جداريات الحرب… صرخة فنية يمنية تنبذ الدمار وتدعو للسلام/ على موقع “إندبندنت”بالعربي

جداريات الحرب… صرخة فنية يمنية تنبذ الدمار وتدعو للسلام

لوحات التشكيليين سجّلت مأساة الإنسان اليمني… و”رقصة الموتى الأخيرة” و”الأم المكلومة” أبرزها

جدارية “التهام” على جدار متحف حروب الإمبريالية ببريطانيا (اندبندنت عربية)

يظلّ الفنانون أحد أهم التجليات التعبيرية الإبداعية للشعوب في مختلف الأزمنة، ولسان حالها المعبّر، فكيف لو كان الزمن حرباً أنهكت البلد الفقير؟!

ومثلما مسّت الحرب قلب كل يمني، كانت تسكن أيضاً قلب كل فنان تشكيلي تدفقت ألواناً من قلب ريشته بتجليات فنية مبدعة، حملت في رسالتها ثنائية نبذ الحرب وجحيمها، والدعوة إلى السلام والوئام المنشود.

 

دعوة إلى السلام
وبغض النظر عن علاقة البعد السياسي بالثقافي، الذي يميز الفن العربي عموماً واليمني منه على وجه الخصوص، لم يكن الفنان اليمني يوماً بمنأى عن المآلات التي خلَّفتها الحرب، فكان بحق هو الصوت الصادح الذي صرخت به جدران صنعاء وعدن ومأرب وتعز وغيرها، بجداريات عكست مدى تأثر الناس بالحرب، وتفنّنت رسائلها الصريحة والضمنية في حث الخطاب الجمعي للدعوة إلى السلام.

يوميات الحرب منطلق للإلهام
وفي حين حضر (الغرافيتي) بألوانه الصارخة في مدن وأرياف اليمن، لم تخل هذه التجربة التي ألهمتها الحرب من محاولة إيصال صوت اليمنيين في الخارج برسم “صورة” عن اليمن وتاريخه المتجذر ويوميات الحرب الطاحنة.

من ضمن هذه التجارب، جملة الجداريات التي نفّذها فنانون تشكيليون يمنيون في عدد من المدن الأوروبية والآسيوية، وكانت الحرب منطلقاً لأفكارهم، ومن ضمنها جداريات الفنان التشكيلي اليمني مراد سبيع وشقيقته هيفاء في لندن وباريس ومرسيليا وسنغافورة ومدن أخرى.

وعن تجاربه هذه يقول الفنان التشكيلي مراد سبيع، “الحرب تؤثر بطريقة مباشرة على تجليات الفنانيين التشكيليين، وهم خير من يعبر عنها وعن مآلاتها المظلمة، لأنهم بطبيعة الحال أبناء بلدهم، ومن الطبيعي أن يعبروا بإبداعاتهم عن حال بلدانهم وشعوبهم”.

كثيراً ما يتحدّث المثقف والفنان عن إلهام من نوع خاص تبعثه الأزمات والحروب في إبداعاتهم، باعتبارهم خير من يعبر عن الناس. يضيف سبيع خلال حديثه إلى “اندبندنت عربية”، “لا شك أن أعمال كثير من الفنانين تأثرت بشكل واضح بظروف الحرب، لأنهم عاشوا واقعها القاسي على كل النواحي الاقتصادية والاجتماعية والسياسية، وحتى على مستوى حريتهم وحرية التنقل، وكانوا في مقدمة من تأثر بها، ولهذا فمشاعرهم تنعكس بطريقة مباشرة على أعمالهم”.

السلام والأحلام
ويرى سبيع، الذي بدأ مشواره في العام 2014، أن أعمال الفنانين في حالة الحرب “تحمل دوماً مشاعرها السوداوية، وتتجلى في إبداعاتهم جداريات الدعوة إلى السلام والوئام، لكن في حالة السلام فالتعبير عن الآمال والأحلام هو السائد غالبا”ً.

رقصة الموتى الأخيرة
ولفتت أنظار المارة وسط باريس، جدارية تظهر ثلاث جثث رُسمت على خلفية حمراء مجسِّدة المأساة الإنسانية التي يعيشها اليمنيون.

