Just a song I like.... Saw this band on stage a lot BC (before Covid...).
24/07/2022
20/07/2022
Ready for Cineredis
“The UK’s leading festival dedicated to classic cinema.”
Sight & Sound
The 6th edition of Cinema Rediscovered is taking place this week at the Watershed cinema in Bristol, from Wed. 20 to Sunday 24 July 2022 with a line-up of brand new restorations and rediscoveries launching a UK wide tour (Aug – Nov 2022).
18/07/2022
Music: Interview with Imed Alibi
This Monday in TMR Weekly:
Tunisia’s Imed Alibi Crosses Borders in new “Frigya” Electronica Album
Melissa Chemam in her latest music column interviews Tunisian electro-world creator Imed Alibi.
Read here: https://themarkaz.org/tunisias-imed-alibi-crosses-borders-in-new-frigya-electronica-album/
08/07/2022
Arnolfini, summer 2022: FOREST: WAKE THIS GROUND
Opening at Arnolfini tonight:
FOREST: WAKE THIS GROUND
Saturday, 9th July 2022 to Sunday, 2nd October 2022, 11:00 to 18:00
Open Tuesday to Sunday each week.
Free entry. Exhibition slots available to book in advance with walk-ins welcome
Arnolfini welcomes you to celebrate what lies above and below the forest floor with Forest: Wake this Ground, a major group exhibition including artists, writers, filmmakers, and composers from across the globe:
Rodrigo Arteaga, Mark Garry, Alma Heikkilä, Eva Jospin, Jumana Manna, Zakiya Mckenzie, David Nash, Maria Nepomuceno, John Newling, Rose Nguyen, Ben Rivers, Ai Weiwei, and Hildegard Westerkamp.
With works that recycle, reuse and repurpose resources, we will be discovering the forests’ ancient rhythms, as well as exploring stories, myths, and folktales, passed down between people over centuries.
The exhibition is accompanied by a programme that includes live performance, film, family events and creative workshops we will be inviting you to share and create your own ‘forest tales’ and to very gently encourage us all to take a look at the impact the changing climate has on nature and the world around us.
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Forest: Wake this Ground’s final weekend includes Salvage Rhythms, an ongoing work which uses live performance, sound, film, text and collage to explore what humans can learn about how the other critters, organisms and intelligences we share this planet with come together in hidden, surprising and dynamic ways. Arnolfini will be home to the longest iteration of the performance yet – a total of three hours – with audiences free to come and go throughout.
Forest: Wake this Ground also marks the start of Arnolfini’s renewed approach to sustainable practice that will see an increased focus across all our activities and the implementation of a new sustainable action plan. We look forward to sharing our work with you as a core part of our programme.
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Featured artists and their works in Forest: Wake this Ground include:
Chilean artist Rodrigo Arteaga deals with topical issues around absence and presence in his vast burned drawing series Monocultures, documenting the radical change in the forest floor, resulting from a major, government backed planting of the Monterey pine tree, now threatening many indigenous species. A new commission by Arteaga will also be made in response to local woodland on residency in the UK.
Irish artist and composer Mark Garry’s film An Lucht Siúil (The Walking People) looks at the relationships between land, movement and ownership through richly intertwined songs sung in both English and Shelta (the language of Irish travellers). A work first shown in his solo show Songs and the Soil.
Finnish artist Alma Heikkilä, whose work Flashing Decaying Wood, is made in part from pine wood, mycelium and alder flower ink, recreates the microscopic world beneath our feet, physically decomposing on the gallery floor.
French artist Eva Jospin’s towering and immersive sculpture Forêt Palatine, made from recycled cardboard, reflects the multiple material lives that have sprung from the rich resources of the forest. Its fantastical almost mythic depiction also hauntingly forewarns us of the possibility of their disappearance.
In her 2018 documentary, Wild Relatives, Palestinian artist Jumana Manna explores the tensions between human need and natural resources. Through the journey of seeds and the migrant women responsible for their replanting, the film tells the story of the Arctic’s Svalbard Global Seed Vault.
