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DTSTART;VALUE=DATE:20240615
DTEND;VALUE=DATE:20250106
DTSTAMP:20260501T090640
CREATED:20240529T150020Z
LAST-MODIFIED:20240731T175204Z
UID:10002439-1718409600-1736121599@arabishway.com
SUMMARY:Mary Ann Peters: the edge becomes the center
DESCRIPTION:The following description comes from the event organizer. \nSeattle artist Mary Ann Peters (born 1949\, Beaumont\, Texas) has attended to overlooked narratives for almost forty years\, interpreting her research through mediums including painting\, sculpture\, and installation. Peters unearths hidden diasporic histories\, often through travel\, and contextualizes them within her experiences of the contemporary Middle East as a second-generation Lebanese American. the edge becomes the center brings together the artist’s series this trembling turf for the first time and presents it alongside a new installation—works that together surface the ways forgotten and repressed pasts shape present experience. \nthis trembling turf features ten abstract drawings\, including one from the Frye’s collection\, which the artist crafts by applying thin strokes of white ink to black clayboard. The series interprets natural habitats where activity occurs beneath the surface\, with rhythmic patterns referencing sound waves used by archaeologists to uncover buried traces of civilization. These intricate drawings imagine the missing records of populations and cultures physically covered over\, reminding us that forgotten histories could be buried below us\, lost within our collective memory. \nThe exhibition’s new site-specific installation continues the artist’s ongoing impossible monuments series\, works of disparate materials and forms that memorialize disregarded details of socio-political events. Peters writes\, “I define an impossible monument as something that deserves reverence but by virtue of its incidental nature would never be elevated to the status of a monument.” Together\, these bodies of work ask viewers to consider which narratives are written into history and which are erased.
URL:https://arabishway.com/event/mary-ann-peters-the-edge-becomes-the-center/
LOCATION:Frye Art Museum\, 704 Terry Ave\, Seattle\, WA\, 98104
CATEGORIES:Art
ATTACH;FMTTYPE=image/jpeg:https://arabishway.com/wp-content/uploads/2024/05/Peters-Install-trembling_turf.jpg
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DTSTART;VALUE=DATE:20240906
DTEND;VALUE=DATE:20250101
DTSTAMP:20260501T090640
CREATED:20240829T231537Z
LAST-MODIFIED:20240829T235724Z
UID:10002629-1725580800-1735689599@arabishway.com
SUMMARY:SZ Gallery: Control Anatomy
DESCRIPTION:SZ Gallery presents Control Anatomy\, an exhibit curated in collaboration with the Zawyeh Gallery in Ramallah\, Palestine. This solo exhibition by Palestinian artist Mahmoud Alhaj explores colonial violence and the architectural mechanisms of domination and control over Palestinian geography witnessed by Alhaj who was born in Gaza. \n 
URL:https://arabishway.com/event/control-anatomy/
LOCATION:SZ Art Gallery\, 2441 76th Avenue SE\, Suite 160\, Mercer Island\, WA
CATEGORIES:Art,Gathering
ATTACH;FMTTYPE=image/jpeg:https://arabishway.com/wp-content/uploads/2023/11/SuzanneZahr_Logo.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240916
DTEND;VALUE=DATE:20240927
DTSTAMP:20260501T090640
CREATED:20240831T230243Z
LAST-MODIFIED:20240831T230243Z
UID:10002633-1726444800-1727395199@arabishway.com
SUMMARY:SUDANESE FILM GROUP\, THEN AND NOW: Part 1
DESCRIPTION:Join us for September’s Arab Film Series online program: SUDANESE FILM GROUP\, THEN AND NOW \nPart 1: Sept 16-26\, 2025 \nPart 2: Nov 11-21\, 2024 \nRSVP: arabfilmseries.org \nFREE / $5 suggested donation \nAvailable Worldwide \n  \nFounded in April 1989 by Ibrahim Shaddad\, Eltayeb Mahdi\, and Suliman Elnour\, just months before Omar Albashir’s military coup\, the Sudanese Film Group (SFG) is a collective of filmmakers with a goal to maintain and develop Sudanese cinema. After returning from their film studies abroad\, the members spread their love of cinema through film productions\, mobile screenings\, and publications. Producing over forty films\, the group aspired for freedom of expression and the amplifying of local narratives. \n  \nThis two-part program includes a selection of the Sudanese Film Group’s experimental films using 35mm and 16mm reels\, which were digitally restored by Arsenal Berlin in 2018\, in an effort to preserve this part of cinematic history. The program also includes a more recent film by Eltayeb Mahdi that documents the Sudanese revolution in 2019. \n 
URL:https://arabishway.com/event/sudanese-film-group-then-and-now-part-1/
LOCATION:Virtual
CATEGORIES:Movie
ATTACH;FMTTYPE=image/png:https://arabishway.com/wp-content/uploads/2024/08/Screenshot-2024-08-31-at-4.00.50 PM.png
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240919
DTEND;VALUE=DATE:20240925
DTSTAMP:20260501T090640
CREATED:20240831T225726Z
LAST-MODIFIED:20240831T225742Z
UID:10002632-1726704000-1727222399@arabishway.com
SUMMARY:Screening Online: ON LANDSCAPES\, RUINS AND PATTERNS OF REMEMBERING Curated by: Fawz Kabra
DESCRIPTION:Screening Online: Sept. 19 – 24\, 2024 \nRSVP: artearchive.org \nFREE / $5 suggested donation \nON LANDSCAPES\, RUINS AND PATTERNS OF REMEMBERING  is a program of video works that unfold a politics of image-making\, reviewing and recounting social and cultural histories as they are explored through contemporary frameworks. The program is prompted by a work from the ArteArchive—Toukan’s performance video\, Remind me to Remember to Forget (2006)\, after Mahmoud Darwish’s 1982 prose poem\, “Memory for Forgetfulness.” The artist proposes to reverse the act of writing and the will to remember\, consequently dispersing the written word and suspending it in memory and reimagination. \nRevisiting Toukan’s video eighteen years later\, in a global context that remains anxious with war and impending invasions\, Remind me to Remember to Forget is revisited in conversation with works by Alsharif\, Collins\, Hopinka\, Jacir\, and Namy. Through minimalist experiments and lyrical narratives the works address profound violences of colonial erasure of land and people\, the legacies of exile and dispersion\, and our relationship to objects and images when only image and replica remain. \n  \nIn their distinct structural explorations of cycles and repetitions\, these works deal with the promises and devastating blunders of modernity. They connect to land\, time\, and space in a contemporary world charged with a renewed authoritarian tendency that swings from guise and symbolism to blatant and annihilating power. Between lived experiences and replicated environments\, these works present a receding natural world\, real and imagined sites\, and archives that render the architectures of a modern time swept up in a coup of capitalist developments and techno-autocratic fascist regimes. \n  \nON LANDSCAPES\, RUINS AND PATTERNS OF REMEMBERING is co-presented with e-flux.
URL:https://arabishway.com/event/screening-online-on-landscapes-ruins-and-patterns-of-remembering-curated-by-fawz-kabra/
LOCATION:Virtual
CATEGORIES:Movie
ATTACH;FMTTYPE=image/png:https://arabishway.com/wp-content/uploads/2024/08/Screenshot-2024-08-31-at-3.56.15 PM.png
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