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Próximo Futuro

Próximo Futuro



Próximo Futuro

Photo-artist Nermine Hammam will show her series Anachrony (2010) at the Safarkhan Gallery in Cairo on 27th March 2012, in her first solo exhibition in Egypt in three years. Photographed in the desert around Fayoum, Anachrony is a series of mixed media images that depict anonymous human forms cocooned inside long, undulating drapes of fabric in a surrealist-inspired landscape of desert and mountains. A highly personal work, Anachrony was created in reaction to three months spent by Hammam photographing patients in Egypt’s state-run Abbasiya mental asylum.

The work emerged as an effort to purge the “unexpectedly strong personal reaction elicited by my experience of the asylum. It is an anguished search for solace and a cry for help. With this work, I beg forgiveness for the unspeakable horrors that I witnessed but was unable to prevent.” Anachrony represents a ‘working through’ of powerlessness and of shame: like the stills of a film the images together form a distinct narrative of time, a movement from the dark terrors of nightmare towards the quiet possibility of hope. “It is the landscape of my psychological state and of my soul at a particular moment in my time.



Nermine HammamAnachrony

SafarKhan Gallery, Cairo, de 27 Março até 14 Abril 2012.





Próximo Futuro






pelo Príncipe Osman Rifat Ibrahim

O CURSO DE HISTÓRIA e o Grupo História, Memória e Sociedade (Secção de História do Património e da Ciência) do CPES – Centro de Pesquisa e Estudos Sociais, da Faculdade de Ciências Sociais e Humanas da ULHT, Convida para a Sessão Académica com a presença de S.A.I.R. o Príncipe Osman Rifat Ibrahim, do Egipto, Presidente do Real Instituto Mohamed Ali, que apresentará a Conferência O Egipto e o Império Otomano – culturas e patrimónios, seguida de Debate, que se realizará na próxima quinta-feira, 8 de Março, às 18.15 horas, no Auditório Armando Guebuza, do Campus Universitário da ULHT, do Campo Grande, em Lisboa.


ULHT . Universidade Lusófona de Humanidades e Tecnologias
Auditório Armando Guebuza
Quinta-feira, 8 de Março, às 18.00 horas


8 Realizadoras Árabes - Marwa Zein

Próximo Futuro

 A GameMarwa Zein, Egipto, 2009



Uma mãe divorciada e a sua pequena filha, que lhe propõe um jogo. No desenrolar do jogo, revela-se a verdadeira natureza da relação entre elas. Esta curta-metragem é uma adaptação do conto “La vita è gioco” do escritor italiano Alberto Moravia.



Marwa Zein (1986, Cairo), graduada da Academia de Artes do Cairo. Da filmografia constam Salma (2007), Randa (2008), A Game (2009). Premiada com o prémio do júri do International Ismailia Film Festival para melhor curta-metragem de ficção (2009), National Egyptian Film Festival para melhor curta-metragem de ficção (2009).


8 Realizadoras Árabes - Amal Ramsis

Próximo Futuro

Para acompanhar o programa Kunst und Revolte, na Akademie der Künste, em Berlim, de 29 de Fevereiro a 3 de Março, o blogue do Próximo Futuro publicará, nos próximos 8 dias, excertos dos filmes de 8 realizadoras árabes a exibir no mesmo programa.


Forbidden/Mamnou, Amal Ramsis, Egipto, 2011



Amal Ramsis, (Egipto, 1972), vive no Cairo, onde nasceu. Formou-se em Direito e exerceu a profissão de advogada antes de fazer estudos em cinema. Bolseira, em 2002, no curso de realização cinematográfica na Escuela de Cine y Televisión Séptima Ars de Madrid, regressa ao Cairo onde inicia a sua carreira.
Trabalha temas relacionados com a condição da mulher na sociedade egípcia, (Only Dreams, 2005).
Forbidden/Mamnou, 2011, é uma pesquisa em torno do interdito nesta sociedade, tendo iniciado a sua rodagem poucos meses antes do início da revolução de 2011. A cadeia dos eventos levou a que as primeiras imagens captadas da Praça Tahrir fossem as que  Amal Ramsis filmava para o este Forbidden/Mamnou.


"Spring Awakening"

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Wael Ghonim



How an Egyptian Revolution Began on Facebook


In the embryonic, ever evolving era of social media — when milestones come by the day, if not by the second — June 8, 2010, has secured a rightful place in history. That was the day Wael Ghonim, a 29-year-old Google marketing executive, was browsing Facebook in his home in Dubai and found a startling image: a photo­graph of a bloodied and disfigured face, its jaw broken, a young life taken away. That life, he soon learned, had belonged to Khaled Mohamed Said, a 28-year-old from Alexandria who had been beaten to death by the Egyptian police.




Para ler o artigo completo no The New York Times, clicar aqui.


"On first anniversary of Mubarak's ouster, unease reigns in Egypt"

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Hosni Mubarak's fall from power a year ago stunned the world -- three decades of iron-clad rule ended in 17 days by an unexpected groundswell of popular protests.

A banner headline in the Al-Ahram newspaper said: "The people have toppled the regime."

But in the year that followed, Egyptians increasingly realized that what they ousted was one man, not the military that stood behind him. And they grew bitterly frustrated at what they perceive as the slow pace of change.

Saturday brought another reminder of the powers that be in Egypt as America's top military officer was in Cairo to meet with his Egyptian counterparts.

On the table for discussion was the fate of 16 Americans who are among 43 foreigners working for civil society institutions who are to be tried in Egypt for receiving illegal foreign funding.




Para ler o artigo completo na CNN, clicar aqui.


"January in Cairo - III"

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(Menna Genedy, 'Egypt is the Land of Civilization’, 2011)



Countless languid women – abstract and figurative, sensual and monumental, modern and mythological – hang under the high-ceilings of a dustry building which resembles a recently deceased bank. This is Ibrahim Abd El-Rahman’s extensive collection of Egyptian paintings (I mentioned his gallery in my previous post on art in Cairo). Of these, perhaps the most striking are Ibrahim El Dessouki’selegant portraits (often of his wife, also a painter), which tempt comparison with Modigliani and Klimt. This collection of female forms – abstract and figurative, sensual and monumental – suggest certain trends in Egyptian painting and the nature of its buyers.


At Art Corner, a newish gallery in a Zamalek shop, two ink drawings lean casually against a wall. These are, I am told, the work of a French artist Paul Beanti, who came to paint the revolution and was arrested in Tahrir Square. The drawings give his account of arrest, attempted humiliation, striking back with satirical anger. The woman watching the gallery absent-mindedly whilst stringing a set of glass beads, goes to fetch one of Beanti’s paintings from the storeroom. When she returns, and the painting is removed from its bubblewrap, the exposed painting strikes me more than any of the other artists’ paintings on the walls: a composition in bright swathes of roughly applied orange, purple and yellow, the head of a sphinx emerges from within a haze of what looks like marker pen. The artist used sand and soil to give his work its roughness. The work made during his stay suggests he viewed his role as a foreign artist in residence in Cairo as that of agent provocateur (an interview in al-Ahram dutifully mentions that the artist’s main fascination – in his own [admittedly circumcised] genitalia – makes his work unacceptable in Egypt). These paintings look naked, aggressively so, insistently naïve. I wonder what art this revolution really needs.


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



"January in Cairo II: The Ministry of Culture"

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“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.



"A year later. Arab cinema at the time of the Revolution"

Próximo Futuro



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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