يقول مراد إن لوحة “رقصة الموتى الأخيرة” التي يبلغ ارتفاعها ثلاثة أمتار “تجسّد مأساة الاعتقالات التعسفية التي تمارسها الميليشيا بحق اليمنيين”.

ويوضح، “الجدارية تأتي ضمن مجموعة أعمال نفّذها في باريس، تنقل بشكل مباشر تأثير الحرب على الناس والمدنيين والضحايا، وهي مستوحاة من قصص حقيقية لأشخاص لقوا حتفهم في الحرب”.

أعمال في لندن
وكان لمدينة الضباب نصيبٌ من محاولات سبيع لفت أنظار العالم إلى مأساة شعبه بعدة أعمال.

يقول، “أنجزتُ في لندن ثلاث جداريات في يوليو (تموز) من العام المنصرم ضمن حملة (وجوه الحرب)، أسميت الجدارية الأولى (الأم المكلومة)، والثانية (الجيل الضايع) بينما الثالثة (شهية طيبة) تركّز على كارثية الحرب، وأن استمرارها سيؤدي إلى مضاعفة مآسي الشعب اليمني، وتعكس معاناة الضحايا مع الميليشيا في شمال اليمن، وأطراف الحرب المختلفة”.

حضور نسوي
من اللافت للنظر الحضور المتزايد للفنانات التشكيليات اللواتي كان لهن خلال سنوات الحرب الماضية حضورٌ كبيرٌ في كثيرٍ من الفعاليات والأعمال الفنية المعبرة عن معاناة الناس ويوميات الحرب.

ففي صنعاء، تتزين جدران شارع الزبيري (أحد أشهر أحياء العاصمة اليمنية) بكثير من اللوحات الفنية للفنانة هيفاء سبيع وعدد من زميلاتها تبرز في مجملها معاناة الإنسان اليمني، كما تظهر اهتماماً خاصاً بقضايا المرأة والطفل، وما يعانونه من جوع وأمراض ونزوح… إلخ.

منع وتهديد
غير أن فنانات أخريات اشتكين منع فرشاتهن وألوانهن من التعبير على جداريات مدن يمنية أخرى.

تقول الفنانة التشكيلية منال شيباني، “حاولت أن أرسم جداريات فنية في عددٍ من أحياء عدن، إلا أني قُوبلت بالمنع التام من قبل جهات سياسية، مع التهديد في حال نفذت أعمالي، ومشترطين عليّ تنفيذ رسوم تدعوا إلى مساندتهم إضافة لرسم علم (جمهورية اليمن الديموقراطية) قبل إعادة توحيد اليمن 1990”.

الحكومة لا تحمي الإبداع
وعن دور السلطات الرسمية في حمايتها لتنفيذ أعمالها الفنية، أوضحت خلال حديثها مع “اندبندنت عربية”، أنها خاطبت الجهات الرسمية ومديري المديريات في عدن غير أن طلبها “قوبل بالرفض التام”.

وتضيف، “في عدن يُسمح للمنظمات بأن تنفذ رسوماً بسيطة توعوية عن النظافة فقط، لكن بوساطات قوية”.

الفن ليس للغرف المظلمة
تستدل منال بتجربة تصفها بـ”المريرة”، عندما تقدّمت بطلب إلى مدير إحدى المديريات في عدن بالرسم على مبنى خاص بالكهرباء الذي يقع على الواجهة من المارة، لإعطاء منظر جمالي للشارع الكئيب.

لكن طلبها “قُوبل بالرفض أيضاً”، بحجة أنها أمام مول تجاري، وهنا تتساءل بحسرة “لا أعرف لماذا يحاولون حصر أعمالنا الفنية داخل أماكن مغلقة فقط؟”!.

ولم تخف منال خشيتها من الانتقام لحديثها إلى وسائل الإعلام عمّا وصفته “القمع الذي يمارس عليها وزملائها الفنانين التشكيليين”، الذي قالت إنه سبب لهم “متاعب نفسية لم يحتملوها”.

إقرأ المزيد..

