- Berlin, Germany
hanan toukan
Bard College Berlin, Middle East Studies, Faculty Member
Research Interests:
Research Interests:
Research Interests: Geography and Archaeology
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Research Interests:
Research Interests:
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In A Magical Substance Flows into Me, Jumana Manna builds on the genre of postcolonial trauma and collective memories of violence in Middle Eastern filmmaking by showing how the subconscious pain and suffering that is born in contexts of... more
In A Magical Substance Flows into Me, Jumana Manna builds on the genre of postcolonial trauma and collective memories of violence in Middle Eastern filmmaking by showing how the subconscious pain and suffering that is born in contexts of obliterated geo-histories may lie in the realm of the musical, familial, and sensorial that bind communities together. In her latest experimental documentary film, Manna – a Palestinian citizen of Israel who grew up in East Jerusalem – ethnographically explores the different musical traditions of various communities residing in Israel and the occupied Palestinian territories by drawing on her research into the German-Jewish ethnomusicologist Robert Lachmann (1892–1939). Lachmann’s Oriental Music series was broadcast by the Palestine Broadcasting Service established during the British Mandate period. Lachmann’s broadcasts are the starting point for Manna’s search into the multilayered meanings of intertwined histories of displacement in the Middle Ea...
This article is about the ways in which counter-hegemony is expressed in performance art dealing with notions of public space and the publics. The article examines two works of art from Lebanon: Rabih Mroué and Lina Saneh’s Photo-Romance... more
This article is about the ways in which counter-hegemony is expressed in performance art dealing with notions of public space and the publics. The article examines two works of art from Lebanon: Rabih Mroué and Lina Saneh’s Photo-Romance (2009), produced and performed before the initial heady days of the Arab uprisings of 2011 unravelled, and the Dictaphone Group’s This Sea is Mine (2012), produced immediately after the onset of the uprisings. Each of the pieces interrogates public space and citizenship in Beirut in very different ways to express dissent and perform resistance. The former does so through a conceptual interrogation of public space in Beirut within an institutional set-up, and the insistence on the inability to ever represent the country’s contentious sectarian politics. The latter works through an embodied experience focusing on interaction with the public physically located outside of an art institutional set-up and literally along the city’s shoreline. By drawing o...
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Research Interests:
Research Interests:
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Yazid Anani is an assistant professor in the Department of Architecture and the Masters Program in Urban Planning and Landscape at Birzeit University. He obtained his PhD in spatial planning from TU Dortmund University in Germany in 2006.... more
Yazid Anani is an assistant professor in the Department of Architecture and the Masters Program in Urban Planning and Landscape at Birzeit University. He obtained his PhD in spatial planning from TU Dortmund University in Germany in 2006. Anani chaired the Academic Council of the International Academy of Art Palestine in 2010-12. He has actively collaborated in several collectives and projects, including "Decolonizing Architecture" and "Ramallah Syndrome." In addition to curating or co-curating "Urban Cafes" and "Palestinian Cities-Visual Contention," he has also co-curated the second, third, and fourth editions of Cities Exhibition. His writings on cultural and visual politics, traveling theory, contemporary art practices, transnationalism, and international cultural aid have appeared in various journals and edited volumes. He was a 2012-13 Postdoctoral Fellow at the Forum for Transregional Studies of the Wissenschaftskolleg zu Berlin.Hanan T...
This article studies the Picasso in Palestine exhibit in light of what it means to be a modern and resistant Palestinian colonial subject, living in a sovereign state-to-be in our contemporary global world. By drawing on theories of the... more
This article studies the Picasso in Palestine exhibit in light of what it means to be a modern and resistant Palestinian colonial subject, living in a sovereign state-to-be in our contemporary global world. By drawing on theories of the imagination, resistance studies, art, and internal relations, as well as discourse analysis of the content of the project, field interview material, and published critiques of the project, the article queries the conceptual boundaries of studying the Picasso in Palestine project. The article contextualizes a moment in Palestine’s history of visual cultural production within wider debates and scholarship on the construction of resistant praxis in cultural production; the distribution of power; culture and representation; and image circulation, translation, and reception in a colonial setting, global context, and transnational frame. Tracing the readings of the project across transnational space by locating them within the discourses they engaged with ...
