Past Disquiet: Artists, International Solidarity, And Museums-In-Exile

Kristine Khouri, Rasha Salti

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ISBN/ISSN:

978-83-64177-58-3

DOI:

Wydawnictwo:

Muzeum Sztuki Nowoczesnej w Warszawie

Rok wydania:

2019

Liczba stron:

193

XML:ISBN/ISSN:

ONIX MARC21

Bibliografia:

. Past Disquiet: Artists, International Solidarity, And Museums-In-Exile. Red. Khouri, Kristine; Salti, Rasha . : Muzeum Sztuki Nowoczesnej w Warszawie, 2019, 193 s. ISBN 978-83-64177-58-3

Bibliografia refWorks:

RT Book, Whole

SR Electronic(1)

A2 Khouri, K.

A2 Salti, R.

T1 Past Disquiet: Artists, International Solidarity, And Museums-In-Exile

PB Muzeum Sztuki Nowoczesnej w Warszawie

YR 2019

SN 978-83-64177-58-3

Bibliografia BibTex:

@Book{ 241758, author = "", editor = "Khouri, Kristine and Salti, Rasha", title = "Past Disquiet: Artists, International Solidarity, And Museums-In-Exile", publisher = "Muzeum Sztuki Nowoczesnej w Warszawie", year = "2019", address = "", isbn = "978-83-64177-58-3" }

Bibliografia endNote:

TY - BOOK

AU -

ED - Khouri, Kristine

ED - Salti, Rasha

TI - Past Disquiet: Artists, International Solidarity, And Museums-In-Exile

PB - Muzeum Sztuki Nowoczesnej w Warszawie

CY -

PY - 2019

SN - 978-83-64177-58-3

ER -

Netografia (standard APA):

. Red. Khouri, Kristine; Salti, Rasha. Past Disquiet: Artists, International Solidarity, And Museums-In-Exile [baza danych online] : Muzeum Sztuki Nowoczesnej w Warszawie, 2019 [dostęp: 22 05 2024]. Dostęp w Ibuk Libra: https://libra.ibuk.pl/reader/past-disquiet-artists-international-solidarity-and-museums-in-exile-kristine-khouri-rasha-salti-241758.

sztuka, polityka, Palestyna, muzeum

The International Art Exhibition for Palestine took place in Beirut in 1978 and mobilized international networks of artists in solidarity with anti-imperialist movements of the 1960s and ’70s. In that era, individual artists and artist colle...

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ISBN/ISSN:

978-83-64177-58-3

DOI:

Wydawnictwo:

Muzeum Sztuki Nowoczesnej w Warszawie

Rok wydania:

2019

Liczba stron:

193

XML:ISBN/ISSN:

ONIX MARC21

Title Page4
Table of Content5
Insert7
Part 1. INTRODUCING PAST DISQUIET8
BARTOMEU MARÍ9
ANSELM FRANKE11
JOANNA MYTKOWSKA12
KRISTINE KHOURI AND RASHA SALTI13
Part 2. ON PAST DISQUIET15
KRISTINE KHOURI AND RASHA SALTI: Transnational Solidarity Networks and Speculative Histories: 1960s–1980s16
Part 3. ESSAYS/INTERVIEWS/ DOCUMENTS36
SLIMAN MANSOUR: Interview by Mohanad Yaqubi on behalf of the editors37
REEM SHILLEH AND MOHANAD YAQUBI: Prologue: The London Film Connection43
ALIA NAKHLI: Writing the History of Modern Arab Art50
TONI MARAINI: Interview by Kristine Khouri and Rasha Salti56
For a Cultural Humanism (1977)59
In the Margins of the Biennial (1978)61
Interview with Farid Belkahia (1978)65
ANNEKA LENSSEN: Material Support: On Arab Artists’ Unions and Solidarity67
NAKAJIMA IZUMI: Dream for Solidarity: Palestinian Art, JAALA, and Haryū Ichirō in the 1970s and 1980s78
VLADIMIR TAMARI: Interview by Rasha Salti87
DOMINIKA BLACHNICKA-CIACEK: Lost in Transition? The Forgotten History of Exchanges between Communist Poland and the Palestine Liberation Organization91
KATARZYNA MATUL: “Art Instead of Politics”: Polish Artists “in Solidarity” with Palestine and Chile in the 1970s and 1980s99
JÉRÔME BAZIN: Seeing Near, Seeing Far: What Do Images Tell Us About Solidarity in Popular Democracies?106
JELENA VESIĆ: Trajectories of Solidarity in Time: The Week of Latin America in Belgrade, Students’ Cultural Center, 1977116
SARA CATENACCI: Solidarity and Socially Engaged Art in 1970s Italy124
CATHERINE DOSSIN: The Brush and the Kalashnikov: The Political Vision of the Jeune Peinture from Paris to Beirut134
CAROLL YASKY AND CLAUDIA ZALDÍVAR: An Atypical Museum: The Museo de la Solidaridad Salvador Allende143
ELODIE LEBEAU: When Solidarity Became Art: The Museo Internacional de la Resistencia Salvador Allende (1975–90)154
ERNEST PIGNON-ERNEST: Interview by Rasha Salti163
MAEDA REI: Interview by Kristine Khouri and Rasha Salti168
GORDON METZ AND ANDRÉ ODENDAAL: Interview by Rasha Salti175
List of Works and Photo Credits180
Aknowledgements183
Colophon184
Back Cover192

