Table Of Content

The Global Politics of Artistic Engagement Youth in a Globalizing World Series Editors Vincenzo Cicchelli, Ceped, Université de Paris/ird Sylvie Octobre, deps – Doc, Ministère de la culture and Centre Max Weber, ens Lyon/cnrs (France) volume 19 The titles published in this series are listed at brill.com/ygw The Global Politics of Artistic Engagement Beyond the Arab Uprisings Edited by Pénélope Larzillière LEIDEN | BOSTON Cover illustration: Hot Spot III, 2009. Stainless steel and neon tube, 234 × 223 × 223 cm (92 1/4 × 87 3/4 × 87 3/4 in.) © Mona Hatoum. Courtesy of the artist and MdbK Leipzig (Photo: dotgain.info). Library of Congress Cataloging-in-Publication Data Names: Larzillière, Pénélope, editor. Title: The global politics of artistic engagement : beyond the Arab Uprisings / by Pénélope Larzillière. Description: Leiden ; Boston : Brill, [2023] | Series: Youth in a globalizing world, 2212–9383 ; volume 19 | Includes bibliographical references and index. Identifiers: LCCN 2022037503 (print) | LCCN 2022037504 (ebook) | ISBN 9789004518445 (hardback) | ISBN 9789004518452 (ebook) Subjects: LCSH: Arts—Political aspects. Classification: LCC NX180.P64 G59 2023 (print) | LCC NX180.P64 (ebook) | DDC 700.1/03—dc23 /eng/20220915 LC record available at https://lccn.loc.gov/2022037503 LC ebook record available at https://lccn.loc.gov/2022037504 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. issn 2212-9383 isbn 978-90-04-51844-5 (hardback) isbn 978-90-04-51845-2 (e-book) Copyright 2023 by Pénélope Larzillière. Published by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Nijhoff, Brill Hotei, Brill Schöningh, Brill Fink, Brill mentis, Vandenhoeck & Ruprecht, Böhlau, V&R unipress and Wageningen Academic. Koninklijke Brill NV reserves the right to protect this publication against unauthorized use. Requests for re-use and/or translations must be addressed to Koninklijke Brill NV via brill.com or copyright.com. This book is printed on acid-free paper and produced in a sustainable manner. Contents List of Illustrations vii Notes on Contributors ix Introduction: Repertoires of Engagement in Motion 1 Pénélope Larzillière Part 1 Moving Repertoires of Engagement 1 Creating a Syrian Culture in Exile: The Reconfigurations of Engagement 35 Franck Mermier 2 The “Metamorphoses of the Political” in the Contemporary Art of Palestinian Post-Oslo Generation 63 Marion Slitine 3 Transnationalizing the Repertoires of Action: A Comparative View of African Rappers’ Engagements in Motion 98 Alice Aterianus-Owanga 4 Digital Artivism in Movement: The 2019 Lebanese Uprising’s Art on Instagram 122 Rayane al-Rammal Part 2 Artistic Visibilities and Political Circulations, in Diaspora 5 Presence and International Journeys of Engaged West Saharan Singers 153 Sébastien Boulay 6 Young Documentary Theatre on Syrian Stages: An Aesthetic of Circulation, Exile, and Engagement 181 Simon Dubois vi Contents 7 Anatolian Musicians in Europe: Creation, Political Engagement, Transformation 210 Pinar Selek Part 3 Contest and Critique, in a Globalizing World 8 Palestinian Art Talk: A Local Lexicon for Global Art Production 233 Kirsten Scheid 9 Fictions of the Contemporary: The Shifting Spaces of the Marrakech Biennale 266 Sarah Dornhof 10 Focus on the Bahraini Art Scene: Centralization Processes and Social Engagement 290 Shyam Iskander 11 Embodying Absence: Remembering Mexico’s Missing Persons through Art 311 Sabrina Melenotte Index 341 Illustrations 2.1 Ismail Shammout, Where To? (Ilâ wayn?), 1953, Oil on canvas. © Association of Ismail Shammout’s Family in Amman 69 2.2 Sliman Mansour, Jamâl al-Mahâmil, 2005, Acrylic on canvas, 152 × 99 cm, 2005. © Courtesy of the artist 70 2.3 Fathi Ghaben, Identity, 1980, Acrylic on canvas. © Courtesy of the artist 72 2.4 Raed Issa, The Musician Resistant (Al-muqâwim al-ʿâzif), 2010, Acrylic on canvas. © Courtesy of the artist 73 2.5 Monther Jawabreh, Phantom Series, 2013, Photographic montage. © Courtesy of the artist 74 2.6 Monther Jawabreh, As Once Was Known, 2012, Acrylic on canvas, 205 × 156 cm. © Courtesy of the artist 75 2.7 Bashar Khalaf, In Search of a Portrait #12, 2019, Acrylic on canvas, 170 × 170 cm. © Courtesy of the artist 76 2.8 Ahed Izhiman, Facing, 2016, Acrylic on canvas, 184 × 117 cm. © Courtesy of the artist 76 2.9 Sliman Mansour, Palestinian Motherhood, 1985, Poster reproduction. © The Palestine Poster Project Archives 77 2.10 Nabil Anani, Roots, 2013, Acrylic on canvas, 100 × 100 cm. © Courtesy of Zawyeh Gallery and the artist 78 2.11 Sliman Mansour, Palestine, 1978, Oil on canvas. © Courtesy of the artist 79 2.12 Amer Shomali, Postcolonial Palestine, 2013, Acrylic on canvas, 60 × 80 cm. © Courtesy of the artist 80 2.13 Raeda Saadeh, A Wreath, 2000, Installation (mixed media). © Courtesy of the artist 87 4.1 Artwork by Elissa Mnessa. © Courtesy of the artist 130 4.2 Artwork by Lara Ghattas. © Courtesy of the artist 131 4.3 Artwork by Ziad Rawas. © Courtesy of the artist 134 4.4 Artwork by Nohad Alameddine. Translation: What’s the matter? We’re neutral!! © Courtesy of the artist 135 4.5 Artwork by Cynthia