Aux frontières poreuses des cartes palestiniennes et de l'art contemporain

Numerous contemporary Palestinian artists take on maps, either as patterns (classical maps simply emerge in the space of their work) or as conceptual models to structure their projects. Through the study of videos such as M* of Bethlehem [Ayreen Anastas, 2003], Red, Dead and Mediterranean [Akram Al-...

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Main Author: Anaïs Farine
Format: Article
Language:English
Published: Université de Provence 2013-12-01
Series:Revue des Mondes Musulmans et de la Méditerranée
Subjects:
Online Access:https://journals.openedition.org/remmm/8229
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author Anaïs Farine
author_facet Anaïs Farine
author_sort Anaïs Farine
collection DOAJ
description Numerous contemporary Palestinian artists take on maps, either as patterns (classical maps simply emerge in the space of their work) or as conceptual models to structure their projects. Through the study of videos such as M* of Bethlehem [Ayreen Anastas, 2003], Red, Dead and Mediterranean [Akram Al-Ashqar, 2006], and We Began by Measuring Distance [Basma Al-sharif, 2009], we attempted to examine the displacement of artistic boundaries and the representation of geopolitical space within contemporary Palestinian moving images. Through investigating the different devices put in place by the three artists in order to reclaim the territory and give it meaning and unity, our study reveals that these works address with great subtlety the space concerns of a particular movement in contemporary art and have therefore become essential.
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series Revue des Mondes Musulmans et de la Méditerranée
spelling doaj-art-1c63d02e16574564a22994ae345b733f2025-01-09T13:22:27ZengUniversité de ProvenceRevue des Mondes Musulmans et de la Méditerranée0997-13272105-22712013-12-01134718310.4000/remmm.8229Aux frontières poreuses des cartes palestiniennes et de l'art contemporainAnaïs FarineNumerous contemporary Palestinian artists take on maps, either as patterns (classical maps simply emerge in the space of their work) or as conceptual models to structure their projects. Through the study of videos such as M* of Bethlehem [Ayreen Anastas, 2003], Red, Dead and Mediterranean [Akram Al-Ashqar, 2006], and We Began by Measuring Distance [Basma Al-sharif, 2009], we attempted to examine the displacement of artistic boundaries and the representation of geopolitical space within contemporary Palestinian moving images. Through investigating the different devices put in place by the three artists in order to reclaim the territory and give it meaning and unity, our study reveals that these works address with great subtlety the space concerns of a particular movement in contemporary art and have therefore become essential.https://journals.openedition.org/remmm/8229PalestineContemporary ArtCartographyArtist vidéoAkram Al-AshkarAyreen Anastas
spellingShingle Anaïs Farine
Aux frontières poreuses des cartes palestiniennes et de l'art contemporain
Revue des Mondes Musulmans et de la Méditerranée
Palestine
Contemporary Art
Cartography
Artist vidéo
Akram Al-Ashkar
Ayreen Anastas
title Aux frontières poreuses des cartes palestiniennes et de l'art contemporain
title_full Aux frontières poreuses des cartes palestiniennes et de l'art contemporain
title_fullStr Aux frontières poreuses des cartes palestiniennes et de l'art contemporain
title_full_unstemmed Aux frontières poreuses des cartes palestiniennes et de l'art contemporain
title_short Aux frontières poreuses des cartes palestiniennes et de l'art contemporain
title_sort aux frontieres poreuses des cartes palestiniennes et de l art contemporain
topic Palestine
Contemporary Art
Cartography
Artist vidéo
Akram Al-Ashkar
Ayreen Anastas
url https://journals.openedition.org/remmm/8229
work_keys_str_mv AT anaisfarine auxfrontieresporeusesdescartespalestiniennesetdelartcontemporain