Middle East
Using film and embroidery to tell new stories.
Using film and embroidery to tell new stories.
Her concerts, broadcast the first Thursday of each month at 9:30 PM Cairo time, brought life to a stop throughout the Arab world.
A film investigating memory and history, premiering exclusively on BOMB, with a brief interview by Alex Zafiris.
Two current installations share their stories and vulnerability.
“A photograph is always a record of a relationship.” —Susan Meiselas
Deepak Unnikrishnan’s Temporary People and the fantastical realities of life in the Persian Gulf
From Unnamed Road, 2010–15, a series of photographs taken in Israel and Palestine.
“If you can’t go to church, and the only way you can pray, or connect to your god, is through another process, then that becomes the thing you do.”
When I arrived in London this past September to meet Adam Broomberg and Oliver Chanarin at their studio, the first thing we discussed was the power play between interviewer and interviewee.
Discovering a cinema of civil war.
Dabis wrote her film Amreeka, in theaters now, in response to her family’s Arab-American experience. An immigrant’s tale, the search for a better future in the Promised Land is full of seismic changes.
For the new series, Neshat turned to the revolution in Egypt, to which she became an inadvertent witness while working on a film about the empyrean Egyptian Umm Kulthum.
Selections from In Search of the Truth: The Truth Booth by artists and members of Cause Collective: Hank Willis Thomas, Jim Ricks and Ryan Alexiev.
It was Eyal Weizman’s collaboration with fellow architects and geopolitical theorists Sandi Hilal and Alessandro Petti that first caught my attention years ago and incited my enduring admiration.
Winner of the 2011 BOMB Fiction Prize,
Judged by Rivka Galchen
In 1982, BOMB Magazine published images of my ocean-basin mapping along with a letter sent on July 7, 1981 to the director of the Iraqi Mission to the United Nations.
In this discussion, Nathalie Handal tells Ram Devineni of her experiences in Afghanistan as well as explaining where her fascination with the written word originally came from.
Samuel Maoz made Lebanon to make sense of his own experiences as a soldier in the Lebanese war of the 1980s. Montana Wojczuk assesses the film and addresses the gestation period for clear narratives that deal with traumatic events in history.
