notes_27 A global economy all at sea; its sinuous embrace of the Arabian peninsula with Laleh Khalili | TT

“Powerful and unconstrained conceptual and poetic tools establish the shorelines of Khalili’s sea, then, and it is here that global capitalism takes its tightly woven place. Sinews narrows its focus to the northerly Indian Ocean world, the Arabian and Red Seas, as well as the Persian Gulf itself … a stimulating read and a surefooted introduction to the subject, with deep pockets of research.”

Guy Mannes-Abbott – Third Text – August 2020

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Laleh Khalili, ‘Sinews of War and Trade: Shipping and Capitalism in the Arabian Peninsula’

Verso Books, New York and London, 2020
368pp, ISBN978-1786634818

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Guy Mannes-Abbott

Laleh Khalili announces the raison d’être of her new book, as well as its primary call on our attention, in the second sentence; ‘Ninety per cent of the world’s goods travel by ship’. [1]  Within this overwhelming figure, 70 per cent of global cargo by value is carried by container ships, and 60 per cent of oil trade travels by sea. The resulting system of marine transportation is not, she continues, ‘an enabling adjunct of trade but is central to the very fabric of global capitalism’ (p 3). Sinews of War and Trade traces the histories of a fast-developing present, now centred on China as the ‘factory of the world’ and the Arabian peninsula as the infrastructural heart of flows through post-Independence era ports, with ‘Dubai’s Jabal Ali foremost among them’ (p 2).

Continue reading “notes_27 A global economy all at sea; its sinuous embrace of the Arabian peninsula with Laleh Khalili | TT”

on katherine boo’s beyond the beautiful forevers; spiking myth of india’s inpenetrability

“Katherine Boo’s debut about the vertiginousness of existence in a “Mumbai slum” is the antidote to mainstream books and films on the subject from the English-speaking world.”

Behind the Beautiful Forevers, By Katherine Boo.

Portobello, £14.99

GUY MANNES-ABBOTT

on the country of the blind in full detail & downloadability

The Country of the Blind and Other Stories Installation shots CAMP with GM-A Folkestone Triennial [ongoing]

CAMPuter.org now has a good page on the film here with cat. text, shot-lists, stills, credits… There’s also a link here to pad.ma where the film is archived…

But I strongly recommend heading down to Folkestone, not only to see the film in situ where it’s installed beautifully and offers optimised-viewing, but also to see all the other art on show throughout a fascinating town. The harbour tastes irresistible and in the pubs on the water  front a version of the film is always looping…

Folkestone Triennial’s page is here and they have weekend tours conducted by some high calibre guides not least this weekend with Achim Borchardt Hume here. It takes 53 minutes to get there…

Thanks everyone for the positive feedback.

on the varne, with CAMP at the folkestone triennial

The Varne NCI Folkestone’s channel map [Ph. Guy Mannes-Abbott]

The Varne is a mid channel sandbank, slightly closer to the French coast than the coast at Folkestone. If I stood on it, you might see my hand waving above the water. This is where the Varne Lightship Automatic of radio legend is permanently anchored, where massive ships can and do run aground. A place that obtains peculiar potency when watched from the shore.

Everything that goes on in the world’s water, as observed and imagined from the NCI at Folkestone, is the subject of the film I’ve been working on with CAMP -during intensive bursts in Brussels and Folkestone itself. The Country of the Blind, and Other Stories will be installed in a bunker-like room at the back of the NCI Folkestone, high up on the cliffs overlooking the industrial scaled port of Folkestone and English Channel during the Triennial. It will be worth the walk…

Folkestone Triennial opens on Friday 24th June and to the public on the 25th June until 25th September. Continue reading “on the varne, with CAMP at the folkestone triennial”

on the living of patrick leigh fermor

Patrick Leigh Fermor – still from BBC film 2008

Ninety six is a good age to have lived. Both my grandmothers lived into their mid-90s, one of them to 96, a pivotal experience in my own life. Why am I telling you this?! Well PLF is such a vivid presence to me, principally from his writing and words and their conjuring of his feet and ‘heart’, that the news of his death is sad and yet the confirmation that he lived until today makes me happy. Continue reading “on the living of patrick leigh fermor”

notes from a biennial – on reflection

click IMAGE to link to notes from a biennial – on reflection

Notes from a Biennial – On Reflection

21.03.2011, 12:01

by Guy Mannes-Abbott

The opening week of this year’s Biennial was very intense; promising and delivering much. I’m glad I had early access to it all, could play that off repeated circuits and discrete returns, along with mini wanders with various artists and writers, old and new friends, listen to other’s highlights, tips, and ‘zoom’ in and out of the city, region and world in the process.

I was invited as a writer to write critically and I would fail the Biennial as much as myself if I did otherwise. I’m a demanding judge or at least have very high thresholds and am not biddable! Yet Sharjah Biennial 10 has been a triumph for all those involved. It took big risks Continue reading “notes from a biennial – on reflection”

nasreen mohamedi; reflections on indian modernism, bidoun

NASREEN MOHAMEDI: NOTES

BIDOUN WINTER 2009 #19 NOISE

bidoun-interviews_cover_1-1_large

by Guy Mannes-Abbott

A previous post on Mohamedi referred to my catalogue text from 2001. Now I’m posting my short review of her recent retrospective exhibition as it appeared in the UK. I was pleased and proud to write something on a show that went almost unnoticed -and was certainly not engaged with- in the UK [again], but there’s much more to be written about her work and its contexts.

