An online exhibition showcasing emerging to mid career artists, writers, curators and cultural producers from and related to Egypt.
Curated by KoProjects
An online exhibition showcasing emerging to mid career artists, writers, curators and cultural producers from and related to Egypt.
Curated by KoProjects
We are glad to invite you to the opening of “Log In” exhibition, on Monday, April 11th, 2016 in the main building at 7 PM.
The exhibition will be open between April 11th to May 31st 2016, everyday from 10 am to 10 pm, except for Fridays from 4 to 10 pm.
Different Social Media platforms are growing these days; they enable you to share your life through photos, videos, and audio, in addition to various other tools. All these different tools are becoming our new global language.
Social media has become a core medium to connect with the world whether on a personal or professional level. The sky’s the limit with how and whom one connects with.
Yet, there is a huge question about our privacy, our human contact and our reality. Some people do feel the threat and some do not. Some choose to disconnect from this virtual reality and some believe they are in control of the content they share, view and believe. Another group would say, “I love it, what’s the worse that could happen?!.
Creating an exhibition in a physical space from what is basically an online phenomenon presents its own set of challenges. The exhibition is a way to share the importance of Social Media in today’s culture and society and to look into those challenges that it brought to our lives, how are we dealing with them and how social media is now a core element in our contemporary society and life.
Join us on Friday March 11th at The Arts-Mart Gallery for the opening reception of The Artists of Tomorrow 2016.
‘The Artists of Tomorrow’ is an annual show held by Arts-Mart in which we carefully choose a selection of emerging talents to showcase as the most promising artists of the year & the recommended ‘artists to invest in now’. In addition to our own impressive painters, this year we are proud to collaborate with Photopia to introduce some of the best fine art photography in Egypt.
StudioKhana Foundation for Contemporary Art and Cultural Development
with the cooperation with
Saad Zaghloul Cultural Center
and the French Instutue of Egypt
Have the honor to invite you to the opening ceremony of the exhibition
LESS THAN IMPORTANT
at Saad Zaghloul Cultural Center – Bait El-Oma Museum
on Thursday the 4th of February 2016 at 6:00 pm
2 Saad Zaghloul st., Besides Saad Zaghloul Shrine. Tel-Fax: 02/27956864
The exhibition runs until February 25th, 2016, daily from 10:00am to 9:00 pm except Friday &Saturday
About the Exhibition :
Less Than Important: In this Exhibition Studiokhana Invites six artists from different cultural backgrounds, to search and raise questions about dated texts written by the masses that remain discarded, over-looked and forgotten in the midst of the world’s chaos. the artists look into the forgotten texts, the exchanged chats, and the landmarks gradually lost, whats overlooked usually on purpose and sometimes unconsciously.
The opening will be accompanied with a storytelling performance by: Mohamed saeedy at 7:00 pm.
The performance will be repeated on Monday 15 February and Wednesday 24 February at 7:00 pm.
Participant Artists :
Anna Katharina Scheidegger
Mohamed Ezz EL-Din
An exhibition by artist Mohammed Ezz at Artellewa Art Space
from 12 to 30 jan . every day from 12 to 8pm except Sundays and Mondays.
“The portrait-photograph is a dosed field of forces. Four ‘ image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art.” ? Roland Barthes, Camera Lucida: Reflections on Photography.
The project was initially inspired by the ideation of Roland Barthes of the portrait-photograph, accompanied by visualizing these intersections in several visual works.
The project focuses on the studio portraits that are mostly related to identification documents and official papers which can last for a long time on documents such as passports, educational certificates and other documents. The officially of those photos transcend to more than just a single empty look; it turns a finite moment into an endless repetition.
A part of the project was accomplished by installing an elementary studio extended to the gallery to photograph people living around the area, besides other work shot in real studios around Cairo.
The growing Instagram mania in Egypt and around the world has triggered us at Photopia to host this interesting group talk by the best Egyptian Instagram photographers you would like to follow.
