Programmed by Laura U. Marks
Particle bursts, mystical abstraction, and an intelligent suspicion of figurative images—qualities of some of the most thrilling media art works have deep origins in the great arts of Islam. Film, video, and digital works from the 1960s to the present celebrate, knowingly or not, their Islamic origins. Mounir Fatmi and Peggy Ahwesh propose a sober aniconism in response to a contemporary image-world of pornography and murder. In works by Takeshi Murata and Cory Arcangel a giddy iconoclasm takes over. Doug Richardson’s analog vector experiments, Young-Hae Chang Heavy Industries’ insistent jazzy textualism, and Usama Alshaibi’s shimmying geometries celebrate the liberation from image making. The pixelline universe twinkles in the works of Walid Ra’ad, Paul Sharits, and Gheith Al-Amine, and finally Eric Siegel’s analog abstractions take us into the blissful beyond of the image.
Presented in conjunction with the launch of Laura U. Marks’ book Enfoldment and Infinity: An Islamic Genealogy of New Media Art, on Tuesday September 21 from 5-7 p.m. at the Djavad Mowafaghian World Art Centre, SFU Woodward’s, 149 W. Hastings St.
Image from: Allahu Akbar, Usama Alshaibi (5:10, 2003, DV, USA)