Across Histories: Artist Talk Series

Curated by Lauren Pearson, Across Histories is a free monthly series centered on developing an ongoing critical discussion of artistic practices in the Middle East, North Africa, South Asia and their diasporas. Debuted at the Elizabeth Foundation Gallery in Manhattan in September 2008 and now housed at Brooklyn's Cabinet Magazine Space, Across Histories provides a compelling platform for artists, designers, curators and art critics to present and discuss their work, oeuvres, historical moments, theories, writings and exhibitions that have had the most impact on their professional practices. Past speakers include Shirin Neshat, Rania Matar, Murtaza Vali, Emily Jacir, Wafaa Bilal, Michael Rakowitz, Leeza Ahmady, Annabel Dou, Hakan Topal and others.




Upcoming on the Accross Histories Talk Series:

Only the Criminal Can Solve the Crime

by Eyal Weizman

followed by a Q&A with Thomas Keenan

Friday, Feb. 12 at 6:30 p.m.
Anna-Maria and Stephen Kellen Auditorium, Sheila C. Johnson Design Center
Parsons The New School for Design
66 5th Avenue at 13th Street


In this talk, Eyal Weizman will present Only the Criminal Can Solve the Crime, case three of a trilogy concerned with the political and theological question of the lesser evil. (Case one, Ardent in Ethiopia, and case two, The Best of All Possible Walls, will be on display in advance of the lecture.)

The problem of the lesser evil is famously concerned with a necessity for a choice of action in situations where the available options are or seem to be limited. The condition by which this choice is articulated affirms an economic model embedded at the heart of ethics – according to which various form of misfortune can be calculated (as if they were algorithms or mathematical minimum problems), evaluated an acted upon. The problem has its origin in the classical philosophy of ethics and in early Christian theology, and still casts a long shadow on the politics of the present. The question of the lesser evil has recently been invoked in the state's effort to govern the economics of violence in the context of the 'war on terror', and in private organizations' attempts to maneuver through the paradoxes and complicities of oppositionary action and humanitarian aid.

This project seeks to investigate the politics of the lesser evil through probes into three intense controversies involving conflicts of space. Only the Criminal Can Solve the Crime delves into the interfaces between conflict, the urban and the laws of war. As the rubble of 20,000 destroyed and damaged buildings is still scattered through the streets and camps of Gaza, the battle of forensics has began: who can speak in the name of this rubble? And what new reality can emerge in its stead? Has the chaos, death and destruction been actually instigated with the terrible force of the law?

To view cases 1 and 2, which will be on display prior to the lecture, please click here.

Eyal Weizman is an architect based in London, where he is the director of the Centre for Research Architecture at Goldsmiths College, University of London. His books include The Lesser Evil (Nottetempo, 2009), Hollow Land (Verso, 2007) and A Civilian Occupation (Verso, 2003).

Thomas Keenan is the director of Human Right Project and Associate Professor of Comparative Literature at Bard College. He is the author of Fables of Responsibility (1997).

Tracking Transience: The Orwell Project

Hasan Elahi

January 2010

Due to an erroneous tip-call into law enforcement authorities in 2002, artist Hasan Elahi was subjected to an intensive post 9-11 investigation by the FBI. After undergoing six months of interrogations and ultimately nine consecutive lie-detector tests, he was cleared of suspicions. After this harrowing experience, Elahi conceived "Tracking Transience" (http://trackingtransience.net), a self-tracking system that constantly and publicly presents his exact location, activities and other personal data. Both a self-surveillance and a critique of contemporary investigative techniques, the project also provides an ongoing "alibi" for Elahi, should he need one. More


Ordinary Lives

Discussion and Book Signing by Rania Matar

December 2010

Photographer Rania Matar's work focuses on the Middle East, in particular women and children in Lebanon,  a country said to be "the gate to the Middle East, between the West and the Arab world." In her first book, Ordinary Lives, Matar who grew up in  Lebanon and the United States — an outsider and an insider in both worlds — collects a large body of work pertaining to war, the spread of the veil, Palestinian refugee camps and Christian life in the Middle East. 

More


CAMP’s Wharfage Project: Recasting the Indian Ocean as a Space of Contact and Exchange

Murtaza Vali

November 2010

Recent post-colonial scholarship has challenged traditional interpretations of oceans as spaces of separation, articulating, instead, the specific types of encounters and exchange they enable and the syncretic identities, cultures and nationalisms that result from such interactions. Drawing on these theories, Murtaza Vali will discuss Mumbai-based CAMP’s Wharfage (2009), a public art project presented at the recent 9th Sharjah Biennial that examined current trade—conducted exclusively by wooden dhows — between Sharjah’s old port and contemporary Somalia. Successfully foregrounding the millennia old nautical ties linking the Gulf, South Asia and East Africa, Wharfage recasts the Indian Ocean as a space of connection, communication and exchange and posits cross-cultural interaction across it as integral to the culture of Sharjah in particular, and more broadly, the Gulf. By doing so it subverts the “nationalist focus” and “ethnic absolutism” that characterizes discourses of history and culture in the U.A.E., where a pure “Emirati” identity is promoted and safeguarded above all. More


My Mobile Weighs A Ton: On Projects & Military/State Censors

Naeem Mohaiemen

October 2010

Naeem Mohaiemen is a writer and artist working in Dhaka and New York City. He uses text, photo, video and archives to explore histories of the international left, utopia/dystopia slippage, post-partition South Asia, and globally interlinked security panic. Projects include My Mobile Weighs A Ton (militarization); Otondro Prohori, Guarding Who (surveillance); Penn Station Kills Me (monuments); Kazi in Nomansland (amnesia); and Red Ant Motherchod Meet Starfish Nation (military coup). More