Get the chance to meet your favourite photographer Instagrammer in person during the group talk we are hosting.
Each one of these amazing artists will speak about his favorite work, his most popular Instagram posts, and some stories and secrets behind the scenes of shooting some of them.
Date: Saturday 28 March, 2015
Time: 6pm-9pm (break 15 minutes)
Venue: 15 Somal st., Korba, Heliopolis
Tel & mobile: 012 1338991 or 22904085
The project implies the exchange of artists between Georgia and Egypt. It aims to unite contemporary artists on a common topic: how the development of cities and their transformations influence traditions and culture. Our main focus is on street markets, their transformations through the surrounding developments of the city and their role in society. How are these changes influencing urban segments and life of neighborhoods /streets, in which the markets are located.
The project start by question the necessity/the need of street markets, which is directly connected with ecology and healthy food, urban issues and city structure, traditions and culture, where all levels of society meet each other (woman and man, kids and adults, ethnic minorities and emigrants), who are building the city and are making it diverse.
Except it didn’t stop by this point and went to the general market horizon. After the co curators and the participated artists found out that MARKET POINT is an entrance to a full parallax life.
The findings and surroundings in Cairo and Tbilisi was the creative inspiration for this process. The first presentation of this project was shown in TBILISI September 2014 and The Exhibition of this project is shown in artellewa art space from 12 through 22nd of February 2015.
Writer and Film producer Hossam Elouan, essay.
Anthropologist Mariam Shalvashvili, research.
Artworks of artists:
Ahmed Shawky, Alaa Abd El Hamid, Emad Ibrahim, Hamdy Reda, Jacueline George, Mako Kapanadze and Mohamed Ezz.
Archival essays and photographs from:
National Archives of Georgia
Photographer Guram Tsibakhashvili (Georgia).
Visual artists Nabil Boutros (Egypt).
Opening Thursday 19:00
the space open daily from 12 to 22 Feb.2015
Ismail Fayed, Mai Al Shazly, Mohamed Ezz and Nadia Mounier
Talking Images aims to create space for in depth discussion with and between writers, artists and still or moving works. The first evening of this format is a conversation between critic, writer and researcher Ismail Fayed, artists and photographers Mai Al Shazly, Mohamed Ezz and Nadia Mounier, and the works selected for this occasion. Through close readings and discursive engagement Talking Images will try to linger and dwell, rather than rush through the wide range of topics and visual material.
Talking Images will be continued as a sporadic series with different guests throughout the year.
Language: The conversation will be in Arabic.
June 22 – July 17
Saad Zaghlool Culture Center
Studio Khana foundation for contemporary art and cultural Development is honor to invite you to
the Exhibition “Have a Peaceful Day
the exhibition is held with cooperation of studio 15/3 and Saad Zaghloul Cultural center
The Exhibition will be inaugurated at the 22nd of June and will run till the 17th of July 2014
I accidentally read a Book about the Egyptian History called ” Saving the nation by the reviling of the crises” by Al-Maqrizy and it was not a coincidence to find the poverty conflict Surrounding our society realty in the contemporary era was mention in details in some part of the book which speaks about the starvation History in Egypt
Thus when this land-sliding ordeal has lasted long, and in which the people have encountered variety of despicable torment; not only have a lot of people thought that there have never been as such tribulations before, nor have ever occurred something that compares to them, but, further, they said they can never demise or secede from them. That’s because they are people who don’t apprehend, are unaware of the causes of incidents, and are always going with the flow.
And he who contemplates this accident from beginning to end, and have come to know it foremost and uttermost, would realize that such ordeals that happen to the peoples are not but the rulers and leaders’ misdirecting and their negligence to public affairs. Despite the agonies that have passed, and after what has gone on during these malignant years, the matter still needs for declaration and demonstration and strives for further explanation and elaboration. So I have intended to reveal the causes from which this awful matter has sprung, and how this dreadful predicament has spread over the nation and the peoples. Thus I conclude with mentioning what remedies this plague and redeems that curse.
participant Artist :
Alaa Abd El-Hamid
Photopia is proud to host the third Cairo Slide Jam #3 on its premises in Heliopolis. Cairo Slide Jam was founded by British/Egyptian photographer Laura El-Tantawy.
