Art Magazine
Still from Larissa Sansour & Søren Lind: As If No Misfortune Had Occurred in the Night, 2022. Image: Larissa Sansour & Søren Lind
the disturbances that these works are tackling are not pervading in a grandiose manner of overwhelming catastrophes that are daily broadcasted over popular media. Instead, they appear as quiet signifiers of larger issues whose complexity remains opaque. In a way, they feel similar to glitch, as a temporary broken image in which precisely this rupture holds the troublesome message. This way, the expected pattern is broken, and the artist interferes with the existing paradigm in order to challenge its meaning fragmentally.
READTraces of Landscape Disturbances
How can landscape disturbances, both overt and subtle, be addressed effectively in art practices? The essay explores works by Slovenian and Croatian artists, examining their engagement with the environment on a micropolitical level and challenging imposed divisions.
As the voices calling for Palestinian freedom intensify by the day, it benefits this critical moment to examine possible exercises in re-thinking settler-colonial and postcolonial violence while imagining alternative futures. The Palestinian struggle for a liberated future necessitates borrowing from other cultures and traditions while carving out spaces for emboldening and empowering intersectionality. With that in mind, what potentialities of hope and resistance can be encapsulated under alternative imaginings of the (Palestinian) future?
READA Space for Palestine: Between Science & Critical Climate Fiction
How does adopting the critical lens of indigenous climate fiction open more generous future possibilities for the colonized- especially Palestinians, who continue to suffer from the expansive and fatal repercussions of Israeli settler-colonialism?
The extent of ongoing and increasing repression of artistic freedom in Germany had caught some of the visitors by surprise. With each story of censorship brought to ABSENCED, Germany’s otherwise strong frameworks for expressing political opinions and artistic creativity got called out. Moreover, with a minimum or no interference from the curator as well as the library staff in the choice of works sent in by the artists, ABSENCED created a platform for artists to freely articulate themselves and their rights to ultimate freedom of expression.
READThis High Ground of Neutrality: A Review of the ABSENCED Exhibition at Malmö City Library
Amid cascading censorship incidents of pro-Palestinian voices in Germany, especially since October 7th, Malmö City Library hosted an exhibition featuring artists and works that have been subject to ‘cultural cancellation’ by various German institutions. The southern Swedish municipality, however, in deciding to host this performative exhibition, non-deliberately also highlighted the contradictions in its armlängds avstånd (‘an arm’s length distance’) principle, a cherished tenet of Sweden’s cultural policies.
An activation by Palestinian artists Maen Hammad, Dina Salem, Sari Tarazi, and Ahmad Alaqra was hosted at DoubleDummy, Arles, between July 1-7, 2024, during the opening week of the Rencontres d’Arles. It conveys a timeline of the ongoing genocide in Gaza using information shared via alternative messaging platforms like Telegram.
READRadical Re-imagining of Visual Order in the Midst of an Ongoing Genocide of Palestinians: A Review of ‘Against Abstraction’
An activation by Palestinian artists Maen Hammad, Dina Salem, Sari Tarazi, and Ahmad Alaqra was hosted at DoubleDummy, Arles, between July 1-7, 2024, during the opening week of the Rencontres d’Arles. It conveys a timeline of the ongoing genocide in Gaza using information shared via alternative messaging platforms like Telegram.
Kinari’s music is a radical sonic collision between her life in Delhi’s Khirki Extension in her lyrics and an intentional and intelligent reckoning with her Tamizh cultural and musical heritage through her use of parai drum beats, and gaan-inspired compositions. It is a raw and unflinching exploration of her life and is unapologetically transgressive. By blending streetwise lyrics with traditional rhythms, she creates a sound that is both familiar and revolutionary.
READA Debut of Power, Politics, and Possibility: Reviewing Kinari’s full-length album ‘KATTAR KINNAR’
Transgender rapper and 2024 Toto Music Awardee Kinari’s debut album, KATTAR KINNAR, is a defiant proclamation of identity that challenges societal norms and inspires a new generation of artists. Launched at Mujrevali Madhuri with an opening mujra performance by acclaimed trans dancer Khushi Shaikh, the album is a sonic revolution. A deep dive into Kinari’s work reveals an artist who defies expectations and commands attention. Can her fearless lyrics and innovative sound redefine the boundaries of Indian hip-hop?
A 15-year long project researching Arabic music in historic Palestine has unearthed many stories, records and musicians that have been lost, forgotten and suppressed after the Nakba. Headed by Nader Jalal, the Ramallah-based institute Nawa has not only collected this history, but brought it to a new life by organising concerts and recording albums.
READExploring Palestine’s Musical Heritage Before 1948: An interview with Nader Jalal
A 15-year long project researching Arabic music in historic Palestine has unearthed many stories, records and musicians that have been lost, forgotten and suppressed after the Nakba. Headed by Nader Jalal, the Ramallah-based institute Nawa has not only collected this history, but brought it to a new life by organising concerts and recording albums.
Performance is a space for something else. I am interested in what can turn around words and enter through different senses without a rational filter. I believe we have less protection for gestures and less digestive capacity for actions. In that way, performance can creep into the audience through the rational walls, perhaps affecting the spectator in other ways.
READLooking for the In-between: An Interview with Diana Soria Hernandez
Lois Armas interviews Diana Soria Hernandez on the nature of the spaces created in her performance art, her artistic processes over the years, and her need for exploring through performing what cannot be put into words.
