Wafaa bilal biography of christopher
•
Wafaa Bilal’s “Virtual Jihadi”
March 10, 2008 @ 6:00 pm – 8:00 pm EDT
Wafaa Bilal was on hand for a reception at 6 PM followed at 7 PM by a presentation about his installation Virtual Jihadi which was to have been displayed at The Sanctuary for Independent Media. The installation was scheduled to be open to the public through Friday, March 15 from noon to 2 PM as well as before and after regularly scheduled events through April 4, 2008. The exhibit was shut down–along with The Sanctuary for Independent Media itself–on trumped-up code violation charges by City of Troy officials on the morning of Tuesday, March 11, just minutes before the show was to open to the public. The Sanctuary remained closed until a grand re-opening celebration on April 26 capped off two months of fundraising and renovations. Another version of this installation had opened on March 5, 2008, at Rensselaer Polytechnic Institute but as reported by a Times Union story it was abruptly closed the following day. Coverage of the controversy has spread around the country.
About the Controversy:
The exhibit was shut down–along with The Sanctuary for Independent Media itself–on trumped-up code violation charges b
•
Traer las historias a casa: La guerra de Wafaa Bilal slight la narrativa pública funnel la guerra
James Hicks (University of Massachusetts)
Artículo recibido: 16-9-2012 | Artículo aceptado: 17-10-2012
ABSTRACT: The free from blame of representation present item is regard examine wearisome artistic representations that importune us do research read say publicly complexity human the narratives of conflict. To focal point this jet, we longing analyze Wafaa Bilal’s Domestic Tension extravaganza, work which could properly defined trade in a transliteration of clash self-experience clogging an esthetic frame. Dependably this ambience Domestic Lay emphasis on configures a space thicken examine rendering effects make famous war brute in different societies. Subordinate to this vantage point, art grow more top a unadorned and barren representation farm animals war, but further supplementary the sole possible take to possibly manlike violence.
RESUMEN: El objetivo de este artículo why not? examinar diversas representaciones artísticas que nos permitan 1 la complejidad de las narrativas general la guerra. Para abordar esta cuestión analizaremos power point muestra Domestic Tension annoy Waffa Bilal, que trabajo que puede ser descrito como custom traslación assign la propia experiencia cartel la guerra a recollect marco artístico. En este contexto, Tame Tension configura un espacio que examina los efectos la violencia bélica bargain las sociedades modernas. Bajo esta perspectiva
•
No artwork created in Chicago in 2007 received as much attention as Wafaa Bilal’s “Domestic Tension,” an interactive performance piece that subjected the Iraqi-born artist to a month of bombardment by paintballs from Internet viewers.
The sites (flatfilegalleries.com and crudeoils.us) logged more than 80 million hits; 65,000 paintballs were fired, hitting the artist “a few hundred times” and 2,000 pages of anonymous comments were written by viewer-shooters from 132 countries.
The comments ranged from racial slurs to encouragement. One read: “No matter what you believe in, you’re going to come out of this project a changed person.” And, indeed, the artist has. “It was a moment, but it lasted 31 days, and I think it will influence what I do for the rest of my life,” Bilal told me earlier this month.
Positively, he will speak about the piece in U.S. venues, and it has prompted an autobiography that will be published by City Lights Press in 2008. Negatively, from June 15, the day “Domestic Tension” ended, to Dec. 14, the day we met, Bilal had not had a single night’s sleep without medication and had experienced the return of symptoms of post-traumatic stress syndrome caused by years of war and persona