Language and soil lie at the heart of Bristol-based Zakiya McKenzie’s poetry, including Soil Unsoiled (originally commissioned by the Forest of Dean Sculpture Trust in collaboration with Khady Gueye) and Primordial Mother Speaks for Herself. McKenzie examines whose bodies belong to the forest, tracing her own ancestral threads to shine a light on racial inequality in rural spaces, bringing new timbre to the forests’ many narratives.
The ideas behind British artist David Nash’s ever-growing charcoal drawing The Family Tree 1967 to 2019, evolve like the trunk of a tree, that thickens and strengthens from the energy provided by each branch, providing a catalogue of decades of practice working with wood in multiple forms.
Intertwining her own ancestral threads, Brazilian artist Maria Nepomuceno’s complex woven sculptures utilise traditional craft and basketry techniques, reminiscent of plant and organic structures. A new woven-straw installation has also been commissioned which will be completed on site through ceramics made by Arnolfini’s community partners.
John Newling extracts soil from the ground to reveal the history of his own leaf-strewn back garden in Ground; language from the cores and a newly commissioned work, The Night Books burning forests, made from pulped texts, coal dust and crushed charcoal. The work physically released carbon through the process of making, re-enacting the exchange that lies at the heart of the forest floor’s survival.
Rosa Nguyen’s fragile ceramic and glass sculptures incorporate both living and dead botanical forms. Drawn together in a new installation the artist explores the ‘above and below’ of nature through hand-made porcelain, soil and hand-sized ceramic roots.
Ben Rivers’ film Look Then Below looks to the future, journeying into a subterranean world. Shot beneath the Mendip hills and ancient woodland in Somerset, the film reimagines a future in which the full impact of environmental damage inflicted by man is felt.
Chinese artist Ai Weiwei’s monumental upended ‘roots’, cast from the ancient and endangered Pequi Vinagreiro tree (found in the Bahian rainforest), reflect both the uprootedness of arboreal species and the displacement of people.
Canadian composer and sound ecologist Hildegard Westerkamp’s Beneath the Forest Floor was recorded in the old-growth forests of Canada’s Carmanah Valley in 1992. This creaking sound work transports the stillness and peace of these ancient forests to Arnolfini, asking us to consider if these trees still stand today.
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‘Wake this Ground’ is a line from the poem Soil Unsoiled, 2021, by Zakiya McKenzie and Khady Gueye, commissioned for Forest of Dean Sculpture Trail.
Show opening on Friday 8 July:
05/07/2022
TMR: BERLIN • August 2022 • Call for Submissions
Call for Submissions: BERLIN • August 2022
In recent years, with the flow of refugees from West Asia and Africa streaming toward Europe, many have struggled to find acceptance and asylum in the UK, Germany, and several Nordic countries, but one city stands out as having become a preferred destination among Arab and other Middle Eastern immigrants, and that is BERLIN.
On August 15, 2022, The Markaz Review will publish an issue devoted to Berlin from the viewpoint of its SWANA refugees, in particular artists and writers, activists and educators from Afghanistan, Iran, Syria, Egypt, Algeria, Palestine, Israel and other countries south and west of the Mediterranean.
Is Berlin the “new Damascus” or “new Cairo” as some have called it? This population had the precedent of a large Turkish migration; as a result, are Germans in Berlin more receptive to and accepting of Muslims immigrants? Stories of adaptation and asylum, in the form of first-person essays, short fiction, photography, film, art and music are welcome.
Please query editor@themarkaz.org by July 31, 2022 or submit your completed work. Final copy deadline is August 5, 2022.
A city in Syria, paper collage on canvas, 2020, by Syrian artist Tammam Azzam, who recently moved to Berlin
03/07/2022
'Long Live Abortion' - Paris, 3 juillet 2022
3 juillet 2022
Paris 15e, Statue de la Liberté
Avec Thanks For Nothing
Je rentre d’une conférence à Bruxelles, sur l’avenir de l’Afrique et notamment le rôle des femmes pour le développement. L’un des sujets abordés : le droit à l’accès à la santé et à l’avortement… Ce dimanche à Paris, j'ai donc poursuivi et prolongé ces discussions, et surtout encouragé l'action de femmes qui réagissent.
