The curator worked in dialogue with five conceptual artists towards proposing projects to be developed or finalized by December 2011. Reflecting the exhibition’s conceptual parameters, the project aims at engaging and urging art production despite/within the limits of constantly changing realities. The promise to produce in 2011, whether as a poetic thought or an act of defiance, fore-casted projects that brought forward a set of variables; images within images, images versus narratives, narratives reinterpreted in the emergence of new forces, investigations on powers in natural and political environments, and the power that artists are offered in moments of collective awakening.

The Exhibition:

Mohssin Harraki

محسن حراقي، حوض اصطناعي، 2011
كتاب في حوض أسماك، 30  × 50 × 25 سم
Mohssin Harraki, Artificial Aquarium, 2011
book in aquarium, 30 x 50 x 25 cm
Produced in the context of Momentarily Learning from Mega-Events, 2011

The work embodies the idea of historical transformation by confronting the viewer with a live process of the disintegration of knowledge.

Maha Maamoun

مها مأمون، زائر الليل، 2011، فيديو 9 دقائق
Maha Maamoun, Night Visitor, 2011
video 9 minutes

Night Visitor (2011) is an archaeological excavation of Egyptian State Security buildings through videos found on Youtube that recorded the raid on March 5th 2011 in Cairo.

Evariste Richer

إيفاريست ريشر، خريطة الشرق الأوسط التكتونية، 2011
ورق تصوير، 107 × 72 سم
Evariste Richer, Tectonic Map of the Middle East, 2011
process on photocopy paper, 107 x 72 cm

إيفاريست ريشر، مغنيسيوم مغناطيسي، 2011
ملح البحر الميت ومغناطيس، مقاس متغير
Evariste Richer, Magnetic Magnesium, 2011
Dead Sea salt and magnets, dimensions variable

إيفاريست ريشر، مقطع عرضي قرب سدوم وعمورة، 2011
رسم كربون على ورق، مقاس 1:250000، 50 × 70 سم
Evariste Richer, Cross-section near Sodom and Gomorrah, 2011
carbon drawing on paper, scale 1:250 000, 50 x 70 cm

إيفاريست ريشر،الصدع، 2011
صورة فوتوغرافية، 23 × 32 سم
Evariste Richer, The Fault, 2011, photograph, 23 x 32 cm

إيفاريست ريشر، زلازل على مد أخدود البحر الميت 1982- 1996، 2011
رسم كربون على ورق، مقاس 1:250000، 70 × 100 سم
Evariste Richer, Seismicity along the Dead Sea Transform 1982 – 1996
2011, carbon drawing on paper, scale 1:250 000, 70 x 100 cm

إيفاريست ريشر، جزيرة قار، 2011
طباعة حرير باستخدام نفط أردني خام، 57 × 77 سم
Evariste Richer, Bitumen Island, 2011
silk screen with Jordan crude oil, 57 x 77 cm

Works produced in the context of Momentarily Learning from Mega-Events, 2011

A series of works that investigates the Dead Sea valley, the geographical fault line that spreads from Mozambique to Syria, being a potential site for a seismic event, through conversations with local geologists and field research.

Banu Cennetoglu

بانو جنتوغلو، 2 / 11 / 2011، 2011
مجموعة من الصحف الصادرة في العالم العربي نشرت يوم 2 / 11 / 2011
Banu Cennetoglu, 2.11.2011, 2011
collection of daily newspapers from the Arab world printed on 2.11.2011
Produced in the context of Momentarily Learning from Mega-Events, 2011

Banu Cennetoğlu collects in one volume the printed Arabic newspapers published on November 2nd, 2011 across the Arab world. The work allows a moment to reflect on differences the Arab nation newspapers’ content, visual language and prominent features.

Oraib Toukan

عريب طوقان، تشجير جبل بائس حلم به من بعيد وخيال صاحبه قد مضى، 2011
محاضرة وحوار من ثلاثة أجزاء
Oraib Toukan, Gardening a pitiless mountain dreamed of faraway
with its owner only a passing shadow
, 2011
talk dialogue in 3-parts
Produced in the context of Momentarily Learning from Mega-Events, 2011

عريب طوقان، بلا عنوان ١٥، من مجموعة أيار بلا ألم، حزيران جرح في الصميم، 2011
صورة فوتوغرافية، مقاس متغير
Oraib Toukan, Untitled 15, from the series Painless May,
June cut to the heart
, 2011
c-type print, dimensions variable

The three part scene of Bach’s Violin Concerto in E major on roaring war planes in Mustapha Abu Ali’s 1974 film ‘They do not exist’ structures a discussion around the representation of a Palestinian revolution through neighbouring landscapes.  In the talk dialogue Gardening a pitiless mountain dreamed of faraway with its owner only a passing shadow, scenes get probed and borrowed  from Abdallah Kawash, Masao Adachi, and Jean-Luc Godard among others films that were partly shot in Jordan.

In the exhibition Oraib intervenes with one small hung photograph of the main public square in Venice (St Mark’s Square). The image is extracted from her larger photographic series Painless May, June cut to the Heart (2011).

General Idea

جنرال آيديا، مقترح لترتيب مقاعد (شكل يتبع خيال)، 1975
صورة مخطط هندسي، 91.4  × 194 سم
General Idea, Proposed Seating Arrangement (Form Follows Fiction), 1975
blue print photocopy, 91.4 x 194 cm

جنرال آيديا، أنبوب اختبار، 1979
فيديو ملون وصوت، 28 دقيقة
General Idea, Test Tube, 1979
video (sound, color), 28 minutes

جنرال آيديا، لكسن لوفر (غموض بلا تعارض)، 1975
صورة مخطط هندسي، 62  × 144.1 سم
General Idea, Luxon Louvre (Ambiguity Without Contradiction), 1975
blue print photocopy, 62 x 144.1 cm

جنرال آيديا، مجلة فايل، “جنرال آيديا ١٩٨٤ وعدد استعادي لمجلة فايل ١٩٦٨ – ١٩٨٤
مطبوعة دورية، طباعة أبيض وأسود ولون، ٣٥،٥  × ٢٨ سم
نشر آرت أوفيشال، جاليري تورونتو وفانكوفر الفني، فانكوفر
General Idea, FILE Magazine, “General Idea’s 1984 and
the 1968-1984 FILE Retrospective Issue”
web offset periodical, black-and-white reproductions and spot color, 35.5 x 28 cm. Published by Art Official Inc., Toronto and Vancouver Art Gallery, Vancouver

جنرال آيديا، الدليل، 1977
فيديو ملون وصوت، 29 دقيقة
General Idea, Pilot, 1977
video (sound, color), 29 minutes