I am involved in this exhibition opening tomorrow night at Nile Sunset Annex
التبلور في شكل
أو التبخر إلي ذكريات
الـ “كاللو” في رجلي من المشي علي الـ #أرض قرب يختفي
في أعلي قمة الليل
هؤلاء الحمقي المتوحشين
ينزلقون علي الأهلّة
بيضتا طائر طنان انحشرتا في حلوق
أجزاء مولدات الغاز الجديدة مُصنّعة من
لا يوجد سوي همهمات بعيدة
to crystallize into form or to
evaporate into memories
the calluses on my feet from walking on #Earth are almost gone
all the way up, to the top of the night
those feral fools’re sliding down crescent moons
two hummingbird eggs got stuck in our
into an emergency of languages
new gas generator parts are fabricated
from the scans
there’s just a distant hum
Nile Sunset Annex invites you to the opening of a solo exhibition by Sarah Samy at 7pm on Saturday 13 September, which will also see the launch of the publication for our previous show, Museumish, with Mariam Elias, Paradoxia, Sobhy Guirguis and Wadiaa Shenouda. For the preparation and duration of Sarah Samy’s exhibition, Nile Sunset Annex includes Mia Jankowicz. Nile Sunset Annex would like to thank Jens Maier-Rothe for helping to make this exhibition possible. Bring your own drinks. Exhibition open until October 11, Saturday 12-6pm or by appointment.
Here is my review, for Afterall Online, of Malak Helmy’s beautiful show at the Sharjah Art Gallery at the American University in Cairo earlier this year.
Malak Helmy, Records from the Excited State – Chapter 3: Lost Referents of Some Attraction, 2012, HD video, sound, 6min 54sec, still. Courtesy the artist
Sharjah Art Gallery, located in the New Cairo campus of the American University in Cairo (AUC), is reached by car approximately an hour and a half out of Cairo’s city centre. Shaking off the asthmatic yellow city, you reach malls, villas, gated and serviced compounds with perfect masonry and conditioned air, surrounded by irrigated, emerald-green gardens. Here those who can afford it buy the quality of life not provided by the deteriorating state infrastructure.
Click here to read more at Afterall Online.
My overall review of D-CAF for frieze (which can be read here also but you need to register).
There are two places in the world where cats seem omnipresent: the internet and downtown Cairo. At the Downtown Contemporary Arts Festival (D-CAF), street cats were everywhere: there was the one that specifically targeted the feline sculpture in Hassan Khan’s delicate mixed media work The Agreement (2011); the one that helped itself to refreshment from the table during Nida Ghouse’s talk, The Artist as a Portrait of a Young Man; and the one that weaved through the dancers’ legs during a performance by the ensemble The100Hands, Running Nucleus (2014).
The100Hands, Running Nucleus, 2014, performance documentation. Image by Mostafa Abdel Aty.
Lotte Sigh, Remind Me, 2014, performance documentation. Image by Mostafa Abdel Aty
The article here has been revised to reflect a factual error brought to me after submission: the text originally said ‘a delegation of international technical specialists’ when in fact one technician was flown in. The article was also modified to more accurately reflect the decision making process around Hassan Khan’s show. A thorough fact-check was made prior to submission.
Eight minutes after the start of “Running Nucleus,” I’m late and bothered. Late because I subconsciously invent special, reassuring laws of the space-time continuum and apply them to Cairo traffic. Bothered because I’ve so far garnered lavish harassment, rich in imagery of creaminess, hotness and prostitution.
Review of the ‘Urban Visions’ programme as part of D-CAF. Read more over at Mada Masr.
Two dancers in ‘Mashy’ by Ex Nihilo. Photo courtesy of Mostafa Abdel Aty and D-CAF
[25th January 2011] is not one story. There is no one way of telling it. It’s filled with complexity and confusions that are produced by the way our emotions permeate the unfolding of events. And as we operate, we need to acknowledge that it continues to unsettle us; that what we took for granted, such as the prowess of the state, is now eternally shaken.
First of a three-part interview with Lina Attalah, Managing Editor of the independent journalism site Mada Masr, conducted June-October 2013.
Read more over at ArtTerritories.
Aya and Ragab, still from “MICROPHONE” © Film Clinic – Egypt – 2010. Photograph by Kal Naga.
A review I drafted when Microphone came out in 2010 finally found a home on Mada Masr’s ‘Egypt’s Cinematic Gems’ series.
The film has long been followed by debate regarding whether it replicates Alexandria’s creative scene convincingly. But “Microphone,” as much as anything else, is also about the conditions of making “Microphone.”