Our Concept

Our Concept

At the turn of the 20th century, the Hejaz, a narrow-gauge railway built south from Damascus to transport pilgrims to Mecca during the Hajj, represented a tangible, if utopic, dream of a united region during Ottoman rule. Part divine aspiration, part vehicle for political gain, the train was designed to extend existing railways from Istanbul through present-day Turkey to Syria, Jordan, Palestine and Saudi Arabia and, finally, to the holiest cities of Islam. A decade later, the British, eager to replace the Ottoman Empire with its own, initiated what would become decades of European battles in the region. The dream was finally obliterated: Lawrence of Arabia and a Bedouin army repeatedly blew the railway apart during WWI. It never recovered but the tracks still remain.

We Have Woven the Motherlands with Nets of Iron investigates what is left of the withered dream to transcend physical and metaphysical borders after the rise and fall of empires. Having endured wars and conquests, the trains persist, limping along, rented out to nostalgic tourists and enthusiasts. Trains, like Arab unity itself, have a romantic geography: nearly obsolete, valued for historical symbolism, begging to be updated or made once again relevant. In contrast, various countries in the region are initiating modern railway systems that can reconnect citizens to the landscape.

In examining dichotomies between history and current nationalisms, the exhibition We Have Woven the Motherlands with Nets of Iron will make use of contributions from artists and historians from each of the five countries of the Hejaz (from Jordan, Palestine, Saudi Arabia, Turkey, and Syria) to produce performances on movable platforms, archival projects using remnants of the rail lines and other installations, all of which will take place on the rails in Jordan.

The exhibition is part of Apexart’s Franchise project for 2011, and will run from the 4th of May until the 4thth of June 2011. The exhibition is curated by Eric Gottesman and Toleen Touq.

Photo of the train wreck in the Nefud Desert of Saudi Arabia by Jerry Miller, 70images.com

Thursday, February 3, 2011

Artist Meeting: A-77, Antakya

This is a fascinating group of artists that is working as a collective in Antakya, Turkey that many people suggested to us and that curator Arzu Yayintas arranged for us to meet. They are about ten or eleven men (no women yet, as far as we could tell) and are mainly colleagues from an art school in Antakya. Their work has been featured in the Antakya Biennial and a few other exhibitions. They have a very strong mission statement that declares that they are proudly “rural and Third World,” though their works do not necessarily address their mission statement. They do, however, address the challenges of making art outside of Istanbul, the connectedness of the region in which they are working in southern Turkey to Syria and the Arab world, and the difficulties of language. Mehmet Fahraci’s poetic text works and videos and Nebi Atay’s sculptures specifically deal with the wrestling that goes on between Turkish and Arabic languages and letters. And they suggest the artificiality of borders without directly stating it.

Our meeting with them was quite nice, as it happened in three languages (Turkish, English and Arabic) due to the fact that none of us spoke all three but many of us spoke at least two. Toleen recorded some of it.

Posted by

No comments:

Post a Comment