April 22, 2010
Now in stock: Bidoun Library Totes!

Bidoun Library & Project Space @ 98 Weeks
April 17 – May 15, 2010
98 Weeks Project Space, Ground Floor, Chalhoub Building, Off Nahr Street, Facing Spoiler Center, Before Jisr Hadid, Mar Mikhael
Opening: Saturday April 17, 5pm, with readings by Bidoun contributing editors and writers Shumon Basar and Wael Lazkani and a conversation with the comics’ collective Samandal.
Debate: Saturday May 8, 5pm, with a panel including Abboudi Abou Jaoude of Al-Furat Publishers.
This iteration of the library coincides with the launch of 98 Weeks’ new research project on avant-garde journals and popular magazines stemming from moments of modernity in the Arab world. 98 Weeks’ collection of publications will be on permanent display at the 98 Weeks Project Space.
The 98 Weeks Project Space is open daily from 3pm to 7pm, except on Sundays.
April 7, 2010, 6:30 PM
NYU Abu Dhabi Institute: 19 Washington Square North, New York
What does the future hold? Speculations on the political, economic and social future of the Middle East are common in many spheres. Political economists Kiren Aziz Chaudhry and Saskia Sassen join Mishaal Al Gergawi, curator and critic, for an informed discussion, building on each other’s perspectives to propose potential directions for regional developments with implications for arts and education internationally.
This event is part of Romanticide: Love, Loss and Co-dependency in Art and Cultural Politics, a NYU Abu Dhabi Lecture Series in New York City co-sponsored by Bidoun.
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.
March 10, 2010 at 6:30 PM
NYU Abu Dhabi Institute: 19 Washington Square North, New York
After insistent vague realizations (signs of consciousness or merely the platitude of self-serving delusion?) the artist investigates: the normalizing institution and its stifling horizons; the relationship between value and aesthetics; willful misreadings by 101 critics; the charged moments of transactions and loss; and last but not least the artist’s secret anger–the drama and its pleasure.
This event is part of Romanticide: Love, Loss and Co-dependency in Art and Cultural Politics, a NYU Abu Dhabi Lecture Series in New York City co-sponsored by Bidoun.
Each year, Bidoun Projects presents a series of new video programs with the aim of exploring various thematic concerns and highlighting video art practice in and around the Middle East.
The programs are launched at Art Dubai (March 17–20, 2010) in the Art Park–an underground space for talks, film and video–and then travel on throughout 2010 to venues in the region and beyond.
This year’s programs are curated by Bidoun and guest curators Masoud Amralla Al Ali , Aram Moshayedi , and the duo of Özge Ersoy and Sohrab Mohebbi.
Program One: Cloudy Head
Curated by Bidoun
Running time: approximately 35’
Bidoun Projects’s latest video program brings together works that reference the power of collectively produced codes of communication and highlight the artist’s ability to tap into this power and make it their own. The assembled works engage the hyper-expressive, sometimes hysterical, voices born of these conditions.
The dense streets of a megalopolis are evoked in a percussive translation of street talk, while the romantic promise of YouTube as a venue for self-representation is interrogated through clips of body builders that relate to one artist’s awareness of his own agenda. The thin line between absurdist theater and political demonstration points to the failure of video itself, and Ravel’s Boléro is rendered magical in the presence of a Brazilian street prophet. Somewhere between investigation and homage, polemic and testimony, these videos attest to the failure and eloquence of collective languages as well as their transformative power.
Deaf Countries — Eyad Hamam
2009, 2’; courtesy of the artist
Red, Green, Black and White Indians — Sobhi Al Zobaidi
2007, 43”; courtesy of the artist
Cloudy Head — Justine Triet
2009, 4’58”; courtesy of the artist
Camaraderie — Mahmoud Khaled
2009, 10’30”; courtesy of the artist
80 Million — Eslam Zeen El Abedeen and Mohamed Zayan
2009, 3’41”; courtesy of the artists
Nástio’s Manifesto — Nástio Mosquito
2008, 4’8”; courtesy of the artist
Arabic Home Interiors: An Introduction — Vartan Avakian
2009, 3’40”; commissioned by Tokyo Wonder Site, courtesy of the artist
Adhan — Haroon Mirza
2009 , 4’30”; courtesy of the artist and Lisson Gallery
Program Two: Hollywood Elegies
Curated by Aram Moshayedi
Running time: approximately 50’
“Hollywood Elegies” is the title of one of many pieces of writing Bertolt Brecht composed while living in Los Angeles, from 1941 to 1947. Brecht’s poetry from this period reflected his dissatisfaction with the social and cultural conditions of his newfound home in exile. The six stanzas that comprise this particular text describe the overwhelming presence of the Hollywood industry in the world around him. There is the sense from these passages that Hollywood existed for him less as a specific geography and more as a disorienting state we all experience, no matter the time or place.
