"I have never been to the place where I am from, but I can imagine it for us, Baba, for you and me." This opening line of Mai Serhan's I…
In Cosmovision, Lara Baladi breaks down photography’s cadre into a discursive unfurling of her becoming from 1996 to 2011, autobiographically performing the logic of the white cube. Shown at Tintera,…
Shafik’s life resists simple categorization
Hana Elhaddad considers the effectiveness of the retrospective's curatorial framing
For its third and largest edition, the self-proclaimed fastest-growing design week in the region set out to transform Cairo into an “open-air design playground.” Its ambition took physical form: oversized…
Multidisciplinary artist Ash Moniz has turned art-making into aid relief for Gaza
The coincidental nature behind the establishment of the Grand Egyptian Museum
The museum will not be open to visitors until after the three-day celebration
Conservationists express skepticism about Enany given the new UNESCO head's checkered past
Quiet Dwellings was first and foremost an invitation to meditate on death and dreaming
Reorientations of how to occupy space and mess with time and make magic are always needed as an anti
Xenia Nikolskaya’s latest photobook Plastic Jesus presents a selection of photographs of Coptic merchandise and architectural interiors from her trips across Egypt between 2003 and 2010. The hardcover book, designed…
Moving through the installations of the 16th Sharjah Biennial
Mai’s writing doesn’t seek to provoke. It seeks to reveal
Sarah Rifky’s reflections on Cairo Photo Week strike a nerve
The prevailing impression across most venues is that this is an exhibition in reverse
[wonderplugin_video iframe="https://youtu.be/cZfF9I9xInw" lightbox=0 lightboxsize=1 lightboxwidth=960 lightboxheight=540 autoopen=0 autoopendelay=0 autoclose=0 lightboxtitle="" lightboxgroup="" lightboxshownavigation=0 showimage="" lightboxoptions="" videowidth=600 videoheight=400 keepaspectratio=1 autoplay=0 loop=0 videocss="position:relative;display:block;background-color:#000;overflow:hidden;max-width:100%;margin:0 auto;" playbutton="https://www.madamasr.com/wp-content/plugins/wonderplugin-video-embed/engine/playvideo-64-64-0.png"] When three friends accessed the lost archive…
Rifky considers the complex dynamics of ownership and provenance in Egypt’s contemporary art scene.
Mario. The Exhibitionist — the art journal, not a naked person flashing — once asked me to contribute an essay to their “Curator’s Favorites” series. I decided to write about…
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