Manazir Journal最新文献_第2页

Manazir Journal Pub Date : 2022-10-24 DOI: 10.36950/manazir.2022.4.5

Sarah Dornhof

{"title":"Street Art out of Time","authors":"Sarah Dornhof","doi":"10.36950/manazir.2022.4.5","DOIUrl":"https://doi.org/10.36950/manazir.2022.4.5","url":null,"abstract":"The small town of Asilah in the north of Morocco holds an annual international festival of visual and performance arts, including exhibitions, workshops, conferences, and other parallel activities. However, it is best known for the murals that are painted every year anew by invited artists on the facades of old town houses. Founded in 1978, the Arts Festival or Cultural Moussem of Asilah qualifies as the first street art festival in Morocco and has significantly shaped the cultural context for arts to interact with public spaces. It has, in particular, linked street art manifestations to ideas of cultural dialogue and south-south alliances as well as to urban regeneration and social development. At the same time, the Festival has been criticized for using the integrative concept of the moussem, a traditional communal festivity, for cultural marketing and for connecting arts and culture to the power of the monarchy. By focusing on political, aesthetic, and urban aspects of the institutionalization of the Asilah Festival, this article draws a genealogical perspective on entanglements of art, public culture, and urban politics in Morocco. It thereby analyzes the cultural context in which street art finds its place, meaning, and critical potential today.","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"319 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116230104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Mapping Art in the Industrial North Periphery of Beirut 贝鲁特北部工业外围的制图艺术

Manazir Journal Pub Date : 2022-10-24 DOI: 10.36950/manazir.2022.4.6

Sasha Moujaes

{"title":"Mapping Art in the Industrial North Periphery of Beirut","authors":"Sasha Moujaes","doi":"10.36950/manazir.2022.4.6","DOIUrl":"https://doi.org/10.36950/manazir.2022.4.6","url":null,"abstract":"Since 2005, the areas surrounding Nahr Beirut—the river that cuts through the northeastern border of Lebanon’s capital city—became subject to the development of “art worlds” (Becker). Specifically, the neighborhood of Corniche el-Nahr became host to art-related activities in museums, galleries, studios, artist residencies, and interdisciplinary spaces. At the same time, real estate developments began to transform the urban landscapes of the areas surrounding Nahr Beirut, especially in terms of housing and architecture. In this article, I aim to untangle the interconnections between artistic activities and real estate development around Nahr Beirut in the northeastern periphery of Lebanon’s capital. First, I examine the underlying conditions that led to the establishment of art institutions in the periphery. Second, by focusing on the rebranding campaign of Corniche el-Nahr, on the construction of mixed-use buildings and on the impact of these projects on local economies, I analyze the way arts worlds are embedded in the material and non-material transformation processes in these peripheral areas. Finally, I study the connections between art worlds and urban transformation, which led art professionals to question their practices within this urban context. ","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130446738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

que l'art fait à la ville en Afrique du Nord et au Moyen-Orient 艺术为北非和中东的城市带来了什么

Manazir Journal Pub Date : 2022-10-24 DOI: 10.36950/manazir.2022.4.1

Marie Bonte, Marion Slitine

引用次数: 0

Fermeture et adaptation des possibles artistiques dans le centre-ville du Caire post-révolutionnaire : produire l’art et la ville en contexte autoritaire 革命后开罗市中心艺术可能性的关闭和适应:在独裁背景下生产艺术和城市

Manazir Journal Pub Date : 2022-10-24 DOI: 10.36950/manazir.2022.4.3

Laura Monfleur

引用次数: 0

Turning a City Inside-Out. 从里到外翻转一座城市。

Manazir Journal Pub Date : 2022-10-24 DOI: 10.36950/manazir.2022.4.4

Joachim Ben Yakoub

{"title":"Turning a City Inside-Out.","authors":"Joachim Ben Yakoub","doi":"10.36950/manazir.2022.4.4","DOIUrl":"https://doi.org/10.36950/manazir.2022.4.4","url":null,"abstract":"Abstract The spatial dynamics were difficult to overlook during the 2011 movements of revolt in Tunisia, pushing the damned in the center of public attention in the concerted effort of turning prevailing authoritarian politics inside–out. Venturing in the spatial contestation central in these revolts, the mesmerizing occupation and re-appropriation of symbolic places, such as the Kasbah Square or Bourguiba Avenue takes center stage. These movements of occupation and re-appropriation of spatial power produced momentous heuristic enclaves of another order, projecting dreams of a renewed inclusive free and dignified body politic. Based on a long-term research in the field of visual arts in Tunisia between 2011 and 2017 and combining various postcolonial critiques, this article proposes to show how violent processes of destruction preceding these processes of re-appropriation and occupation are too often overlooked. Police stations, the presidential personality cult and the private estate of the authoritarian regime will be identified and treated as spatial nodes that maintain the compartmentalization and fragmentation of urban space in place. Moreover, by including in the analysis the often-omitted Islamist occupation and re-appropriation of mosques and public space contesting the ongoing constitutional political dynamics, this article hopes to elucidate why the revolutionary process failed in the production of a long aspired liberated and dignifying space, as the revolutionary re-appropriation of these symbolic nodes of power was not included in any political agenda.","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130323286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

