INIVAInstitute of International Visual Arts (UK)
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The Stuart Hall Project is a reminder of the generative energy of that collaboration, as is, in an institutional setting, the work of inIVA. In the more professionalised world that we inhabit today Cultural Studies seems primarily a scholarly activity: in going 'all scholarly' it has lost some of its solidarity with artists and writers keen to fashion a popular culture worth giving a damn about.
The four Emirati films included in the Iniva programme include director Khalid Al Mahmood's Sabeel, which scooped first prize at the fourth Gulf Film Festival, and runner up in DIFF's inaugural Muhr Emirati Awards; Hamad Al Hammadi's End of December, winner of the third prize in GFF's Student Competition; Slow Death by Jamal Salim, which received a special mention in GFF's fourth edition; and Nayla Al Khaja's Malal (Bored), winner of the Muhr Emirati Awards at DIFF 2010.
The Iniva 'Take 1/Take 2: Yesterday and Today in the Middle East' programme will also include a panel discussion led by Kay Dickinson, a lecturer at the University of London and the editor of The Arab Avant Garde, and curator Catherine David, former artistic director for documenta x in Kassel, Germany.
A spokeswoman for the Open Eye Gallery, Wood Street, Liverpool city centre, where the exhibition will be displayed in July, said: ``It's really up to InIVA if those particular pictures are used, but we think they are very interesting images.''
InIVA defended the images as ``witty and satirical'' and accused Walsall Council of infringing the artists' freedom of speech.
The work needs more space than it was possible to give him in Cardiff and so now we are fulfilling our joint ambition to install it in London - at Rivington Place as part of Iniva's (Institute of International Visual Arts) programme.
"It was a really confusing moment," laughs the 40-year-old, whose London shows were held at the Victoria Miro Gallery and Iniva. "I didn't expect to win - there were such fantastic artists.
The immense, fourteen-screen video installation occupied Iniva's largest gallery, with eleven flat screens in three sizes congregating on the back wall of the darkened space and three screens placed on the side walls.
Yet that was pre-'90s London, in which there was no Tate Modern, no White Cube gallery, no Iniva, no Frieze Art Fair--the YBAs were practically still smoking in the bathrooms at Goldsmiths College--whereas nowadays no fewer than 180 galleries operate in the Whitcchapel's vicinity.
Not unlike several exhibitions from that moment which took up related thematics, such as "Black Male: Representations of Masculinity in Contemporary American Art" in New York in 1994, at the Whitney, and "Mirage: Enigmas of Race, Difference, and Desire" at the Institute of Contemporary Arts and Iniva in London in 1995, "Black Is, Black Ain't" takes the ambivalent play of the sign as central to the visual articulation of race, perhaps the most intransigent of social constructions.
Nonprofits and public institutions are growing, too: Witness the new David Adjaye-designed five-floor Institute for International Visual Arts (Iniva) near Old Street and Tate Modern's ongoing plans for a pharaonic expansion, once again designed by Herzog & de Meuron, set to open with London's Olympics in 2012.