An embrace of queer identity and intimacy, the newly installed exhibition 'Habibi, the revolutions of love' showcases and questions the ideas surrounding queer love in the Arab world and beyond, countering orthodox perceptions through creativity.

Florence Massena 08 February, 2023

In a colourful setting on level -1 of the Arab World Institute (IMA) in the heart of Paris, installations, videos, paintings, drawings, designs and embroideries are showcased until February 19 under the title Habibi, the revolutions of love.

The exhibition focuses on queer love and expression in the Arab world, as well as Iran and Afghanistan, shedding light on an often taboo topic in the countries the artists come from.

The exhibition itself is far from a narrow portrayal of love under oppression.

It goes through motions and narratives, embracing more complex issues such as exile, politics, survival, intimacy and finding happiness, either at home or abroad.

The selection of more than 20 artists, sometimes gathered in collaborations or collectives, from very various countries such as Syria, Lebanon, Morocco, Sudan, Saudi Arabia, Iran, Afghanistan, Algeria, Jordan and Tunisia, bring to life a lot of creativity and desire.

The exhibition turns easily into a conversation between the artists and the themes, which answer each other with harmony and subtlety.

The project itself was born from conversations led between curators and contemporary artists during and after the IMA’s exhibition Divas, from Oum Kalthoum to Dalida back in 2021.

“There were these constellations of themes that could be explored setting up around us, and we have seen a lot of interrogations on genders and sexualities,” Elodie Bouffard, the exhibition curator alongside Khalid Abdel-Hadi and Nada Majdoub, told The New Arab. “It kind of imposed itself on us!”

The choice was not to focus on geography and lead a “country by country” organisation, but instead to highlight the creations’ quality and make it a topic among the others as it is often done in an institution such as IMA.

“The artistic expression is itself enough, led by a new scene that will certainly make the contemporary scene of tomorrow,” Elodie said.

“We made sure to see what united the pieces, and we saw that it goes beyond the topic of sexuality. Some cross paths, some clash with their activism and others are more playful, some are feminists… The queer topic is the line that allows us to question the ideas of norms, social identities, body’s politicisation, the question of surveillance as well as the way others perceived you, notably through the European gaze.”

Despite the choice to open to many countries and artists, Lebanon is overly represented, through the presence of many Lebanese artists but also artists who lived and worked in Beirut for a few months or years.

“In Lebanon, you have a lot of personalities, many spaces dedicated to cultural interventions as well as an activist History through organizations like Helem for example [first LGBTQIA+ rights organisation in the Arab world] that did a lot for LGBTQ+ struggles,” Elodie explained. “All of this combined makes Lebanon an unavoidable place to work and exhibit for queer artists from the region.”

This is the case of Alireza Shojaian, an Iranian artist born in 1988 and who lived a few years in Beirut before moving on to Paris in 2019. “I was an artist in Iran but my art was sitting in my closet,” Alireza told The New Arab.

“In Lebanon, I could create and be exhibited, there is freedom and space to do that there and that’s why it’s so represented in that exhibition. You know, the first time I was exhibited was in another Arab country! I often feel that the Iranian authorities try to prevent us to travel to the rest of the region so that we don’t find the spaces of expression that exist.”

The main work he is exhibiting is a big mural called The Mirror, a self-portrait representing his suspended time in Beirut through the city in the background, his identity through the books on the shelf and his state of mind, a lingering sadness as a person in exile.

It also represents five photographs on the mirror, one of an intimate moment of his life, one of his military service, Bashasha and a friend by 1950s Lebanese photographer Heshem el Madani, US gay activist and politician Harvey Milk, as well as Two Men Dancing, a photograph from Robert Mapplethorpe, from a 1980s performance piece entitled The Power of Theatrical Madness.

Shojaian felt important to participate in such an exhibition, first because of its location: “It’s in an institution dedicated to the Arab world and the topic LGBTQ+ has always been neglected there. It is important to show that this topic exists in the Arab world, and towards the West to also remind them where the laws and rules against homosexuality come from, that maybe they can help.”

