This year’s edition of the Sharjah Art Foundation’s March meeting focused on collectives, collaboration and social justice, a theme that had particular poignance in light of the war in Gaza
The Venice Biennale-bound artist discusses his latest video work exploring the so-called Columbian exchange and tells us why his films owe a debt to cinema
but are “rendered slightly strange”
AT THE DAWN OF THE CENTURY, no special sign presaged Sharjah’s rise to its present status as an artistic incubator and arguably today’s most influential hub of research and creation focused on what is now called the Global South. Yes, its ruler, Sheikh Sultan bin Muhammad Al Qasimi, launched the Sharjah Biennial in 1993. But in its early editions, the exhibition was relatively staid, presenting neo-modernist art from Arab and Muslim countries on the national-pavilion model. Compared with glitzy Dubai, the city of Sharjah, capital of the eponymous emirate, was (and remains) low-rise and conservative
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