El-Tantawy is represented by the prestigious VII Photo Agency through its Mentor Program.
The event is about photographers gathering, each one showing his work and briefly discussing their work/project being shown and then show the work via projector.
Slide Jam invites a guest curator for each event. Our gathering takes place each month, alternating between our guest hosts Photopia and the CIC (Contemporary Image Collective). Photopia is excited to host the February Slide Jam at its hub.
Our guest curator for the February Slide Jam#3 is photographer David Degner. He has chosen the theme of “Developing Photojournalism” – fine art and commercial photography in Egypt as his focus.
After an intense period of growth in the Egypt’s photojournalism community we need to step back, change our perspective, and widen our view. Get your mind blown by these photographers on the extreme edges of the profession.
Mireille El Magrissy
Date: February 21
Venue: Photopia: 15 Somal St., El Korba, Heliopolis, Cairo
Call our friendly team for more info or inquiries: 012 1122 8991 or 2240 90 85
Photographing without a camera, a photo essay about my cell phone series of Downtown, featured in Panorama, Mada Masr.
By: Mai Elwakil.
The organizing committee of the 24th Youth Salon has picked “Crossing into the future” as the theme for this year’s edition. The annual state-sponsored competition, meant to promote emerging local artists, opened on December 15 at Cairo’s Palace of Arts with 177 artworks. But few of the 155 artists exhibiting this year reflect in direct ways on Egypt’s ongoing political and economic ‘transition’. The “Cellphone Diaries” are yet another response to street culture. Photographer Mohamed Ezz creates fantastic combinations of pictures he shot using his cellphone while wandering downtown Cairo’s streets. All printed in black and white, the photographs show the legs of a male model hovering over a street in mid air, shadows of cones from a street vendor’s cart stemming into the sky like dried palm trees, and a boat on the Nile river photographed from above with a shadow of buildings reflected underneath. The perspective Ezz presents of the city center is simultaneously exciting and unsettling.
My latest work “Downtown – cell phone diaries” won the salon award in the 24th youth salon, and the acquisition prize from the commercial international bank (CIB).
The Youth Salon is the official annual competition and exhibition organized by the ministry of culture in Egypt for young visual artists.
Scroll down for the original German version
The title of the exhibition is “turning points“. What kind of turning point do you experience right now in Egypt?
Actually it has been more than two and half years of successive turning points since the revolution. The last turning point we’re experiencing right now is the overthrowing of the government of Mohamed Morsi by the army and reliving the interim period until we can make another presidency and parliament elections.
The fotos of „The Other Faces of Morsi“ (2012) are quite political and are shown for the first time in Biel. Would it have been possible for you to show them in Kairo?
I had prepared the work to be shown in Cairo during the time of Mohamed Morsi, but unfortunately I couldn’t find an appropriate chance to show it, and currently, I do not think it will have any meaningful value to be shown in Cairo after the overthrowing of Morsi.
Didn‘ t you have fear to show the fotos of Morsi in Kairo?
I do not have any fears to show the photos in Cairo. I only couldn’t find an appropriate chance to show them. As you know, the art scene in Cairo has been badly affected by the unstable situations.
Moreover, the work is related to a certain turning point that already gone. So as I mentioned, I do not think it will have any meaningful value to be shown again in Cairo specially these days.
How did you experience the year of Mohammed Mursi Isa al-Ayyat as president?
Let’s first say that the Egyptians’ ambitions were very high after the revolution and the fast escalation of events made them expect fast achievements as well. At the same time, Egypt was facing great financial problems due to losses in tourism and foreign investments. The Muslim Brotherhood joined the race for presidency (with Mohamed Morsi as their candidate) after promising the people with a great project that will solve all the problems in Egypt called “The Renaissance Project”. Morsi won the elections and people started to wait for these great achievements, but all they found was failures.