Most of the official status in the Arab world on homosexuality was taken during the British and French mandates and occupations, for example in Lebanon as a colonial relic from the early 1900s. “It is also for me, as an Iranian, because I am able to give my voice to the thousands who can’t speak up in my country,” Alireza added.

Also quite political, Tunisian artist Aïcha Snoussi, born in 1989 and currently living in Paris, decided to tackle the tough topics of the people who drowned during the crossing of the Mediterranean sea through a big installation, as well as the troubles of the world through a self-portrait, pensive in her room. “The two works echo each other,” she told The New Arab.

“Multiplicity on one side, with more than 700 bottles filled with old paper, archives, inks and organic elements. The uniqueness on the other side, that of a canvas made of the same materials but recounting the chaos of the world from within.”

In the exhibition, Aïcha also noted the themes of exile, history, archives, memory, transmission and struggle, which are according to her “intimately linked to that of the body, its representations and these evanescences”.

“These sensitivities and trajectories give rise to new narratives, which are relatively under-represented in art but also in queer culture, and therefore necessary,” she added. “It is also a visibility that sends a message of power and resistance to those who recognize themselves in it.”

Other artists chose to address those themes of both love and exile through a more intimate approach, such as the Lebanese visual artistic duo Jeanne & Moreau, composed of Lara Tabet and Randa Mirza.

They set up a bedroom displaying pictures and videos they exchanged during their long-distance relationship time as well as when they started living together, first in Lebanon then in France, through crisis, exile and changes in their approach to art and each other.

“First we were apart, there was a desire of seduction, then the 2019 crisis in Lebanon with an economic collapse and then the explosion of the Beirut port,” Lara Tabet told The New Arab.

“At the same time as those repeated crises, our relationship changed too. We decided to exhibit a bedroom, where a lot of intimate things are renegotiated, which also represents a delicate balance between the idyllic privilege of living as a nomad and the harshness of forced exile, as well as domesticity.”

The installation combines intimacy inside and activism outside for their country, the crisis inviting itself into intimacy through the destruction of their Beirut apartment during the August 2020 explosion.

Sexuality, struggles, identity and perception of yourself go across the narratives IMA exhibited in an explosion of themes, freedom and colours in an expression space where audiences often associate pain and shame.

Summer Schools: EDIMA - Autumn school / France

ICYMI: The Arabic Language and Civilization Center (CLCA) of the Arab World Institute (IMA) is organizing its first Autumn School, EDIMA, from the 23rd until the 27th of October 2023. EDIMA is a series of conferences and workshops around didactics and teaching Arabic as a foreign language. The Autumn School’s full content will be given in Arabic. Many great and well-known experts of the language will contribute to the project and give the abovementioned conferences and workshops. The full program can e http://dlvr.it/SvD1lt

2022 : Back to the exhibition on Jews from the East.

On the way of my researches as well as my month-trip project to Mardin, I wanted to put over the light the Jewish community of Turkey and beyond.

Usually, as we talk about this community, people emphasizes Istanbul or Izmir ( where there are still an important population) . However, all the East part of the country were inhabited by Jews who share much cultural similarities with Assyrian, Aramaïc Christians populations. In this case, many of them have created together a political-cultural alliances in Israël as well as ensuring an Assyrian state.

The Jews from High Mesopotamia were completely different than those from cities such as :

They talk in Aramaïc instead of Ladino. In fact, the Jews of Istanbul are Sepharadic. Certainly, there are others from Europe and Russia so on but the majority of them are Sepharadic. By the way, " The Club", a successful serie on Netflix, recounts their history in this city.

As for the Jews from the Southern part of Turkey, I high recommend this fairly interesting book :

The anthropologist Süleyman Şanli pointed out all customs, memoirs, cultures as well as history migration of those Jews who live nowadays in Israël. I really appreciated the quality of interviews. Besides the Southern part of Turkey is the one of the famous cradle of Aramaïc identity, there are not enough researches about those populations.

Congrats to Süleyman as well as to Mardin University !

As I used to end working early Fridays, I used to follow some exhibitions in Paris to develop my culture knowledge. Plus, it sounded interesting for suggesting scholar trips relative the History/ Geography program.

At this time, I taught for the first level at High school.

