Lalla Essaydi - Beyound Time and Beauty
The Baku Museum of Modern Art has opened its doors to Lalla Essaydi’s Beyond Time and Beauty exhibition. Beyond Time and Beauty is Essaydi’s first exhibition in Azerbaijan and follows her retrospective at the Smithsonian Museum of African Art in 2012-13. Bringing together works from across her career, the show features the series Harem, Bullets, Converging Territories and Les Femmes du Maroc. As the curator, Dina Nasser-Khadivi, describes “Essaydi is a remarkable international artist; she navigates pervasive cultural and aesthetic dichotomies to make something wholly original - East and West, Tradition and Modernity and the changing perceptions of women.” A fully illustrated colour catalogue will accompany the exhibition and include an essay by Olga Nefedova, the founding director at the Orientalist Museum, Qatar. Essaydi was raised in Morocco and spent many years in Saudi Arabia, and although she was educated in Europe and the United States, this experience of traditional Islamic life was fundamental in shaping her. Essaydi’s photography provides a contemporary reflection on an iconography that stretches as far back as the Orientalist imagery of nineteenth century artists such as Ingres, Delacroix, and Gérôme. More recently Essaydi has produced a series of pictures in a former harem in Morocco, often swathing her subjects in robes which closely echo the decorative tiles that wall the complex. Lalla Essaydi lives in New York. Selections from her series Les Femmes du Maroc were published by powerHouse Books in 2009. Recent exhibitions of her work have been staged at the Smithsonian Museum of African Art, Boston Museum of Fine Arts, Williams College Museum, Williamstown, Mass.; and the Columbus Museum of Art, Ohio. Her work is represented in the collections of the Louvre, Paris; Los Angeles County Museum of Art (LACMA), Los Angeles; Art Institute of Chicago; Brooklyn Museum of Art, New York; Museum of Fine Arts, Houston; Museum of Fine Arts, Boston, and many others
”Journalists Discovered Łódź like Columbus”. Orientalizing Capitalism in the Late Nineteenth and Early Twentieth Century Polish Modernization Debates
In September 2012 Christie’s will present ‘Of Sand and Silk’, the first European solo-exhibition of the prominent Russian artist Alexander Volkov (1886-1957). The exhibition will be accompanied by a catalogue. Volkov was born in the Fergana valley into the family of a Russian military doctor. He achieved significant lifetime recognition for his depictions of Central Asia, his paintings uniquely combining cutting-edge Western painterly styles with the inspiration he drew from traditional Central Asian craftsmanship. Volkov loved his homeland passionately and often repeated: “One does not need the whole world. A small part will suffice”.
Winner of both the prestigious Russian Little Booker and Anti-Booker prizes, Alexander Goldstein’s book Parting from Narcissus (1997) advanced the Levantine idea as a new perspective enabling Russian-Israeli literature to become an integral part of the Mediterranean cultural ecumene. This concept was designed to facilitate both the writer’s literary self-fashioning and his cultural absorption. Having mobilized the notion of the Levantine to valorize his position in a broad Russian literary context, Goldstein, however, failed to embody the main tenets of post-orientalist multiculturalism associated with this notion; rather, he used the Israeli context to uphold Russian imperial views. Circulating in Israel exclusively among immigrants from the former Soviet Union, the Russian-Israeli Levantine literary idea with its ostensible cosmopolitan perspective clashed with the prevailing ethnonational segregationism of this milieu. The lack of acceptance by his Russian-Israeli audience was a major factor impelling Goldstein eventually to abandon his Levantine idea and to embrace the Jewish ethnonationalism that permeates the books he wrote after Parting from Narcissus.
The book discusses the principal aspects of description of the East in the Western scholarly discourse as well as in art and literature. An analysis of the interpretations of the East by the West (and vice versa) and their historical evolution has emerged as especially important in the light of ongoing globalization, which has triggered the intensifi cation of ideological, religious, economic and cultural differences between the East and the West. The goal of the book is to distill a critical understanding of Orientalist / Occidentalist discourses and to question cross-cultural assumptions.
