on the first review of in ramallah, running in 2013 -artasiapacific’s almanac 2013

Image

In Ramallah, Running in Almanac 2013 – article below

I will catch up on posting the wonderfully generous critical responses and cleverly probing interviews to and around In Ramallah, Running since its launch soon -and amongst other things.

ImageBut this one was a lovely welcome home to London after a month away in India: a sharp, perceptive and very gratifying response to my book and I have to post the review now!

That should not imply that others were not and will be, only that I have the time/opportunity today…

Almanac 2013 is worth tracking down in full and hard copy too by the way, meanwhile I attach clickable pages from the full article below: Continue reading “on the first review of in ramallah, running in 2013 -artasiapacific’s almanac 2013”

on celebrating the launch of in ramallah, running with a panel at the mosaic rooms 25th october

More details: http://www.mosaicrooms.org/in-ramallah-running/

In Ramallah, Running began with a writer’s residency at A.M. Qattan’s Ramallah base in 2010, so it gives me great pleasure to invite you to this launch-related event at al Qattan’s elegant Mosaic Rooms in London, part of the Nour Festival.

Intended as a celebration, it will include a short reading followed by a discussion with the esteemed critic and introducer of the book Jean Fisher, and the Abraaj Prize-winning Jananne al-Ani, whose contribution to the book is so subtly affective. The panel will be chaired by writer and critic Sheyma Buali of Ibraaz, etc. [  http://www.mosaicrooms.org/in-ramallah-running/  ]

I hope you’ll be able to join us and am sure The Mosaic Rooms would appreciate it if you were also able to RSVP: rsvp@mosaicrooms.org / 020 7370 9990

For interviews, early reviews and further UK events, check here: http://www.g-m-a.net/index.php?/ramallah/news/

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 publication date for in ramallah, running, july 26th 2012

In Ramallah, Running by Guy Mannes-Abbott – July 26 2012

A brief word to celebrate the release of my book at last!

I’m attaching a copy of the Press Release which went out today with details about the book and its contents as well as contacts for review copies and further information.

In Ramallah, Running by Guy Mannes-Abbott | Press Release July 2012

I will update with news as well as details about a launch we will be having in early September, along with other readings, launch-related events, discussions and festival appearances in London, the UK and beyond.

More soon…

notes from a meeting, appendix 1. conversation: sejla kameric and i go east [to kalba]

Sejla Kameric 1395 Days Bait al Shamsi Photo G Mannes-Abbott

CLICK on image for more, or read on.

Sejla Kameric and I go East [to Kalba] 

March 2012 Sharjah UAE

1395 Days without Red is the Artangel-enabled film which received its regional premier in Sharjah. It comes in two parts; Anri Sala’s was shown indoors one evening, Sejla Kameric’s followed the next evening in an outdoor screening in Bait al Shamsi. Both are based on the experience of the 4-year long siege of Sarajevo [which began April 5 1992] and make different responses to it -while following a woman’s attempt to cross her city on foot. Continue reading “notes from a meeting, appendix 1. conversation: sejla kameric and i go east [to kalba]”

notes from a meeting, on homing in on conclusions…

March Meeting Sharjah 2012 Every which way… Photo G Mannes-Abbott

CLICK on image to link to SAF or read on below…

As I home in on conclusive thoughts, the first must be an acknowledgement of the fifth March Meeting as such. It brought together over 80 speakers plus audience to talk, listen, and exchange over 3 long and short days -as well as film screenings, exhibitions and musical performance. Inevitably, it generated brain-burn, the occasional misfiring or abbreviated note, and the expressed desire for either longer sessions at times or a pause button to reflect at others.

However, the intensity was generative of wide ranging conversations, links and relinks, discovery and trust, committedness and complexities. It’s a risky venture, with all sorts of intellectual and creative risks talked of and engaged, by practitioners with experience of or aspirations for just such frontier activity. The scent of new and different futures is in the air as is impatience to get there ASAP… Continue reading “notes from a meeting, on homing in on conclusions…”

‘i am running in ramallah and it is painful…’ in manifesta journal #14 online & at genk

I am running in Ramallah and it is in audio in the current issue of Manifesta Journal #14 which you can read online here, download the complete pdf here, or go straight to the Translated By pages here. Scroll down to where it says ‘You pick a random number’ and 3, etc., and listen to the audio of my excerpt. All this running makes it a bit less painful -and In Ramallah, Running proper will be here soon!

Do have a look at MJ14 edited by Rasha Salti et al and with some great sections; conversation with Naeem Mohaimen, and  one on Joana Hadjithomas and Khalil Joreige’s Lebanese Rocket Society, the main monument of which stands today in a public square in downtown Sharjah -a SAF commission from 2010’s Biennial. Manifesta as such kicks off in Genk, Belgium this year of course; end of May slash start of June. Be there!

notes from a meeting, artists on the frontier; resident or nomad? [day two pt2]

Sejla Kameric 1395 Days on the Frontier Photo G Mannes-Abbott

CLICK on image to link to SAF & more images or read on below …

 

Sama Alshaibi moderated a panel on Artists as Nomads, describing herself as the least “nomadic artist on the panel, relatively speaking,” secure in a US Professorship. Basma Alsharif, a Palestinian who “can’t really base myself in Palestine” settled in Egypt before “moving based on projects”, a process that has now been formalised through International residencies. “So then my life became a residency” with obvious costs and which have rendered her almost homeless at times -all of which she was quick to qualify too.