KRISTINEKHOURI

RASHASALTI

reﬂectcriticallyonthesigniﬁcanceofthehistorieswehadunearthed.Itwasimmediatelyapparentthat

henwewereinvitedtotransformourresearchintoanexhibition,wewerecompelledtostepbackand

wehadbeenthreadingtogetherahistoryofartistic,exhibition,andmuseologicalpracticesthatwereoutside

thecanon.Wechosetotellthestoriesofthenetworkswediscoveredaswehadmappedthem,becausethey

formedthecoreofourresearch.Thispublicationsharesasideofourﬁndingsthatiscomplementarytothe

exhibition.Itaimstoforegroundtransnationalarthistoriesthatdecenterorunderminethecanon,and

toconjureexhibitionandmuseographichistoriestointerrogatetheprevailinghistoriographyofartduringthe

ColdWar.Itdoessothroughthelensofinternationalsolidarity,focusingprimarilyonthecasesofthree

museums-in-exile:the

InternationalArtExhibitionforPalestine

,theMuseodelaResistenciaSalvadorAllende

(MIRSA),and

ArtContre/AgainstApartheid

Ourpointofdepartureisthe

InternationalArtExhibitionforPalestine

andwhatitrepresentedtoSliman

Mansour,aseminalPalestinianartistwhoseproliﬁcpracticehasbeendedicatedtorepresentinghishomeland.

In1978,MansourtraveledfromtheWestBanktoseetheexhibitioninBeirut.Hisaccounthastherarequality

ofaninsider-outsider:hewashimselfinthecenterofthebattle,andyetatadistancefromthedynamic

fulcrumoftheactivitiesofthePalestineLiberationOrganization(PLO)inBeirut.Followingthethread

ofincarnationandrepresentation,westepawayfromthe1978Beirutexhibitiontodocumentarycinemaand

thePalestineFilmUnit.Attheriskofindulgingunorthodoxy,weinvitedresearchersandwritersReemShilleh

andMohanadYaqubitoshareanexcerptfromanearlydraftofthedocumentaryscreenplayfor

OﬀFrameAKA

RevolutionUntilVictory

(2016),whichparallelswithvividprecisionourownexperienceofforensicinvestigation,

andalsoconveyssuccinctlyhowpeopleretrospectivelynarrateinternationalsolidaritywiththePalestinian

revolutioninthe1960sand1970s.

TheﬁrstpillarofinternationalsolidaritywiththePalestinianstrugglewasspontaneous,grassrootspan-

Arabmobilization.Throughindividualparticipationanddonatedartworks,the1978Beirutexhibitionwas

inscribedwithtracesoftheFirstandSecondArabBiennials.Allthreeexhibitionshavefadedintonear-oblivion.

