A must read about the horrible handling of the Whitney Biennial and also about larger conversations about the art world.
Capitalism is the enemy of democracy. You cannot have sociopolitical freedom in the absence of economic freedom. The realms of our social, political, and economic lives are inseparable. We must get past this idea that their relationship to one another is anything else than synergistic, for the belief otherwise is the lie that keeps us and our labor under the boot of capital.
shouting I love you into the void until the void becomes you
At Death’s Door (2009) - Egyptian Artist MOATAZ NASR
على مشارف الموت is short video production completed by Moataz Nasr as part of a DARB 1718 exhibition titled Khobz خبز “Bread”. The exhibition featured several artistic performances that revolved around Bread and its important role in the Egyptian society as a main source of food, as well as its symbolic significance within different parts of the society, particularly with the lower class not only in Egypt but also across the Middle East. In this piece, Moataz Nasr films the making of a bread loaf from inside the stove, starting with the first moment of conception to the end result of a full grown bread in a manner that allows the viewer to experience the whole process visually, emotionally, and critically while thinking of the relevance of the piece of Khobz to the different socio-economic classes within the Egyptian society. For example, those of us who are extremely privileged experience the process and its outcomes on a different level than underprivileged groups within our societies who revere that sole bread loaf and its status within the nuclear family.
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The early examples of Eid cards (and other posted letters/cards in the Priya Paul and other collections) reveal that there was heavy postal traffic between Delhi, Lahore and Bombay (besides other towns like Lucknow, Karachi, Calcutta, Rangoon, etc.) in the 1930s and 1940s, comprising business letters, picture postcards and personal communication.
A lovely essay on the imagery and cultural traits pertaining to historical Eid greeting cards circulated within South Asia.
by mitch posada