Magic of Persia Contemporary Art Prize, "About," →.
Bonhams, “Bonhams Dubai Breaks Thirty-Three World Records At $13M Inaugural Middle East Auction,” no date, → (accessed August 22, 2009).
This is a record for a sculpture by an Iranian artist, a world auction record for a work of art by any Middle Eastern artist and the highest price achieved for a work of art sold at auction in Dubai. Christies, “Arab, Iranian & Turkish Art (Modern & Contemporary): Exceptional Prices,” →.
Shehab Hamad, “Dubai Art Maket's [sic] Future,” S3AF: Middle East Art. News and Commentary, January 1, 2009, →.
The American Presidency Project, “6 - Special Message to the Congress on the Situation in the Middle East. January 5, 1957,” University of California, Santa Barbara, →.
First used in Claude Lévi-Strauss, "Introduction à l'oeuvre de Marcel Mauss," in Sociologie et anthropologie, by Marcel Mauss, (Paris: Presses universitaires de France, 1950).
Völker Perthes, “America's ‘Greater Middle East’ and Europe: Key Issues for Dialogue,” Middle East Policy Council Journal XI, no. 3 (Fall 2004).
Since I was a participant myself, I received the announcement much before the opening via email. Here ‘the flourishing contemporary art scene’ is quoted: →
‘Unveiled: New Art from the Middle East’ Picture by Picture Guide. (no further information was indicated)
Kemal Atatürk did not want to mix politics with militarism.
The London-based Arabic daily Al-Hayat obtained a copy of the proposal and published the document in its entirety on February 13, 2004; the English translation was later published by Al-Hayat on its Web site, and is available at Middle East Intelligence Bulletin, “G-8 Greater Middle East Partnership Working Paper,” →.
In this discourse we could have said that the excluded are befriended only by and through Orientalism.
Žižek believes such appearance of tautology is false because “Arab” (“Jew” in his text) in “because they are Jews” “does not connote a series of effective properties, it refers again to that unattainable X.” Slavoj Žižek, “Che Vuoi?,” in The Sublime Object of Ideology (London: Verso, 1999) 96–7.
Mohamed Sid-Ahmed, “On the Greater Middle East,” Al-Ahram Weekly 679, February 26–March 3, 2004).
Rachel Aspden, “Living with the Monster,” New Statesman, December 4, 2008.
“Made in Iran” exhibition flyer, 24th June – 11th July 2009, curated by Arianne Levene and Églantine de Ganay, Asia House, London.
In 2002, when I showed What Has Befallen Us, Barbad? in New York, it was written here and there that the locks of hair in the piece resemble arabesque calligraphy.
Agents and consultants of an auction visited an Iranian abstract painter. They told him “your paintings are really beautiful but we can sell them only if you use a bit of calligraphy.”
See →.
Like any other narrative absorbed into common sense, “westoxication” or “Occidentosis” was once a theory. For example, see Jalal Al-e Ahmad, Occidentosis: A Plague from the West (Gharbzadegi), trans. R. Campbell (Berkeley, CA: Mizan Press, 1983).
See →.
I should say that after our recent riots and protests this imagery has changed.
This led to the execution of thousands in one summer and offered up an archetypal embodiment of Heterotopia: Khavaran cemetery.
Friedrich Nietzsche, Beyond Good and Evil, ed. Rolf-Peter Horstmann and Judith Norman, trans. Judith Norman (Cambridge: Cambridge University Press, 2002) 69.
The outlines of this paper were first discussed at the 2007 Festival d'Automne à Paris roundtable “Pratiques esthétiques contemporaines : productions, enjeux et publics,” with Catherine David, Lina Saneh, Joana Hadjithomas, Khalil Joreige, and Abdellah Karroum. In May 2009, at the invitation of Dr. Sarah Wilson, it was presented at the Courtauld Institute of Art as “Barbad Golshiri in Conversation with Layal Ftouni. ‘Unveiled: Dismantling or Reproducing the Orientalist Canon?”