At the same time, Morsi could not reassure the average Egyptian person or commit to an unbiased political speech that enforces the people’s trust in him as a president for all Egyptians and not a president for one specific religious group.
Morsi did not succeed in anything but making more enemies from all the sectors in the country and from politicians and intellectuals who had supported him previously, which led to a cooperation between all those groups to get rid of him in the demonstrations of June the 30th.
What religion do you have and how important is it to you?
If you are suggesting that my opinion is affected with my religion, I want to mention that my opinions are strictly logical and not related to my religious background.
How did you feel the last months in Kairo ?
I feel that most of the Egyptians have decided to become more pragmatic and support the military to go back to their stable and secure lives they had before. And the current authority is trying to take back control of all the institutions of the country and enforce security to reassure the people after refusing to protect them previously.
Did you feel secure in Kairo in the last days of Morsi?
For me, my disappointment was stronger than my fear. During the clashes, I used to avoid the hostile areas, so I didn’t have big problems living my normal life, but I no longer enjoy the streets of Cairo like I did before.
What has changed in Kairo since the revoultion of 2011?
The shape of the city was already changing gradually. But after the revolution system and security have been affected very dramatically, traffic was a real problem due to street sellers who has spreaded on the streets, non-licensed cheap motorcycles driven by young boys and even tok-tok can be seen on the main streets. The slum culture was spreaded from poor slums around Cairo to the center of the city.
The freedom of opinion is officially guaranteed. Are you really free to express yourself – in private or as an artist ?
Usually I feel free to express myself and my thoughts without problems specially after the revolution, since freedom of speech has become an acquired right. I just had one accident recently regarding this exhibition when I tried to send the photos through a shipping company and the airport security refused to send the package.
I do not know if the recent changes will affect the freedom of speech, but I can see that almost all of the Egyptian media is reflecting only one point of view and they avoid presenting or inviting other people who might be having an opposing view.
In what way do you feel, that the media show only one point of view?
Most of media -and normal people- believe that military is the only hope for the country to survive, and supporting them careless of violation probabilities of human rights is an exception period to save the country from terrorism, so they become less critique to their mistakes unlike their focusing on criticizing Morsi’s behaviors in the time of his presidency.
Why couldn‘ t you come to Switzerland for the opening of your exhibition?
I was busy at work recently, so I couldn’t prepare for the trip. It was also hard for me to afford the flight tickets.
What do you think of the USA and the „cowboy“ Barack Obama?
Obama is like the other former presidents of USA. He acts as the guard of democracy, liberty and human rights in the whole world, but he’s actually working on protecting his country’s interests and maintaining benefits with his allies, while keeping control on the regimes of the Middle East and the energy resources in it, and also keeping high popularity for himself and his party among Americans. So it doesn’t matter if he supports a dictatorship or becomes a friend with non democratic regimes, and it also doesn’t matter if he destroys the principles of liberty and human rights, the only important thing is to keep his country safe.
The other works I’ve seen from you are not so very much political. Is it the situation that made you political as an artist, even if you are not, usually?
An artist cannot live in a separate island away from the community, and the political situations take a wide space of our daily thinking. But in general, I do not intend to push my work in a certain direction. I like working on separate small projects that I feel drawn to at the time. My interests usually change and my visual perception keeps evolving, and so does the topics that I like working on. I don’t like my work being categorized under a single category, and at the same time I don’t intend to focus on political topics. I am just concerned with the political events like any other Egyptian witnessing these unstable circumstances.
What do you want to change in your country ?
I want to fulfill the basic desires of people first. For example, if people cannot find appropriate food and homes to live in, they will never think about culture and art. And then I hope we change the personality and behaviours of people by eliminating illiterature and increasing the awareness of accepting our differences.
Interview: Clara Gauthey
Die Fototage stehen unter dem Titel «Wendepunkte». Welche Wendepunkte erleben Sie aktuell in Ägypten?
