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created a collection of footage that included videos shot by activists directly involved in the revolution. She was very broad in her collecting, even showing "solidarity protests" from London. Being able to view and experience images and video taken by citizens in Egypt was an abrupt break with
Mubarak's regime, where photography was prohibited in many areas of Egypt. Baladi writes, "people in the square took photos because they felt the social responsibility to do so...The camera became a nonviolent weapon aimed directly at the state, denouncing it."
158:, which depicts leaders of Arab countries. She considers it part of a series she calls "anthropological photography," where she assembles series of photographs that tell a larger story. In this piece, Baladi draws from influences from both Western and Islamic traditions, creating "fantastical, playful surveys of history, culture and personal reflection."
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is a multimedia documentary that consists of an archive of articles, images and videos that Baladi had been gathering since
January 25, 2011. Preserving the ephemera and the images of the revolution in Tahrir is important to Baladi. She writes that "most of the images of the 18 days vanishing into a
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Tahrir Cinema went live on July 14, 2011. The public experienced Tahrir Cinema as film shown on a screen constructed of wood and plastic in the main thoroughfare of the square. Surrounding the screen were rugs for people to sit on and areas for a larger standing crowd to view the footage. Lara Baladi
83:. Baladi exhibits and publishes worldwide. Her body of work encompasses photography, video, visual montages/collages, installations, architectural constructions, tapestries, sculptures and even perfume. Much of her work reflects her "concerns with Egypt's extremely alarming sociopolitical context."
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in
Washington and described as a "human-scale kaleidoscope", that "incorporated images from pop culture, then shattered them in constantly changing geometries", and in which "the participant becomes immersed in a psychedelic environment where rapidly yet systematically changing imagery engulfs the
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in Cairo in 2003. The work consists of "a large eight-pointed star constructed of steel--approximately 23 feet in diameter--and a series of light boxes containing saturated colored images produced from x-ray photographs of a pregnant doll giving birth". The art suggests a cyclical nature where the
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Tahrir Cinema was co-founded with
Mosireen, an Egyptian non-profit media initiative. The project served as a public platform to build and share a video archive on and for the revolution. The impetus to create Tahrir Cinema came from the chaos surrounding the second sit-in in Tahrir: "People were
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screaming and shouting on stages into microphones," she says, "there was so much diffused information floating around, but no focus." Her training as a visual artist helped her organize, show and share documents relating to the revolution using these platforms.
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bottomless pit thanks to Google's PageRank algorithm, will the vision of a possible new world people glimpsed in Square die along with its digital traces?" This expression of the fleeting nature of the digital world informs her current work.
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Radio Tahrir came about when Baladi and her friends, along with other like-minded people, started importing the equipment needed to start a pirate radio station. Radio Tahrir was the first free online radio in Egypt.
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era and addressed the state's ignorance of ," which Baladi saw as a problem which she likened to a "ticking bomb about to explode." She commissioned the Kiev Kamera
Orchestra to perform the Donkey Symphony,
151:(Mother of the World), a vast mosaic of photographs with highly saturated colors. This piece, while playful and with many references to pop culture, is also an exploration of the Biblical story of creation.
223:(Tower of Hope), an ephemeral construction and sound installation, won the Grand Nile Award at the 2008/2009 Cairo Biennale. The inspiration for the tower comes from the slums surrounding Cairo known as
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was constructed of similar materials to the ashwa'iyat and allowed the audience to experience music under the oper sky. The entire installation is a challenge to "the censorship of the
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images of the doll endlessly grow up and then giving birth over and over. The star shape was inspired by the chandeliers which hang in the mosque of
Mohammed Ali in the
262:, Baladi co-founded two media initiatives: Radio Tahrir and Tahrir Cinema. Both projects were inspired and informed by the eighteen days that toppled Egyptian leader,
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Baladi received a
Fellowship from the Massachusetts Institute of Technology's (MIT) Open Documentary Lab for 2014 and 2015 in order to research, archive and create a
164:(The World in a Box), is a huge composition of hundreds of scanned photographs. The name of the piece references traditional street theater for children in Cairo.
328:
2004-6 Kai’ro
Lansmuseet, Vasternorrland, Harnosand, Sweden, 2005-6 Nikolai, Copenhagen Contemporary Art Centre, Denmark, 2005 Pori Museum, Pori, Finland, 2005
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131:, Pakistan in 2010. The breadth and variety of Baladi’s international experience influences her use of iconography drawn from numerous cultures.
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2006 Towards the Light, 20 screen projections along one kilometer of the seashore on opening night of Image of the Middle
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in Dubai has been considered both "playful" and inviting the viewer "into a world of contemplation and reflection".
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photographer, archivist and multimedia artist. She was educated in Paris and London and currently lives in
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Reviewers called it "a giant tapestry version of a photo collage packed with images of action heroines".
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was presented in 2006 at the
Townhouse Gallery in Cairo, in 2007 at the Sharjah Biennal and in 2009 at
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in 2006 and participated in workshops and conferences around the world. Baladi is represented by the
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Feldman, Hannah; Zaatari, Akram (2007). "Mining War: Fragments from a
Conversation Already Passed".