"Camp" dira-t-on “营地”dira-t-on

Manazir Journal Pub Date : 2022-10-24 DOI: 10.36950/manazir.2022.4.9

Lilia Benbelaïd

{"title":"\"Camp\" dira-t-on","authors":"Lilia Benbelaïd","doi":"10.36950/manazir.2022.4.9","DOIUrl":"https://doi.org/10.36950/manazir.2022.4.9","url":null,"abstract":"L’architecture est l’art de concevoir et de construire. Édifié en 1949 et voué à une temporalité courte, le camp de réfugiés de Chatila, situé dans la banlieue sud de Beyrouth est aujourd’hui un environnement construit dont les politiques urbaines se sont totalement dédouanées. Cette indifférence étatique donne naissance à un lieu en marge, contraint par d’étroites limites administratives et désordonné. Il reste cependant une cité édifiée par des individus, rythmés par le besoin inhérent d’exister ; un fragment de ville dans la ville. Cela mène à la construction d’édifices ainsi qu’à la hiérarchisation de réseaux. \u0000De plus, dans la pratique architecturale, le corps est une unité de mesure pour composer un espace. A Chatila, la contrainte spatiale et la matière disponible permettent à une intériorité d’exister ; le corps s’adapte ensuite. Cependant, un vide urbain dit d' “exception” résiste face à la conquête d’espaces au sein du camp. Cette cour, où le corps s’octroie la liberté de se mouvoir, permet l’échange social et une potentielle appropriation. L’acte de dessiner permet une analyse passive des différents paysages et spatialités qui composent le camp. La pratique artistique prend alors un rôle fédérateur entre espaces et usagers ; entre usagers et celle ou celui qui ébauche les quelques lignes d’une scène urbaine sur un simple bout de papier. Elle amorce ainsi un premier lien entre une place et ceux qui l’habitent au quotidien, tente d’éveiller des envies et rêveries en autorisant les corps à s’exprimer et les voix à s’élever.","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116163855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Carnet de voyage, Bagdad 2019 旅行日记，巴格达2019

Manazir Journal Pub Date : 2022-10-24 DOI: 10.36950/manazir.2022.4.8

Caecilia Pieri

{"title":"Carnet de voyage, Bagdad 2019","authors":"Caecilia Pieri","doi":"10.36950/manazir.2022.4.8","DOIUrl":"https://doi.org/10.36950/manazir.2022.4.8","url":null,"abstract":"This contribution is a commented portfolio of images gathered during fieldwork in Baghdad (February 2020). It aims to provide an overview of the murals which have been concentrated on Tahrir Square since the revolution of October 2019. These murals share some iconographic topics in common with the thawra (revolution) in Syria, Tunisia, Egypt and Beirut. Nevertheless, some semantic and iconographic registers are specific to Iraq, and divided into two main categories. The first one recreates “a city within the city” (ville en abyme) through composite unrealistic images of real places known to all; the second relates to the martyrology of Shiism, with portraits of historical imams, but also of “martyrs” killed during the repression in Autumn 2019. Contrary to the well-known official iconography since the 1958 Iraqi revolution, this new figurative expression is that of a young population predominantly Shiite (due to demography in Iraq), and it stems from a cultural and political substrate prone to rebellion—that of Hussein, long repressed by power. The style is often naive, at the antipodes of the concomitant Beiruti thawra street art, although crossing with other globalized graphic codes. It constitutes a vibrant popular culture and also signals a “Shiitization” of public space. Beyond traditional divisions, it finally proves to federate, in reaction to the iconoclasm of Daesh but also to the corruption that strikes the daily life and the future of millions of citizens.","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126152009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Les fresques murales à Khartoum pendant la révolution soudanaise de décembre : généralisation et politisation d’un phénomène marginal 苏丹12月革命期间喀土穆的壁画:边缘现象的普遍化和政治化

