Amjad Majid presents a review of “I am looking for you like a drone, my love”, an exhibition showcasing work by Aziz Hazara and unknown carpet makers. Curated by Dr. David Sequeira, the exhibition is on display at the Fiona & Sidney Myer Gallery, Victorian College of the Arts, University of Melbourne from April 14 to May 21, 2022. Inverse Journal has included an independently curated visual bibliography to familiarize readers and viewers with the Afghan artist’s extensive art practice.
onversation is a basic element in the medium of comics, where much of the narrative appeal is derived from the interplay between dialogue and action. The speech balloon, a favoured visual symbol for voice and utterance in the medium since the...
t must be quite the reminder of home for a Kashmiri artist to walk on the streets and travel through the roads of Hangzhou, and to look beyond human structures onto a lake and to wander further onto the green hills of this city located in China’s...
Blackout Poetry in the Age of Mechanical Reproduction: An Editor’s Introduction — by Amjad Majidashmiri blackout poet and artist Asma Firdous presents sixteen blackout poems and works of word art that she has produced over a specific time. While...
Artist's Statement I am a bridge. I am interested in ‘gaps’ and I am scared. y practice explores the correlation between the personal and political in a way that it contemplates the ordinary, the everyday and the quotidian. I like to delve into the...
Artist's Notey practice and research are about documenting human emotions in a violent and inhumane space. In a state of violence that is inflicted, I believe that at a certain stage the perpetrator ceases to exist. Rather, the aftereffects of such...
Here is the video and discussion for the book launch of “Marking Time: Art in the Age of Mass Incarceration” (Harvard University Press, 2020) by Nicole R. Fleetwood, hosted by MoMA PS1. All media directly embedded from the original source. We have included relevant links to familiarize viewers and readers with the book and its author’s work.
The Kimberley Coronavirus Animation combines the joint effort of contemporary artists and professionals, from filmmakers, directors, painters, animators, sound engineers, music composers to voice-over artists, performers, and translators, whose collaboration during quarantine has materialized in this community-specific piece of work to raise awareness and provide key contextual information. In our view, this effort sets an example on how artists, producers and creatives can come together to make use of their skills, experience and knowledge within their respective fields to combine creative forces to reach out to marginalized and dispossessed communities that face an altogether different set of challenges in this time of extreme vulnerability. Inverse Journal is proud to present the Kimberley Coronavius Animation that has been circulating widely around the internet and social media. Included is a feature interview with its producer, director and editor, Bernadette Trench-Thiedeman, to familiarize international audiences with the whole project, its specific cultural context, and the creative collaborations that made it possible.
After his father was killed in a 1976 terrorist attack by agents of Chilean dictator Augusto Pinochet in Washington, D.C., Francisco Letelier turned to murals as a tool for building solidarity and reducing economic, political, and cultural divides.
From January 30 to February 4, 12 audience members enter every 30 minutes to experience a site-specific field of sculpture, sound and oscillation. Inspired by the thicket of a black box and the transformative qualities of light, Vatapi re-imagines perspective outside of cartesian geometry and the ways in which we view our physical world.
Writer and professor, T.J. Demos, converses with contemporary artist and environmental activist Ravi Agarwal and documentary filmmaker and writer Sanjay Kak. Abstract: “This roundtable discussion with artist and activist Ravi Agarwal and film-maker and photographer Sanjay Kak, moderated by T J Demos, explores the politics of ecology in the Indian context. The conversation considers, among other works, Kak’s film Words on Water (2002), which looks at the issue of big dams and their negative social-economic effects in the Narmada valley; and Agarwal’s photographic installation Extinction, which examines the disappearance of vultures on the subcontinent owing to the development of animal pharmaceuticals used to maximize milk production. The conversation critically examines the introduction of neoliberalism in the Indian economy and political context, and the anti-democratic activity of multinational corporations, in relation to the destruction of the natural environment, the growth of economic inequality, and the dispossession of tribal peoples via the governmental-corporate development of mega-dams and industrial mining projects. The discussion revolves around the aesthetic approaches artists have used in addressing such ecological emergencies.”
A discussion on the importance of Ibn Khaldun’s “The Muqadimmah” moderated by artist/curator/writer Shuddhabrata Sengupta in conversation with Jocelyne Dakhlia (Professor, L’Ecole des Hautes Etudes en Sciences Sociales) and Justin Stearns (Assistant Professor of Arab Crossroads Studies, New York University Abu Dhabi), at Art Dubai’s Global Art Forum 8. Description: “The Muqadimmah is the most important Islamic history of the premodern world. Written by the fourteenth-century Arab scholar Ibn Khaldun, this work laid down the foundations of several fields of knowledge, including philosophy of history, sociology, ethnography and economics. What are its intellectual legacies, its lessons on historiography, and influence on subsequent historians around the world?”