मैगज़्टर गोल्ड के साथ असीमित हो जाओ

मैगज़्टर गोल्ड के साथ असीमित हो जाओ

9,500 से अधिक पत्रिकाओं, समाचार पत्रों और प्रीमियम कहानियों तक असीमित पहुंच प्राप्त करें सिर्फ

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कोशिश गोल्ड - मुक्त

Nidhal Chamekh

Issue 243 - May 2024

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Frieze

Taking its title from philosopher Édouard Glissant’s question, ‘What If Carthage Hadn’t Been Destroyed?’ – posed in his book of collected poems Le Sel Noir (The Black Salt, 1957) – Nidhal Chamekh’s latest exhibition, ‘Et si Carthage’, is inspired by the ancient city whose ruins are a ten-minute drive from Selma Feriani’s new gallery space in downtown Tunis.

- Chloe Stead

Nidhal Chamekh

Selma Feriani Gallery, Tunis, Tunisia

Once the centre of the mighty Carthaginian Empire, the city was burned to the ground by Roman troops in 146 BCE, thus signalling the end of the Punic Wars and the demise of Rome’s primary adversary. By speculating on what might have happened if Carthage hadn’t been razed, Glissant offers a thought experiment in which the Punic people acted as a counterpoint to an empire that would go on to form the basis of Western civilization.

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In 2017, the French street artist JR staged a giant installation at the US-Mexico border wall, with guests enjoying a meal on either side.

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In the age of AI deep fakes and disinformation, dissecting the context and influence of image production is more important than ever.

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In ‘BEING SAFE IS SCARY’, Turkish artist Banu Cennetoğlu reflects upon the adversities of the migrant experience, hinting at the extraordinary powers that governments can wield in the guise of protection.

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Against the background of an endless vibra-tion, birds chirp as trains rumble by.

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‘How many feminists do you need to change an electric bulb?’ asked Indian writer and activist Kamla Bhasin and author and illustrator Bindia Thapar in their book Laughing Matters (2004).

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Profile: From drone strikes to wind turbines, the artist's latest works examine the weaponization of noise and the politics of listening

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During my visit to Ilê Sartuzi’s current exhibition, ‘Trick’, at Museu de Arte Contemporânea in São Paulo, an alarm went off, blaring for what felt like an eternity.

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