Research Interests:
This article is about the ways in which counter-hegemony is expressed in performance art dealing with notions of public space and the publics. The article examines two works of art from Lebanon: Rabih Mroué and Lina Saneh’s Photo-Romance... more
This article is about the ways in which counter-hegemony is expressed in performance art dealing with notions of public space and the publics. The article examines two works of art from Lebanon: Rabih Mroué and Lina Saneh’s Photo-Romance (2009), produced and performed before the initial heady days of the Arab uprisings of 2011 unravelled, and the Dictaphone Group’s This Sea is Mine(2012), produced immediately after the onset of the uprisings. Each of the pieces interrogates public space and citizenship in Beirut in very different ways to express dissent and perform resistance. The former does so through a conceptual interrogation of public space in Beirut within an institutional set-up, and the insistence on the inability to ever represent the country’s contentious sectarian politics. The latter works through an embodied experience focusing on interaction with the public physically located outside of an art institutional set-up and literally along the city’s shoreline. By drawing on theories of aesthetics and their relationship to radical democracy in public space, the article highlights the different iterations of counter-hegemony that circulate in the work of these contemporary Arab artists to argue that, like the momentous Arab uprisings of 2011–12, resistant works of art may only be understood within a longer history of strife and popular protest in the region that have produced differing forms of dissent at various points in time.
How are we to think about a museum that represents a people who not only do not exist on conventional maps but who are also in the process of resisting obliteration by one of the most brutal military complexes in the world? What is, and... more
How are we to think about a museum that represents a people who not only do not exist on conventional maps but who are also in the process of resisting obliteration by one of the most brutal military complexes in the world? What is, and what can be, the role of a museum in a violent colonial context compounded by the twin effects of imperialism and capitalism? Whom does the museum speak for in such a context? And what can or should it say to a transterritorial nation while physically located in a supposed state-to-be, that has no real prospect of gaining control over its land, water or skies through current international diplomatic channels?
Research Interests:
Music, Borders, and the Sensorial Politics of Displacement
Uriel Orlow: Unmade Film, published by edition fink, Zurich on the occasion of the eponymous exhibition at Al-Ma'mal Foundation for Contemporary Art Jerusalem (2013) and is reprinted with permission of the author and the artist. --Jabra... more
Uriel Orlow: Unmade Film, published by edition fink, Zurich on the occasion of the eponymous exhibition at Al-Ma'mal Foundation for Contemporary Art Jerusalem (2013) and is reprinted with permission of the author and the artist.
--Jabra Ibrahim Jabra[1]
--Jabra Ibrahim Jabra[1]
Review of Anthony Downey, ed., Uncommon Grounds: New Media and Critical Practices in North African and the Middle East, I.B. Tauris, 2014, 359 pp., no price shown$28.00 US (pbk), ISBN 9781784530358.
Journal of Visual Culture, 2021 http://www.journalofvisualculture.org The JVC Palestine Portfolio is an incredibly powerful, heartfelt, heart-wrenching, life-affirming and hopeful polyphony of reminiscences, art works, graphic designs,... more
Journal of Visual Culture, 2021
http://www.journalofvisualculture.org
The JVC Palestine Portfolio is an incredibly powerful, heartfelt, heart-wrenching, life-affirming and hopeful polyphony of reminiscences, art works, graphic designs, scholarly texts, critical writings, briefings, visual activism, petitions, and mobilisations. Thanks to Sage, it is free to access, and is available to download (and circulate widely, if you’re so inclined) on the Sage site (https://journals.sagepub.com/home/vcu) and here.
The JVC Palestine Portfolio with contributions by: Larissa Sansour, Rashid Khalidi, Mazen Kerbaj, The Mosaic Rooms, Strike MoMA, Ariella Azoulay, Danah Abdulla, Rounwah Adly Riyadh Bseiso, Hanan Toukan, Zeina Maasri, Adrian Lahoud and Jasbir K. Puar, Yoav Galai, Distributed Cognition Cooperative (Anna Engelhardt and Sasha Shestakova), Evyn Lê Espiritu Gandhi, Firas Shehadeh, Sami Khatib, Léopold Lambert/The Funambulist, Tina Sherwell, Gayatri Chakravorty Spivak, Rochelle Davis and Dan Walsh, Lina Hakim, Ariel Caine, Nida Sinnokrot/Sakiya, Yara Sharif, Visualizing Palestine, Nada Dalloul, Simone Browne, Rehab Nazzal, Lila Sharif, Oraib Toukan and Mohmoud M Alshaer, Mark Muhannad Ayyash, Omar Kholeif, Oreet Ashery, The Palestinian Museum, Kareem Estefan and Nour Bishouty, Ghaith Hilal Nassar, Adam Broomberg, Kamal Aljafari, Nicholas Mirzoeff, Palestinian Feminist Collective, W.J.T. Mitchell, Dar El-Nimer for Arts and Culture, Jill H. Casid, Macarena Gómez-Barris, Stephen Sheehi, Susan Greene, Sunaina Maira, and Shourideh C. Molavi and Eyal Weizman.
