Wednesday, December 7, 2011 at 6pm
Theater 3, The Lewis B. and Dorothy Cullman Education and Research Building,
4 West 54th Street
On December 7th Bidoun’s Negar Azimi will join William Wells, Director of Cairo’s Townhouse Gallery of Contemporary Art, and Glenn D. Lowry, Director of the Museum of Modern Art, in a sprawling conversation about the arts in the swiftly changing Middle East. Azimi will narrate the various and vexed issues related to the production of Bidoun #25, made in Cairo.
Tuesday, December 6, 2011 at 7pm
WORD bookstore, 126 Franklin Street, Brooklyn
Albert Cossery in Cairo
On December 6th Bidoun joins forces with New Directions and The New York Review of Books for a panel discussion on the late Egyptian novelist, Albert Cossery, whose greatest subject was laziness, and whose characters — anarchists, revolutionaries, retired philosophers — seek happiness by doing as little as possible. A scene in Tahrir Square from The Colors of Infamy, recently published by ND, appeared in Bidoun #25. The panel includes Robyn Creswell, poetry editor of The Paris Review, Cossery’s translators Anna Moschovakis and Alyson Waters, and Bidoun‘s Anna Della Subin.
Saturday, August
20
Ahdaf Soueif
Sackler Centre of Arts Education, 3pm
Serpentine Gallery, Kensington Gardens, W2
Ahdaf Soueif in Tahrir Square. Photo by Hossam el-Hamalawy.
Ahdaf Soueif comes from a family of activists and writers who have been some of the key protagonists in the recent revolution in Eygpt. She arrive in London having spent several months in Cairo reporting on the events as they unfolded. Soueif will be discussing her work and sharing her experiences of activism and writing over the past two decades, as well as connecting with colleagues in Cairo, in an exciting seminar on writings and the revolution.
Based between Cairo and London, Soueif writes in both English and Arabic, and her essays and reviews have been published in numerous publications, including: Akhbar al-Adab, al-Arabi, Cosmopolitan, Granta, al-Hilal, al-Katibah, The London Magazine, The London Review of Books, New Society, Nisf al-Dunya, The Observer, Sabah al-Kheir, The Sunday Telegraph, Times Literary Supplement, Washington Post and others. .
The Bidoun Library is seeking manifestations of the Revolution of January 25th in magazines, newspapers, books, and miscellaneous printed matter. We do not seek a complete and democratic collection of everything printed just ahead, during and after the 25th, nor of the best, most insightful, or lucid accounts in print, but printed materials which are more than anything else OBJECTS, necessitated, transformed or intervened upon by the continuing revolution.
In our experience, this approach tends to produce two types of documents: first, there are materials which are produced to meet new needs or markets among the public, or by new channels of distribution and socialization opened by an event. In general these are materials that would not have existed before these events and may not exist after. This could include newspapers and leaflets produced in, during, and for the demonstrators in Tahrir, for example, or hastily produced commemorative magazine issues or books produced directly after.
Another prime site of the material manifestation of an event often appears in the ways it is refracted in existing modes of cultural production. For example the way the revolution appears in teen and celebrity magazines, advertisements, sports papers, occult and conspiratorial pamphlets, romance novels, comic books, children’s books, auto decals and stickers, trade journals, pop-political analysis, hastily produced biographies of presidential hopefuls, yellow pages, real estate and travel guides, and so on.
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The Bidoun Library is a peripatetic collection of printed materials from and about the ‘Middle East,’ as a product and producer of printed materials. It has traveled extensively throughout the region, from Abu Dhabi to Beirut to Cairo. This summer the Library will spend several months at the Serpentine Gallery in London. All materials donated to the library will be credited and all purchases on its behalf compensated, by arrangement with its librarians. Upon request, Bidoun will return materials after documentation.
Email info@bidoun.org with queries. Though this is an ongoing project, any materials sent to us by the first week of May would be helpful as potential inclusions in the summer issue of Bidoun. Materials could be dropped off at the Townhouse Gallery in Cairo, 1st floor.
Bidoun is saddened to hear that the young Cairo based artist Ahmed Basiony was killed in the Egyptian protests last Friday.
To all of Bidoun’s many friends in Egypt, we salute you in your battle for justice.
With respect,
Bidoun
From October 12th to November 24th, the Bidoun Library and Project Space will be hosted by the Townhouse Gallery in Cairo. Contemporaneous with the library will be a symposium devoted to archival practices, “Speak, Memory,” which brings together photographer Susan Meiselas, members of the collective Pad.ma, Claire Hsu of the Asia Art Archive, Negar Azimi and Yasmine Eid Sabbagh of the Arab Image Foundation, Vasif Kortun of Platform Garanti in Istanbul, and many others. As part of Bidoun’s program, the Bidoun Library will host talks by historian Khaled Fahmy and curator Bassem El-Baroni, co-founder of the Alexandria Contemporary Arts Forum and co-curator of Manifesta 8. The Bidoun program is curated by Contributing Editor Hassan Khan.