Ziad Antar fizzed on stage, to the audience’s amusement, relaying a similar tale of struggling to “create a point of view” in the churn; “when you live nowhere” there is a price to pay. Sejla Kameric introduced a note of caution by asking “is it a life we choose or is it by necessity… there’s a fine balance between a need and a choice.” She said she had also moved a lot on what can appear to be a circuit, but increasingly found she needed a strong working base at home in Sarajevo. [I’ll return to the screening of her version of the 1395 Days Without Red film in Bait al Shamsi later in the evening when I post a substantial interview soon; see Appendix 1 Sejla Kameric & I Go East [to Kalba]. Continue reading “notes from a meeting, artists on the frontier; resident or nomad? [day two pt2]”

notes from a meeting, on throwing forth – artists and audiences [day two pt1]

Murtaza Vali Artists & Audiences Photo G Mannes-Abbott

CLICK on image to link to SAF & more images or read on below…

Murtaza Vali moderated another of the central panels during this March Meeting; Artists and Audiences. One which spoke from the UK, the USA/Dubai, Palestine, Taiwan and Qatar to an audience far more diverse in its locations. Vali spoke of a radical “rethinking of the artwork as a situation that requires an audience to complete it”, something which new media has helped generate as well as being some of its sites. As he said, this raises many issues but “the really big one [is] what is it exactly that we mean by the word audience?” If audience activates the artwork then how does the artist/artwork/institution ‘activate’ the audience? How is theory made new practice?

It’s a tough question which the panel bounced around but didn’t ‘dunk’. Louise Hui-Juan Hsu from the Museum of Contemporary Art Taipei, Taiwan, for example, reminded us that the “translator in this case, is beyond the translation of words”. Abed al Ju’beh, who runs the Khalil Sakakini Cultural Centre in Ramallah, Palestine, spoke of the singularity of his literally captive audience. I’d not seen him since the leaving party at his home in the South-east of England 5-6 years ago when he took up this post. Ramallah is at the heart of a giant open air prison where, he said, the audience comes looking for confirmation of their existence. It’s an audience which the Sakakini reaches out to with a residency programme strictly for local artists. Continue reading “notes from a meeting, on throwing forth – artists and audiences [day two pt1]”

notes from a meeting, sharjah 2012

March Meeting Day 1 Falling, Flying, photo G Mannes-Abbott

CLICK image to link to SAF or read on below…

This is my second March Meeting and my first attended without the contextual buzz and fruitful ‘distractions’ of the Sharjah Biennial going on around it. It’s worth remarking on what a special and in fact, important event it is.

The March Meeting exists not to promote the exchange of capital in the form of visual art, but to talk, listen, converse and engage ideas of and about the art of now and here, that here being inherently global and simultaneously local. This year’s Meeting is specifically aimed at exploring the relationships between artists and art infrastructures, context and audience.

If that sounds a little dry [and I sound naive], its worth investigating, especially perhaps here in Sharjah where audience is nascent, which also means not yet habituated or complacent in its responses -a good thing obviously. The art of our times is changing formally to reflect exactly these issues, around the role audience or reception plays in the making of art, its intentions, notions of completion, etc., in quite radical ways.

This year’s Meeting draws together a wide range and depth of speakers; from government institutions through tiny self-generating practitioners. Importantly there are artists here to give voice to experiences of working within this new global activity; residencies, collaborations, shifting curatorial practice and transformative technologies. Activity shaping an emergent consciousness itself reflective of geopolitical shifts from ‘west’ to ‘east’ -a change that renders such unipolar crudities obsolescent. Put it another way, more of us are from/in, claiming/reclaiming, reconfiguring/recovering more places than ever before…

The March Meeting was formulated in 2008 with the very ambitious aim of becoming a permanent fixture in Sharjah, drawing in “artists, curators, institutions, writers, producers and practitioners from around the world.” The idea, which is worth repeating, was to experiment with new “strategies of discussion … and collaboration” fed by urgently shared concerns and committed to explore “future possibilities.” This is what someone I overheard describing variant complimentary qualities on display during a marathon ‘art week’ meant when they said; “the content is at Sharjah”

The intensely focused format and high calibre ‘cast’ is a risky venture. Risk is a key quality owned or claimed by the work -and words- of many of the contributors to the Meeting. However, the question has shifted from one of falling or flying, succeeding or failing, to an appreciation of attempts and their related processes, such that they remain in flight amidst new formulations of time and value.