Bifani. © Courtesy of the artist 136 4.6 Figure featuring the Art of Thawra hashtags (from October 2019 to October 2020). Courtesy of Rayane Al-Rammal 141 4.7 Photo of Mohamad Nohad Alameddine. © Courtesy of the artist 145 9.1 The Fictional Marrakech Biennale 2018. © Youness Atbane 2018, Courtesy of the artist 274 9.2 The Moroccan Contemporary Art Island. © Youness Atbane 2018, Courtesy of the artist 276 viii Illustrations 11.1 Memorial to the Victims of Violence in Mexico by Gaeta Springall Architects. © Sabrina Melenotte, Mexico City, December 2021 317 11.2 Memorial to the Victims of Violence in Mexico, with the names of victims attached by a group of victims’ organizations led by Comité 68. © Sabrina Melenotte, Mexico City, December 2021 317 11.3 The Absence Monument by Yael Bartana in the Tlatelolco University Cultural Centre’s central courtyard. © Sabrina Melenotte, Mexico City, October 2018 321 11.4 The Absence Monument by Yael Bartana in the Tlatelolco University Cultural Centre’s central courtyard. © Sabrina Melenotte, Mexico City, October 2018 321 11.5 Several altars placed in the Zócalo for the Day of the Dead in 2018, representing migrants with five enormous and stereotypical skeletons, known as Catrinas. © Sabrina Melenotte, Mexico City, October 2018 324 11.6 Several altars placed in the Zócalo for the Day of the Dead in 2018, representing migrants with five enormous and stereotypical skeletons, known as Catrinas. © Sabrina Melenotte, Mexico City, October 2018 324 11.7 Several altars placed in the Zócalo for the Day of the Dead in 2018, representing migrants with five enormous and stereotypical skeletons, known as Catrinas. © Sabrina Melenotte, Mexico City, October 2018 324 11.8 Several altars placed in the Zócalo for the Day of the Dead in 2018, representing migrants with five enormous and stereotypical skeletons, known as Catrinas. © Sabrina Melenotte, Mexico City, October 2018 324 11.9 The most emblematic anti-monument in Mexico referring to ‘enforced’ disap- pearances and paying homage to forty-three students from the Raúl Isidro Burgos Teachers’ College. © Sabrina Melenotte, Mexico City, October 2018 326 11.10 The anti-monument in Mexico with protesters. © Sabrina Melenotte, Mexico City, October 2018 327 11.11 Exhibition Footprints of Memory. © Photographic Fund of Footprints of Memory, Paris, 2017 331 11.12 Exhibition Footprints of Memory. © Photographic Fund of Footprints of Memory, Berlin/Heidelberg (Germany) and Rome (Italy), 2017 333 11.13 Exhibition Footprints of Memory. © Photographic Fund of Footprints of Memory, Berlin/Heidelberg (Germany) and Rome (Italy), 2017 333 11.14 Exhibition Footprints of Memory. © Photographic Fund of Footprints of Memory, Berlin/Heidelberg (Germany) and Rome (Italy), 2017 333 Notes on Contributors Alice Aterianus-Owanga is an anthropologist and has been a Marie Skłodowska-Curie fellow at UNIGE (Geneva) and UCT (Cape Town, South Africa) since February 2021. For her PhD thesis and her initial postdoctoral research she has worked on hip-hop and urban music in Gabon, before becoming interested in identity constructions and migration routes developed around the circulation of Senegalese dances in France and Switzerland. Also a documentary filmmaker, she has edited several books and special issues of journals dealing with the anthropology of music and dance and the anthropology of hip-hop. Sébastien Boulay is an anthropologist, assistant professor at the Université Paris Cité (Faculté Sociétés et Humanités) and research fellow at the Centre for Population & Development (Université Paris Cité, IRD, Ceped). He has been conducting fieldwork surveys since 1999 in Mauritania, and in Western Sahara since 2011. His current research is about the role played by artists, artistic productions (especially satirical, humorous and elegiac), and new media in the political struggles taking place today in Mauritania and Western Sahara. In 2016 he co- founded the International Academic Observatory on Western Sahara (www. ouiso.eu) and is currently the co-editor of L’Ouest saharien, a multidisciplinary journal in humanities. Among his most recent books are Sahara Occidental : conflit oublié, population en mouvement (edited with F. Correale, Presses de l’Université François-Rabelais de Tours, 2018) and Culture et politique dans l’Ouest saharien : Arts, activisme et État dans un espace de conflits (edited with F. Correale, L’Étrave, 2018). Sarah Dornhof is a researcher at the Humboldt University, Berlin. She received her PhD in Cultural Studies & Anthropology from the European University Viadrina in Frankfurt/Oder. Her current research examines contemporary art and cultural politics in Morocco in relation to questions of history, cultural memory, and archives. Among her publications are Alternierende Blicke auf Islam und Europa: Verletzung als Rationalität visueller Politik (Fink Verlag, 2016); F(r)ictions of Art (edited with L. Kelting and N. Graeff, Paragrana 25/2, 2016), Situating Global Art. Topologies – Temporalities – Trajectories (edited with B. Hopfener, B. Lutz and N. Buurman, transcript Verlag, 2017).