Preface:
The JVC Palestine Portfolio
Journal of Visual Culture’s Editorial Collective has a longstanding commitment to tracking and analyzing critically the continued unfolding of racialist, colonialist, and jingoistic discourses. The journal often provides a critical space wherein these discourses can be researched and debated so as to redress the social, political, and ethical injustices that continue to plague the world we share. Everything we do in this journal exists under the sign of Stuart Hall’s vital challenge: ‘We must mobilise everything [we] can find in terms of intellectual [and other] resources in order to understand what keeps making the lives we live and the societies we live in profoundly and deeply antihumane in their capacity to live with difference’.
As a Collective, then, we stand in solidarity with Palestinians against Israeli settler colonialism and the Apartheid that results from it.
Compelled to respond to the urgency of the moment instigated by the Israeli regime’s actions in Gaza in May and June 2021, which we also acknowledge as a part of the ongoing Nakbah and an extension of official policies of displacement and erasure since 1948, we sent out an email with the subject line: ‘Journal of Visual Culture for Palestine: a call to [name of recipient]’, asking for a favour, for cooperation, for a contribution. The email in full is as follows:
Download to read on...
http://www.journalofvisualculture.org
The JVC Palestine Portfolio is an incredibly powerful, heartfelt, heart-wrenching, life-affirming and hopeful polyphony of reminiscences, art works, graphic designs, scholarly texts, critical writings, briefings, visual activism, petitions, and mobilisations. Thanks to Sage, it is free to access, and is available to download (and circulate widely, if you’re so inclined) on the Sage site (https://journals.sagepub.com/home/vcu) and here.
The JVC Palestine Portfolio with contributions by: Larissa Sansour, Rashid Khalidi, Mazen Kerbaj, The Mosaic Rooms, Strike MoMA, Ariella Azoulay, Danah Abdulla, Rounwah Adly Riyadh Bseiso, Hanan Toukan, Zeina Maasri, Adrian Lahoud and Jasbir K. Puar, Yoav Galai, Distributed Cognition Cooperative (Anna Engelhardt and Sasha Shestakova), Evyn Lê Espiritu Gandhi, Firas Shehadeh, Sami Khatib, Léopold Lambert/The Funambulist, Tina Sherwell, Gayatri Chakravorty Spivak, Rochelle Davis and Dan Walsh, Lina Hakim, Ariel Caine, Nida Sinnokrot/Sakiya, Yara Sharif, Visualizing Palestine, Nada Dalloul, Simone Browne, Rehab Nazzal, Lila Sharif, Oraib Toukan and Mohmoud M Alshaer, Mark Muhannad Ayyash, Omar Kholeif, Oreet Ashery, The Palestinian Museum, Kareem Estefan and Nour Bishouty, Ghaith Hilal Nassar, Adam Broomberg, Kamal Aljafari, Nicholas Mirzoeff, Palestinian Feminist Collective, W.J.T. Mitchell, Dar El-Nimer for Arts and Culture, Jill H. Casid, Macarena Gómez-Barris, Stephen Sheehi, Susan Greene, Sunaina Maira, and Shourideh C. Molavi and Eyal Weizman.
Preface:
The JVC Palestine Portfolio
Journal of Visual Culture’s Editorial Collective has a longstanding commitment to tracking and analyzing critically the continued unfolding of racialist, colonialist, and jingoistic discourses. The journal often provides a critical space wherein these discourses can be researched and debated so as to redress the social, political, and ethical injustices that continue to plague the world we share. Everything we do in this journal exists under the sign of Stuart Hall’s vital challenge: ‘We must mobilise everything [we] can find in terms of intellectual [and other] resources in order to understand what keeps making the lives we live and the societies we live in profoundly and deeply antihumane in their capacity to live with difference’.
As a Collective, then, we stand in solidarity with Palestinians against Israeli settler colonialism and the Apartheid that results from it.
Compelled to respond to the urgency of the moment instigated by the Israeli regime’s actions in Gaza in May and June 2021, which we also acknowledge as a part of the ongoing Nakbah and an extension of official policies of displacement and erasure since 1948, we sent out an email with the subject line: ‘Journal of Visual Culture for Palestine: a call to [name of recipient]’, asking for a favour, for cooperation, for a contribution. The email in full is as follows:
Download to read on...