One of chapter of our program concerned the Medditerrean civilisations as well as religions. As you know, I am fascinated by Aramaïc populations so that I was interested in following the exhibition of Jews from East organised by IMA.

IMA : Institut du Monde Arabe equivalent in English, The French Institute for Arabic world is still under the supervision of Jack Lang, who was the ancient Minister for Youth as well as Culture.

I was thrilled to meet Benjamin Stora, the famous historian who is good at Algerian history. He was interviewed by lots of medias to give further details and give his opinion about this exhibition.

This one lasted for a long time and plenty controversies emphasized the political dimension between Israel and the Arabic world.

By the way, this exhibition brings to my mind positive memories so that I would like to share some personal pictures.

I really appreciated the quality and varitey of pieces which were put over the light the daily lives of Jews.

My favorite ones was an audio of Jews from Lebanon who were cantiallating the Book as well as religious poems in Arabic. I haven't found it through nowaydays but you are able to listen this Passover recitation extract :

Passover Recitation Ehad Mi Yodea in Arabic - Min Yaalam UMin Yedri - Baghdad way.

Have a look at this INA documentary relative to Jews of Djerba in Tunisia.

Kadim Ali   b. 1978, Pakistan; lives and works in Sydney Australia

Sermon on the Mount  (2020)

Linen, cotton, nylon, ink, natural dye, synthetic dye, acrylic paint; painting, hand and machine embroidery, appliqué   557 x 397.5cm 

Born 1978 Quetta, Pakistan, Khadim Ali currently lives and works in Sydney, Australia. After growing up in Pakistan as a refugee, Ali was trained in classical miniature painting at the National College of Arts in Lahore and in mural painting and calligraphy in Tehran.

 1  ima.org.au     “I became other. I became one of the wearied, dusty faces from across the border. And although there was no boundary between us, and we were all citizens of one country, suddenly an invisible border of horror was drawn around me that made it impossible to get out”     Khadim Ali

In his largest Australian solo exhibition to date, Hazara artist Khadim Ali explores the normalisation of war and the experience of refugees through a series of poetic installations and textile works. Invisible Border comprises sound installation, miniature painting, and a monumental 9-metre-long tapestry, hand woven by a community of Hazara men and women, some who have lost family members in war. Featuring existing work alongside new commissions developed for the IMA, the exhibition will also feature Otherness, a major body of work developed in partnership with the IMA and Lahore Biennale Foundation.

Ali’s interest in tapestries developed soon after his parents’ home in Quetta, Pakistan was destroyed by suicide bombers. Amongst the rubble and debris left from the blast, a collection of rugs and weavings remained the only thing intact: miraculously able to withstand the reign of terror inflicted upon his family and community. In this new large-scale tapestry, and other works, Ali explores the impact of war, trauma and displacement drawing parallels from the Book of Shahnameh, a Persian literary masterpiece comprising of 50,000 couplets and written between c. 977 and 1010 CE.

Just like the many great mythic tales in the Shannameh, Ali’s intricate works depict stories of demons and angels, conquest and war through the lens of the persecuted Hazara community. Expressing the profound grief, trauma and loss experienced at the hands of modern-day warfare, Invisible Border is a necessary and vital exhibition during a time of political propaganda, violence, and fear.

2    ima.org.au     Ali’s interest in tapestries developed soon after his parents’ home in Quetta was destroyed by a car bomb. Amongst the rubble and debris left from the blast, a collection of rugs and weavings remained the only items intact: miraculously able to withstand the reign of terror inflicted upon his family and community. In these new large-scale tapestries, Ali makes comment on war, geo-politics and personal trauma, drawing from a range of historical and contemporary influences including the recent Black Summer bushfires, Persian literary masterpieces, children’s fables and the Mughal Dynasty. Expressing the profound horror, grief and loss experienced under modern-day warfare, Invisible Border is a necessary and vital exhibition during a time where political propaganda, violence, and fear pervades global relations.

 3   Daisy Siddal     inqld.com.au       Ali has lived in Australia since 2009, nominated to arrive on a distinguished talent visa by then QAGOMA Director Tony Ellwood. Ali has worked between Australia and Afghanistan ever since.