Mohamed Ezz: Eigentlich erleben wir solche Wenden seit zweieinhalb Jahren. Zuletzt, als das Militär die Regierung von Mohammed Mursi gestürzt hat, und jetzt mit der Übergangszeit, bis wir neue parlamentarische Wahlen und einen neuen Präsidenten haben.
Ihre Serie «The Other Faces of Morsi» (2012) wird erstmals in Biel gezeigt. Wäre es möglichgewesen, sie in Kairo zu zeigen?
Ich wollte das tun, als Mursi noch Präsident war. Aber leider hatte ich keine Gelegenheit dazu, und nun, nachdem er abgetreten ist, hat es für mich keinen Wert mehr, die Fotos in Kairo zu zeigen.
Hatten Sie keine Angst, dass das Folgen für Sie haben würde?
Nein. Ich habe schlicht keinen passenden Platz gefunden. Auch die Kunstzene in Kairo leidet unter der unstabilen Lage in Ägypten.
Wie haben Sie das Jahr der Präsidentschaft von Mursi erlebt?
Vielleicht muss man vorausschicken, dass die ägyptischen Ambitionen sehr hoch waren nach dem Arabischen Frühling, und die schnelle Eskalation der Ereignisse liess uns ebenso schnelle Ergebnisse erwarten. Zugleich war das Land aber mit grossen finanziellen Problemen belastet, der Tourismus brach völlig ein und ausländische Investitionen blieben aus. Die Moslembruderschaft stieg ins Rennen um die Präsidentschaft mit Kandidat Mursi, nachdem man dem Volk ein grossartiges Projekt namens «The Renaissance» angekündigt hatte, das alle Probleme lösen sollte. Mursi gewann, und die Leute warteten. Aber alles, was sie fanden, war Versagen.
Was lief schief unter Mursi?
Es gelang ihm nicht, den Ägyptern Mut zu machen oder eine vorurteilsfreie, neutrale Rede zu halten, die gezeigt hätte, dass er ein Präsident für alle und nicht nur für eine spezifische religiöse Gruppe wäre…
Welche Religion haben Sie?
Wenn Sie damit andeuten wollen, dass meine Meinung mit meiner Religion zu tun hat, möchte ich sagen, dass ich logisch und nicht aufgrund eines religiösen Backgrounds argumentiere.
Sie wollen also nicht über Ihre Religion reden…
Das Einzige, was Mursi also erreichte, war, sich überall im Land Feinde zu machen unter den Politikern und Intellektuellen, die ihn zuvor unterstützt hatten. Das führte dazu, dass sich diese Gruppen zusammenschlossen, um ihn loszuwerden im Umsturz von Ende Juni.
Wie erlebten Sie die letzten Monate in Kairo?
Ich habe den Eindruck, dass die meisten Ägypter entschieden haben, pragmatisch zu sein und das Militär zu unterstützen. Sie wollen zurück zu einer stabilen Situation, in der sie sicher sind. Und die derzeitigen Autoritäten versuchen, die Kontrolle zurückzugewinnen. Sie verstärken die Sicherheitsmassnahmen, um die Menschen zu beruhigen, nachdem sie zuvor abgelehnt haben, sie zu beschützen.
Es gab hunderte Tote, tausende Verletzte: Fühlen Sie sich sicher?
Bei mir persönlich ist die Enttäuschung stärker als die Angst. Während der Unruhen habe ich die gefährlichen Gegenden gemieden und hatte keine grossen Probleme, mein normales Leben weiterzuleben. Aber ich mag die Strassen von Kairo seither nicht mehr so wie zuvor.
Was hat sich in Kairo seit der Revolution von 2011 verändert?
Die Stadt befand sich bereits auf dem Weg der Veränderung. Aber das System und die Sicherheit veränderten sich 2011 dramatisch. Der Verkehr war ein grosses Problem, Strassenverkäufer brachten ungeprüfte oder nicht zugelassene, billige Motorräder in Umlauf, die Slum-Kultur der armen Randbezirke rund um Kairo verlagerte sich ins Stadtzentrum.
