Can artistic strategies of re-appropriation and remediation perform a de-orientalization of an imperialist image? Margherita Foresti writes about Heba Y. Amin’s rendering of a 19th-century photograph of an Egyptian harem in tapestry.
Ammar al-Beik’s film The Sun’s Incubator offers a destabilizing, non-linear view of the Arab revolutions from a domestic setting. Margherita Foresti analyses the film’s complex temporality, manifested mainly through the motif of the TV screen.
“In Esperia, a portrait of a forgotten artist and a former secret service agent is interlaced with a personal narrative depicting the filmmaker’s relationship with her fading grandfather.” Hakim Bishara reviews Haidi Motola’s new film revealing her grandfather Jacques Motola’s double identity as an Israeli painter and secret service agent in Egypt.