Continue reading “جداريات الحرب… صرخة فنية يمنية تنبذ الدمار وتدعو للسلام/ على موقع “إندبندنت”بالعربي”

The street artist capturing the impact of the war in Yemen\ On “The Economist”

 

 

The walls remember their faces

The street artist capturing the impact of the war in Yemen

Using stencils and spray paint, Murad Subay creates haunting figures, portraits and motifs

FREQUENT VISITORS to the skatepark on London’s South Bank may have noticed two new works of art among the decades-old graffiti. Both spray-painted in black and white, one image depicts a naked and emaciated mother clutching a newborn; another shows a starving boy, his hair on end, listlessly picking at his hands. Entitled “Hollowed Mother” and “Lost Generation” (pictured), the figures are cadaverous and haunting, with dark empty holes where their eyes should be.

 

Similar works of street art can be found in Hodeida and Sana’a, cities in Yemen: on the wreck of a door, now in a garbage dump, or on the last standing wall of a house reduced to rubble. “Faces of War”, a project by Murad Subay, a Yemeni artist, seeks to draw attention to the worst humanitarian crisis in the world. Since the outbreak of civil war in 2014 between Houthi rebels, a Shia militia backed by Iran, and government forces, backed by Saudi Arabia, the water, power, health-care and education systems have failed. The country has suffered the worst cholera outbreak in modern history and faces famine. The United Nations estimates that three-quarters of the population of 28m need some sort of assistance.

Mr Subay’s works convey this desperation. “Devoured”, (pictured below) an installation commissioned by the Imperial War Museum in Manchester, depicts a skeletal, one-armed man with the same cavernous eyes as the mother and boy in South Bank. He sits, cross-legged, biting into himself; a crow perched on one knee pecks at his gaunt thigh. The image calls forth “The vulture and the little girl”, a Pulitzer prizewinning photograph taken by Kevin Carter in 1993, of a starving Sudanese child (actually a boy) and a vulture stalking close by. (The memory haunted Carter, who took his own life the next year.)

Continue reading “The street artist capturing the impact of the war in Yemen\ On “The Economist””

The making of Devoured\ On the walls of IWM

 

Devoured (2019) is an artwork by Yemeni street artist Murad Subay, commissioned by IWM for Yemen: Inside a Crisis at IWM North. The work metaphorically represents the harsh realities of life for Yemeni people. Murad could not travel to Manchester to install the work so local street artist Jay Staples stepped in to help.

Four Yemeni artists you need to know about\ on MEE

 

Four Yemeni artists you need to know about

Photography, video art and installations are still being produced despite the ongoing conflict
File 7987 from the Corrupted Files Series by Arif Al Nomay (Arif Al Nomay)

The conflict in Yemen, now in its fifth year, has been called an “invisible” war. The same could also be said of the country’s art scene: ask an art connoisseur or expert in the Middle Eastern market to name a major modern Yemeni artist and you are likely to draw a blank. “Good Yemeni artists are very few and far between,” said one expert, approached for this piece.

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‘There’re so many talents but nobody encourages them’

– Khadija al-Salami, Yemeni film-maker

For many in the art world, there are no established 20th-century Yemeni names, no “modern masters” comparable to the Syrian painter Fateh al-Moudarres, or Iraq’s Jewad Selim, whose best works sell for tens of thousands of dollars at auction years after their deaths. In contrast, Yemeni artists rarely make an international impact.

 

The country’s art scene, like its governments, has in part been hampered by continuously changing borders and political instability. As unrest has descended into war during the past decade, so international cultural organisations like the British Council closed down the spaces it offered for art exhibitions.

Only a scattering of homegrown institutions, like the Basement Cultural Foundation in Sanaa, have managed to hold on.

“There’re so many talents but nobody encourages them,” says Khadija al-Salami, the Yemeni film producer, director and a cultural attache at its embassy in Paris. “They are self-generating. There is nothing that really encouraged them, just an internal force that leads them to do what they do.”

In Yemen, she said, art is regarded as “something that’s just wasting your time. It’s: ‘What’s wrong with this guy?”

Artists, art clubs and the USSR

But it is wrong to see modern art in Yemen as without any heritage. The scene had its beginnings in Aden’s painting clubs of the 1930s and 1940s, says Anahi Alviso-Marino, a Paris-based academic and the leading specialist on the subject.

“It’s just not part of the official story of art in the region. This quarter of the world is quite invisible. That doesn’t mean that there are no artists or art practices or art history.”

Alviso-Marino, through her research, has documented how artist associations, societies, studios, and later, private galleries emerged during the later 20th century in Taiz, Sanaa, and Aden.