New Museum (5th Floor)
August 4 — September 26, 2010
235 Bowery
New York, NY
The Bidoun Library Project at the New Museum is a highly partial account of five decades of printed matter in, near, about, and around the Middle East. Arrayed along these shelves are pulp fictions and propaganda, monographs and guidebooks, and pamphlets and periodicals, on subjects ranging from the oil boom to the Dubai bust, the Cold War to the hot pant, Pan-Arabs to Black Muslims, revolutionaries to royals, and Orientalism to its opposites.
Most of the 700-odd titles on display were acquired specifically for this exhibition. The shape of the collection was dictated primarily by search terms on the World Wide Web rather than any intrinsic notion of aptness or excellence. Searching for “Arab,” “paperback,” “1970s,” and “<$3,” we acquired dozens of books about the Oil Crisis, the cruel love of the Sheikh, and the lifestyles of the nouveau riche. A similar search for “Iran” produced its own set of types and stereotypes. We did not set out to find the best books about, say, the Iranian revolution; in a sense, we looked for the worst. Or, rather, we tried to look at what was there.
The result is less a coherent group of titles or texts than an assortment of books as things, sorted roughly into four themes or units. Catalogues hang from the ceiling in front of each shelf cluster. Inside is a documentation of a selection of books from that shelf, in dialogue with excerpted texts and images from the library as a whole.
The Bidoun Library includes a program of Iranian film, video, and television culled from low-fidelity DVDs and VHS tapes that circulate among Iranians in the Diaspora. The selection includes post-revolutionary variety shows, music videos, and other totems of middlebrow—unibrow?—culture. This is an Iranian cinema unlikely to be shown at Lincoln Center.
New Museum (5th Floor)
August 4 — September 26, 2010
235 Bowery
New York, NY
The Bidoun Library Project at the New Museum is a highly partial account of five decades of printed matter in, near, about, and around the Middle East. Arrayed along these shelves are pulp fictions and propaganda, monographs and guidebooks, and pamphlets and periodicals, on subjects ranging from the oil boom to the Dubai bust, the Cold War to the hot pant, Pan-Arabs to Black Muslims, revolutionaries to royals, and Orientalism to its opposites.
Most of the 700-odd titles on display were acquired specifically for this exhibition. The shape of the collection was dictated primarily by search terms on the World Wide Web rather than any intrinsic notion of aptness or excellence. Searching for “Arab,” “paperback,” “1970s,” and “<$3,” we acquired dozens of books about the Oil Crisis, the cruel love of the Sheikh, and the lifestyles of the nouveau riche. A similar search for “Iran” produced its own set of types and stereotypes. We did not set out to find the best books about, say, the Iranian revolution; in a sense, we looked for the worst. Or, rather, we tried to look at what was there.
The result is less a coherent group of titles or texts than an assortment of books as things, sorted roughly into four themes or units. Catalogues hang from the ceiling in front of each shelf cluster. Inside is a documentation of a selection of books from that shelf, in dialogue with excerpted texts and images from the library as a whole.
The Bidoun Library includes a program of Iranian film, video, and television culled from low-fidelity DVDs and VHS tapes that circulate among Iranians in the Diaspora. The selection includes post-revolutionary variety shows, music videos, and other totems of middlebrow—unibrow?—culture. This is an Iranian cinema unlikely to be shown at Lincoln Center.
Townhouse Gallery of Contemporary Art
Invisible Publics
May 23 – June 20 2010
10 Nabrawy Street off Champollion Street
Downtown Cairo, Egypt
The show will feature works and acts by Dora Garcia, Sharon Hayes, Johanna Billing, Johan Svensson, Nikos Arvanitis, Sarah Pierce, Miklos Erhardt + Little Warsaw, the Complaints Choir in addition to Bidoun Video 2010 with programmes curated by Bidoun and guest curators Masoud Amralla Al Ali, Aram Moshayedi, and the duo of Özge Ersoy and Sohrab Mohebbi.
More information at Art Agenda
Forms of Compensation
Babak Radboy or Ayman Ramadan
March 23 — April 14, 2010
Townhouse Gallery: 10 Nabrawy Street, off Champollion Way, Downtown Cairo
Forms of Compensation opens this Tuesday March 23 at the Townhouse Gallery in Cairo.
‘Forms of Compensation’ is a series of 21 reproductions of iconic modern and contemporary artworks, with an emphasis on sculptures, paintings and prints by Arab and Iranian artists. The series was produced in Cairo by craftspeople and auto mechanics in the neighborhood around Townhouse Gallery, commissioned by Babak Radboy and overseen by Ayman Ramadan, working from installation shots of the original artworks, along with the instruction that each copy should differ in one small way from its referent.
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