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An enormous installation titled "Al Fanous el Sehryn" (the Magic Lantern) was shown at the
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in Tokyo. Among other global locations, she participated in the VASL residency program in
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868:"Artist Lara Baladi to Speak about her Participation in 2011 Egyptian Uprisings"
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2002 Al Fanous Al Sehry, Townhouse Gallery of Contemporary Art, Cairo, Egypt
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540:: Dorothy Schoene, 29 January 2013 at ibraaz.org; retrieved 6 October 2017
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Keating, Michael (May–June 2009). ""Arabesque": art at the crossroads".
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2010 Diary of the Future, Gallery Isabelle Van Den Eynde, Dubai, UAE
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2011 Hope, NY Abu Dhabi University Gallery, New York City, NY, USA
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Roba Vecchia, Townhouse Gallery of Contemporary Art, Cairo, Egypt
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2015 Perspectives, Arthur M. Sackler Gallery, Washington, DC, USA
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Hack, Susan (February 2011). "Hidden Pleasures Of The Nile".
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1044:"When Seeing Is Belonging: The Photography of Tahrir Square"
574:"Fresh Eyes Find Timeless Magic Within the Desert's Sand"
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East Festival, Copenhagen International Theatre, Denmark
1013:"Tahrir Cinema displays revolutionary power of archives"
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Thompson, Seth (September 2008). "Cairo's Avant-garde".
451:"Art in a Revolution: A Conversation with Lara Baladi"
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Vox Populi, Archiving a Revolution in the Digital Age
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sound component, at the first Kiev Biennial in 2012.
316:2008 Surface of Time, B21 Art Gallery, Dubai, UAE
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629:"Arabesque: new Middle Eastern art: continued"
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182:Penelope’s Labor: Weaving Words and Images.
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16:Egyptian-Lebanese photographer (born 1969)
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91:Since 1997, she has been a member of the
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827:Washington Report on Middle East Affairs
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677:"Show Highlights the Return of the Loom"
154:In 2007, Baladi presented a work called
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227:(haphazard things). Her own tower in
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1111:20th-century Egyptian women artists
842:"Middle Eastern cultural diplomacy"
791:Thompson, Seth (July–August 2007).
701:Cotter, Holland (August 14, 2009).
523:Issa, Rose; Krifa, Michket (2011).
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1042:Baladi, Lara (16 September 2013).
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331:Bilmuseet, Umea, Sweden, 2004
248:Gallery Isabelle van den Eynde
109:Gallery Isabelle van den Eynde
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168:was presented in 2009 at the
139:In 2000, she participated in
99:(Nomadic Artists) in Egypt's
1181:21st-century women sculptors
1171:Egyptian women photographers
1131:Lebanese women photographers
1072:Video interview on the show
914:Thompson, Seth (July 2010).
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400:"Art in Review; 'Sampling'"
260:Egyptian Revolution of 2011
71:, Lebanon) is an acclaimed
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449:Schoene, Dorothea (2012).
379:. The Future of a Promise
303:Selected solo exhibitions
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1166:Egyptian women sculptors
1146:Lebanese women sculptors
1121:Photographers from Cairo
986:MIT Open Documentary Lab
953:Camilla Grimaldi Gallery
290:activism project called
143:, a group exhibition at
949:"Lara Baladi Biography"
337:2001 Sandouk Al Dounia
246:, presented in 2010 at
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603:Barjeel Art Foundation
527:. Kehrer. p. 227.
156:Justice for the Mother
1048:Creative Time Reports
93:Arab Image Foundation
1079:Article in Nafas on
793:"Notions of ecology"
728:"Al Fanous el Sehry"
525:Arab Photography Now
488:(Summer, 2007): 54.
172:'s group exhibition
170:Queens Museum of Art
115:. Baladi received a
1136:Artists from Beirut
654:"Sandouk el Dounia"
363:Conde Nast Traveler
176:and in 2011 at the
174:Tarjama/Translation
1176:Artists from Cairo
1141:Lebanese sculptors
916:"Beyond the frame"
829:. Gale A200066805.
365:. Gale A250562110.
344:, Beirut, Lebanon
111:(IVDE Gallery) in
1017:Egypt Independent
926:on March 25, 2012
803:on April 26, 2012
758:. Ebsco 34685129.
633:Modernedition.com
204:Her installation
194:Townhouse Gallery
162:Sandouk el Dounia
145:Fondation Cartier
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482:Art Journal
465:17 February
409:December 4,
383:December 4,
258:During the
244:Coffee cups
65:Lara Baladi
47:Nationality
23:Lara Baladi
1095:Categories
920:Afterimage
797:Afterimage
756:Afterimage
455:Afterimage
348:References
296:Vox Populi
288:transmedia
225:ashwa'iyat
210:Arabesques
141:The Desert
510:144640963
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502:20068532
77:Lebanese
73:Egyptian
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233:Mubarak
166:Sandouk
129:Karachi
40:Lebanon
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69:Beirut
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506:S2CID
498:JSTOR
125:anime
121:manga
113:Dubai
81:Cairo
1055:2015
1024:2015
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