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Yemeni artist Abd Allah Ubayd in Kiev in 1988 as part of a cultural exchange with the USSR (Abd Allah Ubayd/Arabian Humanities)

The painter Hashem Ali, for example, who died in 2009, ran his studio in Taiz during the 1970s and 1980s – the city held an exhibition and auction of his art in May 2019 to buy a home for his family.

During the same time the Association of Young Artists was active in Aden while the military museum in Sanaa housed Peace Guardians, a major painting by Abd al-Jabar Nu’man.

During the 1990s, the Yemeni culture and tourism office published a quarterly arts journal and the University of Hodeidah became the country’s first public university to offer a visual arts degree. Later, the Ministry of Culture set up houses of art to take exhibitions and workshops across the country.

Art in Yemen was also open to overseas influence. Alviso-Marino has uncovered how, during the 1970s and 1980s, a scholarship programme took between 50 and 70 Yemeni painters, sculptors and poster artists to the Soviet Union to study fine arts as part of a Cold War cultural programme. Many spent years in Moscow for their master’s degrees, before returning to the Gulf.

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The series Borderland, by Alia Ali, formed part of the exhibition On Echoes Of Invisible Hearts at Station, Beirut in April 2019 (Station)

The constraints and horror of the current war have resulted in a fresh wave of Yemeni artists who tend to be young – typically under 35 – and who are wary of being framed only within the context of the conflict.

They do not work in calligraphy or anything that could conventionally be called Islamic, or Middle Eastern art: instead, they often choose photography, film or new media. Many joined the 2011 protests in Sanaa’s Change Square, but do not want to be only defined as the product of just another war-torn country.

The output of this small but determined group, several of whom live and work overseas, has been celebrated across Europe, including exhibitions in Berlin in 2018 and Beirut earlier this year.

In early July the British Museum in London organised a symposium as part of the Shubbak Festival of Contemporary Arab Culture, highlighting the art of four artists (below) of Yemeni origin – a timely barometer of what is happening to the country’s arts.


Visual artist: Salwa Aleryani

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They Purchased Light And Smuggled Hope, from the series ‘Where We Were When The Lights Went Out’ by Salwa Aleryani (Salwa Aleryani)

Salwa Aleryani, like millions of Yemenis, has seen the country’s regular power cuts worsen since 2012. Many of her fellow citizens have protested about the outages that can last up to 12 hours, but Aleryani was also inspired to create art. The electricity stopped flowing, she noticed, but the bills did not; nor even the demands for early payment.

For her project Where We Were When The Lights Went Out, she took utility bills and counter-stamped them with poetic lines in Arabic such as “A moment in the dark does not blind us” or “They purchased light and smuggled hope.” As a work of contemporary art, it is witty and bitterly ironic.

She also took a series of photographs, wryly observing how domestic electricity generators have become part of the furniture in local shops.

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Letters To The Sun from the Generator series by Salwa Aleryani (Salwa Aleryani)

Aleryani trained in the United States after winning a prestigious Fullbright Scholarship. She has never displayed her electricity project but this year showed other abstract installations in Vienna, as well as at group shows in Istanbul and Berlin, where she is based.


Photography: Rahman Taha

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A work from Rahman Taha’s series From Mountains To The Sea, which explores Yemenis’ relationship with the landscape (Rahman Taha)

Rahman Taha, who is based in Sanaa, has had his photography featured in The New Yorker and Forbes. He previously ran an art gallery in the Yemeni capital.

His films include Short Scenes Based On A True Story, an impressionistic view of life in Yemen. “It showed how you can make art in Yemen,” he says. “I tried to make it a commentary.

“I’m trying to understand Yemen the place and the people, and we have too many beautiful things in Yemen, even Yemeni people don’t know about this.”

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Rahman Taha has also produced work based on Yemenis watching the World Cup in Sanaa (Rahman Taha)

Recent projects include Mr Ali, which explores Yemen through the eyes of a man of nearly 80, who has spent his life working on coffee plantations; and photographs of Yemenis watching the World Cup in Sanaa.

From Mountains To The Sea, another of Taha’s works, reflects on Yemenis’ relationship with land and sea, including how residents migrate from the villages to the cities to secure well-paid work with militias.

In the coming months, he will be based in Cairo, ahead of an exhibition at the city’s much-respected Townhouse Gallery later this year.