The videos that make up this program may or may not refer directly to Hollywood as a location, but in them we find propositions that relate, in sideways or direct fashion, to the current conditions of production, exhibition, and distribution throughout cultural realms. While Hollywood is no longer regarded as a dream factory, its mechanics, for better or worse, still seem to operate.
Shoving — Hirsch Perlman
1994, 12’; courtesy of the artist and Blum & Poe, Los Angeles
Untitled (Ladera Heights) — Drew Heitzler
2007, 46”; Courtesy of the artist; Blum & Poe, Los Angeles
The Dictator — David Lamelas and Hildegarde Duane
1978, 15’; courtesy of the artists
NastyNets.com sent you a video postcard — Nasty Nets
2010, 6’; courtesy of the artists
The Cockpit — Tracey Rose
2008, 3’; courtesy of the artist and DBA Christian Haye, New York
Instructional Film — Walead Beshty
2010, 10’ (excerpt); courtesy of the artist and Wallspace, New York
Untitled — Jordan Wolfson
2007, 3’; courtesy of the artist and Johann König, Berlin
Dimples — JMS and Miljohn Ruperto
2010, screenplay (a text supplement); courtesy of the artists and Thomas Solomon Gallery, Los Angeles
Program Three: Strike a Pose
Curated by Özge Ersoy and Sohrab Mohebbi
Running time: approximately 35’
Support structures for the arts—biennials, art fairs, and global museums—are more ambitious these days than ever. With the unprecedented increase of interest in contemporary art and the controversial expansion of the art world into a new universal class, without essentialist boundaries or regional claims, more and more media outlets are covering art matters.
The role of the mass media on contemporary society has often been viewed with suspicion by artists. However, contemporary art now seems to adapt to mass-media semiotics without contesting their set standards and formats. Is the art community simply testifying to the invincible power of the spectacle and the regime of the visual? Or is it taking its time to shape its strategies and experimenting with newly discovered possibilities, reframing its representation for a more inclusive viewership? How can art practitioners contribute to the formation of a mass-media representational format specific to the arts? Furthermore, can they contribute to the formation of a lexicon that uses mass media in more engaging modes, as opposed to only establishing a critical distance?
This program comprises a selection of video clips in a variety of formats including news, updates, behind-the-scenes shots, artist interviews, and promotional clips; together these investigate the limits and the possibilities that the mass-media video genre can offer to the art community. The program includes—among others—Twitter with Marina Abramović; Francesco Bonami and Gary Carrion-Murayari announcing Whitney 2010 artists; Tirdad Zolghadr, Lamya Gargash and Dr. Lamees Hamdan on the UAE Pavilion in the Venice Biennale; a Vernissage report on the 11th Istanbul Biennial; and excerpts from the half-hour television shows created by Circular File and commissioned by Performa.
The List: Francesco Bonami and Gary Carrion-Murayari announcing Whitney 2010 artists — Pierce Jackson and the Whitney Museum of American Art
courtesy of the Whitney Museum of American Art
2010, 1’42’’
Venice Biennale: UAE Pavilion — Bloomberg Tate Shots
courtesy of Tate
2009, 3’51’’
30 Seconds at MoMA: Staff—Tamsin Nutter — Thilo Hoffmann
Commissiobed by and courtesy of the Museum of Modern Art, New York
2008, 53’’
Rudolf Stingel. LIVE at Neue Nationalgalerie Berlin — VernissageTV
courtesy of VernissageTV
2010, 5’58’’MoMA Doug Aitken: Sleepwalkers [60-second trailer] — Doug Aitken
courtesy of the artist and the Museum of Modern Art, New York
2006, 1’02’’11th International Istanbul Biennale 2009 — VernissageTV
courtesy of VernissageTV
2009, 7’46’’30 Seconds at MoMA: Staff—Andy Haas — Thilo Hoffmann
courtesy of the Museum of Modern Art, New York
2008, 0’59’’Twitter With… Marina Abramović — Bloomberg Tate Shots
courtesy of Tate
2009, 7’ 20’’Circular File Channel, Episode 1 (2005) — Performa.
