It’s 2 years since Israel’s last assault on Gaza, in which it dropped white phosphorus in to school playgrounds. Narrating Gaza attempts to break a terrible silence on the subject by enabling Gazans to tell and show their stories -in remembrance and resistance.
I’m extremely pleased and gratified that my little essay has also been published by Babelmed here. In fact, it’s now up in English on the narrating gaza site itself here. Check Babelmed’s homepage here.
Radwa Ashour’s Spectres [Atyaaf أطياف] is now available in English [Trans. Barbara Romaine] from Arabia Books in the UK and makes essential reading. Alongwith new books from Orhan Pamuk [HUP] and Ilan Pappe [Saqi], Spectres is one of the November Book Choices at Babelmed [at my suggestion]. Hooray for Babelmed; yet another reason to check it out…
UPDATE 03.xii.2010 A very short review of Spectres, commissioned by The Independent, will appear soon…
“The highlight of this year’s Liverpool Biennial is the art from Palestine on show in Future Movements Jerusalem. It’s art made against the forcings of Occupation, about a city currently forbidden to most of the artists in the show.”
My piece about this excellent show has just been published here on Babelmed, a really admirable and completely independent ‘Mediterranean culture site’ based in Rome, which appears in English, Italian, French and Arabic editions.
Continue reading “future movements jerusalem, startlingly good review on babelmed”
I’ve been enjoying quite a few shows recently which are likely to be blown out of the water by the imminent frieze fair and so with mighty respect to the latter I thought I’d flag them up as alternatives…
Future Movements Jerusalem at Liverpool Biennial [18 Sept-28 Nov 2010] is an essential exhibition of work from and about Palestine. I posted on Raouf Haj Yihya’s Meter Square here, the New Statesman bravely ran a rather muted piece here and my own review will run at Babelmed shortly. Surprise yourself if you can get to it, or wait for it to travel south as I know it is scheduled to do. But be sure to see it.
Otherwise, Liverpool is a far better Biennial than scarce notice of it by lazy old journos suggests; everyone rightly notes the almost painfully compelling acid-Warhol-mashup-vids of Ryan Trecartin’s but there’s much else, including NS Harsha’s very nice installation [right] at 52 Renshaw Street and not least at Tate Liverpool -where a dubiously conceived but actually nicely put together show called The Sculpture of Language by Carol Anne Duffy exhibits some great and rarely aired works.
Dirk Stewen at Maureen Paley [08 October — 14 November 2010] is the most winning new work in town for me. If you do make it to the frieze jamboree then add this show to your bottom-line schedule otherwise you’ll have failed yourself and London. If you’re not friezing it then take advantage and spend some time in a show spread over two floors, beautifully arranged/hung works combining utopian gesture with extraordinary concentration, tentativeness and beauty. The work seems hardly there at all and yet surprises/delights with a precision that makes for indelibility. It’s Stewen’s first show in London, I’d never seen the work before and this exhibition made me happy to be alive; don’t miss it! Continue reading “nb, visual art noticeboard [alternatives to friezing…]”
![Dirk Stewen untitled [bronx monkey II]](https://i0.wp.com/maureenpaley.com/system/assets/files/1319/large/DS5-300.doc)
NOTES FROM A FRUITSTORE 