ART

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art

02:00

Egypt's ancient zar ritual

At Cairo's Makan Cultural Centre, the Mazaher ensemble performs a lighter version of "zar", an music and dance ritual with centuries-old roots, that aims to ward off or exorcise jinn, or evil spirits.

02

art

00:16

Mahmoud Khattab somewhereincairo

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art

00:33

Mohamed El-Masry films Hurghada, Egypt

Cinematographer based in Cairo, Egypt Mohamed El-Masry films Hurghada.

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art

02:00

From Cairo Streets To The World

Coddiwomple a word that means “to travel in a purposeful manner towards a vague destination” We think that through the journey of every creator in Cairo there’s a lot of rage, wars and doubts within the process of expressing yourself to the world, but they still do it anyways.

05

art

03:16

Ghada Amer, My body, My choice

Ghada Amer’s garden installation takes up the well-known battle cry promoted by the women’s and gender equality movement since the 1970s “my body my choice” and spells each of its letters in a red resin box filled with plants. While over the past fifty years, this tagline has been co-opted by a number of groups around the world with entirely contradictory agendas, Ghada Amer’s garden, like her art in general, reminds us of the early intent of the mantra, that of promoting women’s rights and equality. In an interview with Sahar Amer in April 2022, Ghada Amer states: “In Western societies, there is an assumption, especially among the younger generations, that the battle of the sexes has been won, that women have been liberated, and that their rights are secure. And yet, we are witnessing today a sharp regression of women’s rights and a stark rise of violence against women. However, in countries where one assumes women’s rights to be limited or absent, such as in Egypt, Iran, Afghanistan, or Mexico, women of the younger generation know they have a lot to gain from fighting for those very same rights that are eroding in the West. So they are not letting down their guard and they are continuing to fight fiercely.” The phrases that Ghada Amer sculpts for her garden architecture are similar in that regard to the sentences that she embroiders on her canvases. These sentences are taken from a number of male and female authors from different backgrounds and they are intended to remind us of central teachings and wisdom related to women’s rights. Amer says that “by reading and repeating these sentences, they will hopefully become mantras, incantations that the viewer will end up remembering.” She adds that “women’s rights can never be taken for granted. Women must continuously mobilize, fight, and never let their arduously acquired rights decline, fade away and vanish.”

06

art

50:49

3phaz | Boiler Room x Nuits Sonores

One of the driving forces behind the post-shaabi movement is joining us for the next 1 hr. Get locked in for Cairo native 3phaz live & direct from Nuits Sonores festival.

07

art

01:22

INTER.LUDE

An interlude of self reflection .. Do you feel your existence or you need to prove it ?! Directing/Cinematography/Editing/Graded by : Mohamed El-masry. Music Production/Mixing/Mastering : Memmis.

08

art

08:15

المربع في الإسكندرية - فيلم قصير | EL Morabba3 in Alexandria

After 5 years of not being able to perform in Alexandria,Egypt. On February 24th 2020, El morabba3 band succeeded in returning once again establishing a new vision and era of their own.
 The short film describes the energy that existed on that day mainly from the eyes and feelings of their fans.

09

art

01:26

NYE in Berlin (Michael Treeg by bike)

Danke Sam Madhu for the find.

10

art

00:10

"Memories Alone Are Not Enough” by Alaa Ayman

Alaa Ayman's exhibit explores a cherished childhood memory and its reinterpretation over time. This space, which Ayman likens to a daydream, comes alive through an oil-paint video projection. Using footage her father shot during a family vacation when she was 4 years old, the video features a graceful dancer entertaining a cruise ship audience. By repainting the moving image, Ayman rekindles the wonder and aspiration she experienced as a child. Ayman asks, "What happens to a memory when it faces reality?" She reflects on how idealized recollections can fade with maturity, yet seeks to recapture childhood wonder through vibrant painted color.

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art

05:14

Sabah Naim for AB GALLERY

12

art

04:33

Serpentine Dance 1895-1908

The new dance was originated by Loïe Fuller, who gave varying accounts of how she developed it.

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art

STANIAK in Ca'n Vivot

Youtube

Michael Staniak: Wall art Michael Staniak's work, at first glance, lends itself to misunderstanding. The seemingly abstract compositions, dominated by vivid color gradients, seem to tell a story of the digital world, about the flat surface of the screen and the frivolity of our lives on social media. The work of the Australian artist (born in 1982 in Melbourne) is often identified with Post-Internet art, a term that was released in the early 2010s to identify the work of a group of young artists whose works denote a profound influence of the content they consume on the web. Although Staniak fits this label, both generationally and at the level his dominant aesthetic, as well as himself acknowledging the influence of this fleeting and controversial artistic movement, other deeper references cast a new light on his work. “I am part of the generation that went from primitive computers, with black screens covered in green text” says the artist, “to the hyper-digital world we live in today.” Discovering the possibilities of image editing programs like Photoshop transformed his perception of what could be created with a computer, despite the limitations of early graphical interfaces and primitive drawing programs like MS Paint. His attention, however, soon focused on color, specifically electric blue, which is established as the normative color to designate hyperlinks on a web dominated by texts and with very few images, due to bandwidth limitations. of telephone connections. His painting is thus characterized by the prominence of color, in monochromatic compositions or with subtle gradients of two or three tones. Although these expanses of color are not flat, as might be expected from an artist trained in front of the screen and who, by his own admission, identifies his compositions with the filters of image editing software, so characteristic of the work of other artists such as Cory Archangel or Artie Vierkant. In the practise of Michael Staniak, some enigmatic textures are imposed that prevent us from detaching ourselves from the materiality of the pieces and produce a visual effect that, being contradictory, is shockingly revealing. “I have created most of my work with the intention that there are two ways to see it: in person or on a screen. When people who attend the exhibition see the pieces, they assume that they are flat, and that the texture is an effect of the software used. However, when you see the same pieces on a website, they immediately look like paintings with a physical texture to which pigments have been applied.” Staniak finds in this reverse trompe l'oeil an example of how the consumption of content on the Internet has transformed our perception of images, which can be more illusory in real life than on a computer screen. This contradiction has also marked the way in which the artist has observed his own work from the point of view of digital culture, ignoring the influence of his surroundings and the cartographic aspect of his compositions. If we consider these paintings as aerial views instead of screens, the textures that emerge from them take on new meaning that brings us closer to the notion of landscape. The shape of the sculpture itself is significant, since it is a 3D scan of a cave wall. Staniak says he is fascinated by cave paintings and how they constitute a first way of recording mankind’s own existence and belonging to a community, something that links our online presence and our digital selves on social networks. With this huge time jump we come to the disconcerting presence of Michael Staniak's work in the patio of Ca'n Vivot, a sober, cavernous and stately space transformed by brightly colored pieces giving it an illusory appearance. In this particular context, the paintings and sculptures acquire a renewed force by escaping from the white cube and impose their presence in a stylized urban cave that they occupy just like parietal art of the Internet age. "For me, the Internet is more of a mirror than a window," says the artist, "what we see is a reflection of our interests and our personality, a mental mirror." With its reflection multiplied by the mirrors on the pedestals and the wall sections that house the works, the courtyard of Ca'n Vivot, which once served as an interface between public and private life, is once again transformed into a meeting point between two realities. Pau Waelder filmed this in Ca'n Vivot, Palma, Spain. March 2022

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