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A Turkish biennial close to the Syrian border has been postponed due to the Islamic State’s ongoing assault on the nearby town of Kobani, The Art Newspaper (TAN) reported. The Mardin Biennial’s organizers announced the cancellation in a statement posted on their website in Turkish, adding, in a passage translated by TAN: “We are not afraid. On the contrary, we are hopeful that [the Syrian town of] Kobani’s voice will indeed be heard.” Launched in 2010 and set in the southeastern city of Mardin, the biennal, this year themed “Mythologies,” was set to host the international artists Stuart Brisley, Iman Issa, Ursula Mayer, and Pedro Torres, among others.
The advance last week of the Islamic State militia on the border town of Kobani, Syria, has alarmed Turkish and Kurdish officials, as American-led airstrikes failed to mitigate the assault. “We still have thousands of civilians inside Kobani who might be massacred if ISIS takes the city,” a Kurdish official told the New York Times last week, while related Kurdish protests took place inside Turkey, the latest turn in longstanding tensions between the country’s government and its largest ethnic minority. Secretary of State John Kerry has insisted that the town is not of vital importance to the US mission against IS. “As horrific as it is to watch in real time what is happening in Kobani … you have to step back and understand the strategic objective,” Kerry said during a Washington news conference, according to the Times. Over 186,000 Syrians have fled to Turkey in recent weeks, the paper reported on October 8.
The Mardin Biennial was scheduled to open on October 17 and run for a month.
Legal Precedents or Reparations? Lawsuit Against Harvard May Decide Who Owns Images of Enslaved People
Tamara Lanier’s battle for the ownership of her ancestors’ images is forcing the law to contend with the the institution of chattel slavery in interpreting intellectual property parameters.
Over the last few years, Hyperallergic has reported on the continuing quest of Tamara Lanier to retrieve daguerreotypes of her ancestors Renty and Delia Taylor. In March 2019, Lanier filed a lawsuit in Massachusetts to obtain rights to photographs in the collection of Harvard University’s Peabody Museum of Archeology and Ethnology, which were commissioned by…
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Every utopia is a social experiment, the artist suggests in this commission for the Performa performance art biennial, and we’re ultimately the guinea pigs.
“You can’t live in a house that’s built upon your back.” This is one of the more memorable phrases spoken by the scripted lovers of Tschabalala Self’s Sounding Board, what Performa describes in its promotional materials as an “experimental play.” That phrase, uttered by one romantic partner to the other, operates as guidance, warning, dictate,…
A commitment to trans subjects, and their queer communities, is manifested as a holding environment made approachable by our concern, grounded in intimacy and legacy, enfolding any viewer who will stop, listen, and receive love.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
As a free, powerful, and unpredictable woman, the witch has long been a crucible for mainstream society’s darkest fears.
The artists released the risograph-printed booklet series Organizing Power to assist in the arduous process of assembling a bargaining unit and negotiating.