“When you are inside the country, you have your own eyes,” he says of working in Yemen. “But when you move to another place, you change your opinion and think in a different way. This is important. The normal moments in life, it’s important too.”


Visual arts: Ibi Ibrahim

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A still from Ibi Ibrahim’s video work Departure with animation by Hosam Omran (Ibi Ibrahim)

Ibi Ibrahim is a visual artist and photographer based in Sanaa, whose wide-ranging work even includes dress design. He is the founder and director of the Romooz Foundation, an NGO which organised the recent exhibitions of contemporary Yemeni work in Berlin and Beirut, as well as more informal presentations in Sanaa.

His exhibitions include artists like Arif al-Nomay, whose project The Corrupted Files consists of digital photographs taken in 2014 at Sanaa’s Summer Festival that were accidentally corrupted by his computer. The 60 images, shown as a grid installation, reveal what the catalogue described as “an ominous and eerie view” of the festival from days past.

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File 7987 from Arif al-Nomay’s series Corrupted Files (Arif Al Nomay)

Other work at the exhibitions has included collages, installations, neon art, and documentary photography. Artists in Yemen, Ibrahim says, paused only a few months when the conflict started. “When we realised the war was going to continue, we started making art.”


Street art: Murad Subay

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Devoured by Murad Subay on display at the Imperial War Museum in Manchester (IWM)

Murad Subay from Sanaa is a self-taught street artist who is currently on a year-long scholarship in France. Although he is labelled by the media as “Yemen’s Banksy”, his work has yet to sell at Banksy prices.

His first campaign, Colour The Walls Of Your Street, ran for three months in Yemen in 2012. Later that year, he created The Walls Remember their Faces, stencilling hundreds of faces across Sanaa and other cities in memory of the victims of “enforced disappearances”.

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A portrait from The Walls Remember Their Faces, Murad Subay’s 2012 series across Sanaa (Murad Subay)

“The people are essential for this art scene, which is street art,” he says. “They were there with support, with participation because the unique thing about the street art in Yemen is that people are not the audience. They are participating by painting, by supporting, even by criticising.”

In the UK, Subay’s work is on display at the skateboard park on London’s South Bank as part of a campaign against the arms trade, and at the Imperial War Museum in Manchester, where Devoured, a grim image of a skeletal figure being pecked by a crow, is part of the exhibition Yemen: Inside A Crisis.

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Continue reading “Four Yemeni artists you need to know about\ on MEE”

“Street Art: From the walls of the Revolution to the Ruins of War”, at The British Museum

“فن الشارع: من جدران الثورة إلى ركام الحرب”
موضوع حديثي في ندوة أقامها “مهرجان شباك” في المتحف البريطاني، بلندن 5 يوليو 2019.
تصوير العزيز الجميل:Osamah Abdullah Al-Rawhani

“Street Art: From the walls of the Revolution to the Ruins of War”
During my talk on the symposium held by “Shubbak Festival” in the British Museum. London, July 7th, 2019.

 

“Lost Generation” الجيل الضائع

“الجيل الضائع”

جيل بأكمله تم تضييعه منذ بداية إجتياح المدن عام 2014 وحتى الحرب الحالية التي بدأت عام 2015، لقد تم هدر أحلام الشباب والشابات والشعب اليمني الذي تطلع في يوما ما منذ سنوات للحاق بالعالم، ليعيش كباقي الشعوب في حرية وعدل.

جداريتي “الجيل الضائع”, ضمن مجموعة “وجوه الحرب”, على جدار في العاصمة البريطانية “لندن”, 5 يوليو 2019.

شكر خاص للرائع “روب ماكينس” لكل جهوده بذلها في توفير المكان اللازم لي لعمل الجداريات وللصديقة “سميه بخش”

“Lost Generation”

An entire generation has been lost from the beginning of the invasion of the cities in 2014 until the ongoing war that started in 2015. The dreams of the young people and the Yemenis (it is the same for the people in the region), who someday dreamt to live like the rest of the world in freedom and justice.

“The Lost Generation”, part “The Faces of War” street art collection, on a wall in London, July 5, 2019

A special thanks to the wonderful “Robbie Macinnes” who helped me with finding a place to do my murals and to my friend “Sumaya Baksh”.

“Hollowed Mother” الأم المكلومة

 

  لم يعد لدي ما أقوله فيما يحصل في اليمن والمنطقة, من حروب ودمار وموت.

