Cairo Review No. 14
Mobility of Art
Q & A
Ai Weiwei’s work sweeps from sculpture and installations to Instagram images. Confined to China, he has been hailed as the most powerful artist on the planet. He speaks with journalist Dorinda Elliott about modern art, Chinese culture and snapping subversive selfies.
Art in our age is more than the Mona Lisa. The construction of major new museums like the Mathaf Arab Museum of Modern Art in Qatar and even an outpost of the Louvre in Abu Dhabi reflects the expansion of a global civil society.
Art history that presents the Western canon as universal creates a world of inclusions and exclusions, undermining local voices and practices. Let us consider a redefinition of cosmopolitanism that demands the study of art in its social and cultural setting.
The capital of the Islamic Republic is the new art mecca? When it comes to culture, it’s not your ayatollah’s Iran anymore. Despite continuing pressures including censorship, the country’s art scene is flourishing.
Artists have spent a century claiming Egypt for the Egyptians. Now the powerful murals of January 25 have created a new public space dedicated to every citizen.
Pop Art is fun. But does it embody meaning? The same question can be asked of higher-brow Concept Art. Some Egyptian artists are taking objects like soda cans and bottle caps and making statements relevant to the masses. It could change everything.
The P5+1 talks are not just about Tehran’s atomic program. A comprehensive agreement should serve as a model for negotiations on a Middle East Nuclear-Weapon-Free Zone.
Since Ezzedine Choukri Fishere began publishing fiction in 1995, he has come out with six novels exploring themes from freedom and destiny to identity; critics have viewed his work as indictments against repression, injustice and suffering in Egypt.
Happenings, speakers, and events at the American University in Cairo.
If employees are treated with respect, fairness and equity, they will become committed to the organization. In the real world, it turned out not to be that simple, especially in our Egyptian public service organizations.
The walls of Mohammed Mahmoud Street, with their vibrant murals portraying the unflinching gaze of blinded protesters, or the serene smiles of winged martyrs, are witness to the wounds of Egypt’s ongoing revolution.