Since the World Heritage List was first started in 1978, there has been a persistent link between inclusion on the list and forced relocation of residents, who are typically poor or marginalized.
Rachid Koraichi’s Jardin d’Afrique (Garden of Africa) will serve as a burial site and memorial for migrants who have died in the Mediterranean Sea. Although it is scheduled to open next spring, the cemetery already buried 56 bodies of drowned migrants.
On Wednesday gunmen stormed the Bardo Museum in Tunis, a popular tourist destination located next to Tunisian parliament, killing more than a dozen tourists and taking others hostage inside the museum.
In response to the increasing prosecution of rappers in Tunisia as part of a broader crackdown on free expression by the country’s Islamist government, rappers in the country have formed a union.
It has been sixty years since the last Tunisian artist, Abdelaziz Gorgi, was formally shown in New York, but that’s the first of two claims to history made by The After Revolution, a series of exhibitions showcasing Tunisian artists at White Box on the Lower East Side — the focus of this review — as well as 5Pointz in Long Island City and the French Institute Alliance Française (FIAF) Gallery on the Upper East Side. The exhibition’s second and more obvious claim to history is as a comprehensive engagement with the question of revolution as it stands in Tunisia two years after Mohamed Bouazizi immolated himself and brought down a tyrant.
TUNIS — “Rien n’a changé” (“Nothing has changed”). This was the response of many I met in Tunisia last summer when I asked them how they felt about the Tunisian revolution. Rising unemployment and persistent security concerns were the main worries many cited, along with increasing threats to freedom of speech for journalists and artists (the most recent report by the Tunis Center for Press Freedom detailing such threats is here and an article describing freedom of speech restrictions in Tunisia in 2013 here).