Residency Program: Ashkal Alwan Home Workspace Program 2016-17, Beirut
HWP 2016-17 | October 10th, 2016 - July 8th, 2017
Head Above Water
Workshops taught by Visiting Professors Lawrence Abu Hamdan, Cevdet Erek, Maha Maamoun, Lina Majdalanie and Metahaven
With Seminar modules: Listening, seeing, writing, moving | Histories of the artist | Technologies, life and the future | Financialization
Head Above Water
Workshops taught by Visiting Professors Lawrence Abu Hamdan, Cevdet Erek, Maha Maamoun, Lina Majdalanie and Metahaven
With Seminar modules: Listening, seeing, writing, moving | Histories of the artist | Technologies, life and the future | Financialization
Image: Joe Namy, untitled (AMOLED exposure series), 2014
Head Above Water, the 6th edition of the Home Workspace Program (2016-17), is organised around a series of weekly seminars offered by a number of Guest Professors, five workshops led by Visiting Professors Cevdet Erek, Lina Majdalanie, Lawrence Abu Hamdan, Maha Maamoun and Metahaven, three Group Critiques, and end of year Open Studios. The year begins with a Preface led by Ali Cherri.
Joe Namy is the year’s Resident Advisor (RA). The RA is a mentor and tutor to the HWP fellows, and coordinator of the Group Critique sessions and the Open Studios.
The course of seminars runs weekly throughout the 10-month period and is organized along four interconnected nodes that deal with, among other things, text, image, sound, movement and interdisciplinarity in Seeing, listening, writing, moving; the geopolitics and genealogies of the category of the artist in Histories of the artist; the histories of our relationships to, and the conditions and effects of life and the future under ‘technologies’ in an expanded sense, are elaborated in Technologies, life and the future; and Financialization introduces primary terms, and examines the formations of capital and its manifold instruments, which channel the distribution of energies, materials and power.
Joe Namy is a composer and media artist. His work often addresses identity, memory, power, and currents encoded in organized sound/music, such as the politics and gender dynamics of bass, the color and tones of militarization, or the migration and asylum patterns of musical instruments. His work has been exhibited, screened, and amplified at the Asia Culture Center in Gwangju, the Berlinale, the Brooklyn Museum, the Beirut Art Center, the Detroit Science Center, and less prominent international dance floors. Some of his projects fall under the sound art platform titled Electric Kahraba, an experimental radio program that operates out of clocktower.org.
http://ashkalalwan.org/programs_tax/hwp-program/
Supported by SAHA
http://www.saha.org.tr/en