Manazir Journal Pub Date : 2022-10-24 DOI: 10.36950/manazir.2022.4.2

Yacine Khiar

{"title":"Les fresques murales à Khartoum pendant la révolution soudanaise de décembre : généralisation et politisation d’un phénomène marginal","authors":"Yacine Khiar","doi":"10.36950/manazir.2022.4.2","DOIUrl":"https://doi.org/10.36950/manazir.2022.4.2","url":null,"abstract":"Au Soudan, la Révolution entamée en décembre 2018 a conduit à de nombreux changements au niveau politique, économique, idéologique et socio-culturel. L’un des changements les plus visibles est l'explosion du street-art dans la capitale. Cet article se base sur une enquête de terrain auprès d'artistes picturaux ayant réalisé des œuvres sur les murs de Khartoum à l’occasion de cette mobilisation révolutionnaire. Il s'agira de retracer l'évolution rapide du street-art de sa quasi-absence à son omniprésence actuelle, en s’intéressant notamment au point de bascule représenté, au milieu du processus révolutionnaire, par le Sit-in tenu devant le quartier général de l’armée. L'appropriation d'un espace central sur un temps long, libéré de la surveillance et de la répression étatique frappant auparavant ces expressions, a permis à de nouvelles formes de discours artistique et politique d'émerger. Le Sit-in marque un tournant dans la place qu'occupe la peinture murale dans l'imaginaire collectif local. Le street-art passe d'une pratique marginalisé à une forme d'expression valorisée. Il devient partie intégrante du paysage urbain du « Soudan Nouveau », revendiqué par les révolutionnaires, bien que cette pratique rencontre encore de nombreux obstacles, mettant notamment en danger la conservation et la transmission des œuvres.","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125462972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

modernité "orientale" “东欧”现代性

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.8

Agnieszka Kluczewska-Wójcik

{"title":"modernité \"orientale\"","authors":"Agnieszka Kluczewska-Wójcik","doi":"10.36950/manazir.2021.3.8","DOIUrl":"https://doi.org/10.36950/manazir.2021.3.8","url":null,"abstract":"Oriental influences present in Polish culture since the Middle Ages and incarnated by the idea of “sarmatisme” were re-evaluated or outright rejected by the young modernist generation. In fact, at the turn of the nineteenth and twentieth century the traditional Polish “Orientality” was replaced by a wave of interest for the aesthetics of Islamic art, a reflection of the European “Oriental renaissance”. The Polish imaginarium had long associated the art and culture of Islam uniquely to the Middle East and its craft. The romantic epoch brought with it a new interest for medieval Spain, Granada in particular, its history and monuments, reflected in the poetry of Adam Mickiewicz and the museographic realisations of Izabela Czartoryska at Puławy or Tytus Działyński at Kórnik. If architectural projects, principally of “Moorish” synagogues and internal decorations for aristocratic and bourgeois palaces still belong to a nineteenth century oriental current, they do however already reveal a will typical of pre-war decades by virtue of granting significance to Islamic decorative principles. In the first decades of the twentieth century, “à l’orientale” motifs recurrent in fashion and the visual universe, as witnessed by contemporary novels, found a sort of counterpoint in propositions made by representatives of the Polish applied art revival movement, successful hybridization of European, oriental and popular models: fabrics, carpets, metal and leather objects of artists from the Warsztaty Krakowskie (Cracow workshops, founded 1913) such as Józef Czajkowski, Wojciech Jastrzębowski, Bonawentura Lenart, and Karol Tichy, “javano-cracovian” batiks of young workshop apprentices or even the glazed ceramics of Stanisław Jagmin. Displayed at the 1925 Exhibition of Modern Decorative and Industrial Arts in Paris, the Cracow Workshop adherent’s productions draw the attention of the European public and critics on this peculiar breed of national “primitivist” style tainted with Orientalism. ","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126950025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Deconstructing Orientalism 解构东方主义

Manazir Journal Pub Date : 2022-03-07 DOI: 10.36950/manazir.2021.3.10

Rémi Labrusse

{"title":"Deconstructing Orientalism","authors":"Rémi Labrusse","doi":"10.36950/manazir.2021.3.10","DOIUrl":"https://doi.org/10.36950/manazir.2021.3.10","url":null,"abstract":"This article has no intention to deconstruct the now classical Saidian idea that Western Orientalism was a global system of misrepresentation and control of non-Western cultures, particularly in the nineteenth century, when the colonial expansion spread over most of the regions marked by the cultures of Islam. Instead, It intends to reflect upon the fact that during this period, the Orientalist system established itself in the broader context of a modern condition which was (and still is) felt and conceived as a general “state of crisis.” This critical dimension of modern Western culture explains both the extreme degree of violence of the Orientalist enterprise of capture and its internal criticism by its own perpetrators. \u0000The same duality characterizes the modern production of visual images: the crisis of the Western mode of mimetic representation is responsible for both the paroxysmal multiplication of images, in the nascent “society of the spectacle,” and their implosion, in the experiments of the so-called artistic avant-gardes at the beginning of the twentieth century. Some decades earlier, such a radical critique of representation had been developed at the crossroads of applied arts and architecture, in debates on the nature and function of ornaments. We know how central the reference to the arts of Islam and their aesthetics, which were conceived in opposition to the contemporary Orientalist fancies, was for these debates. How did these two positions—the critique of Orientalism and of visual representation—interact? To what extent did they reinforce each other? In order to illustrate this question, This article will conjure up a most revealing episode: Henri Matisse’s trip to Algeria in 1906 and the works that immediately followed this early “Oriental” encounter for the artist. ","PeriodicalId":257328,"journal":{"name":"Manazir Journal","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128063124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0