Wie gross ist die Meinungsfreiheit in Ägypten wirklich?
Normalerweise kann ich meine meine Meinung problemlos sagen, vor allem, seit das Recht darauf in der Verfassung von Ende 2012 veranktert ist. Allerdings: Als ich jetzt versucht habe, die Fotos für die Fototage nach Biel zu schicken, gab es Probleme. Ich wollte sie ganz normal mit einem Paketdienst senden, aber sie blieben bei der Flughafen-Sicherheit stecken, die ablehnte, sie zu verschicken. Schliesslich kamen die Bilder dann mithilfe der Botschaft in die Schweiz. Und: Ich weiss nicht, ob die aktuelle Entwicklung das Recht auf Meinungsfreiheit tangiert, aber ich stelle fest, dass fast alle ägyptischen Medien nur eine Sichtweise darstellen. Sie vermeiden, Leute einzuladen, die anders denken.
Welche Sicht zeigen die Medien denn?
Sie halten das Militär für die einzige Hoffnung des Landes. Also unterstützen sie es, egal ob das zur Verletzung von Menschenrechten führt, als eine Ausnahmesituation akzeptieren sie dies zum Schutz vor Terrorismus und sind unkritischer. Anders als während der Präsidentschaft
von Mursi, den die Medien offen kritisiert hatten.
Wieso sind Sie nicht persönlich zur Vernissage gekommen?
Ich war sehr beschäftigt mit meiner Arbeit, so dass ich mich nicht auf den Trip in die Schweiz vorbereiten konnte. Und es war schwierig, die Flugtickets zu bezahlen.
Was halten Sie von den USA und Barack Obama?
Obama ist wie die US-Präsidenten vor ihm. Er tritt als der Hüter der Demokratie auf, von Freiheit und Menschenrechten in der ganzen Welt. Aber er schützt vor allem die Interessen seines Landes. Während er die Regimes im Mittleren Osten zu kontrollieren versucht, will er zugleich von den Energieressourcen profitieren und seinen Beliebtheitsgrad in Amerika nicht gefährden. Es ist also nicht wichtig, ob er eine Diktatur unterstützt oder sich mit undemokratischen Regierungen anfreundet. Er will vor allem sein eigenes Land protegieren.
Ihre Arbeiten sind nicht nur politisch. Macht Sie die Situation zum politischen Künstler?
Ein Künstler kann nicht auf einer einsamen Insel abseits der Gemeinschaft leben und die politische Lage nimmt einen grossen Raum unseres Alltags ein. Aber generell will ich meine Arbeit nicht in eine bestimmte Richtung lenken.
Ich mag kleine, unterschiedliche Projekte. Meine Interessen wechseln. Meine visuelle Wahrnehmung entwickelt sich weiter, so auch meine Themen. Ich mag keine Kategorien. Ich beschäftige mich einfach wie jeder Ägypter mit der politischen Entwicklung in meinem Land, wie jeder, der die wechselhaften Umstände verfolgt.
Was möchten Sie in Ihrem Land ändern?
Zuerst würde ich die Basis-Bedürfnisse der Menschen befriedigen wollen. Die Ernährungs- und Wohnsituation verbessern zum Beispiel. Wenn die grundlegenden, wichtigsten Wünsche von Menschen nicht gestillt sind, warden sie nie anfangen, über Kultur und Kunst nachzudenken. Und ich hoffe, dass wir das Verhalten der Menschen ändern können, wenn wir den Analphabetismus eliminieren und eine Haltung entwickeln, bei der wir die unterschiedlichen Gruppen im Land akzeptieren.
From 6th to 29th September 2013
Participating with my work “The other faces of Morsi”
The Biel/Bienne Festival of Photography organizes the only annual festival of photography in Switzerland. Every year in September works of about 25 national and international photographers are exposed in the city of Biel.
