#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#92: We’re a learning organisation.|#28: Make Contracts.|#132: Things will always look weird when you’re the first doing it.|#17: An exhibition is never finished.|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#35: The artist fee should be good.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#26: More artists, less borders.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#29: We make the program for the artist that we exhibit.|#20: Are exhibitions the most suitable form for the art that we present?|#91: Embrace doubt.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#19: Have fun at the exhibition.|#89: Build-in impurity within the organisation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|#57: Volunteers must be: cared for / hands on / ready to learn / willing to share / in it to win it / show new or old tricks.|#92: We’re a learning organisation.|#28: Make Contracts.|#132: Things will always look weird when you’re the first doing it.|#17: An exhibition is never finished.|#53: Immaterial support for artists is important.|#117: Consider design, organisational structures and architecture as programme.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#33: We will ensure work by female artists and curators make up at least 50% of our programme each year.|#35: The artist fee should be good.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#6: Demand that visitors are active.|#59: Always protect the floor when painting (or pouring concrete)|#26: More artists, less borders.|#87: Always keep in mind there is something really special about being in a room that is 19 meters tall.|#131: A visitor who comes back after a week might discover new additions to the exhibition.|#29: We make the program for the artist that we exhibit.|#20: Are exhibitions the most suitable form for the art that we present?|#91: Embrace doubt.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#19: Have fun at the exhibition.|#89: Build-in impurity within the organisation.|#58: Kunsthal Gent is a monument. If you plan to drill a hole, contact Tomas first.|#25: Never ask the artist to just present their work, ask them to co-create and co-organise the space.|#79: The layered painting in the Old House has the potential to become the emblem to explain what Kunsthal Gent is doing.|
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Cairography Collective

February - May 2021

independent publishing, exploring, translating and anthologizing chronicles and critical positions from contemporary Arab perspectives

The Cairography Collective proposes 'independent publishing' as its main vehicle to enable vistas for Arabic thinkers, writers and artists into art discourse and practice, in defiance of aesthetic consensus. Challenging homogenizing, vilifying or stereotyping the 'Arab', the collective invests in critiques of practices of othering or generalizing. With debate, webinars, collective reading sessions, translation workshops and live encounters as leverage, it thinks performance through Sawsan Gad’s and Arafat Sadallah’s notions of being outside language, works through Nehad Selaiha’s legacy of institutional critiques, and questions methods of producing knowledge inspired by Isabelle Stengers.

In the residency at Kunsthal the collective will experiment with how it can galvanize dialogues between the core-members, invitees and audience into concrete publishing actions making visible the various practices that support them: editing, translating, reading and often laboriously working from necessity.

Activities and events

29 January 2021
Cairography: Emergency Edition

Supported by Moussem Nomadic Arts Center and launched during NYU-hosted PRICKS conference, this publication of HaRaKa and Sarma is a propeller initiating the residency at Kunsthal Gent. Ten years into Post-revolutionary Egypt and the Arab region, and within an unfolding deadly pandemic, this issue came as a response to a year of losses, bodily, as well as economic and social.

16 + 17 February 2021, 6 - 8 pm
Online workshop: 'Art theory across language barriers'
We assume that English is the working language for contemporary performance, and contemporary art at large. Yet this assumption is tested daily, whenever Anglo-Saxon rooted discourses are mobilized across languages for translation purposes. How do we write about bodies, performance, choreography, agency and contemporaneity in Arabic, for instance? And do academic or other arguments remain intact if it's impossible to translate their crucial terminologies? This workshop is led by Lamia Gouda, HaRaKa Platform's core member, researcher, performance artist and professional translator. Her practice challenges the very notion of contemporary dance and performance art, by invoking non-western canons, terms and practices. Would you like to participate? Send us a short paragraph describing your interest in the proposal.

Do you want to keep being posted about future events? Contact the collective.

Cairography Collective

The founding members Adham Hafez, Ismail Fayed and Myriam Van Imschoot position Cairography Collective as a rotating invitation that includes various partners and collaborators.

Ismail Fayed is a dramaturg, writer, and critic. He writes both in English and in Arabic and has been published widely in the Arabic speaking region's leading critical platforms and newspapers. He was the associate editor for 'Modern Art in the Arab World: Primary Documents', the first major English language book documenting and theorizing the history of Arab art, published by the Museum of Modern Art in New York, MoMA.

Adham Hafez is an award-winning choreographer, composer, theorist, and performer. He is the founder and artistic director of HaRaKa Platform, Egypt's first platform dedicated to performance studies and movement research. His latest projects were most recently seen at Sharjah Architecture Triennial, La Mama Theatre and Hebbel Am Ufer Theater.

Myriam Van Imschoot is a performance artist who bends film, installation, concert and publication to meet polyphonic narratives, extended vocal techniques rooted in long-distance communication and community-oriented sound poetry practices (currently with Marcus Bergner at Le brass). She is the founder of Sarma and Oral Site, the publishing house for experimental documentation and artist publications.

Image: Nile Delta

That particular set-up of mixed land use (urban juxtaposed to farmland), has become an essential feature of the Nile Delta over the past four decades. Urban encroachment of farmland caused a massive housing crisis and failing agricultural policies.

All rights are reserved to the Egyptian Ministry of Environment

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Agriculture