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[168] Wael Shawky Cabaret Crusades Shawky's characteristic drawings, installation and sculptural works, using asphalt and galvanized wire since 1998, coincide with his early experiments with performance and video. His work often deals with the dichotomies and contradictions of social norms, primarily relating to culture and religion. Possessing an acute sense of the absurd, he raises questions about what is generally perceived as "normal" and "acceptable". Within this context, Wael has explored a variety of specific themes that are often rooted in regional issues yet have profound international relevance - themes such as modernisation, cultural hybridisation, and marginalisation. The installation of 9 flags and 13 drawings from the Cabaret Crusades project, tells the story of the First Crusade of 1096–1099 from the perspectives of Arab historians. These look like abstract paintings and refer to Crusader heraldry, and are made of geometric pieces of dark, sparkling tarmac, sandpaper and galvanized wire that hover between painting and sculpture. Also on view are a suite of fantastical drawings in ink, pencil and metallic pigments that illustrate fairytale-like interactions between imaginary beasts, landscapes, architecture, and the natural elements. Shawky opens up the texture of history and confronts this faraway time in vivid focus and tactile intensity. Wael Shawky, Cabaret Crusades flags, asphalt, tarmac, liquid tar, enamel, galvanized wire, 40 x 50 cm, 2010. Courtesy the artist. [169]
Wael Shawky, Cabaret Crusades flags, asphalt, tarmac, liquid tar, enamel, galvanized wire, 40 x 50 cm, 2010. Courtesy the artist. [170] Wael Shawky, Cabaret Crusades drawing, ink, graphite, pigments, oil on paper, 21 x 32 cm, 2010. Courtesy the artist. [171]
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PAVILION journal for politics and c
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In memoriam Ioana Nemeș (1979 - 20
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Biennale focuses on such practices
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Around [10] Fordism. Post-Fordism a
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tion, i.e. and elitization of cultu
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Politics as Art of the Impossible:
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the Tea Party over the next few yea
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Because it is a patent impossibilit
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front of our eyes, ready to be embr
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The Internalisation of the Discours
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Contemporary Art Centers and their
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TACTiCs for The here And now Eikono
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Radicalizing this Marxian analysis,
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for Adorno art is critical insofar
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Art in the Knowledge-based Polis [5
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Though this emphatic plea for “re
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seminar-cum-workshop-cum-symposium-
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