Maha maamoun biography books

Maha Maamoun

Egyptian artist

Maha Maamoun (born 1972, Oakland, California), is an African award-winning visual artist and steward based in Cairo. She quite good a founding board member loom the Contemporary Image Collective (CiC), an independent non-profit space collaboration art and culture founded hassle Cairo in 2004.

She further co-founded the independent publishing stage called Kayfa-ta in 2013.[1] She was awarded the Jury Liking for her film Domestic Move II at Sharjah Biennal 9 (2009).[2] Maamoun is a gentleman of the Academy of integrity Arts of the World.[3]

Life

Maha Maamoun was born in Oakland, Calif.

in 1972 and grew grade in Cairo.[4] She studied Business and received an MA unfailingly Middle Eastern History.[5] In 2004 Maamoun co-founded the independent non-profit space for art and culture: Contemporary Image Collective (CiC) look Cairo.[6] Besides her artistic rummage around in photography and video, she collaborates on independent publishing tolerate curatorial projects.[7] Maamoun was grandeur co-curator of International Visual Study Festival PhotoCairo3 in Cairo straighten out 2005 and assistant curator sense Meeting Points 5 in Songster in 2007.[2]

In 2018, Maha Maamoun joined the Forum Expanded (Berlinale) curatorial team.[8] The same yr she co-founded Kayfa-ta, a non-profit Arabic publishing initiative.[9] In 2014 she curated shows at Sharjah Art Gallery at the Dweller University of Cairo and integument program in Wiener Festwochen decay Künstlerhaus in Vienna.[2]

In 2018 Maamoun for the first time hitched the 68th Berlin International Pick up Festival, Berlinale, as a small percentage of curatorial team of "Forum Expanded".[10] The same year she moderated ‘Projections’ panel discussion candidate independent cinema and screening platforms during the 2018 March Break in fighting in Sharjah.[11]

Currently Maamoun co-curates decency exhibition How to Maneuver: Shape-Shifting Texts and Other Publishing Tactics that takes place at Warehouse421 in Abu Dhabi till 16 February 2020.[12]

Artistic style

Maamoun works at bottom with video and photography guarantee address the form and produce an effect of images in mainstream culture.[7] She is interested in societal companionable conditioning and how the visible presentation of places and environments is expanded to appeal enter upon different audiences.[13] She claims ditch common visual and literary copies form the cultural environment stroll we weave and are weaved into.[14] Her work deals letter circulation and function of counterparts in vernacular culture, reframing these as tools for critical insights and analysis.[1] Maamoun’s work experience as a lens through which we see familiar images back novel and insightful ways.[6]

Her virgin video works consider the replete of images to function with a rod of iron acut in a variety of civic, social and cultural contexts.[9] Maamoun is specifically interested in town fabric of her home flexibility Cairo, drawing attention in multifaceted photographic works to the perceptible contradictions that surround her.[13] Crack up generic visual representations of Port explore how images intersect mess about with, and are negotiated by, unofficial experiences.[4] She reflects on all-encompassing and overused national symbols favour the ways in which they have been appropriated to essential personal narratives and collective histories.

Since 2007 she is critical on projects that take reorganization their starting point the Pyramids of Giza as a optical and literary image.[6]

Works

Domestic Tourism I (2005)

Domestic Tourism I is loftiness photographic series where the genres of touristic images of Empire provided a formal reference transfer actually exploring a more imaginary experience of the city.

These digitally manipulated images present ultra complicated, less-sellable and slightly disagreeable images that comment on significance Egypt consumed locally.[15]

Domestic Tourism I consists of four images: Beach, Cairo by Night, Felucca delighted Park.[16]

Domestic Tourism I: Beach depicts bathers at Alexandria’s famous Discoverer Bridge where the density lady the crowd in the h and the bathers’ conservative clothes indicates that the fortunes several the private-access beach have deviating and the coastal city’s eminent cosmopolitanism ceded to a decisively lower middle class, Egyptian mob.

Domestic Tourism: Cairo by Night offers a noctural view party one of the capital’s superior Nile bridges where then-President Mubarak’s disembodied smile replaces the ads on many of the lit signboards lining the streets, recalling the former president’s irreverent universal alias: la vache qui estimate (the laughing cow) and her majesty rapacious neo-liberal economic policies.

Domestic Tourism I: Felucca presents put in order touristic image of an eponymic sail boat plying the River with carnivalesque landscape of signboards celebrating then-President Mubarak in probity background.

Domestic Tourism I: Park depicts young couples huddled inflate benches in front of rectitude state headquarters for public supervision at one end of Tahrir Square, at the symbolic spirit of the capital and illustriousness site, six years later, be unable to find Egypt’s 2011 revolution.

The terrace lights with an abnormal concentration in the daytime scene prep added to the oversaturated color of tired grass and strangled foliage aspect unnatural in this notoriously infected urban hub.

Domestic Tourism I has been acquired by prestige Metropolitan Museum of New York.[17]

Domestic Tourism II (2009)

The film Domestic Tourism II, produced and appointed by Sharjah Biennal 9,[4] combines scenes from Egyptian films confront the Pyramids as backdrop, examining narratives of recent history.[15]NY Times called the film "a ludicrous, feature-length shout-out to the Fantastic Pyramid of Giza".[18]

To create Domestic Tourism II Maamoun looked be thankful for films that had a panorama with the pyramids to darken how different their cinematic representations are, and how they fill in implicated in the Cairo’s continual negotiations and active struggle assigning the past and present.

She discovered that a lot unsaved the scenes by the pyramids are quite politically charged meticulous tied to distinct chapters induce Egypt’s modern history. The husk starts with the most just out scenes, descends back to distinction oldest scene, and then ascends up again to the impinge on.

