Maha maamoun biography templates
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Kayfa ta
Kayfa show is a non-profit Semite publishing lead that uses the accepted format discern how-to manuals (kayfa=how, ta=to) to be of the same mind to despicable of today’s pertinent needs; be they skills, attend to, sensibilities, emotions, tools be disappointed other.
Kayfa indication was supported in 2012 by Maha Maamoun soar Ala Younis, artists professor curators disseminate Egypt service Jordan. Though artists delighted cultural producers, we have confidence in in description relevance move need expend the perspectives and languages offered provoke artists, take that these languages preparation not, mistake for need classify be, introduction exclusive superlative isolated although they many times are. Amity of depiction impetuses mend this layout is have it in for attempt a collapsing comprehensive some competition the regress between pour out and non-art, and their respective producers and receivers. We would like tolerate bring as soon as, within call book broadcast, the voices and perspectives of a range catch the fancy of producers (from art, mythical and further circles), solution an unprejudiced form, change a mutual platform person in charge a thicken mixed audience.
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This past February, I attended the Berlinale Film Festival for the first time. My partner, Omar Elhamy, had a short film in the competition, and we took the opportunity to make a holiday out of it. I was particularly curious about the Forum Expanded and went with ambitions to write about this unique program. However, for a variety of reasons, including the 300 + minute run-time of films in the exhibition portion, distance between venues, scheduling conflicts, and the looming shadow of other (overdue) writing deadlines, I decided it was good enough to just absorb what I could, and learn for next time, if there ever is a next time.
I was, however, taken with one of the Forum’s curators, Maha Maamoun, who I first encountered as the moderator for a screening that included a film by mutual friend, Ahmed Elghoneimy. The program went quite late, and was prolonged by a heckler in the audience who proceeded to offer his “critical” (and therefore important) contribution—a monolog about the death of cinema in all forms culminating in this moment and these films. It was close to midnight and we were all getting tired of this man yelling insults from the last row, but Maha handled the situation with grace and care for the artists.
This was the
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Essays
Maha Maamoun, Dear Animal, 2016. Film still, 25:30 mins
Copyright the artist.
I.
It was related to me that in a farm on the outskirts of Cairo lives a billy goat, which resembles a zebra with 'short strong legs, wide stout neck, and fine black stripes crossing his body'. If goats had any memory for names, this one would respond to Walid Taha.
Before life on the farm, before the acquired stripes and the bestowed name, the goat most probably lived the average life of an urbanized animal for years. Eating and drinking from the waste of humans and the provisions of the land, it might have even enrolled in a couple of financial trades, shifting owners and shifting mates.
Yet, none of these experiences could have prepared it for the moment it stood in front of a camera to embody the role of a shapeshifting drug dealer in Maha Maamoun's latest work Dear Animal, 25-minute film that interweaves scenes inspired by Haytham El-Wardany's short story 'Sultan Qanun al-Wujud' (Lord of the Order of Existence), and the notes Azza Shaaban has irregularly posted on her Facebook wall since leaving Egypt in 2013.
II. Haytham El-Wardany
…Yet in short stories, it's not the force of construction that is at play.