Support Hyperallergic’s independent arts journalism.
After initially preventing him from traveling to the UK, the British government has granted Syrian-born, Sharjah-based artist Thaier Helal’s second visa application, allowing him to attend the opening of his first solo show in London.
“We had reapplied for Thaier’s UK visa and now it’s been approved,” Minna J. Apostolovic, head of public relations at Ayyam Gallery, told Hyperallergic. “We’re trying to get him on the next available flight to London.”
Helal is attempting to travel to the UK in time for the January 22 opening of his exhibition Landmarks at Ayyam Gallery’s space on New Bond Street, even though the Home Office — the ministry that oversees security and immigration — turned down his first visa application. The artist had provided all the requisite documents including bank statements, a letter from the University Of Sharjah (where he lectures), and recommendations, but immigration officials reviewing his first application said they were “not satisfied he [was] genuinely seeking entry to the United Kingdom as a business visitor. In addition [they were] not satisfied that [he] intend to leave the United Kingdom at the end of [his] visit,” according to the Independent.
“I just don’t understand why I have been refused entry to the UK, I am just an artist who wants to be at the opening of my first solo exhibition in Britain. It means so much to me — it is really a career achievement,” Helal told the Independent. “I truly believe that the only reason preventing me from being allowed into the UK is my Syrian passport, it was my belief that Britain was an open society which embraced creative freedom and the promotion of cultural exchange.”
Ayyam Gallery, which was founded in Damascus and also has exhibition spaces in Dubai, Beirut, and Jeddah, is unfortunately accustomed to having to deal with immigration officials’ inscrutable decisions. Last year Israeli authorities prevented one of the gallery’s artists, Khaled Jarrar, from traveling to New York City for openings of exhibitions in which he was featured at the New Museum and the Whitebox Art Center.
Artists with non-EU passports attempting to travel to the UK and North America have long faced similar difficulties. In 2013, the Algerian artist Sofiane Belaskri was denied a four-day visa to visit the UK for the opening of an exhibition and ensuing workshops at the Free World Centre in London. Last year, the Canadian government denied the Afghan artist Hanifa Alizada a visa to attend a photography symposium in Ottawa.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
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.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…