Ali’s most recent work, Sermon on the Mount, adopts inspiration from the Bible and the Black Summer bushfires to generate a criticism of the experience of climate change.

Ali, who lives in Sydney’s inner-west, said his home was 40km away from the Black Summer bushfires.

“During the black summer we had horrible smoke. We were barely able to breathe. I was looking at the smoke and it was nostalgic, reminding me of the war,” he said.

“It reminded me of the stories people told when fleeing from a town that was set on fire, saying there was smoke on the mountain.

“The people who set their villages on fire, the Taliban and Al-Qaeda, they were considered a terrorist organisation. What do you call the corporations who caused climate change and set fire to a significant part of the forest of Australia?” he said.

IMA [Institute of Modern Art, Brisbane] Executive Director and exhibition curator Liz Nowell said she was thrilled to present Ali’s largest exhibition to date, in his adopted home of Australia.

“Khadim Ali is without a doubt one of Australia’s most acclaimed artists. His thought- provoking and poetic works have been seen all over the world: from the Guggenheim in New York to the Venice Biennale,” Ms Nowell said.

“Through intricately constructed textiles that draw on literature, traditional art forms, personal narratives and global politics, Invisible Border speaks powerfully to the experience of displaced peoples everywhere.”

 4   guggenheim.org     Born in 1978, Khadim Ali grew up in the border city of Quetta, Pakistan, near the border with Afghanistan. Trained in the art of contemporary miniature painting at the prestigious National College of Art in Lahore, Pakistan, and in mural painting and calligraphy at Tehran University, Iran, Ali is inspired by his rich cultural heritage and employs traditional artistic techniques to convey the complex history of this region. His work provocatively confronts the social and religious prejudice his family has faced and considers its effect on the writing of history, particularly during wartime.

5   ima.org.au     Since relocating to Sydney twelve years ago, Ali has begun incorporating quotidian Australian iconography such as eucalyptus, currency and kangaroos into his work. Sermon on the Mount (2020) is an example of the artist’s evolving visual language. A direct response to the 2020 Black Summer bushfires—which devasted much of Australia’s bushland—the work depicts a cast of animals and mythical creatures seeking refuge atop a mountain engulfed in flames. The title of the work, Sermon on the Mount, makes direct reference to a series of teachings attributed to Jesus Christ, and widely considered to contain some of his most important messages. This composite tapestry, which was initially constructed as a digital collage, is the artist’s reimagining of a 15th century illustration from the Anwar-i Suhayli. Widely considered a masterpiece of world literature, the Anwar-i Suhayli (also known as Kalīla wa-Dimna, in Arabic, or Panchatantra in Sanskrit) is a collection of fables describing animals as heroic creatures. In the original drawing, held in collection of the British Museum, a crow addresses a group of birds to rally their support against a leader of the owls. In Ali’s version, the crow is replaced by a koala, who is seen towering above a cluster of animals as she delivers a prophecy that foretells the destruction of mother nature at the hands of humankind. While watching the fires unfold on the evening news, Ali was overcome with a deep and pervasive fear, which he likens to his experience living in a conflict zone.

As the artist himself states ‘The bushfires reminded me of the violence I spent my life trying to escape. At the same time as the Taliban burns people and their homes to the ground, a fire—only 40km from my house in Sydney—decimated whole species and blackened thousands of hectares of bushland. As the newsreader described animals feeling for their lives, I recalled whole villages hysterical and panicked as they tried to escape fire. So, what then, should we call these people—these corporations—who are destroying our natural world and quite literally scorching the ground we walk on?’

Près de 130 000 visiteurs pour "Cités millénaires" à l'Institut du monde arabe !

Le 17 février 2019, l’exposition numérique « Cités millénaires. Voyage virtuel de Palmyre à Mossoul » a fermé ses portes après avoir investi l’Institut du monde arabe, à Paris, pendant quatre mois.

[English below]

Réalisée en partenariat avec l’UNESCO, l’exposition proposait aux visiteurs de plonger au cœur de Mossoul, Alep, Palmyre et Leptis Magna grâce aux images et vidéos 3D immersives créées par Iconem pour l’occasion.