commissioned by and original presented by Performa 09; courtesy of the artists and Performa
2009, 4’11’’ (excerpt)
*Program Four: Exploding Nostalgia
*Curated by Masoud Amralla Al Ali and Antonia Carver
Over the past decade, there has been an explosion in short filmmaking in the UAE, driven in part by initiatives such as the Emirates Film Competition and the Gulf Film Festival, both founded by curator Masoud Amralla Al Ali. Although most continue to see themselves as filmmakers rather than artists, some Emirati directors have begun pushing the medium and their subjects, often making use of surreal, experimental imagery and drawing as much on traditions of oral poetry as on existing cinematic styles in the region. The films in this program reflect early efforts as well as more recent films, and range from nostalgic, whimsical tales from the northern emirates to introspective studies, via abstract illustration; they are bound together by their combined reflection on today’s connections to the traditions and landscape of the UAE.
Haresat Al Ma'a (The Water Guard) — Waleed Al Shehhi
2007, 11’29”; courtesy of the filmmaker and Reflective Group of Art Production
Mirror — Saleh Karama Al Amri
2003, 3’12”; courtesy of the artist
Wajeh Alilq (Stuck Face) — Manal Ali Bin Amro
2007, 6’03”; courtesy of the artist
My Way — Khalil Abdulwahed Abdulrahman
2005, 6’50”; courtesy of the artist
Amal’s Cloud — Rawia Abdullah
2009, 9’18”; courtesy of the artist
Video #2 — Ahmed Mohammed Sharief
2003, 5’; courtesy of the artist
Art Dubai 2010
March 17–20, 2010
Madinat Jumeirah, Dubai
In 2010, Bidoun Projects is the curatorial partner of Art Dubai, responsible for programming a series of non-commercial exhibitions, commissions, screenings and educational events that engage with the fabric of the fair. Our projects at the fair are kindly supported by the Emirates Foundation.
The projects range from A New Formalism, a group exhibition, including Hazem El Mestikawy , Iman Issa , Mahmoud Khaled and U5 , that looks at new and expanded formalist practices, to a series of commissions that dwell on the spectacular, temporal nature of an art fair. These include new installations by Ebtisam Abdul-Aziz and Vartan Avakian , and a set of ice sculptures designed by Farhad Moshiri. Nikolas Gambaroff and Matt Sheridan intervene at Madinat Jumeirah with Nowhere for Nothing, a stoop designed to encourage loitering.
Bidoun Projects has commissioned Sophia Al Maria , Khalil Rabah and Daniel Bozhkov to act as guides, conducting narrative and performative tours of the fair. (Places are limited: please sign up in advance at the Art Projects Desk.)
Babak Radboy and Ayman Ramadan, Forms of Compensation
Forms of Compensation, an exhibition situated within Art Dubai’s gallery halls, is a series of 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, overseen by artists Babak Radboy and 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.
Alice Aycock, Sand/Fans, 1971
This year’s projects also dwell on the nature of documentation. A trio of artists and writers (Shumon Basar, Haig Aivazian and Naeem Mohaieman) are ‘in residence’ at the Global Art Forum and at the Art Park Talks, mapping the (naturally contested) conversations and moments – both those remembered and in real time. In keeping with the Global Art Forum’s theme of ‘Crucial Moments’, Alice Aycock’s seminal 1971 installation Sand/Fans, with sand sourced from the UAE desert, will be recreated.
Bidoun Video in the Art Park features guest curators Sohrab Mohebbi and Özge Ersoy along with Masoud Amralla Al Ali, Aram Moshayedi, and Bidoun Projects, shown in a screening room and in the Bidoun Lounge in daily screenings hosted by the curators. A dynamic discussion programme includes talks and performances looking at the relationship between archives, art, music and film, in collaboration with the online avant-garde archive, UbuWeb.