The Biel/Bienne Festival of Photography is devoting its 17th edition to the “inflections” of our era, be they economic, political, social, or personal. Instability reigns in our globalized world, and economic and social models that are no longer adequate are undergoing changes.
Contemporary photographers are capturing this process in order to record the critical moment of fragility and suspension in which all the tensions of uncertainty are concentrated. They are using the creative aspect of instability to disturb our habitual codes of interpretation and employ various techniques of photography to play with our perception.
In 27 exhibits, the artists included in the 2013 edition – originating from ten countries ranging from Egypt to the United States, by way of Greece, Albania, and Switzerland – document the era of change and the moment when one state of affairs gives way to another. Most of the works are being shown for the first time in Switzerland.
Group Exhibition (13 Artists)
Curated by: Mahmoud Hamdi
Gallery Masr, 4 A Ibn zanki from hassan sabry st. zamalek-cairo, Cairo, Egypt, 11211.
In tribute to the history of studio photographic practice in Egypt; On Photography, at Studio Viennoise an exhibition from 14 November to 16 December 2012 in Downtown Cairo
Location: 7 Champollion Street, Downtown Cairo
Soft Opening: 14 November at 7 pm
Closing event “Finissage”: 16 December at 6 pm
Daily from 11am to 8pm, until 10pm during events
Curated by: Heba Farid, Paul Ayoub-Geday
Organized by the Photographic Memory of Egypt (PME) program, CULTNAT
Supported by the Office fédéral de la culture OFC, Musées et collections (CH), Bibliotheca Alexandrina, Center for Documentation of Cultural and Natural Heritage, Egypt (CULTNAT) and Ismaelia Real estate.
On photography, at Studio Viennoise will be looking at selected historical examples and will touch on contemporary approaches to photographic studio practice. Tributes to well known as well as forgotten photographers will be exhibited alongside oral histories (videos) describing the practices of some of the “Last Studios” and current practitioners. The state of the profession will be discussed through the juxtaposition of these works with that of contemporary practitioners and artists. Questions of technique, style and the market will be discussed through the forms and mediums of the works exhibited, creating micro-climates and relationships between the works – archaeological and yet referencing contemporary practice. The viewer will be invited to participate in the production of photographs through the ‘Living Studio’ (at Studio Viennoise); a working photographic studio that will host invited practitioners. Each photographer/artist will re-create their own practice, deciding their own form and medium, and will produce work that will be exhibited at the end of the duration of the exhibition. The exhibition will open to the public starting Wednesday 14 November 2012 from 11am (soft opening). Various talks, film screenings, master classes and photo sessions with selected photographers/artists will take place throughout the duration of exhibition (5 weeks). A closing event followed by a reception: « Finissage » Sunday 16 December 2012 at 6pm will be held to present the production of the Living Studio.
– Studio Viennoise waiting room and working studio (the Living Studio)
– The Last Studios: From the last great studios of Cairo and Alexandria
– Oral histories: Video installations; Testimonies of practitioners.
– Contemporary practices: How the profession reinvents itself.
– Tributes to once famous but forgotten photographers: Photographs from collections
– Tribute to the Camera Mayya and the unknown photographer: Photographs from collections, documentary photographs, oral history and artifacts
Cairo. Open City
New Testimonies from an Ongoing Revolution
28. 09. – 23. 12. 2012
Exhibition venue:267 . Quartiere für zeitgenössische Kunst und FotografieHamburger Straße 267, Braunschweig
An exhibition by Museum for Photography Braunschweig in collaboration with Braunschweig University of Art
Cairo. Open City examines the roles that images are playing in the ongoing Egyptian revolution, from the outbreak of the Arab Spring through the present. The exhibition will include a variety of approaches to the time-based media of photography and video, from the works of photo journalists, to recordings by activists and “citizen journalists”, to documents collected by different artists.