Depuis octobre, près de 130 000 personnes ont pu prendre part à ce voyage virtuel, découvrant ainsi quatre sites du patrimoine menacé du monde arabe. Iconem remercie toutes les personnes qui ont visité l’exposition, ainsi que l’Institut du monde arabe, l’UNESCO, Ubisoft, la MAFL, la DGAM, l'UNIL et tous nos partenaires sur le projet.

On February 17th, the digital exhibition “Cités millénaires. Voyage virtuel de Palmyre à Mossoul” closed its doors after being featured at the Institut du monde arabe for four months.

Produced in partnership with UNESCO, the exhibition allowed its visitors to dive in the heart of Mosul, Aleppo, Palmyra and Leptis Magna thanks to the immersive images and 3D videos that Iconem created for the project.

Since its opening in October, more than 130 000 people took part in this virtual voyage and discovered four threatened cultural heritage sites in the Arab world. Iconem would like to thank all of the visitors of “Cités millénaires”, as well as the Institut du monde arabe, UNESCO, Ubisoft, the MAFL, the DGAM, the UNIL and all of our partners on this project.

© IMA/Ubisoft/Iconem

Long before the Middle-East and North African (MENA) region became synonymous with Islamic culture, a rich and deep-rooted Christian heritage has been in existence. Since its adoption as the official religion of the Roman Empire and the proliferation of Westernised Renaissance images, it is easily forgotten that the Near-East is the birthplace of the Christian faith. Alongside North Africa, it was also home to some of the greatest early theologians (St Augustine of Hippo, Origen) and Arab Christian thinkers (Khalil Gibran).

Multi-media exhibition ‘Eastern Christianity: 2000 Years of History’ (currently at The Arab World Institute, Paris) seeks to redress this historical imbalance, with a particular focus on Egypt, Lebanon, Syria, Jordan, Iraq and the Holy Land (Israel and the Palestinian Territories). This comprehensive exhibition has been made possible through the vision of curators, Elodie Bouffard and Raphaelle Ziade, as well as the cooperation of artists and institutions from across the globe. As well as guided tours for older audiences, there is a specially adapted programme for children.

There’s a very intentional, chronologically-faithful narrative to the event. The press release contains a mission statement of sorts…

‘Today…Christians in the Middle-East are not residual traces of a defunct past, but real stakeholders in an Arab world the construction of which they contributed to enormously…’

With contemporary Arab Christians facing a particular existential crisis in light of the region’s turmoil, an undercurrent of concern for their survival characterises the exhibition.

Some of today’s Middle-Eastern Christians no doubt draw hope and inspiration from their forebears. Very much in step with St. Paul’s counsel, Christians in the ancient Levant made the best out of their situation, good or bad. At a nadir of persecution under various Roman emperors, they met in clandestine house gatherings (domus ecclesia). Under the aegis of a newly sympathetic state (following Constantine’s apparent conversion and religious policy shift), an emboldened Christian community built magnificent edifices of worship, lavishly decorated. It is to these artefacts that much of the exhibition is dedicated. Several of the displays are in startlingly good condition such as the Codex Sinopensis which depicts Christ healing two blind beggars and dates back to the 6th Century AD. Visitors remark on the non-European features of the saints on the reliefs. ‘Far closer to reality than what is often represented’, one observes.

The exhibition charts the rise in popularity of monastic and hermetic lifestyles. Christianity diversified from being almost exclusively a faith of city-dwellers to those who sought solitude in purposely straitened circumstances. Perhaps the most extreme example of such asceticism was St. Simeon Stylites, whose idea of religious devotion was spending the bulk of his life on top of a column.

https://afropean.com/event-review-arab-christianity-2000-years-of-history-at-the-arab-world-institute-ima-paris/

Paris Exhibit Honors Football Culture in Arab World, Morocco’s Ben Barek

Paris Exhibit Honors Football Culture in Arab World, Morocco’s Ben Barek

The Institute of the Arab World (IMA) in Paris is putting on an exhibition titled “Football in the Arab World: The Revolution of the Round Ball.”

Through eleven iconic stories, whether centered on a player, a match, a movement, or a team, the exhibition highlights football and the special role it plays in the Arab world. The exhibition also examines the impact of the Arab world on football.