جداريتي, “الأم المكلومة”, على جدار في مدينة “لندن, بريطانيا”, 5 يوليو 2019.

I no longer have anything to say about what happens in Yemen and the region, wars, destruction and death.

My recent mural “Hollowed Mother”, in “London, UK”, July 5th, 2019.

New commission by Yemeni street artist Murad Subay exhibited for the first time at IWM North as part of Yemen: Inside a Crisis

 

New commission by Yemeni street artist Murad Subay exhibited for the first time at IWM North as part of Yemen: Inside a Crisis

Manchester street artist, Jay Sharples, working to create a mural version of Murad Subay’s artwork “Devoured (2019)”, commissioned by IWM for Yemen: Inside a Crisis, an exhibition running at IWM north beginning May 2019.Photographed 29th April, 2019.

Ahead of opening the major exhibition Yemen: Inside a Crisis at IWM North on 17 May 2019, Imperial War Museums (IWM) announces its commission of a new artwork by Yemeni street artist Murad Subay. Created especially for IWM, the artist’s latest work, Devoured (2019), will form part of the UK’s first exhibition to address Yemen’s current conflict and humanitarian crisis.

In this commission, Murad Subay responds to the on-going humanitarian crisis in his country, which the UN has described as the “world’s worst”. With the conflict leaving an estimated 80% of the country’s men, women and children in desperate need of assistance, Subay’s artwork explores the realities of living in a war zone.

 

Examining the inaccessibility of food, water and healthcare, Devoured metaphorically represents the harsh physical and psychological realities faced daily by the Yemeni people, as well as the regional and international experience of the conflict situation. Created using stencils, the artwork depicts a skeletal man, sat cross- legged, devouring what remains of himself. A crow bird perches on the knee of the figure, also devouring the body. The colours used are grey and muted, emphasising a horizontal red line that runs behind the seated figure.

Commenting on Devoured, artist Murad Subay said: “Ordinary people are struggling for survival and are crushed down to the ground. People suffer from hunger and famine, illness and epidemics due to lack of food, water and medicine. They lost everything they had because of war. There is only a red line – a dangerous limit that should never be crossed – which has been surpassed already, exemplifying the lack of hope and uncertain future.”

Louise Skidmore, Head of Contemporary Conflict at IWM and curator of Yemen: Inside a Crisis said: “Responding to themes explored as part of Yemen: Inside a Crisis, Murad Subay’s Devoured is raw and honest. His is a powerful representation of the human suffering in Yemen and it visually reflects how weary the country’s people are after years of living through the on-going crisis. IWM is extremely proud to have commissioned this important work, which provides a unique perspective on the artist’s experience of conflict.”

Yemen: Inside a Crisis is part of IWM’s Conflict Now strand of programming, which features opinions of individuals who have witnessed, experienced and worked in areas of conflict. In addition to Murad Subay’s new commission, the exhibition at IWM North will feature around 50 objects and photographs, many of which have been exclusively sourced from Yemen for this exhibition.

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Cultures and Commemorations of War; Workshop Five – Drawing Wars: Art and Cultural Memory\ Oxford University

Cultures and Commemorations of War; Workshop Five – Drawing Wars: Art and Cultural Memory

A one-day interdisciplinary workshop considering the artistic and visual representation of war.

This event features a keynote conversation with the world-famous graphic novelist Joe Sacco (Palestine, Safe Area Goražde, The Fixer, Footnotes in Gaza, Journalism), as well as talks by the Yemeni street artist Murad Subay, Bram Ttwheam, Monica Bohm-Duchen, Steve Dixon, Johnny Magee and Tony Crowley.

 

The interdisciplinary seminar series ‘Cultures and Commemorations of War’ brings together early career researchers and advanced scholars with practitioners, policy makers, charities, and representatives from the media and culture and heritage industries, to consider the practices and politics of war memory across time.

Funded by the RAI and Corpus Christi College

Free and open to all, including lunch, coffee and a wine reception – please register in advance.

