Terça-feira, 17 de Janeiro de 2012

 

 

“When the revolution happened, every artist I knew put down their materials.” William Wells, director of the Townhouse Gallery, is well placed to speak. Some say he has done more for contemporary Egyptian art in the last decade than the Minister for Culture. In 1998 he established the independent art space in downtown Cairo, in a nest of streets where for some time the ahwas(coffee-shops) have been busy with political dissidents. The gallery took an active role in the uprising, giving their space over to the revolutionary Radio Tahrir. “Many artists moved very smoothly into political activism, using their skills in the service of the revolution.”

 

Tahrir became a theater for political operations which harnessed extraordinary creativity: “In the first eighteen days vendors mixed with artists … it was hilarious, people were responding to things very quickly, creatively. Moments after the regime announced that the protesters were representing the United States, someone in Tahrir Square had produced books which said ‘US Agenda’, ‘Israeli Agenda’ and so on.” When protest encompasses everything that art has – or aims for – the privileged seclusion of art seems obsolete. Artists started to collect and organize data, to serve the revolution by making real information available online. “There was mass documentation … filmmakers started making work around the square itself.” “Then another group of revolutionary artists: filmmakers, grafiti artists came running.” Artists turned to raw data collection to record state violence: “people were taking USB sticks from phones … people filming people filming.” Townhouse helped to set up screens in Tahrir Square where this work could be shown. Then “the army smashed the screens … we created something and they destroyed it.”

 

Para ler o artigo completo de Orlando Reade, basta clicar aqui.

 



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Segunda-feira, 16 de Janeiro de 2012

 

 

In Egypt the film balance sheet is meager : film-makers are still blaming the revolution of January 25 for this lack of production, which has been halved, 40 films were made last year as opposed to 18 this year. Only 10 films have been shot since the revolution.

 

The balance sheet for Tunisia, the precursor to the Arab revolutions, has been quite positive, with a more abundant and rich production which has gone from five to ten films. "This year we have produced ten films and this is a considerable number for Tunisia, even though most of them are not about the revolution and the rest were written before Ben Ali’s escape", noted the comedian Nadia Boussetta who starred in Histoires tunisiennes and is currently about to appear in a film by the director Mohamed Demq. For singer and comedian Yasmine Aziz, this growing level of production is a sort of rebellion, Ben Ali having muzzled everything through censorship. The director Nouri Bouzid, for his part, is waiting for the cinema release of his new film, while Elyes Baccar has just presented his documentary about the Tunisian revolution, Rouge Parole.

 

Syria also continues to boom as it started to two years ago. The production of Syrian films has gone from two films in 2010 to five this year. A fairly weak number for a cinema  industry which has bequeathed some great names such as Moustapha Al-Aqqad, who directed the film Al-Ressala, Mohamed Malas as well as the comedian Kenda Allouch. The latest arrival in Syrian cinema is the feature film by Saïd Joud, Mon dernier ami. For him the pursuit of work is a challenge to the events currently taking place in Syria. Syria has also presented a further four films this year, including Nawafez lelroh (the windows to the soul), by Ammar Al-Ani, starring Gamal Soliman in the role of someone who recollects his past and unveils Syria’s history.

 

Para ler o artigo completo de Walid Aboul-Séoud basta clicar aqui.

 



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Sexta-feira, 13 de Janeiro de 2012

 

L'incertitude plane encore sur le sort du nouveau gouvernement marocain

 

La composition du nouveau gouvernement marocain est encore incertaine, plus d'une semaine après sa présentation au Roi Mohammed VI.

Des sources au sein du Parti pour la justice et le développement (PJD) ont indiqué que le souverain hésitait encore sur quelques-uns des noms proposés par le Premier ministre Abdelilah Benkirane le 24 décembre, à l'issue des négociations avec ses alliés d'Istiqlal, du Mouvement populaire et du Parti pour le progrès et le socialisme (PPS).

 

"Certaines réserves ont été émises", a déclaré le président du conseil national du PJD, Saadeddine Othmani, dont le nom a été proposé pour le portefeuille des Affaires étrangères. "Ces réserves pourraient même entraîner une révision des portefeuilles ministériels."

L'une des nominations controversées est celle de Mustapha Ramid au poste sensible de la Justice, a expliqué un haut responsable du PJD qui a demandé à conserver l'anonymat. "Sa très forte personnalité et sa défense affichée au dossier des salafistes seraient parmi les causes de cette réticence en haut lieu", a-t-il expliqué à Magharebia.

 

Para continuar a ler o artigo de Siham Ali basta navegar até Magharebia.

 



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Quinta-feira, 12 de Janeiro de 2012

 

BOOK CAFE, MANNENBERG CLOSURE IS A BLOW TO THE CREATIVE INDUSTRIES IN ZIMBABWE

 

Arterial Network Zimbabwe learnt with profound sadness the imminent closure in its current location of the Book Cafe and Mannenberg, one of the most vibrant arts centres in Zimbabwe.