The…

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Summer Schools: EDIMA - Autumn school / France

The Arabic Language and Civilization Center (CLCA) of the Arab World Institute (IMA) is organizing its first Autumn School, EDIMA, from the 23rd until the 27th of October 2023. EDIMA is a series of conferences and workshops around didactics and teaching Arabic as a foreign language. The Autumn School’s full content will be given in Arabic. Many great and well-known experts of the language will contribute to the project and give the abovementioned conferences and workshops. The full program can e http://dlvr.it/SvB6MP

Cost of IVF in Bhopal | Dr. Malti Bhojwani | Elawoman

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LEILA ALAOUI REMEMBERED IN PARIS

LEILA ALAOUI REMEMBERED IN PARIS

By Nii B. Andrews

The celebrated young French-Moroccan photographer and video artist- Leila Alaoui has had an exhibition hall dedicated to her memory in Paris.

The event occurred on September 20, during the Second Biennale of Photography in the Contemporary Arab World organized by the Institute of the Arab World (IMA) and the House of Photography (MEP).

The Biennial opened on September 13 and…

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French president denounces Fillon's claims of dirty tricks

French president denounces Fillon’s claims of dirty tricks

French President Francois Hollande visits the exhibition "Splendeurs de l'Ecriture au Maroc", at the Arabic World Institute (IMA) in Paris, Wednesday March 22, 2017. (AP Photo/Christophe Ena, Pool) (The Associated Press) (more…)

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Sovereign Prince Albert at the Adventurers of the Sea exhibition

From Sindbad to Marco Polo, passing through Vasco de Gama nothing escaped the attentive and passionate look of H.S.H Prince Albert II of Monaco who is a great fighter for the protection of the sea and the oceans is one of the great commitments and has long defended, notably through its foundation, visited the exhibition "Adventurers of the Seas" at the Institute of the Arab World, Tuesday January 17th. "As an enthusiast and connoisseur, he made it a point of honor to dwell on each of the works, even turning around when Agnes Carayon or Nala Aloudat - the two commissioners - were pressing ahead. This is what we see when a personality is not only there for presence sake. He truly appreciated the exposition, "said Jack Lang, President of the Institute of the Arab World, amused but proud of having managed to captivate the sovereign Prince's mind during this first exhibition on the Arabs and the sea. It is a daring bet that launched the IMA. To go against the tenacious cliché according to which the Arabs would be only a people of the desert. Without their maritime culture dating back thousands of years, world trade, as we know it, might never have emerged. And who better to confirm the success of this new exhibition than the fine connoisseur of the seas, Prince Albert II? Braving the frightening and fascinating side of the ocean, the Prince plunged into the maritime adventures of the great Arab and European navigators. The adventure begins as soon as it arrives in the forecourt of the IMA where stands majestically a boat 31 meters long. Specially exhibited for the occasion, this replica, named Nizwa, coming straight from Finistere, plunges the Prince directly into the magic that awaits him for the rest of the visit. Once the icy cold is braved, in the company of Jack Lang, it is inside that the narrative of the journey continues, from the Mediterranean to the Indian Ocean. Under a starry sky, the first planispheres appeared, leaving Prince Albert with an amused memory, so different was the conception of the world of the geographers of the time. As and when the continents emerge, revealing the first commercial circuits and their goods. From the simple spices to the most beautiful silver objects, to the evolution of cultures and beliefs, it is a true epic that is presented to us, in the footsteps of the greatest adventurers. To read: Prince Albert was the first day of the Circus festival "But where is the magic belt of Sindbad?" "Jokingly asked the Prince to Jack Lang. Back in childhood the time of the visit, Albert of Monaco does not forget who he is. And it is at the turn of a story, narrating the recent discovery of vestiges of goods once transported, that he pretends to be surprised that precious stones have not been found in the booty. Thus, totally caught up by the magic of the exhibition, the Prince does not even see the visit end. Leaving even a "ah yes? Already? Astonished.  For him, it is also a family inheritance. His grandfather, Prince Albert I, was a great explorer and precursor of oceanography, founder of the Oceanographic Museum of Monaco in 1889, a true Temple of the Sea, was one of the pioneers of Antarctica.

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