L'association 'Thanks for Nothing' a réuni artistes et auteurs autour de “Long Live the Abortion”, un projet participatif et photographique adapté du concept « Inside/Out » de l’artiste JR, et pensé en collaboration avec lui spécialement pour cette mobilisation.
La décision de la Cour suprême américaine risque désormais d’affecter le monde entier. Du Salvador au Kenya, en passant par la Pologne et Malte…
En mai dernier, la directrice régionale principale pour l'Afrique au Center for Reproductive Rights (CRR), Evelyne Opondo, déclarait :
"Mon message aux juges de la Cour suprême des États-Unis est le suivant : ils ne mettront jamais fin à l'avortement. Les femmes ont avorté et avorteront toujours, quelle que soit la loi. Tout ce que l'annulation de la loi fera, c'est mettre fin aux avortements sans danger".
Ce qui compte donc est que les femmes qui en ont besoin puissent accéder à l'avortement en sécurité et sans menace pour leur santé.
Dans le monde, l'avortement est entièrement intégralement prohibé dans 26 pays, dont le Salvador, le Honduras, l'Égypte, Madagascar, la Sierra Leone, les Philippines, la Jamaïque et plus près de chez nous dans l'UE : à Malte.
Mais ce droit fondamental est également très restreint dans de nombreux pays, dont le Japon et la Pologne, où des millions de femmes ukrainiennes viennent de trouver refuge, nombre d’entre elles victimes de viols.
Et cette situation pourrait s’empirer.
Sur tous les continents, les gouvernements conservateurs se sentent à présent encouragés par la situation américaines. En premier lieu au Brésil, le plus grand pays d’Amérique latine.
Plus près de nous, la réalité du manque d'accès à l'avortement et aux pilules abortives frappe encore en Irlande et Irlande du Nord
En 2016, après le référendum sur le Brexit, personnellement, je me suis rendue à Belfast, d’abord pour un reportage sur les conséquences d’un potentielle frontière terrestre avec la République d’Irlande, mais très vite pour traiter des droits sociaux laissés à l’abandon par près d’un siècle de “troubles” politiques. La restriction du droit à l’avortement y généré des situations tragiques pour les femmes, notamment les jeunes filles.
En Irlande du Nord, ce droit n’a été autorisé qu’en 2019, après des décennies de lutte. Un an après l’Irlande, en 2018… Mais l’accès aux soins et à l’avortement sont toujours largement insuffisants, et les associations d’aide sous-financées.
La décision américaine pourrait également affecter le Kenya, où j'ai vécu et travaillé pendant près de deux ans.
Le vendredi 25 mars dernier, la Haute Cour de Malindi, au Kenya, a déclaré illégales les arrestations et les poursuites liées aux avortements clandestins.
Chargé de se prononcer sur le cas d’une adolescente de 16 ans accusée d’avoir avorté illégalement, le juge Reuben Nyakundi a estimé que "le droit de mettre fin à une grossesse est un droit fondamental, et la décision d’arrêter ou non une grossesse relève de la liberté individuelle fondamentale d’une femme".
D’après la Constitution, l’avortement est illégal au Kenya à moins qu’ "un professionnel de santé formé estime qu’il existe un besoin de traitement urgent ou que la vie ou la santé de la mère est en danger".
Cette décision de la Haute Cour a donc consacré le droit à l’avortement au nom du droit fondamental à la vie privée et demandé au Parlement d’adopter une nouvelle loi en accord avec ce principe.
Mais au quotidien, l’accès à l’avortement reste extrêmement limité pour les femmes kenyanes. Et les militants anti-avortement se sentent renforcés par la décision américaines.
Dès les années 1920, les militants américaines avaient l'habitude de scander :
"No woman can call herself free who does not control her own body ; No woman can call herself free until she can choose consciously whether she will or will not be a mother."
Aucune femme n'est libre tant qu'elle ne contrôle par son corps ou si elle ne peut décider de devenir mère ou non.
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Thanks For Nothing - 'Long Live Abortion'
- Marine Van Schoonbeek (Paris, 3 juillet 2022)
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Merci à Thanks for Nothing et leur partenaires pour leur belle initiative qui reflète l'engagement des acteurs et actrices de la culture en faveur du respect des droits des femmes.
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