Orientalism can be defined as a historical and cultural event, which has been uniting various aspects of cultural life for a number of centuries—literature, fine art, architecture, music and philosophy. A "vision" of the East—positive or negative—based on imagination or historic facts, it has generated an exotic image in our consciousness, which has its own right to existence. At a crucial and timely moment in the history of relations between the West and Islam, this book provides the context and essential background to understanding this part of the world and the intense debate on this theme. The art-biographer of the XVIII-century Ottoman Empire Franco-Flemish artist Jean Baptiste Vanmour (1671–1737) left a very important legacy—pictorial evidences which can be considered as historical illustrations of all the aspects of XVIII-century Ottoman life: from diplomatic ceremonies in the Ottoman court to everyday events of Istanbul multinational society. It will be of strong interest to scholars of Middle East studies, anthropology, history, cultural studies, post-colonial studies, and literary studies.
This article presents a critical analysis of the Danish press coverage of the referendum called by the Left-led coalition government of Greece in July 2015, concerning the future of austerity policies. It focuses on the conservative daily press of Denmark, one of the ‘core’ EU countries, writing on developments in the periphery. Three main themes emerge in the study’s discourse analysis of Berlingske Tidende’s and Jyllands Posten’s coverage: ‘post-democratic realism’, ‘the upper-class gaze’, and ‘Orientalism and cultural racism’. The authors not only reveal the one-sided, elitist coverage by the rightwing papers at Europe’s centre but also point out how the principles of neoliberalism itself and the acceptance of austerity are being constantly reinforced by the media in a country like Denmark, which had previously been marked out for its more progressive welfare capitalism. Denmark’s turn to the Right (and to racism) alongside its biased coverage of the ‘Greferendum’ are examined here in the context of the way in which neoliberalism and its politico-social effects are now presented as both common sense and the only way forward.
A major international conference, “Orientalism / Occi dentalism: The Languages of Cultures vs. the Languages of Description”, took place from September 23–25, 2010, in Moscow under the aegis of the Russian Institute for Cultural Research. The goal of the Conference was to discuss the principal aspects of description of the East (fi rst of all Asian but also African cultures) in the Western scholarly discourse as well as in art and literature. The idea of the Conference belonged to the current author who, in the Fall of 2008, enlisted the support of Prof. Kirill Razlogov, Director of the Russian Institute for Cultural Research, as a result of which the Institute played a crucial role in the following two-year preparations
One of the most popular travel destinations among nobles, wealthy merchants, travellers and diplomats during the sixteenth century was the world of the Ottoman Empire, as European–Ottoman relations pervaded the centuries, combining cultural, political and economic interests. So there was increasing demand for pictorial as well as written records of life in the Ottoman world. Travellers and diplomats commissioned artists as an essential part of their duty to bring back to their countries as much information as possible on all things Turkish. One such record is an album dated 1590 and commissioned by Bartholomäus Schachman, mayor of Danzig (Gdan´sk), traveller and explorer, art patron and collector, benefactor and connoisseur. His journey through the Ottoman Empire lasted two years (1588–89), and his album, conveying the tale of his adventures, became one of the greatest travelogues of the sixteenth century.
In Chapter 5 Steiner offers the understanding of the 19th-century Orientalism as a European form of the quest for cultural difference and for molding the notion of the otherness. Japanese pictures made an uproar in Europe and inspired Japonisme, as well as an aesthetic revolution of Impressionism and Art Nouveau. Steiner, in this important chapter, suggests that European Orientalism in arts and letters is methodologically fruitful and heuristically interesting to see as a multifaceted expression of globalization. In the guise of Orientalism, it appeared as the beginning of the systemic crisis of the Occidental civilization that grew into the feeling of the limits of its own self-sufficiency (on the cultural, artistic, religious and philosophical, as well as economic levels). The West needed its Other. The early stage of Orientalism was Romantic and Academic: largely it was exotic Oriental motives and subjects depicted with the help of the Western pictorial idioms. In other words, the traditional European formal language had not been basically changed. The next wave – Japonisme of the Impressionism and Art Nouveau – has been much more advanced transcultural phenomenon. It can be called a tectonic shift – when not only motives or subjects, but also formal means of expression were borrowed, mutatis mutandis, from the East. Farther on there came the Primitivism of the Avant-garde and of Surrealism with their interest to and appropriation of African and tribal art. Still later, after the Second World War, the marginalization of the Western artistic discourse was inspired and fed by the language of expression of liminal groups like the “naïve art” or the art of mentally challenged persons. Together, all this can be seen as successive stages in broadening (shattering and at the same time in-feeding) of the European cultural paradigm – which paved the ways to globalization of the Western worldview and cultural practices. Orientalism, in Steiner’s analysis can be viewed as the Ur-phenomenon of globalization, or as the process of making the West less Western.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.