 

Book Cafe and Mannenberg will close its doors at Fife Avenue Mall in Harare after 15 years. The building owners, retail giant OK Zimbabwe and its agent, Old Mutual, one of Africa’s largest property, finance and insurance conglomerates whose parent company is in South Africa, advised that the owners will occupy the premises from 2012. “Owner occupation” is often the only means by which a lease can be technically cancelled in this way under Zimbabwe law.

 

The Book Cafe and Mannenberg have epitomised good practice in arts entrepreneurship within a development framework, demonstrated by their impressive milestones: in 15 years the venues achieved: 7,500 concerts and events (mainly music and poetry), 650 public discussions, 90 book launches, 35 theatre productions and staging of 250 international touring acts. 600,000 audience entered the twin venues since opening, as Book Cafe in 1997 (with Luck Street Blues), and Mannenberg in 2000 (with historic performances by jazz pianist Abdullah Ibrahim). About 350 artists earned a livelihood at the venues in 2011 alone. 1200 artists participated annually in development programmes. 950 events were staged annually since 2008, and prior to 2008 about 600 events.

 

Para continuar a ler o artigo de Josh Nyapimbi no website do MIMETA-Centre for Culture and Development basta clicar aqui.

 



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Quarta-feira, 11 de Janeiro de 2012

(Performance de Adnan Madani, VASL workshop, Paquistão)

 

 

VASL (which means “to come together” or “a meeting point”) is an artists’-led collective that has been running workshops and residencies in Karachi for the last 7 years. Vasl brings together local and international artists for a period of intensive exchange of ideas and art practice. They are a part of a Network of Workshops under Triangle Arts Trust UK, which was set up by Robert Loder, and Sir Anthony Caro in 1982.

VASL conducts and offers Artists Residencies, Workshops and Educational Outreach. The workshops and Residencies have created an alternative learning space outside formal educational institutions, thus enabling the visiting artist to share issues of identity and art practice on a different level. On its website, it engages and connects people from all over the world with a strong level of dialogue on issues of identity, and the role of the creative process in forging cross-cultural links.

They are committed to having a forum for exchange and experimentation, between art communities in Pakistan and abroad. Over the last two years, they have been working with our partners in South Asia to create more links between artists through the web.

 

VASL INTERNATIONAL ARTISTS' WORKSHOP

Call for Applications: Performance, Moving Image and Sound

Application deadline: Friday January 13th

 

Workshop dates: 23rd February to March 12th, 2012
In 2012 Vasl Artists’ Collective is hosting its third international workshop in Karachi, Pakistan. Workshops are short intensive residencies that include a diverse range of participants in a larger group than regular residency programmes at Vasl. This workshop will focus on performance, moving image and sound.
Applications are open for ten Pakistani and international artists practicing in these mediums, and for those interested in working with performance, moving image and sound for the occasion of the workshop. Artworks will be developed throughout the project and shown to the public through interventions in the city over the two weeks and at an ‘open day’ display on the final weekend.

Applications should include:
·      A cover letter detailing your interest in participating, (no more than 800 words).
·      A CV with portrait.
·      Contact details of two referees.
·      Documentation of previous works. (Please do not send files of more than 8MB over email. Send any large files via filesharing sources – Yousendit/Dropbox, etc, or provide website links to works viewable online.)


 

Para mais informações, basta navegar até aqui.

 

 



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Terça-feira, 10 de Janeiro de 2012

 

Se anuncia en Colombia la IV Convocatoria de artistas para Acción en Vivo y Diferido

 

La plataforma colombiana Acción en Vivo y Diferido - AVD - promueve habitar las localidades y espacios públicos, en miras de explorar las fronteras nómadas que sus transeúntes construyen (como agentes sociales) en dichos territorios. Además plantea el encuentro en espacios públicos con el objetivo de  subvertir sus dinámicas sociales, resignificar sus geografías simbólicas e imaginarios intersubjetivos. Es por esto que incita a ejercer actos creativos desde el empoderamiento de lo ciudadano de una manera crítica, poética y efímera, trastocando las relaciones de biopoder que configuran la cotidianidad social y el habitar dichos espacios.

 

El Encuentro AVD, es un evento anual que explora de manera intensiva la relación existente entre arte contextual y ciudadanía. Anualmente convoca a activistas y artistas que indaguen sobre los espacios públicos en diferentes localidades de Bogotá (en Vivo) y en espacios públicos de otras ciudades y países (en Diferido), a través del arte de acción e intervenciones urbanas.

 

Para saber mais, basta clicar aqui.

 



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Segunda-feira, 9 de Janeiro de 2012

ROBERTO HUARCAYA, "La Nave del Alto Peru"

(da série "Recreación Pictórica"), 2009-2011.

 

 

Últimos dias para ver a primeira exposição individual em Portugal do fotógrafo peruano Roberto Huarcaya, que em 2010 ganhou o Prémio de Fotografia "Petrobrás - Buenos Aires" com uma das 28 imagens que agora integram a sua mostra na galeria do Palácio Galveias ("Playa Pública / Playa Privada", 2010).

A mostra enquadra-se na programação do PRÓXIMO FUTURO, em parceria com o Programa Gulbenkian de Ajuda ao Desenvolvimento. É co-produzida pela Casa da América Latina (em Lisboa), com o apoio da Câmara Municipal de Lisboa e da Embaixada do Peru. Intitula-se "Subtil Violência" e é também composta por 3 vídeos que partem de questões fotográficas.