To register for the full day workshop www.eventbrite.co.uk/e/cultcommwar-workshop-five-drawing-wars-art-and-cultural-memory-tickets-60116513109

To register ONLY for the talk by Joe Sacco www.eventbrite.co.uk/e/joe-sacco-in-conversation-tickets-60118802958

Optional donations on the door in aid of the White Helmets and the British Red Cross Yemen Crisis Appeal (£5 suggested, but anything welcome)

Organised by Dr. Alice Kelly (alice.kelly@rai.ox.ac.uk)

Schedule:

10.30: Registration (Coffee and Pastries)
11.00-13.00: Brief Introduction – Dr. Alice Kelly
Remembering through Art (Chair: Dr. Chris Kempshall)
Bram Ttwheam (Aardman Animations) – The Art of 11-11: Memories Retold
Monica Bohm-Duchen (Birkbeck) – ‘After Auschwitz’: Art and the Holocaust
Prof. Steve Dixon and Dr. Johnny Magee (Manchester School of Art) – Refugee Tales: Viewing the Belgian refugee crisis of WW1 through the lens of contemporary experience
Includes a short film showing: Unbreakable (2019)
13.00 – 14.00: Lunch
14.00 – 15.30: War Street Art (Chair: Hanna Smyth)
Murad Subay – The role of street art in advocating community issues in times of crisis and conflict
Prof. Tony Crowley (Leeds) – Photographing Murals of the Irish Troubles [Title TBC]
15.30 – 16.00: Coffee
16.00-17.30: Keynote: Joe Sacco, in conversation with Alice Kelly and the audience
17.30-18.30: Wine Reception

Continue reading “Cultures and Commemorations of War; Workshop Five – Drawing Wars: Art and Cultural Memory\ Oxford University”

Student reading list: Art and protest/ BY GILLIAN TRUDEAU, On Index Magazine

 

Student reading list: Art and protest

03 Jan 2019
BY GILLIAN TRUDEAU
An anti-war mural created by Yemeni street artist Murad Subay, 2016 Freedom of Expression Arts Award winner.

An anti-war mural created by Yemeni street artist Murad Subay, 2016 Freedom of Expression Arts Award winner.

Art has been used as a form of protest during times of crisis throughout history. It is a popular and, at times, effective platform to express opinions about societal or governmental problems, particularly when other forms of protest are not available. Protest art includes performances, site-specific installations, graffiti and street art.

Here Index highlights key articles about art and protest from around the world, from the past five decades.

 


Soviet "unofficial" art, the Winter 1975 issue of Index on Censorship magazine

Soviet “unofficial” art

December 1975, vol. 4 issue: 4

Alexander Glezer writes about his participation in organising the unofficial art exhibit in Moscow. When the first exhibition opened, it was bulldozed by undercover police officers and agents from the KGB (Committee for State Security). In the second exhibition, the authorities were forced by the public to grant permission and ten to fifteen thousand people came to see the paintings and sculptures of 50 nonconformist artists’. Glezer, 41-years-old, was questioned by the KGB, arrested and sentenced 10 days for “hooliganism”. He was allowed to leave the Soviet Union in 1975 February.

Read the full article


Repression in Iran , the Winter 1974 issue of Index on Censorship magazine

Portugal: Art triumphant

December 1974, vol. 3 issue: 4

The Sao Mamed Gallery opened with 186 artworks by 87 artists who had never shown their work in public before due to the regime’s dictating of Portuguese life. The gallery was built to celebrate the result of the military coup abolishing censorship of expression.
Published in the New York Times.

Read the full article


Art of Resistance

September 2012, vol. 41 issue: 3

Malu Halasa, co-curator of the exhibition Culture in Defiance: Continuing Traditions of Satire, Art and the Struggle for Freedom in Syria, writes about how the violence in Syria affected country’s art of resistance production and then created ideas of spreading this work further West which was the reason for the exhibition’s creation.

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Dark Arts: Three Uzbek artists speak out on state constraints

December 2014, vol. 43 issue: 4

Author Nargis Tashpulatova interviews writer three Uzbek artists – Sid Yanishev, photographer Umida Akhmedova and conceptual artist Vyacheslav Akhunov who continue to create artwork throughout governmental threats and censorship and the regression of art in Uzbek society.

Read the full article

 


Art or Vandalism

October 2011, vol. 40 issue: 3

Yasmine El Rashidi writes on the outbreak of graffiti in the streets in Cairo during the 18 days of the Egyptian revolution.

Read More>>

 

 

Continue reading “Student reading list: Art and protest/ BY GILLIAN TRUDEAU, On Index Magazine”