In many ways the medium of photography has impressed upon us a quality of testimony. In the digital age and in the specific context of the Egyptian revolution new challenges and opportunities for the testimonial aspect of images are emerging: the omnipresent eye of the digital device, new distribution possibilities and alternative reporting. The exhibition will not only provide a glimpse into the freedom movements of the Arab world, it will also write a new chapter in the history of images.
If “testimony” is a central form of expression of the social transformation taking place in Egypt, then it was not primarily social networks, but the pent up desperation and courage of the people on the streets that brought about this transformation. Special attention will be paid to the genesis and intentions behind the images: Who and what is speaking from these pictures?
Cairo. Open City is an experimental exhibition in the sense that it does not represent a finished process, but rather utilizes the openness of the current political developments as a formal principle. The comprehensive exhibition has been divided into individual chapters and stations, each of which will be curated by prominent actors in the Cairo art scene, including the artists Lara Baladi and Heba Farid, the photographers Thomas Hartwell and Tarek Hefny, the activists, journalists and curators Jasmina Metwaly, Philip Rizk and Alexandra Stock, the journalist Rowan El Shimi, the bloggers Ahmad Gharbeia and Alex Nunns.
The different chapters will generate a dialogue between the images – a juxtaposition and co-existence of the greatest possible diversity of image forms and approaches. Cover images from newspapers will stand alongside photo galleries from blogs, iconic pictures alongside unknown images of people on the streets, images of martyrs alongside long-term documentary projects. As in 2011 many artists were still waiting to react to the new situation and saw their role more as street activists, a number of works are now being created that also elicit this idea of testimony, albeit with formal media that is different from the journalistic images of the events as they were happening.
On display will be photographs, videos, drawings and texts by:
Myriam Abdelaziz, Ahmed Abdel Latif, Osama Abdel Moneim, Peter van Agtmael, Alternative News Agency, Roger Anis, Kim Badawi, Mostafa Bahgat, Lara Baladi, Brigitte Bauer, Taha Belal, Eva Bertram, Sarah Carr, Denis Dailleux, Osama Dawod, Kaya Behkalam, Johanna Domke & Marouan Omara, Ahmed Easiony, Dörte Eißfeldt, Heba El Kholi, Hala Elkoussy, Mosa’ab Elshamy, Mohamed El Maymony, Mohamed El Sheshtawy, Rowan El Shimi, Mohamed Ezz, Fadi Ezzat, Heba Farid, Nermine Hammam, Thomas Hartwell, Aly Hazaa, Tarek Hefny, Eman Helal, Gigi Ibrahim, Magdi Ibrahim, Islam Kamal, Ahmed Kamel, Mahmoud Khaled, Heba Khalifa, Nadine Khan & Mariam Mekiwi, Bettina Lockemann, Alex Majoli, Jasmina Metwaly, Chris Michalski & Sebastian Stumpf, George Mohsen, Samuel Mohsen, Jehan Nasr, Mohammad Nouhan, Nasser Nouri, Alex Nunns, Maggie Osama, Susanne Pomrehn, Ivor Prickett, Jonathan Rashad, Philip Rizk, Ibrahim Saad, Randa Shaath, Ravy Shaker, Alexandra Stock, Lobna Tarek, Lilian Wagdy, Sally Zohny
Furthermore, works will be shown that were initiated as part of an encounter between young Egyptian, German and French artists. In February 2012 ten students from the Braunschweig University of Art (HBK), along with Professor Dörte Eißfeldt and Bettina Lockeman, travelled to Cairo and met there with fellow students from Egypt. A number of works came out of the digital exchange with them and with French students from the École Supérieure des Beaux-Arts de Nîmes, and these works form the final part of the exhibition.
In Autumn 2012 an extensive catalogue in Arabic, English and German will be published by Spector Books, Leipzig, with essays by young Cairo-based authors.
Vinegar soldier coke is featured in Camera Austria international magazine No. 118 as part of the forum section : Artists from Cairo, selected by Mia Jankowicz (Contemporary Image Collective, Kairo) and Constanze Wicke (Museum für Photographie, Braunschweig).