 

Para ver até ao próximo dia 15 de Janeiro, com entrada livre (terça a sexta, das 10h00 às 19h00; sábado e domingo, das 14h às 19h).

 



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Sexta-feira, 6 de Janeiro de 2012

 

 

 

 

Começam hoje as Journées Théâtrales de Carthage, na Tunísia, concretizando assim a sua 15.ª edição. É a primeira desde a revolução e é também a primeira vez, na história deste festival, que as actividades se estendem para além da capital, incluíndo assim as cidades Sousse, Sfax, Le Kef, Gafsa e Medenine.

 

Durante o fim-de-semana, dias 7 e 8 de Janeiro (sempre a partir das 09h30), será tempo de "Encontros-Debates", organizados em grandes núcleos temáticos:

 

RESISTANCES

-Modérateur :

Mohamed Mejri, Institut Supérieur d’Art Dramatique, Tunisie.

 

-Intervenants :

Mohamed Mahmoud Driss, Institut Supérieur d’Art Dramatique, Tunisie.

Roger Assaf, Théâtre Chams, Liban.

Ralf Henke, Festival Theaterlandschaften, Allemagne.

Ahmed Chniki, Algérie.

Renato Sarti, Teatro della Cooperativa di Milano, Italie.

 

TEMOIGNAGES

-Modérateur :

Youssef Bahri, auteur, Tunisie.

-Intervenants :

Halima Daoud, Comédienne, Tunisie.

Leila Toubel, Théâtre Al Hamra, Tunisie.

Hafedh Jedidi, Faculté des Lettres et des Sciences Humaines de Sousse, Tunisie.

Ahmed El Attar, Studios Emmed Eddine, Egypte.

 

 ESTHETIQUES

 -Modérateur :

Basma Ferchichi, Institut Supérieur d’Art Dramatique, Tunisie.

-Intervenants :

Ezzedine Abassi, Institut Supérieur d’Art Dramatique, Tunisie.

Antonio Pinto Ribeiro, Fondation Calouste Gulbenkian, Portugal.

Abdelwahed Ben Yasser, Maroc.

Mohamed Chafik Ismail Hamza, Institut Supérieur d’Art Dramatique, Koweit.

Emile Lansman, Lansman Editions, Belgique.

 

HORIZONS

-Modérateur :

Nawel Skandrani, Chorégraphe, Tunisie.

-Intervenants :

Mohamed Moumen, Faculté des Lettres de Sousse, Tunisie.

Pierre Abi Saab,  Journal Al-Akhbar, Liban.

Velia Papa, Festival Inteatro, Italie.

Richard Martin, Théâtre Toursky, France.

Raed Asfour, Théâtre Al Balad, Jordanie.

 

 

Para consultar o Programa completo, a história deste festival e o editorial da presente edição, basta clicar aqui.

 



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Quinta-feira, 5 de Janeiro de 2012

Salameh believes in investing in individuals rather than buildings. (Grace Kassab/The Daily Star)

 

BEIRUT: Time was, artists and arts administrators in this country wished that Lebanon were more European. Standards vary from state to state but, historically, Western European governments have demonstrated a degree of financial and institutional commitment to art and cultural production that the managers of Lebanon’s meager state had no means, and little interest, to emulate.

With no local support for cultural production, Lebanese artists without independent means have had to rely on financial assistance from Europe, whether from Mother France or the EU.

 

Perceived as extensions of the social welfare state, Europe’s art funding infrastructure has been under threat since the end of last century, the ideological menace finding populist political traction in the wake of the crisis in global finance capitalism that coincided with the end of the second Bush administration.

While the European model of arts infrastructure has come under siege, alternative sources of funding have been evolving in the Middle East. Arab filmmakers have increasingly been lured to a web of production grants spinning out of film festivals in Qatar and the UAE (in both Dubai and Abu Dhabi).

 


Para continuar a ler o artigo de Jim Quilty, basta clicar aqui.

 



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Quarta-feira, 4 de Janeiro de 2012

 

 

Maputo, Mozambique

 

I CAME to Africa with one purpose: I wanted to see the world outside the perspective of European egocentricity. I could have chosen Asia or South America. I ended up in Africa because the plane ticket there was cheapest.

I came and I stayed. For nearly 25 years I’ve lived off and on in Mozambique. Time has passed, and I’m no longer young; in fact, I’m approaching old age. But my motive for living this straddled existence, with one foot in African sand and the other in European snow, in the melancholy region of Norrland in Sweden where I grew up, has to do with wanting to see clearly, to understand.

The simplest way to explain what I’ve learned from my life in Africa is through a parable about why human beings have two ears but only one tongue. Why is this? Probably so that we have to listen twice as much as we speak.

 

 

Aqui, para continuar a ler o artigo de Henning Mankell.

 

 



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Próximo Futuro é um programa Gulbenkian de Cultura Contemporânea dedicado em particular, mas não exclusivamente, à investigação e criação na Europa, na América Latina e Caraíbas e em África.
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