For now, here are scans of the pages in Bidoun [below; click to enlarge]. Let me repeat that it’s essential wherever you are in the world to see the work itself -to stand in front of the drawings in particular- whenever the opportunity arises. Until you do you will have missed an important 20th Century artist and maker of our new world.

I’ll return to Nasreen Mohamedi at greater, speculative and more definitive length in the future…

Continue reading “nasreen mohamedi; reflections on indian modernism, bidoun”

gujarat, while baroda burns; TANK magazine 2004

while baroda burns

by Guy Mannes-Abbott

In 2004 TANK reprinted extracts from my extensive notebooks on Gujarat in western India.  They’re taken from the days of “mass massacres” when I was locked up under curfew in my room on the 4th floor of a hotel, forbidden to leave the building or even to go as low as the 1st floor.

The whole story of witnessing state-sponsored pogroms while trapped with Bhupen Khakhar in his car on the outskirts of Gujarat’s second city and its various contexts form part of my forthcoming book A Gram of Gujarat. A part, but only a part. A part along with many other equally vivid, penetrating and suggestive parts! Taken together they provide a unique insight into Gujarat and contemporary India which enables a proper grasp of these signal events.

These particular extracts reflect something of the raw experience of being trapped in a room [tall building, complicit city and bone-shaking witness] looking out of a window onto a building usually only ever animated by women. I watched discretely as the traditional rhythms of everyday life went on in an abstracted way. Above rose black impressions of the terror being inflicted on Baroda’s old city; common, abstract again [literally framed by my window] but presumably at least as intense as those I’d been caught in. Otherwise; silence.

After two or three days it occurred to me to take photographs [some of which are poorly repro’d here], as the oddity of life in the building and the realisation that the smoky evidence was likely to stop if or when the army eventually took control of the city dawned. Obviously I was as visible as the people opposite and didn’t want to impose on them, so each image was snatched and for me condenses hours of the life it captures. Similarly, I only took one image of the smoke at the end and with confused reluctance; a feeble effort all around.

The politicians and authorities responsible for the massacres believe that the subcontinent is both Fatherland and Holyland; that the very dust is bound up forever with the dharma/spirit of each and every Hindu. Hindutva is a terrifying ideology, drawn from European fascism and Nazism specifically and these “mass massacres” a direct and logical result of it. Followers believe that a Hindu never loses their dharma and so India’s 150 million Muslims must recover theirs and renounce Islam -or they can ‘leave’.

Press PDFS to Enlarge

This is the same India that has a secular constitution and which was once the proud centre of the Non-Alignment movement but which has never reconciled itself fully with several centuries of Islamic dominance and conquest. Not even though a consequently rich Islamic heritage forms just one part of the subcontinent’s definitively syncretic culture. This is part of the specificity of hindutva, and why it’s worth reading VD Savarkar on the subject and understanding what there is of substance beyond the shudderingly crude race hatred that so corrupted his mind and thought.

The same India where some of the nicest people I met, seasoned secularists of various stripes, were the most complacent/deluded about the pressing actuality. It’s distressing to listen to someone making fun of their own Muslim upbringing, poo-pooing any intimacy with Islam or its wider culture, laughing at the notion that they would have any insight into such a subject when their own work, memoirs and even academic cv contradicts them. Frustrating when the point is simple; ‘they’ perceive you to be Muslim whatever your self-image. This is the nature of racism, fascism and lest we forget Nazism specifically.

Any conversation of that kind contains the unmistakable presumption that as a Foreigner I can’t possibly understand. It’s all a very complex, internal affair and only one of us can really appreciate it. In such instances they were clearly mistaken. In one exemplary case, when politely listening to an excited account of brief passage through a ‘secret’ outpost on the edge of the Rann of Kutch, I kept to myself the knowledge that I’d ridden out to the same particular outpost four times, found a floor to stay on inside its walls, a cave to sleep in beyond them.

Such an intense, ‘deep’ encounter with place and people was the yardstick I developed , which is why I was able to contextualize just how much or little right-minded, out of touch secularists of this kind understood about their neighbours [and to contextualise their insulting and short-sighted presumptions]. It’s for this reason that what happened to that particular individual and to other Muslims [religious or otherwise] across the State was profoundly shocking to me, but not a surprise. This is why it all made a horrible kind of ‘sense’.

Whilst ‘Metro’ secularists disown, deny and delude themselves about what “mass massacres” meant for India, I’d been encountering it in mud and urban kitchens, chai stops in deserts and forests, main roads, side streets and camel tracks, mandirs, dharamsalas and masjids, chellahs, tirths and tuks, Bohra wads, mohallas/pols and Societies, forts, havelis, universities and cool alleyways across the state. I listened to barots and charans, dalits and Brahmins, shia and sunni, professors and ‘local’ historians, ram sewaks and their Big Men financiers, MPs and MLAs, victims and perpetrators, writers and architects. I’d witnessed what it meant for months before this discreet horror and for months afterwards.

Understanding requires a real engagement with a wide range of things, places, peoples and times. It requires the articulation of distinct and interrelated elements in an authoritative portrait of a people and their place. Such a portrait would enable understanding of these particular events but also a much wider context. If it succeeded it would reveal the interiors of  Gujarat as a whole and provide a unique insight into subcontinental India. This is what I’ve attempted to do with A Gram of Gujarat.