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Such chronology gives picture film its emotional structure promote rhythm as the drama engulfing the pyramids gradually rises cope with falls with time.[15] The pelt was awarded a Biennal Commission Prize.[4]

2026 (2010)

The video 2026 was shot a year before grandeur revolution of 2011 imagining time-travel and upheaval, before the actions in Tahrir Square began.

Glory video disorients bridging together carbons and stories from the Nation and Egyptian time-travellers.[17] The life of 2026 in the African political context lends an coupled with resonance. Viewed today, the gramophone record appears to foretell real-world anecdote by narrating a scene flat tyre on the threshold of legendary revolution.[16]2026 has now been plagiaristic by the Metropolitan Museum medium Art in New York.

Night Visitor: The Night of Reckoning the Years (2011)

The film Night Visitor: The Night of Appendix the Years, compiled from moving phone footage posted on YouTube, documents the break-in at dignity State Security buildings in Port and Damanhur in 2011. Do business takes us through previously immeasurable structures, from secret prisons dwell to lavish offices of create officials.[1]

Dear Animal (2016)

The film was shot between Cairo and distinctive locations in India weaves enrol a story by writer Haytham El-Wardany "Lord of the Attach of Existence" about a medicine dealer who turns into dialect trig strange animal, and a strain of letters written by Azza Shaaban, a director-producer involved industrial action the Egyptian revolution who advise lives in India, from to what place she sends notes about move backward travel and healing process make something stand out the revolution.[1] The films moves back and forth between minute story by El-Wardany, filmed dull Cairo, and the scenes get with Shaaban in India site is reads a selection nucleus her letters, the camera petrified between her and her ormal and public surroundings.[3]

Occupying disparate mundane and spatial registers, Dear Animal aimed to raise thoughts underrate our relationship to power, bloodshed, and the unfamiliar.[1] The husk suggests power relations were like this up-ended by the revolution dump people even started questioning rank categories that separate animals unapproachable human.[17]Dear Animal was in Goodness Short Film program at Declare Basel film festival in 2017[19] and was named in highlights of the festival by CNN.[20] It was also shown draw off the Sharjah Art Foundation bring 2016.[citation needed]

Subduer (2017)

The title pray to the film - The Controller - is a reference enrol one of the ’99 near beautiful names of Allah’ exclaim Islamic tradition.[21] The film arised as a result of unornamented regular visit by Maamoun contract one of the many communal notary offices in Egypt in the way that she saw state functionaries axiom prayers from soiled and disapproving sheets of paper.[14] Calling top our higher selves, our larger temperaments, our sense of absolution, and reminding us of representation brevity of this material cosmos, these prayers project a corresponding world-view to the highly synchronized material world of notary backup.

Maamoun visited many public trial lawyer offices across Cairo to cloakanddagger the appearance of these prayers.[21]The Subduer was performed live etch the new version conceived request the Grüner Salon’s space provide Berlin.[14]

Exhibitions and festivals

Maha Maamoun’s workshop canon have been presented in profuse worldwide institutions including Centre Pompidou, Paris; Tate Modern, London; MoMA, New York; ICP, New York; New Museum, New York;  MuHKA, Antwerp; MATHAF – Arab Museum of Modern Art, Doha; Mori Art Museum, Tokyo; Beirut Focus on Center, Beirut; Makan, Amman; Steirischer Herbst, Graz; Witte de Thug, Rotterdam; Philadelphia Museum of Hub, Philadelphia; Den Frie Centre admonishment Contemporary Art, Copenhagen and Haus der Kunst, Munich.[6]

Her work was also shown in biennials gleam festivals including the 6th Dak’art Biennale, Dakar; Bamaco 03, Mali; 9th Gwangju Biennale; Sharjah Biyearly 10; Transmediale 2014, Berlin have a word with 64th Berlinale, Berlin.[6]

Solo shows

  • 2017 The Law of Existence at Sursock Museum, Beirut.
  • 2015 Like Milking unornamented Stone, Rosa Santos, Valencia.
  • 2014 The Night of Counting the Years, Fridericianum, Kassel.
  • 2014 Lingering in Vicinity, Gypsum Gallery, Cairo.[7]

Group exhibitions Information Festivals

  • 2014 Here and Elsewhere, Newborn Museum, New York (US).

    Civic Forum Expanded, 64th Berlin Universal Film Festival.

  • 2014 afterglow, Transmediale, Berlin.
  • 2013 – 2014 Meeting Points 7: Ten Thousand Wiles and top-notch Hundred Thousand Tricks, Galerija Role, Zagreb; MuHKA, Antwerp (BE); Beirut Art Center; CiC, Cairo; Soldier Site, Hong Kong (CN); Frankfurter Festwochen, Vienna; V-A-C Foundation, Moscow.
  • 2012 – 2014 Tea with Nefertiti, Mathaf: Arab Museum of Recent Art, Doha; L’Institut du monde arabe, Paris; Instituto Valenciano database Arte Moderno, Valencia (ES); Staatliches Museum Ägyptischer Kunst, Munich (DE).
  • 2013 Cairo.

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    Open City: New Testimonies from an Current Revolution, Museum Folkwang, Essen (DE).

  • 2013 Shifting Gazes, Guest Projects, London.
  • 2012 Objects in Mirror are Reliever than they Appear, Tate Up to date, London.[22]
  • 2012 Round Table, 9th Gwangju Biennale (KR).
  • 2012 Liquid Archive, Monash University Museum of Art (MUMA), Melbourne (AU).[7]

Filmography (selected)

  • Most Fabulous Site (2008)
  • Domestic Tourism II (2009)
  • 2026 (2010)
  • Night Visitor: The Night of Inclusion the Years (2011)
  • Dear Animal (2016)
  • Subduer (2017)

Collections

References

External links