The Bidoun Library is a collection of books, catalogues, journals, music and ephemera that traces contemporary art practices as well as the evolution of the various art scenes of the Middle East. At Art Dubai 2010, the resource space features a selection of innovative artists’ and children’s books (as well as music and films) published by Kanoon, Iran’s Centre for the Intellectual Development of Children and Young Adults, founded in 1961, which was an incubator for some of the country’s most celebrated artists and filmmakers, including Abbas Kiarostami, Amir Naderi and Farshid Mesghali.
Saturday February 27th, 2010 at 6pm
Rodeo Gallery
Tütün Deposu / Annex building
Istanbul
Istanbul’s Rodeo Gallery will be screening Baadeh Sabah (The Lover’s Wind) this Saturday February 27th.
Cabinet Space
February 26, 2010, 7pm
300 Nevins Street, Brooklyn
FREE; no RSVP necessary
Bidoun and Cabinet co-present a screening of the film version of Bijan Mofid’s lauded 1967 avant-garde play Shahr-e Gheseh (City of Tales). Set in a mythical city populated by various animals, Shahr-e Gheseh is an allegorical fable in which the fate of a visiting elephant strangely echoes the fate of Iran under the modernity espoused by its rulers in the twentieth century.
Program in Farsi (film has NO SUBTITLES; discussion following also in Farsi)
Ab-Dough-Khiar and other refreshments will be provided.
February 10, 2010 at 6:30 PM
NYU Abu Dhabi Institute: 19 Washington Square North, New York
Historian Omnia El Shakry outlines recent trends in contemporary artistic production in and about the Middle East, while critically exploring the prevalence of binary understandings of the region as trapped between local ethno-nationalisms and global neo-liberalisms, or between politics and aesthetics.
Omnia El Shakry Associate Professor of History, University of California Davis
This event is part of Romanticide: Love, Loss and Co-dependency in Art and Cultural Politics, a NYU Abu Dhabi Lecture Series in New York City co-sponsored by Bidoun.
FOXP2
Wednesday, January 27th at 6:30 PM
NYU Abu Dhabi Institute: 19 Washington Square North, New York
Please join Bidoun and NYU Abu Dhabi next Wednesday for FOXP2, an event moderated by Clare Davies. FOXP2 is a dérive in the spatial and mental fields usually ascribed to a lecture. Constantly shifting back and forth between the authorial voices of a politician, a naturalist, and an art historian, the lecturer drifts between the passionate and the irrational, stopping at various stations of historical, artistic, socio-political, and personal significance. This event will include performances by Bassam El Baroni, Curator, Co-Director of the Alexandria Contemporary Arts Forum and Manifesta 2010; and Kenny Muhammad, known as “the human orchestra.”
Space is limited. Please RSVP to 19wsn.rsvp@nyu.edu.
This event is part of Romanticide: Love, Loss and Co-dependency in Art and Cultural Politics, a NYU Abu Dhabi Lecture Series in New York City co-sponsored by Bidoun.
Art Dubai 2010
March 17–20, 2010
Madinat Jumeirah, Dubai
In 2010, Bidoun Projects becomes the curatorial partner for Art Dubai, taking on all non-commercial programming at the art fair. The Art Park will feature video programs curated by Bidoun and guest curators Masoud Amralla Al Ali , Aram Moshayedi , and Ozge Ersoy & Sohrab Mohebbi , plus a series of talks and performances co-curated with UbuWeb; a group exhibition looks at new and expanded formalist practices; and Bidoun has commissioned new performances and sculptural works that interact with the fabric of the fair. We will update you nearer the time, but hope to see you in Dubai this March!
January 10, 2010—February 10, 2010
the shelter
t +971.4.434 5655
p.o.box 11370
Dubai, UAE
In November 2009 Bidoun launched a new, monthly exhibition project aimed at highlighting the work of art photographers based in the UAE.
The Portfolio Project this month will be featuring two former students of the American University of Sharjah, Aisha Miyuki Ansari and Zeinab Hajian, both of whom were taught by AUS professor and artist Tarek Al Ghoussein. The novelty of compositional experimentation and thematic exploration that marks academic work in art photography distinguishes the January series from previous month’s artists Hind Mezaina and Mohamed Somji.
More information on the artists on the Portfolio Project’s page