Taliban from power in response to the terrorist attacks on the World Trade Center. In 1985, sixteen years prior, President Ronald Reagan equated the Taliban mujahideen who had defeated the Soviets in Afghanistan as “the moral equivalent of ...Keep Reading »
Kamal Aljafari, Port of Memory. France/Germany/UAE/Palestine, 2009. In the state of siege, time becomes place Fossilized in its eternity In the state of siege, place becomes time Lagging behind its yesterday and its tomorrow —Mahmoud Darwish, “State of Siege” Kamal Aljafari’s film Port of Memory (2009) opens with a long tracking shot of a grand, decaying house at twilight. The camera lingers on the skin of this structure that bears traces of other times and previous ...Keep Reading »
Sadia Shirazi is an architect, curator, and educator based in New York City. She is engaged in a transdisciplinary practice investigating the relationship of art, architecture and urbanism to socio-political issues, cultural memory, and exhibition practices. Her recent curatorial projects include 136 MB / Exhibition Without Objects at The Drawing Room in Lahore (2012) and Foreclosed. Between Crisis and Possibility at The Kitchen in New York City (2011). She has worked in architectural practices in Cambridge, Cairo, and Chicago and as a researcher and designer for the artists Kyrzstof Wodizcko and Andrea Geyer. Shirazi holds a MArch degree from the Massachusetts Institute of Technology (MIT), a BA from the University of Chicago and is a former fellow of the Whitney Museum Independent Study Program.