In“WritingtheHistoryofModernArabArt,”arthistorianAliaNakhlirevisitsquestionsoftheproductionofart-

historicalknowledgearoundmodernArabartandthetrappingsofpan-Arabideologicalframeworks.Pushing

furtherintothesemarginalizedhistories,weincludeheretranslationsoftwotextspublishedintheMoroccan

culturaljournal

Intégral

aftertheSecondArabBiennial,heldinRabatin1976:arthistorian,theorist,and

Intégral

co-editorToniMaraini’sreviewoftheexhibition,followedbyaninterviewwiththelateMoroccanartistFarid

Belkahia,atthetimethepresidentoftheAssociationmarocainedesartsplastiques,anindependentgroup

ofartiststhatwassidelinedfromparticipatingintheconceptionofthebiennial.Inreproducingthesetexts,

weaspiretorevivetheuncompromisinglydissentingandlucidvoicesthatwarnedagainstthefutilityand

dangerofindulgingdemagogy.Theyhaveprovencorrectinforeseeingthedestructivepotentialofsuch

astrategyanditsattendantpositions.WealsointerviewedMarainitogleanherretrospectivethoughtsonthat

chapterofactivisminthearts,andtranslatedherpreviouslyunpublishedessay“ForaCulturalHumanism,”

whichwasintendedforinclusioninthecatalogofthe1978Beirutexhibition,butdidnotuntilnowﬁnditsway

totheprintedpage.

ArthistoriansAnnekaLenssenandNakajimaIzumirespectivelyreframetherealmsinwhichtangible

andintangiblemanifestationsofsolidarityamongArabartists’unionsmaneuveredwithinthecomplexweb

ofthepatronageandoversightofministriesofcultureandautocraticregimes,andexaminetheunderpinnings

ofinternationalsolidarityandcooperationthattheUnionofPalestinianArtistsdevelopedwiththeJapanAsian

AfricanandLatinAmericanArtists’Association(JAALA).ProbingthequestionofsolidarityinJapanfurther,

weinterviewedPalestinianartistVladimirTamari,wholivedinJapanfrom1970untilhisdeathin2017.Aclose

friendofPLOrepresentativeFathiAbdul-Hamid,Tamariwitnessedtheemergenceofinterestinthequestion

ofPalestineamongJapaneseleftistintellectuals,andwashimselfactivelyinvolvedinsensitizingtheJapanese

publictothetragedyofPalestine.Histestimonyillustrateswithcandorhowinternationalsolidaritywas

generated,andforegroundstheimportanceofthePLOrepresentativesofthattimeandtheirengagementwith

culture.

ResearcherandculturalhistorianDominikaBlachnicka-Ciacekdelvesintoseveralpublicarchives

toconsiderthecaseofPoland’srelationswithPalestineandtheArabworldinthe1970sand1980s,whileart

historianKatarzynaMatulinterrogatesthepredicatesofoﬃciallysanctionedinternationalsolidarityunder

autocraticregimesandtheircapacitytoinstrumentalizesubjectiveartisticexpression.Inasimilarvein,art

historianJérômeBazinexaminescasesofseminalimagesofinternationalsolidarity,theiriconographic

language,representationsofotherness,andmodesofdissemination.

Ifsolidarityisanincarnation,itisalsoaprojection.DuringtheColdWar,Yugoslaviawasaprimary

driverininstitutingtheNon-AlignedMovement.There,solidaritywassanctionedbythestate,butitalsoexisted

atthegrassrootslevel.Fromiconographicanalysistodeconstructingresistance,knowledge,andlanguage,

writerandcuratorJelenaVesićrevisitsaseminaleventthattookplaceinYugoslaviain1977aroundtri-

continentalsolidarity,preciselywhenTito’sregimewasveeringawayfromit.Shereconsidersthesigniﬁcance

oftheeventfromtheperspectiveofdisenchantedYugoslavyouth.ArthistorianSaraCatenaccilooksback

atinstancesinwhichartistsmarshaledtheirpracticeandknow-howtoincarnateandembodytheirengagement

withlocalandinternationalstrugglesinItalyinthe1970s,pointingtotheradicallytransformativepotentialthat

solidarityactionscouldhaveimpartedtomajoreventssuchastheVeniceBiennale.TravelingnorthtoParis

toexaminethesametimebracket,arthistorianCatherineDossinrevisitsthewaningoftheinsurrectionaland

anti-establishmentpositioningoftheJeunePeinture,speciﬁcallyregardingitsinvolvementininternational

solidarity.

Thefinalsectionofthebookaddressesmuseums-in-exile.CuratorsandwritersCarollYaskyandClaudia

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