• Bagdad mon amour, exhibition documents - ISHKAR
  • Bagdad mon amour, exhibition documents - ISHKAR
  • Bagdad mon amour, exhibition documents - ISHKAR
  • Bagdad mon amour, exhibition documents - ISHKAR
  • Bagdad mon amour, exhibition documents - ISHKAR
  • Bagdad mon amour, exhibition documents - ISHKAR
  • Bagdad mon amour, exhibition documents - ISHKAR

Bagdad mon amour, exhibition documents

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The « documents for an exhibition » displayed in Bagdad mon amour, explore modern and contemporary Iraqi art, after the devastating lootings of museums and archaeological sites with the burst of the Second Gulf War in 2003. A post-traumatic inquiry seeking to rethink historical collections and archives through the museum without walls to which artists often hold to – as well as through Interpol or the archaeologist’s databases. By seizing tools such as the inventory, the study of monuments and documents, these artists come out with works marked by anxiety but still ready to sing on the ruins: works carrying both the ghost museum and the makeshift museum of Iraq.

This book was published alongside the exhibition Bagdad mon amour at Institut des Cultures d’Islam, Paris (23 March-29 August 2018), presenting the artists Sherko Abbas, Latif Al Ani, Resmi Al Kafaji, Ali Assaf, Salam Atta Sabri, Julien Audebert, Dia Azzawi, Joanne Farchakh-Bajjaly, Himat, Hanaa Malallah, Mehdi Moutashar, Mosul Eye Bureau, Michael Rakowitz, Jewad Selim, Lorna Selim, Walid Siti, Sharif Waked, Ala Younis.

Information
  • Edited by Morad Montazami
  • Texts by Caecilia Pieri and Ahmed Naji
  • Graphic design : Tom&Delhia
  • Bilingual edition: French/English
  • Softcover, 16.50 x 23.00 cm, 208 pages
  • Published May 2018, with Institut des Cultures d’Islam
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Zaman Books

With a variety of formats, monograph, thematic or collective books, Zamân Books publications (historically born out of a generation of marxists and postcolonial intellectuals) cultivate a spirit of activist/archivist.

Committed to the general fieldwork study of Arab, African and Asian modernities, our books seek to constitute authentic data and theoretical tools; at the service of an emancipated history of visual arts, their geographical and conceptual journeys. Eventually to play the role of an interface between different spheres of knowledge and art theory: academic knowledge, artistic knowledge, vernacular knowledge, digital knowledge…

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